Singers: Gilda Cruz-Romo

In the Autumn of 1969 I decided to move to New York City; I withdrew all my savings from the bank and reserved a room at the Empire Hotel at a monthly rate. The plan, as I sold it to my parents, was that I would find a job and then an apartment. In actuality, all I really wanted to do was go to the opera every night. And that is exactly what I did, forgetting about job-hunting til my cash gave out and I returned home after a few weeks.

Unfortunately for me, that was the year of the Met orchestra's strike. But I was not to be deterred: I went to every single performance of the New York City Opera's Autumn season. Standing room cost next-to-nothing and I already had some favorite singers there - people like Beverly Sills, Maralin Niska, Patricia Brooks, Enrico di Giuseppe, Dominic Cossa and Norman Treigle. Treigle was in fact the focus of that Autumn season since NYCO was mounting a production of Boito's MEFISTOFELE for him. Carol Neblett was singing the dual role of Margherita and Helen of Troy; but for the final performance of the run a debut was announced: a Mexican soprano named Gilda Cruz-Romo.

One never knows what to expect from a debut, and that was especially true back then when there was no Internet buzz, YouTube or Facebook that might have provided an inkling or an outright sample of a new singer's work. In the weeks prior to her debut, I'd actually seen Gilda and her husband Bob Romo several times around Lincoln Center and at the Footlights Cafe; I'd even said hello to her and as a young, unknown singer she seemed genuinely thrilled to be recognized. But what - I kept wondering - does she sound like?

Her performance was something of a revelation: it was a big, warm lyric voice bordering on spinto. Her tone had an unusual freshness and clarity, with a pliant technique and shining upper register, and the kind of vocal candor that one finds in a new singer who just sings without relying on artifice. The audience took to her at once - the fans sensing that here was an Italianate voice that had real potential in the Verdi & Puccini repertoire. After the great aria "L'altra notte", Cruz-Romo was warmly applauded but it was in the Helen of Troy scene that she capped her success: in the great concertato "Amore mistero!" the voice sailed out over the ensemble with a gleaming quality and as the line soared up to its climatic top-B the sound seemed to blossom - and Cruz-Romo swept onwards to triumph.

The next afternoon at Footlights a small gathering of fans met and we played over and over again our house tapes of the performance; we must have listened to that ensemble about twenty times. People at neighboring tables were drawn to the sound of her voice. In those days, New York City Opera was a real Company: if you made a successful debut you were invited back and became part of the family and were cast in as much repertoire in your fach as was available. Obviously Julius Rudel knew a special voice when he heard it, so Gilda - as we were by now all calling her - sang there for the next 2 or 3 years until the Met snatched her away.

And so I saw her in more performances of MEFISTOFELE, as a glowing-voiced Butterfly and a golden-toned Mimi (especially moving) and - in one of her first ventures into the heaviest rep - Amelia in BALLO IN MASCHERA. Of her City Opera performances, my very favorite was her Tosca in 1971:

"...Gilda surpassed my highest expectations as Tosca. Rarely has this role had such a balanced combination of: a beautiful face, fine stage presence, sincere acting, fine diction and GORGEOUS spinto singing. In the first act, many phrases of great beauty. She looked lovely, young and excited. In Act II she sang superbly, her high Cs large and luminous. The dramatic utterances were all convincingly delivered. As she neared the end of her marvelously phrased "Vissi d'arte" tears welled up in her: one sob at the end, straight from the heart, was a perfect effect. She carried off the murder and the acting demands of the closing of Act II with excellent control. Maintaining her high level in Act III, Gilda ended the opera on a stentorian top-B and took a death-defying leap of ten feet! She was given a tumultuous ovation eminently deserved. Backstage she was literally mobbed - as big a crowd as I've seen at NYCO. After edging my way through the throng we hugged and she kissed me so many times. It took a few moments before either of us could speak..."

When things calmed down and we got to discuss the performance, she told me how petrified she was of taking that final jump. The production was designed so that Tosca's suicidal leap was visible to the audience as she fell about a dozen feet before a parapet blocked her landing-mattresses from view. She had not had a stage rehearsal and she said she got to the edge of the platform and realized in a split second how exposed her descent would be; she crossed herself and took the plunge.

It was inevitable that a voice like Gilda's would be both wanted and needed at the Met. In 1970 she entered the Met National Auditions and was a finalist, singing "La mamma morta" from ANDREA CHENIER. On May 8, 1970 she debuted with the Company on tour in Atlanta singing that same opera. In December of the same year she debuted at the Met proper as Butterfly, beginning a career there that stretched into the mid-1980s and encompassed over 160 performances.

