To homeDiscographyNightingaleRec.reviewsPerf.reviewsB'casts
To home

"Della vita a cui m'involo
Porto solo - il vostro amor."

(From the libretto of Beatrice di Tenda by Felice Romani)

Edita Gruberova's life on Earth ended on October 18, 2021, but she lives on in the heart of those who loved (and still love) her, and this includes her numerous fans.

With an immense talent, the most beautiful soprano voice in the world, charisma, expressiveness, stamina, discipline, persistence, diligence, she became a star.

She is a role model not only for young singers but for all those who take their profession, their vocation seriously.

Those who knew her in person can attest to her down-to-earth personality and good heart as well.

(Katalin Szabó, 19-Oct-2021)


So Gott will


... sagte sie immer, wenn wir fragten, ob sie dieses oder jenes da oder dort dann oder zu einem anderen Zeitpunkt singen würde.

So Gott will.

Manch einer hat sie dafür belächelt - hatten wir doch in der Regel längst die Eintrittskarten, Bus-, Bahn- oder Flugtickets in der Tasche.

So Gott will.

Ohne sie hätte ich Euch und Sie nie getroffen.

Ohne sie wäre mein Leben um vieles ärmer, unbunter und unspektakulärer verlaufen.

Ohne sie hätte ich vieles, was mir unendlich viel Vergnügen bereitete, nicht erlebt.

Ohne sie hätte meine Seele, die durch ihre Stimme sooo berührt wurde, nicht immer wieder auftanken können.

Ohne sie würde ich sicher nicht ganz so zufrieden mit meinem erwachsenen Leben sein, wie ich es bin.

Ihr bin ich unendlich dankbar für all das, was sie mir geschenkt hat: die Musik, die Essen, die Gespräche, die Begegnungen mit ihr, mit Euch, mit Ihnen.

Ihre Nahbarkeit, ihr Geerdet-sein, ihre Menschlichkeit, ihr Humor, ihre Offenheit, ihre Dankbarkeit gingen weit über das hinaus, was man sich als Anhänger so erträumt.

Die Erinnerungen an besondere Momente und Augenblicke mit und wegen ihr sind unendlich viele und gehen weit über die Bühnenhöhepunkte hinaus.

So Gott will.

Gestern wollte er für sie den letzten großen Abgang.

Unser letzter Applaus sind unsere Tränen.

So Gott will.

Habet Dank - so heißt es in meinem Lieblingslied.

Danke Edita - so stand es auf meinem allerersten Banner.

So Gott will: Auf Wiedersehen.

(Chris Schneider, 19-Oct-2021)


The first time I heard about Edita Gruberova was on my 1986 birthday when they gave me an LP with Mozart's Concert Arias. I was struck by that voice, even now when I think about it, I am shivering. A few years later, it was 1990, I was in Zurich for personal reasons, I passed in front of the Opernhaus and saw that were a performance of Lucia di Lammermoor with Edita Gruberova for the following evening, that voice that had struck me and I bought a ticket for gallery for that night. Since then my love for her has grown from year to year and I've been around Europe to see and hear her: Barcelona, Paris, Nice, Berlin, Munich, Wien, Zurich, Budapest, Prague and of course Italy, up to the last Gersthofen Concert.

In all these years I have made many friends who are here and on the FB group, every time she met us it was an immense joy, and even today I continue to hear via messenger, whatsapp, FB. Immense joy united us as now this great pain.

But together we will have the memory of this immense artist that she was and continues to be: Edita Gruberova.

Thanks to you Kati, to friends and above all to Edita Gruberova.

(Guido Palmieri, 20-Oct-2021)
Photos: 1 2 3 4 5 6 7 8 9 10 11 12 13 14
Memories of Edita Gruberova

