For 50 years he directed an orchestra that was second-rate in tone and technique, yet Ernest Ansermet drew performances from it that cut right to the heart of the music. A musician of catholic taste, Ansermet was a reliable, insightful interpreter of composers from Mozart to Martin. His recordings in the 1950s and 1960s with the Suisse Romande Orchestra, which he founded, retain strong interest for collectors who value nuance over tonal sheen. These recordings are of especial interest as they provide a link to composers active in Paris in the early twentieth century, with whom Ansermet was closely associated.

As a child, he studied math with his father, a teacher, and music with his mother. Ansermet's early training seemed to add up to a career in mathematics; he specialized in that subject at Lausanne University, graduating in 1903. Ansermet served as a professor of mathematics from 1905-1909. But during this time his interest in music only increased; he kept an eye trained on the technique of local conductors, and took courses in music with Alexandre Denéréaz, Otto Barblan, and Ernest Bloch. Ansermet sought further advice on conducting from Felix Mottl in Munich and Artur Nikisch in Berlin, then concentrated mainly on teaching himself the art of the baton.

His first professional efforts were leading the summer Kursaal concerts in Montreux (1912-1914), and conducting symphonic concerts in Geneva (1915-1918). In 1918 he organized the Orchestre de la Suisse Romande in Geneva, from the start performing a substantial amount of contemporary French and Russian music. Ansermet befriended many of the great progressive composers of the time, especially Claude Debussy, Maurice Ravel, and Igor Stravinsky. Through Stravinsky, Ansermet met Serge Diaghilev and was appointed principal conductor of the latter's Ballets Russes, touring with the company to Paris, London, Italy, Spain, South America, and the United States. During a 1916 tour Ansermet made his first recordings with the Ballets Russes orchestra -- the beginning of a half century of making intriguing records with less-than-stellar ensembles. Through his association with the Ballets Russes, Ansermet was able to premiere many of the period's most important dance scores, including Falla's Three-Cornered Hat, Prokofiev's The Buffoon, Satie's Parade, and Stravinsky's Pulcinella. As an extra-curricular wartime diversion, on September 28, 1918, Ansermet premiered Stravinsky's L'Histoire du soldat in Geneva.

He developed the reputation of -- in the words of Nicholas Slonimsky -- "a scholarly and progressive musician capable of fine interpretations of both classical and modern works." Although the Suisse Romande Orchestra, with which he recorded for Decca in the 1950s and 1960s, could be criticized for its wiry strings and sour woodwinds, the group delivered to Ansermet highly accurate performances notable for their clear textures and delicate timbral balances.

Ansermet was, not surprisingly, a gifted conductor of Classical-era music, but he had little opportunity to record it. He is best remembered for his sui generis recordings of the music of his French contemporaries Debussy, Ravel, and Roussel, and his Swiss compatriots Honegger and Martin. But Ansermet was also a strong champion of such other contemporary composers as Bartók and Britten, premiering the latter's opera The Rape of Lucretia. He retired from conducting in 1967, to the end performing and committing to disc such rarities as Magnard's Symphony No. 4.

Ansermet's compositions include a symphonic poem, Feuilles de printemps; he also orchestrated Debussy's Six épigraphes antiques, among other pieces. His publications include Le Geste du chef d'orchestre (1943) and Les Fondements de la musique dans la conscience humaine (1961), in which he used mathematics to discredit 12-tone and other advanced compositional techniques.

Mezzo-soprano Teresa Berganza's career always had something of a Spanish flavor to it, even though she excelled in Mozart and Rossini roles and other elements of the traditional repertory. She consistently championed Spanish music, from zarzuela to the songs of Granados and Falla. She also sang the title role of Carmen frequently, bringing her own unique sense of the character to both stage and recordings. A musician of unusual breadth and ability, Berganza was an accomplished pianist and organist and even studied conducting and composition. Her voice, which had an impressive upper extension, managed to cross boundaries as well: in 1960, she was offered the role of Violetta -- a mainstay of the soprano repertory -- in Verdi's La traviata at La Scala in Milan.

Berganza was born in Madrid on March 16, 1935. She studied at the Madrid Conservatory under Lola Rodriguez Aragon, who herself studied with Elisabeth Schumann. Berganza credited her teacher with the complete process of her development, from a raw talent to a polished artist; throughout her career, she continued to study with Aragon, developing interpretations or working out minor vocal problems. Berganza made her professional debut in 1956 at the Madrid Athenaeum in Schumann's song cycle Frauenliebe und -Leben, and made her operatic debut at the Aix-in-Provence Festival as Dorabella in Così fan tutte. She made her Glyndebourne debut in 1958 as Cherubino in Le Nozze di Figaro.

In the same year, she made her U.S. debut in Dallas, singing the comprimario role of Neris in a production of Medea. The Medea was Maria Callas, and Berganza later declared that she never learned as much about musical drama and stage discipline as from Callas, who treated her "like a younger sister," even insisting that Berganza be allowed to portray Neris as a young woman close to Medea's own age, rather than an older, matronly figure, as was customary. Berganza made her Covent Garden debut as Rosina in Il Barbiere di Siviglia in 1960; throughout the 1960s and early '70s, she sang mostly Rossini and Mozart. She made her Met debut as Cherubino in 1967.

Berganza first sang Carmen in 1977 and described it later as a deeply liberating experience -- personally as well as musically. In preparing the role, she visited Seville to observe Romani women, read the original novel by Prosper Mérimée, and studied the score deeply. She developed her own perceptions of Carmen: she was a free spirit within a restrictive culture, but far from being a prostitute or a tramp, and even possessing a certain sweetness. While many critics applauded her presentation, others found it lacking in blood and guts -- too "ladylike." She brought the same kind of original thinking to the role of Zerlina in Don Giovanni, and in the famous Joseph Losey film, she sang her as a fully mature and sensual young woman, rather than a simple and bedazzled girl.

Berganza was also a prominent recitalist, specializing in Spanish song, but she also sang Mussorgsky and others. Her first husband, Félix Lavilla, whom she met at the Madrid Conservatory, was also her accompanist for many years. Although her last significant stage performance was in 1992, she continued to give recitals and teach master classes into the 2000s and officially retired from the stage in 2008. She was protective of her voice and what she allowed audiences to hear throughout her career, which contributed to its longevity. Among her recordings, her Rosina and her collection of Spanish songs on Claves are both outstanding. Berganza died on May 13, 2022, at the age of 89. ~ Anne Feeney & Patsy Morita