I saw her at the Met for the first time as Nedda in PAGLIACCCI opposite the frighteningly intense Canio of James McCracken. Gilda sang so beautifully, especially in the sensuous duet with Silvio (Dominic Cossa): "...great crescendos from tiny pianissimos..." It was after this performance that she and I were photographed together backstage. (OK, no comments about my tie...or my hair! Remember this was the 70s).

 

Then came a hiatus: I moved to Houston for a while and only kept tabs on her via the broadcasts. But after a while I was lured back to the Northwest and we had a beautiful reunion at a matinee of AIDA where she sang opposite Franco Corelli:

"...Gilda was in complete command of this arduous role every step of the way...there were phrases upon phrases of golden Verdi singing: her deeply-felt prayer at the end of 'Ritorna vincitor' and the miraculously spun high pianissimi in 'O patria mia' and even more incredibly on 'Fuggiam, fuggiam...' as she lured Corelli into her escape plan. She was able to healthily dominate the big ensembles and then turn around a float effortlessly in the tender 'O terra addio...'  Really top-class Verdi singing!"

Gilda also sang in a revival of MANON LESCAUT and sounded lovely despite being cast opposite a very mediocre tenor. Her 'In quelle trine morbide' was poignantly phrased, mirroring Manon's longing for the simple, true love of her Chevalier des Grieux. (Photo: Bill Hendrickson).

Gilda Cruz-Romo - In quelle trine morbide - MANON LESCAUT -Met dress rehearsal 1973

Then several things happened which kept me from seeing her onstage at the Met; I moved to Hartford with TJ and for a couple years we were basically broke. Trips to New York were infrequent and most of the time ballet trumped opera.  Then too, Gilda's international career was in full bloom; it seemed she sang everywhere and sang the most taxing repertoire - I think I once read that she ended up singing Aida five-hundred times! It seemed like whenever I was at the Met, she was somewhere else.

Thus it was a special pleasure when she came to Hartford and sang Desdemona in OTELLO (photo above), one of her most attractive roles. In 1979 she sang Desdemona on a Met telecast opposite Placido Domingo and Sherrill Milnes and they merited a Hirschfeld tribute:

In 1987 I saw Gilda onstage for the final time, as Cherubini's Medea at Bridgeport, Connecticut. The declamatory style of many of the character's utterances didn't suit her so well - she was always a melodic singer - but the voice was still powerful and expressive.

I met her again a few years ago when she was honored by the Puccini Foundation. I handed her the photo of the two of us and it took her only a half-second to realize who I was...I have changed MUCH MORE than she has!  We keep in touch now; she lives in San Antonio and I was tickled to read recently that she keeps up her deep-sea fishing and is also active in a local Texas group which matches senior citizens with canine companions:

 

It's been a long time since that day in Footlights soon after her NY debut that I pestered her with a million questions and she was unbelievably kind and patient. Once I wrote to her after she'd sung the title role in ANNA BOLENA in Dallas expressing my dismay that I couldn't have been there; a few days later I was astounded to open the mailbox and find she had sent me a tape of the performance. That's the generosity of spirit that Gilda always shows. So now, with love and gratitude, I've tried to put my admiration for her into words.

AIDA ~ scene from Act II - Gilda Cruz-Romo & Tatiana Troyanos - Met 1976

~ Oberon

Comments

[Sarah]

What an incredible story! Philip, you are such a fantastic writer and it's so kind of you to share these amazing life/cultural experiences with the rest of us. Thanks also for sharing the picture, which I think you look gorgeous in!

[Philip]

Thanks Sarah, and welcome home!

[Deborah]

Gilda sounds like a wonderful woman (love that she works with canine companions) as well as a beautiful singer. Your piece is superb; I do hope you send it to Gilda. In this very tough world, it's a blessing to read such a kind, generous and captivating story. Thank you for sharing it with all of us, Philip!

[Philip]

She is one of the kindest and warmest people you could ever meet. It's nice to see on my stats this morning how many people have already read this story.

[Laura]

I, too, have a story of packing up everything I owened and moving to NYC. Thankfully I had a job waiting for me but it took me a while to get settled nonetheless. That is what is great about NYC - you come here when you are not quite sure what else to do with yourself! And I am glad every day that I made the move (for me it was from Iowa.)

[Maury D'Annato]

Always nice to read an adoring reminiscence. She taught at UT while I lived in Austin and people spoke very fondly of her. Though it's not a voice I've spent a lot of time with, the "D'Amor" you posted a link to is terrific.

[Philip]

Thanks, Maury...it's too bad there are so few video documents of G-C-R, and no commercial recordings that I know of.

[Howard Lichterman]

Dear Philip,

I appear to have lost my email to you so I will write it again. I also knew Gilda and Bob from 1969 onwards (I moved from NY to London in 1971) and then saw them both when she performed at Covent Garden and the Vienna Staatsoper. My partner, Michael, and I had many fun evenings with them both. Eventually we lost touch and now I am hoping, through you, to reconnect with them. I would really appreciate if the next time you write to her you can mention us, tell her we're both fine and happily retired, and we'd love to communicate with her again.

