Taking on duel roles of historical sopranos vowing not to be outdone

Opera Prelude – Duelling Divas: soprano rivalries through the ages

Christ Church, Henley

Friday, September 26

OPERA has always thrived on drama both on and off the stage. Friday morning’s Opera Prelude event, “Duelling Divas: soprano rivalries through the ages”, proved that tales of feuding sopranos can be as compelling as any tragic heroine or scheming villain.

Soprano Georgie Malcolm, accompanied by Adrian Salinero on piano, presented her lecture recital blending historical insight, colourful anecdotes and live performance. Still at the start of her career — she recently covered Marzelline in Fidelio at Garsington — Georgie showed poise, humour, and a gift for storytelling that kept her audience both informed and entertained.

The morning began with Handel, the composer who more than most understood the combustible potential of a diva rivalry. In his 1720s London opera company, Francesca Cuzzoni and Faustina Bordoni became notorious for their onstage clashes, egged on by partisan audiences and a sensationalist press. Georgie traced this saga with relish, illustrating how Handel tailored music to suit each singer’s vocal qualities: sweet, lyrical arias for one, fiery, martial passages for the other.

Opening with Rodelinda’s lament “Ho perduto il caro sposo,” Georgie’s own gleaming soprano immediately assured the audience that they were in safe hands. She went on to offer a sequence of Handel arias, from Giulio Cesare and Tolomeo among others, demonstrating her ability to switch between contrasting styles with agility and grace. Adrian Salinero proved a sensitive and stylish partner throughout, never overwhelming but always supporting with rhythmic vitality.

The lecture was enlivened by judiciously chosen video clips. Kiri Te Kanawa and Norma Burrowes’ playful rendition of Rossini’s Cat Duet highlighted both the competitive and comedic sides of soprano showdowns, while Lucy Crowe and Mary Bevan’s “Two Queens” duet, “Placa l’alma quieta il petto”, from Alessandro revealed how Handel could harness rivalry to thrilling musical effect.

From there, we were whisked into the 20th century, where the media again delighted in setting sopranos against one another. This time the duel was between Maria Callas and Renata Tebaldi — one famed for her dramatic intensity, the other for vocal warmth and serenity. We heard recordings of their strikingly different interpretations of Puccini’s ever popular “O mio babbino caro,” before Georgie brought proceedings to a close with her own heartfelt version.

What might in less capable hands have been a gossipy romp was with Georgie Malcolm a thoughtful exploration of how rivalry has shaped the operatic tradition. She reminded us that while egos and scandals grab the headlines, it is the composers and performers’ constant quest to stretch the expressive boundaries of the voice that ensures opera’s continuing vitality.

Overall, a well-researched presentation, engaging storytelling and gorgeous singing. Well done!

Opera Prelude’s next instalment, “Villains and Cads!”, is at Christ Church on Friday, October 31.

Amanda Sadler