Tatiana Troyanos (September 12, 1938 – August 21, 1993) was an American mezzo-soprano of Greek and German descent, remembered as "one of the defining singers of her generation" (Boston Globe). Her voice, "a paradoxical voice—larger than life yet intensely human, brilliant yet warm, lyric yet dramatic"—"was the kind you recognize after one bar, and never forget," wrote Cori Ellison in Opera News.Troyanos led a distinguished international career and made a variety of admired operatic recordings, and beginning in 1976 was additionally known for her work with the Metropolitan Opera, with over 270 performances spanning twenty-two major roles. "She was extraordinarily intense, beautiful, and stylish in roles as diverse as Eboli, Santuzza, Geschwitz, Venus, Kundry, Jocasta, Carmen, and Giulietta, in addition to her great 'trouser' roles," said the Met's longtime Music Director, James Levine.
Troyanos enjoyed an equally versatile career as a recording artist; her first appearance as a soloist in a recording hall was as Dorabella, opposite Leontyne Price's Fiordiligi, in Mozart's Così fan tutte under Erich Leinsdorf (recorded in London in 1967, released in 1968, and winner of the Grammy Award for Best Opera Recording in 1969). She went on to sing Cherubino in Karl Böhm's recording of Mozart's The Marriage of Figaro, the title role in Bizet's Carmen for Sir Georg Solti (she was described in the Penguin classical record guide as "quite simply the subtlest Carmen on record ... Troyanos' singing is delicately seductive too"), the Composer in Ariadne for both Böhm and Solti, and Anita in Leonard Bernstein's high-profile (if controversial) operatic recording of his West Side Story, among numerous other roles. David Anthony Fox in the St. James Opera Encyclopedia concluded that "although she inexplicably never made a recital record," many of her discs "capture her faithfully—or ... as faithfully as is possible without her marvelous physical presence ... In fact, she never made a bad record, and—artist that she was—in every case Troyanos contributed something unique and memorable.
Tatiana Troyanos (September 12, 1938 – August 21, 1993) was an American mezzo-soprano of Greek and German descent, remembered as "one of the defining singers of her generation" (Boston Globe). Her voice, "a paradoxical voice—larger than life yet intensely human, brilliant yet warm, lyric yet dramatic"—"was the kind you recognize after one bar, and never forget," wrote Cori Ellison in Opera News.Troyanos led a distinguished international career and made a variety of admired operatic recordings, and beginning in 1976 was additionally known for her work with the Metropolitan Opera, with over 270 performances spanning twenty-two major roles. "She was extraordinarily intense, beautiful, and stylish in roles as diverse as Eboli, Santuzza, Geschwitz, Venus, Kundry, Jocasta, Carmen, and Giulietta, in addition to her great 'trouser' roles," said the Met's longtime Music Director, James Levine.
Troyanos enjoyed an equally versatile career as a recording artist; her first appearance as a soloist in a recording hall was as Dorabella, opposite Leontyne Price's Fiordiligi, in Mozart's Così fan tutte under Erich Leinsdorf (recorded in London in 1967, released in 1968, and winner of the Grammy Award for Best Opera Recording in 1969). She went on to sing Cherubino in Karl Böhm's recording of Mozart's The Marriage of Figaro, the title role in Bizet's Carmen for Sir Georg Solti (she was described in the Penguin classical record guide as "quite simply the subtlest Carmen on record ... Troyanos' singing is delicately seductive too"), the Composer in Ariadne for both Böhm and Solti, and Anita in Leonard Bernstein's high-profile (if controversial) operatic recording of his West Side Story, among numerous other roles. David Anthony Fox in the St. James Opera Encyclopedia concluded that "although she inexplicably never made a recital record," many of her discs "capture her faithfully—or ... as faithfully as is possible without her marvelous physical presence ... In fact, she never made a bad record, and—artist that she was—in every case Troyanos contributed something unique and memorable.
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