Many thanks.

Howard Lichterman and Michael Ratcliffe

[Philip]

Howard, I have sent you an e-mail with Gilda's mailing address so you can get in touch with her directly.

[Maria Helleberg]

...and she was a great MOVER on stage! Aida is a rather static part, but Gilda made her come to life. Today she would, I think, be recording a lot more...I treasure her LUISA MILLER, not amilksop but a real young woman

[Philip]

Yes, Gilda was very good onstage...I especially remember her Mimi and Tosca as deeply feminine, REAL women.

[Alan Armstrong]

I'm still waiting for the cruz-romo/ domingo / Milnes Otello to come out on DVD. What a fantastic performance that was!!!

[Philip]

A friend of mine taped that OTELLO off the air...we watched it a couple of years ago. The tape quality is pretty muddy but the singing is great!

[Luis Marquez]

Dear Sir:
Would it be possible to get some live performances of this great artist? I am looking for the Othello on video telecasted from the Met.
Yours very truly,
Professor Luis Marquez

[Erwin H.Kupitz]

Dear Philip
Thanks for tis wonderful story,I found this by searching(again) for Gilda Cruz Romo !
I ´am a fan of "Gilda" since I have heard here Voice for the very first time on CD in Norma.Never saw here live on Stage,that was unfortunately before my time .Since then I collected everything I could find from Gilda Cruz Romo on Audio Tape as well on Video,and still collect.

Thanks for sharing these Photos of here as well and the story about here activities after she retired from Stage.

If you are interested in any of my Recordings of Gilda I´m more than happy to make a copy for you.
Don´t hesitate to e mail me.

Thanks and
Happy 2009
Erwin
Cologne/Germany

[Philip]

Thanks, Luis and Erwin...it's great to hear from Gilda's fans around the world!

Luis, did you receive my e-mail?

[Dierdre]

Hello, my name is Dierdre I performed in many operas with the Connecticut Grand Opera and had the pleasure and privilege of landing the role of Gilda's child in "Norma" we stayed in touch for years, but unfortunately lost touch when I moved from the area. I have thought of her often and would love to know how I could get back in touch with her.

[Philip]

Hi Dierdre,

I will send you an e-mail with Gilda's address.

[Dan Shaindlin]

Hi,

Nice writing! Brings back memories. I have a question and I bet you have the answer. I have a fine sounding tape here-Mefistofele with Gilda-New York City Opera 1972. Other then Morelli as conductor I have no information. Do you know the cast? 9/6/72. Be glad to share with you and Gilda. She was really wonderful.

Best

Dan

[Philip]

Dan, let me do a bit of research among my Playbills...I think I might have been there that day!

[Philip]

As it turns out I was not at the MEFISTO of 9/6/72, but I am guessing the basso is either Michael Devlin or Robert Hale.

[Josue Gonzalez]

I had the privilege of meeting Gilda Cruz Romo at a Master Class at the Universtity of Texas At San Antonio. The master class was being done by Martina Arroyo, who is also a great woman, but Gilda made her presence known. Since then, I have taken a break from singing and hope to get back on track since my fach is to be Dramatic/Heleden Tenor and I am still in my twenties. To me, being first generation American Citizen, it is an honor to see and even be in the same room with such a talented, accomplished, and passionate woman. Viva Gilda!

[Liao]

Dear Philip,
I am fall in love with gilda's voice since i've heard her on youtube at the very first time. How could i contact her ? Mail me pls !!Thanks A LOT!Have a great day!
Liao
Berlin, Germany
my email add. is : [email protected]

[Dannybob]

I remember when Gilda was singing Desdemona here in Chicago. She was interviewed on the local classical music station, and when asked what singer influenced her as a young girl, she said "I would go to the movies and see Deanna Durbin, and I wanted to be just like Deanna Durbin!" I remember her incredible pianissimo singing in Verdi's Atilla here too.

[Earl Carter]

This season, 09/10, will be the 16th year for the Puccini Society of Dallas. We would like to honor Gilda Cruz-Romo with a weekend that would celebrate her career---a presentation for her to express thoughts/interpretations of the Puccini heroines she sang, and attend performances of the Dallas Opera in the new opera house opening in October. May I please have any information, including contacts in San Antonio, that would be helpful for these objectives.
Thank you.