My name is Riccardo Ristori and I am an opera singer. When I heard for the first time Edita Gruberova I was 20 and I wasn't studying singing yet I was just a pianist with a passion for opera. My first meeting with Edita was in 1977 on the occasion of the tour of the Wiener Staatsoper in Firenze which, among other operas, brought the new production of Ariadne auf Naxos. Few in Italy knew Edita but me, that I had read in a specialized magazine about her triumph that she had had in Vienna the previous year, I decided to go and feel her very curious. It was a shock! Back home I immediately bought the score of that opera that I did not know so well to become aware of the vocal writing and try to understand the vocal prodigies performed by that young singer. From there I never stopped following her. Throughout my life her voice accompanied me, she exalted me in the good times and comforted me in the bad times like when in 1984 my first child died suddenly. With the second child on the way, since she was a girl, I had no doubts: I gave her her name. My daughter is called Elena Edita. There hasn't been a time when I have met Edita at the end of an opera or at the end of a concert that she hasn't asked me about my daughter, how she was doing, what progress she was making in studying; always an affectionate word. Elena Edita often came with me to listen to her until the farewell concert at the Deutsche Oper in Berlin. I followed her all over Europe: Vienna, Barcelona, Prague, Zurich, Budapest, Paris, Strasbourg Milan and Florence (of course). Often to listen to her I had to leave my country because she sang very little in Italy. When, once at her house, I asked her why she replied that unfortunately the theaters in Italy have "last minute" programming and she planned her career very seriously and in a long time so as not to tire her voice. her. This is why her career lasted up to 74 years! I was present on the most important occasions such as the concert for her 45 years at the Wiener Staastoper. An unforgettable evening where for the first time, I saw her really excited in front of the standing ovation that greeted her at her entrance. I was present at her first Lucrezia Borgia in Barcelona with Elena Edita, Rosario and my other son Jacopo, who had never listened to her live and, at the first words of Lucrezia at the beginning of the opera "Tranquillo ei posa ...", asked me if "she was true"! After the performance she invited us at a party in her honor inside the theater with her usual affability. I was present in Budapest for her latest Lucia di Lammermoor and for an extraordinary performance in concert form by Roberto Devereux at the State Opera. Speaking of Devereux, I went to Zurich when she resumed singing after her ankle accident, going back and forth within the day (10 hours drive!). When she learned this she recommended me to be careful when driving because I was traveling at night. Always a word of attention. I was present at her last opera on stage: Roberto Devereux in Munich. I remember crying throughout the performance conscious that would be the last time I would listen to her and, at the end, I asked her if I could give her a kiss: I had never done that. She saidof course but she was dazed as if she were wondering why in that very circumstance. Fate wanted differently because I was then present for a case in Gersthofen for what was in effect her last concert since no one could imagine the outbreak of the pandemic. It was a decision made at the last moment and perhaps destiny wanted me to be there. At the end of an unforgettable concert Edita invited us to celebrate Christmas near her but above all her birthday which would be after three days. I told her: Mrs. Gruberova you sang forty years for me but tonight I will sing for you and I sang Happy Birthday. What a night!

In recent years I have met beautiful people with whom it was now an appointment to meet to listen to her. I want to remember Chris Schneider, Vera Sieber, Anne Hammerschmidt, Ruth Tipton, Katalin Szabo (of course!), Fred Rasing, Jeanne Doomen, Marc Gilgallon, Eric Baratin, Igor Tomaszewsky, Stanislav Bencic, Helmuth Camillo Fischer, Ron Runyon, Oreste Musella, Alessandro Astarita, Reinhard Pinter and Christian Laimer, Werner Parpart, Keiko Akina, Martin Liepmann, Antonio Martinazzo, Budimir Popovic, Arianna Bertolla, Jordi Pujal and many others.

The news of her death hit me like lightning. I absolutely cannot understand it and I do nothing but cry. I was hoping to be able to meet her again, perhaps as an auditor to one of her masterclasses. She had a lot to give to singing students ... "So Gott will" (If God will) as she always said... but destiny has always wanted it that way. Ciao Edita, now you will be eternal forever and surely right now you will be singing for others who will be able to enjoy your exceptional art.

With all my love and a kiss from Elena Edita.

(Riccardo Ristori, 20-Oct-2021)

Photos: Edita with my daughter Elena Edita in Zurich 1992   Elena Edita with Edita for the farewell concert in Berlin 2018   Playbill of Ariadne in Firenze 1977   With Edita for her last Lucia in Budapest 2019   With Edita in Gersthofen for her last concert 2019   With Edita for her last stage opera in Munich 2019   With Edita for the farewell concert in Wien 2018  

