Anna Moffo 1932-2006

Avec un physique de star, une voix qui pouvait tout chanter, la soprano lyrique, colorature et plus tard dramatique américaine Anna Moffo s’est rapidement imposée pour devenir l’une des chanteuses d’opéra les plus connues au monde et une figure emblématique du Metropolitan Opera de New-York dans les années 1950, 60 et 70.

Les sources divergent à propos de sa date de naissance, 27 juin 1930 ou 1932, à Wayne (Pennsylvanie). Issue d’une famille d’origine italienne, ses parents étaient Nicolas Moffo et Regina (Cinti) Moffo. Anna a fait ses débuts de chant à l’âge de sept ans dans une assemblée scolaire avec Mighty Lak’a Rose. Elle chanta fréquemment dans sa ville et les régions environnantes. Possédant une beauté remarquable pour accompagner sa voix, elle eut la chance d’auditionner pour Hollywood. Sa beauté plastique faillit la porter loin des scènes d’opéra pour la confiner dans les studios d’Hollywood. Mais, dès son plus jeune âge, elle a tourné le dos à ce miroir aux alouettes pour lui préférer l’art lyrique. Elle a choisi la musique, remportant une bourse de quatre ans pour étudier au Curtis Institute of Music de Philadelphie. Son professeur était Eugenia Giannini-Gregory. Elle a remporté les Auditions des Jeunes Artistes en 1955. Une bourse Fulbright la même année lui a permis de voyager en Italie où, pour subvenir à ses besoins, elle a travaillé comme technicienne en radiologie et dactylographe. A Rome, elle va étudier à l’Accademica di Santa Cecilia à Rome avec Luigi Ricci et Mercedes Llopart.

Mercedes LLopart

Mercedes LLopart (1895-1970) était une soprano d’origine espagnole qui s’est retirée de la scène en 1945 après une grande carrière internationale. Elle s’est ensuite consacrée à l’enseignement pour devenir un professeur de chant très réputée. Il suffit pour s’en convaincre de voir la liste de certains de ses plus célèbres élèves: outre Anna Moffo, on y découvre rien de moins que Renata Scotto, Fiorenza Cossotto, Alfredo Kraus, et la formidable Elena Souliotis.

Anna Moffo

Elle fit ses débuts sur scène dans Norina (Don Pasquale) au festival des Deux Mondes à Spoleto. Sa voix chaleureuse et lyrique et son timbre plein ont attiré beaucoup d’attention, tandis que son attrayante et mince silhouette a contribué à la médiatiser. Elle fut engagée pour chanter le rôle-titre de Butterfly par le réalisateur de télévision Mario Lanfranchi également producteur pour la compagnie de disques R.C.A. Ils se marieront en 1957. Cette émission de 1956 a fait d’elle une star instantanée en Italie et lui a donné sa renommée internationale. Elle chanta d’autres productions d’opéra télévisé italien, dont Lucia di Lammermoor et La fille du régiment. Elle a fait ses débuts en France en 1956, en chantant Zerlina (Don Giovanni) à Aix-en-Provence sous la direction de Hans Rosbaud. Elle s’est produite dans toute l’Italie et fit ses débuts au Teatro alla Scala dans le rôle de Nannetta (Falstaff) en 1957.

Elle fit ses débuts américains au Lyric Opera de Chicago cette même année 1957 dans le rôle de Mimi  (La Bohème) avec Jussi Björling pour partenaire dans le rôle de Rodolfo. Cette même année, elle se produisit pour la première fois à l’Opéra de Vienne dans le rôle de Nanetta sous la direction de Karajan, rôle qu’elle reprit au festival de Salzbourg et à la Scala de Milan.

Portraits de Anna Moffo
Anna Moffo

Le 14 novembre 1959, elle chanta pour la première fois au Metropolitan Opera de New-York dans ce qui devait être l’un de ses rôles de prédilection, Violetta (Traviata). Elle intervint au Met dans quelque 220 représentations pour 18 opéras différents au cours de la décennie suivante: Manon, Gilda, Lucia, Juliette, Nedda, Marguerite, Mélisande, Liù, Luisa Miller, les quatre héroïnes des Contes d’Hoffmannla Péricchole…). «Chanter au Met, c’était chanter chez moi, tout le monde est venu, la famille, les amis; J’avais un tel trac, qu’à la fin du 1er acte,  je me suis effondrée, je n’arrivais même pas à changer de costume, j’ai versé des seaux de larmes … je me souviens de chaque seconde de ces débuts.» Parallèlement, elle se produit à l’Opéra de Vienne jusqu’au début des années 1970 (mêmes rôles auxquels elle ajoute Micaëla et Mimì). En 1960, elle débute à San Francisco dans Amina (La Somnambule de Bellini) et, en 1964, à Covent Garden dans Gilda (Rigoletto de verdi).