Earl Carter

carterearl [email protected]

214-522-9309

3310 Fairmount Suite 5C
Dallas, Texas
75201-1232

[ARTHUR KREMER]

for Ms.Gilda Cruz Romo-soprano
Dear Lady
I collect authographes and letters from very important opera singers in the world.
Please very much to send me(not with e-mail please) a photo with your dedication and a letter.
Thank you very much and all my best whishes!
Yours sincerely
Arthur Kremer
Keren Hayesod St.4
Holon 58488
Israel

[New York hotel]

I also moved to new york not knowing what will be waiting for me..i fell in love in the city and i worked hard.now i've got 2 children nd we still live in new-york. nice post!

[Rev. Robert Russo]

Don't know if you will get this but I shall try. Gilda gave a concert in a large auditorium for our church many years ago. I lost touch with her and would like very much to be able to contact her and Bob again. Many thanks.

[Rev. Robert T. Russo]

Received a beautiful Christmas Card and note from Gilda. It was a great gift hearing from her and Bob after so many years. What a gracious lady....

[Erwin H Kupitz]

Dear Philip
Yes i´m indeed a Gilda Cruz Romo Fan and I would like to ask you for a favor.
Is it possible that you can get me in touch with Mrs Cruz Romo ,I´m living partial in the US (Los Angeles) and in Cologne(germany)
I would love to possibly get some Autoghrape from here and if at all possible while in the US next time maybe have the honor to meet Mrs Cruz Romo.
Here is my personal E mail Adress which is [email protected].
please don´t hesitate to use it if you like to contact me.
I will be back in La in March for working on a new Movie in holiwood.
Thanks for your help and the wonderfull Page.
My Best
Erwin from Germany

[Gilda Muñoz Rodríguez]

Hi, my name is Gilda Muñoz and I want to know about Gilda Cruz Romo cause she´s my godmother and she was a very close friend of my Dad (Pedro Muñoz), unfortunaly We lost touch, so we love to know her e-mail adress to get back in contact with her.
Thanks a lot:
Gilda Muñoz Rodríguez

[Philip]

Hi Gilda,

I do not have an e-mail address for Gilda Cruz-Romo but I will send you an e-mail with her mailing address.

Philip aka Oberon

[Mayettesarino]

Hi! My name is Ann Marie Sarino-Baring. I would like to ask for help from Ms. Gilda Romo as she can identify my uncle who is a victim of the recent Joplin, Missouri tornado.

My uncle is MR. THOMAS SARINO an accountant, who used to work for Ms. Romo way back. He first set foot in New York during the 1960s and transferred to Joplin in 1995.My uncle has been missing since sunday and we don't have anybody in the US to help us identify him. Police won't give us any information re my uncle. There are many claims that his body was found but couldn't get a verification on this.

This is a very desperate move on our family to ask for help from Ms. Romo as she doesn't know us. But we do hope she can still remember my uncle.

We only want his remains to be transported back to the Philippines.

Thank you.

[Philip]

Mayettesarino, please e-mail me at [email protected]

[Saralee Claire Green-Sicard]

Thank you so much for posting this about mi Tia Gilda. My grandparents, George and Genny Swisher, fell in love with Gilda (& Bob too :)) In the 1970's, and 'adopted' her into our family, our hearts, our love. She and Bob are some of the sweetest people I have ever known. Her contributions as a singer are absolutely amazing, hands down one of the most beautiful Pucchini and Verdi Mezzos ever, AND, I think even more as a teacher to the younger generations of singers while working as a voice professora at UT Austin. Gilds is awesome. I am so blessed: even though it was very hard for her to sing in the last decade, we were blessed with her coming to the hospital when my son Ian was born in 2000 in San Antonio, as she sang him his very first Happy Birthday! Wow, I will never forget that blessing. May everyone be inspired by such an angel as she.
Saralee Claire Green, daughter of Willson and Maryanne Swisher Green, grandchild of George and Genny Swisher, her american family that adores her.
[email protected]

[Thomas Dombrowski]

This website came surprisingly up to me and reminded me on a wonderful "Forza del destino" production at Vienna Staatsoper in 1974 with Muti and Siepi and this beautiful and impassionate latina as Leonora. Unfortunately, Gilda Cruz-Romo didn't return to Vienna as far as I know. Her performance was admirable and somwhere I've kept a MC with parts of the radio broadcasting. Then, I was a teenager and fall in love to Gilda !?

[Peter Symcox, RAdio-CAnada.]

I directed Gilda in her wonderful Butterfly for the Florentine Opera, Milwaukee , in 1978, and fell in love with her not only as a person but also with her beautiful voice; later she appeared, as a collaborator in my television "Portrait" of Louis Quilico for RAdio-CAnada. Would it be possible for you to forward my email address, so that we might get in touch again? I wojuld so appreciate this. Peter Symcox.

[Philip]

Hi Peter,

I don't have Gilda's e-mail address but if you e-mail me at [email protected] I will send you her actual address and you can write to her.