Stridono lassu

Ileana Cotrubaş (Romanian pronunciation: [iˈle̯ana kotruˈbaʃ]; born June 9, 1939) is a Romanian opera soprano whose career spanned from the 1960s to the 1980s. She was much admired for her acting skills and facility for singing opera in many different languages. Cotrubaş was born in Galaţi. She grew up in a musical family; her father, Vasile, was a tenor in an amateur chorus. Cotrubaş' musical career began at the age of nine when she became a member of a children's radio chorus. By the age of eleven, she was one of its leading soloists. In 1952 she moved to Bucharest to study at the Şcoala Specială de Muzică school for the musically gifted. Cotrubaş made her stage debut with the Bucharest Opera as Yniold in Debussy's Pelléas et Mélisande in 1964. She subsequently expanded her repertory to include roles such as Oscar in Un ballo in maschera, Gilda in Rigoletto, and Blondchen in The Abduction from the Seraglio and began appearing in productions throughout Europe. In 1965, Cotrubaş won an important competition in 's-Hertogenbosch, Netherlands where she won first prize in opera, lieder, and oratorio. The following year, she won a radio-television competition in Munich. Those awards, together with her great success in the role of Pamina at Brussels, led to appearances in the Vienna State Opera, Hamburg State Opera, Berlin State Opera and Salzburg Festival, and to a contract with the Frankfurt Opera. In 1969, She also made her British debut at the Glyndebourne Festival as Mélisande, and sang two succeeding seasons there in the title role of Cavalli's Calisto. She made her début at the Royal Opera House, Covent Garden in 1971 as Tatyana in Tchaikovsky's Eugene Onegin. Cotrubaş signed a three-year contract with the Vienna State Opera in 1970. During her time there, she learned the roles of Susanna in Le nozze di Figaro, Zerlina in Don Giovanni, Violetta in La traviata, Mimi in La bohème, and Sophie in Der Rosenkavalier. In 1973, she made her American operatic debut at the Lyric Opera of Chicago as Mimi. Cotrubaş made her international breakthrough when on January 7, 1975, when she replaced Mirella Freni at La Scala as Mimi. She had to fly from her home in Kent and arrived 15 minutes before curtain time. Her interpretation was acclaimed by critics and audiences alike. Cotrubaş made her Metropolitan Opera debut on March 23, 1977, as Mimi in a production with José Carreras and Renata Scotto. While with the Met, she appeared as Gilda, opposite Plácido Domingo and Cornell MacNeil, in a televised performance of Rigoletto on November 7, 1977, and as Violetta, again opposite Domingo and MacNeil, in a televised performance of La traviata on March 28, 1981. She sang a total of three other roles at the Met: Ilia in Mozart's Idomeneo (in its Metropolitan Opera premiere), Tatiana in Tchaikovsky's Eugene Onegin, and Micaëla in Bizet's Carmen, the role of her final performance with the company on March 26, 1987. Cotrubaş is also well known for being very demanding of directors and colleagues. On several occasions — Eugene Onegin in Vienna in 1973 and Don Pasquale at the Met in 1980 — she walked out of productions when she disagreed with the stage director. Cotrubaş retired from public singing in 1990, but she continues to teach, giving master classes and coaching promising young singers...

Lyrics & English Translation

What fire there was in his look!
I lowered my eyes
for fear he should read
my secret thoughts.
Oh! if he caught me ...
He's so brutal ...
But enough: no more.
These are idle, fearful dreams!
O how glorious is the August sun!
I feel full of life, and, my senses glowing
with secret desire, I know not what I long for!

Oh what a flight of birds,
and what a chatter!
What do they seek? Where are they going?
Who knows? ...
My mother, who could tell fortunes,
understood their warbling,
and sang this song to me as a child:
Hey!
The birds chirp up aloft,
freely launched in flight like arrows.
They defy the clouds and the burning sun
and onward they fly
through the boundless sky.
Let them roam through the atmosphere,
ever eager for the glorious infinite blue:
They too follow a dream,
a chimera, as onward they fly
Through the gilded clouds.
Though the wind freshen
and the tempest roar,
with pinions spread they brave all dangers;
rain or lightning, nothing defers them,
and onward they fly
over abysses and oceans.
Onward they go to some strange land
of which perhaps they dream
and which they seek in vain.
But the gipsies of the sky
follow the mysterious power
which draws them ...
onward ... ever onward!


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