Tribute to Edita Gruberova

The first time I saw Edita Gruberova was in 1996 at the Salle Pleyel in Paris. This auditorium still exists but has been totally rebuilt to welcome only non classical events. At that time, it was the sole concert hall for classical music designed to feature a whole symphony orchestra in Paris. I was a student and could get a cheap last minute ticket. I sat only a few meters in front of the singer. The Orchestre Philharmonique de Nice was conducted by Ivan Anguelov.
Half of the program was in French. She began with Marie's scene from Act II of Donizetti's La Fille du régiment. I knew only the versions recorded by Maria Callas (in Italian and late in her career) and by Mado Robin (very light old fashioned voice with mistakes in the pronunciation like a added E at the end of the word 'ciel'). As soon as Edita began to sing her first phrase, I recognized the sheer purity of her timbre that I loved so much in her Concert aria recording with Nikolaus Harnoncourt. What was even more mesmerizing was the quality of her French diction. I could understand every single word, which is extremely rare, even with French singers like Natalie Dessay or Sabine Devieilhe. This was also the first time that the traditional form of the bel canto scene appeared logical and justified to me: a very touching introduction (recitativo), a beautiful melodic song (aria) and eventually fireworks (cabaletta). Like in a voyage lasting just a few minutes, Edita gave me everything I was looking for in operatic music: emotion, beauty, excitement. I could not believe my ears, especially when she hit the non written high D. The Salle Pleyel went mad. Edita Gruberova never sang any production at the Paris Opéra and most of French opera buffs knew her only through her recordings.
The other scene in French was Ophélie's mad scene from Ambroise Thomas' Hamlet, which I did not find especially exciting either before. Again the clarity of her French diction made every word match the madness of the heroine. I had never heard anyone sing so perfectly well in real life. Then there was that infinite high crescendo on 'pour toi je meurs': how was it even possible to sing that high so powerfully? For the first time in my life, I experienced what a diva voice was: a superhuman sound that enhanced the expressivity of an operatic score.
Among the encores was a scene from Bellini's Beatrice di Tenda. I was so thrilled she sang it the last time I saw her, in Frankfurt in April 2019. The video cameras of the French-German channel Arte were there to film it for a documentary but I am afraid the programme took another direction and has been released without anything about Edita. Attending her concerts and stage performances during all these years was not particularly easy for a French fan, even though I am aware it took even more time and cost even more money for fans who came from Japan or America. The only operas she sang (in concert version) in Paris were Richard Strauss' Die schweigsame Frau (Radio France, 1976) and Bellini's Norma (Salle Pleyel, 2011). None of them has been released but the the first one was broadcast and the second one was videotaped by two or three cameras. I am convinced that Edita Gruberova's legacy will survive and flourish through unexpected releases for the next generations.

(Anh Tuan Nguyen, 21-Oct-2021)

Nachruf / personal Tribute
Ich kann es immer noch nicht fassen das Edita Gruberova nicht mehr unter uns weilt.
Ihr plötzlicher, tragischer Tod hat mich sehr betroffen gemacht.
Sie hat mir persönlich doch über 45 Jahre hinweg (1974 - 1999) unzählige Opern-und Konzertveranstaltungen geschenkt. die man nur mit Superlativen bewerten kann. Dafür bin ich überaus dankbar, Edita hat mein Leben in allen Lagen stets bereichert und war nicht nur an meinem Wohnort München, bis zu ihrem Bühnenabschied, eine Königin der Oper. In ihrer Kunst war sie einzigartig, unübertroffen und wird noch für folgende Generationen ein leuchtendes Beispiel bleiben. Habe bei keinem anderen Sänger solche Ovationen erlebt wie bei ihr, sie hat die Herzen derer erobert, die sie erlebt haben und sie wird auch ewig in meinem Herzen ihren festen Platz haben. Es war ein Privileg sie gekannt und erfahren zu haben.
Ruhe in Frieden !

(Dieter Schweisthal, München, 23-Oct-2021)


Dearest Edita, I have been heartbroken since you left us last Monday...
You have been such an important person in my life since I heard you for the first time in 1992.
A Liederabend with opera scenes as encores. And then 3 x Linda di Chamounix and 3 x Christmas concerts, all in Stockholm. I found the perfect singer - for me!!!
Then I started traveling to hear you in München, Wien, Zürich, Barcelona, Hamburg, Dresden, (many times around) but also Milan, Lübeck, Paris, Dortmund in all your great roles; Lucia, Zerbinetta, Anna Bolena, Beatrice, Elvira, Linda, Elisabetta, Lucrezia, Marie and a lot of fantastic concerts...
One concert I always think about is the Gruberova Gala 3/7-1997 in München. As the lady in the opera-shop said; "Einmal im Leben"... (Once in a lifetime). Your voice was flowing above you, totally magic!
Thank you, dearest Edita for giving me all those great experiences of pure happiness!
Rest in peace!

(Conny Holmgren, Sweden, 25-Oct-2021)


By a French fan

(Yvette Hirst, France, 26-Oct-2021)


75th birthday tribute by a Hungarian fan (in Hungarian)



A series of tributes, by biographer Niel Rishoi:
A life-changing LP
An idea so bold and crazy
Suspended in time
Out of the repast
Star quality
Close as pages in a book
Edita Gruberova enters the 21st century
A fantastic four
The rest is silence
Her favorite roles

(Niel Rishoi)

If you wish to contribute, please send your contribution to with the subject "Tribute". Please allow a few days for the posting. You may also send links to your postings published elsewhere.

Last updated: 27-Oct-2022