En 1960, elle a commencé à animer un programme sur l’opéra à la télévision italienne, The Anna Moffo Show, qui s’est poursuivi jusqu’en 1973. Elle a été élue l’une des 10 plus belles femmes d’Italie.

Anna Moffo en Elvira (I Puritani) en 1962

Anna dans un de ses show TV
Anna Moffo en répétition

Au cours de la saison 1960-1961, elle a chanté trois rôles au Met: Gilda (Rigoletto) , Adina (L’Elisir d’Amore) et Liù (Turandot) avec Franco Corelli et Birgit Nilsson. Elle était alors l’une des artistes vedettes du label RCA Victor. Certains de ses autres rôles importants étaient Pamina, Luisa Miller, Mélisande, une interprétation étincelante en tant qu’héroïne de l’opérette d’Offenbach La Périchole, et les quatre rôles féminins principaux des Contes d’Hoffmann. Elle a joué dans des opéras filmés et dans des films dramatiques non musicaux: Austerlitz d’Abel Gance (1960), Ménage à l’italienne (1965), Une histoire d’amour (1969), et Les Aventuriers (1970) avec Charles Aznavour.

En 1972, elle et Lanfranchi ont divorcé et elle a épousé Robert Sarnoff, le président de la RCA.

Robert Sarnoff et Anna Moffo vers 2000
Anna Moffo

Moffo a souvent été citée comme l’exemple d’un talent qui a été poussé trop fort et trop tôt dans la carrière. En conséquence, sa voix s’est fortement détériorée au milieu des années 1970 et, bien qu’elle ait continué à apparaître sur la scène, sa carrière de super-diva était déjà terminée. En 1974, elle a éprouvé de graves problèmes vocaux ce qui l’a empêchée de jouer pendant deux ans. Dans une interview de Times parue en 1977, elle avoue « s’être ruiné la santé, en voyageant beaucoup trop, en accumulant trop d’activités. J’étais impliquée à l’opéra, dans le cinéma, à la télévision. Psychologiquement, je me sentais très mal. Toujours loin, toujours seule. Mais, je ne pense jamais avoir mal chanté jusqu’au moment où je me suis sentie trop fatiguée». Après avoir surmonté une dépression nerveuse elle revient au premier plan, dans des rôles plus lourds, comme celui de Leonora  (Le Trouvère) ou Lina (Stiffelio). À Parme, elle incarne Adriana Lecouvreur de Cilea en 1978. Malheureusement, la voix n’est plus que l’ombre d’elle-même. Elle se maintient à la scène jusqu’en 1991, où une dramatique prise de rôle de Norma sonne le glas d’une carrière trop courte. Sa dernière apparition eut lieu lors du gala du centenaire du Metropolitan Opera, le 22 octobre 1983, alors qu’elle chante un duo de la comédie musicale Maytime avec Robert Merrill. En 1999, le Met l’a honorée d’un gala célébrant le 40e anniversaire de ses débuts.

Elle passe ses dernières années à New York, où elle meurt le 11 mars 2006 à l’âge de soixante-treize ans des suites d’un cancer du sein. Elle est inhumée au Kensico Cemetery à Valhalla (Conté de Westchester, état de New-York).

Tombe de Anna Moffo au Kensico Cemetery

Les qualités de sa voix semblaient inépuisables: soprano lyrique, parfois spinto, capable de s’évader vers la colorature; tout lui semblait possible. C’est peut-être ce qui a causé son déclin prématuré. Son timbre, la chaleur de sa voix, sa présence et sa beauté avaient tout pour séduire; et elle a beaucoup séduit. Séduction aussi que sa souplesse vocale, ses aigus faciles, ses graves chaleureux. Mais à toucher à tous les genres sans jamais se ménager, à aborder trop tôt des rôles qui ne lui convenaient pas, elle a usé prématurément sa voix. Sa véritable carrière, au sommet de ses moyens, n’aura duré qu’une vingtaine d’années. Une étoile filante qui se sera identifiée au rôle-titre de Traviata: plus de deux cents représentations au cours de sa carrière, dont quatre-vingts au Met dans trois productions différentes.

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