Te Kanawa was born in Gisborne, on New Zealand's North Island. She has both Māori and European ancestry, but little is known about her birth parents as she was adopted as an infant. She is the adopted daughter of an Irish mother and Māori father. In her teens and early 20s, Te Kanawa was a pop star and popular entertainer at clubs in New Zealand.
She was educated at Saint Mary's College Auckland and formally trained in operatic singing by the celebrated Dame Sister Mary Leo, RSM, who was New Zealand's best-known opera coach. She began her singing career as a mezzo-soprano, but later developed into a soprano. Her recording of the "Nuns' Chorus" from the Strauss operetta Casanova was New Zealand's first gold record.
Kiri married Desmond Park, whom she met on a blind date in Auckland in August 1967 and married 6 months later. The couple adopted two children, Antonia (1976) and Thomas (1979, named after Kiri's adoptive father). The couple divorced in the late 1990s.
Career
In 1965 she won the prestigious Mobil Song Quest, entered by all types of singers, jazz, pop and classical, with her performance of Puccini's "Vissi d'arte" from Tosca. As the winner, she received a grant to study in London.
Early years in London
In 1966, without an audition, she enrolled at the London Opera Centre to study under James Robertson, who is said to have stated that Te Kanawa did not have any singing technique when she arrived at the school but did have a gift for captivating audiences.
She first appeared on stage as the "Second Lady" in Die Zauberflöte, as well as in performances of Dido and Aeneas in December 1968 at the Sadler's Wells Theatre. In 1969, she sang "Elena" in Gioacchino Rossini's La donna del lago at the Camden Festival. Praise for her "Idamante" in Mozart's Idomeneo led to an offer of a three-year contract as junior principal at the Royal Opera House Covent Garden where she made her debut as 'Xenia' in Boris Godunov and a 'Flower Maiden' in Parsifal in 1970, and was also heard as the "Voice from Heaven", an off-stage role, at the end of Verdi's Don Carlo. Also, during 1969, she was offered the role of the Countess in The Marriage of Figaro after an audition in which the conductor, Colin Davis said "I couldn't believe my ears. I've taken thousands of auditions, but it was such a fantastically beautiful voice." Under director John Copley, Te Kanawa was carefully groomed for the role for a December 1971 opening.
International career
Meanwhile, word of her success had reached John Crosby at the Santa Fe Opera, a summer opera festival in the U.S. state of New Mexico then about to begin its fifteenth season. He cast her in the role of the Countess in Figaro, which opened on 30 July 1971. "It was two of the newcomers who left the audience dazzled: Frederica von Stade as Cherubino and Kiri Te Kanawa as the Countess. Everyone knew at once that these were brilliant finds. History has confirmed that first impression." Von Stade and Te Kanawa have continued this association even up to the present day. In 2007, they sang together at Kiri's farewell concert in Carnegie Hall.
But on 1 December 1971 at Covent Garden, Kiri Te Kanawa repeated the Santa Fe triumph and created an international sensation in the same role: "with 'Porgi amor' Kiri knocked the place flat." It was followed by performances as the Countess at the San Francisco Opera in autumn 1972, while her Metropolitan Opera debut in 1974 as Desdemona in Otello took place on short notice, replacing an ill Teresa Stratas at the last minute.
In subsequent years, she performed at the Lyric Opera of Chicago, Paris Opera, Sydney Opera House, the Vienna State Opera, La Scala, San Francisco Opera, Munich and Cologne, adding the Mozart roles of Donna Elvira, Pamina, and Fiordiligi, in addition to Italian roles such as Mimi in La bohème. She played Donna Elvira in Joseph Losey's 1979 film adaptation of Don Giovanni.
Te Kanawa has a particular affinity for the heroines of Richard Strauss. Her first appearance in the title role in Arabella was at the Houston Grand Opera in 1977, followed by the roles of the Marschallin in Der Rosenkavalier and the Countess in Capriccio. Many performances were given under the baton of Georg Solti and it was with him that she made her first recording of Figaro.
Te Kanawa retired from the opera stage after her performances in Samuel Barber's Vanessa with the Washington National Opera and the Los Angeles Opera in November/December 2004, but she still performs in concert halls.
UK talk show host Michael Parkinson asked her to name the person she felt was the greatest singer that ever lived. She replied: "The young Elvis Presley, without any doubt."
Honours
Kiri Te Kanawa was conferred a Dame Commander of The Order of the British Empire (DBE) in 1982, invested as an Honorary Companion of the Order of Australia (AC) in 1990 and awarded the prestigious Order of New Zealand (ONZ) in the 1995 Queen's Birthday Honours List. She has also received honorary degrees from the following universities in the UK: Cambridge, Dundee, Durham, Nottingham, Oxford, Sunderland, Warwick as well as these universities worldwide: Chicago, Auckland and Waikato as well as being honorary fellow of Somerville College, Oxford and Wolfson College, Cambridge. She is also patron of Ringmer Community College, a school in the South-East of England.
Controversy
Te Kanawa has always been popular among New Zealanders, but in a 2003 interview with the Melbourne-based Herald Sun she was critical of the high rate of welfare dependence among the Māori people, angering some of her compatriots.
Te Kanawa has recently been taken to court by Leading Edge for cancelling a concert with Australian singer John Farnham after learning that his fans sometimes threw their underwear on stage, which he would then proudly display. She won this breach-of-contract lawsuit, in part because no binding contract was made, but over $100,000 in court costs were awarded against the Mittane holding company which employs and manages Te Kanawa.
Kiri Te Kanawa Foundation
Kiri founded the Kiri Te Kanawa Foundation with the vision "that talented young New Zealand singers and musicians with complete dedication to their art may receive judicious and thoughtful mentoring and support to assist them in realising their dreams."
The Foundation manages a trust fund to provide financial and career scholarships to young New Zealand singers and musicians.
Let's face the music & dance
Kiri Te Kanawa Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
But while there's music and moonlight (moonlight and music) and love and romance
Let's face the music and dance
Before the fiddlers have fled
Before they ask us to pay the bill, and while we still have THE chance
Let's face the music and dance
Soon, we'll be without the moon
There may be teardrops to shed
So (But) while there's music and moonlight (moonlight and music) and love and romance
(Let's face the music and dance, dance)
(Let's face the music - let's HEAR that music)
Let's face the music and dance
The lyrics to Kiri Te Kanawa's song "Let's face the music & dance" describe a sense of urgency to enjoy life to the fullest before it slips away. Despite the possibility of trouble and sadness ahead, the lyrics suggest that we should still embrace the present moment when there is music, moonlight, love, and romance. The repetition of "moonlight and music" emphasizes the importance of sensory experiences and the fleeting nature of life.
The reference to the fiddlers and paying the bill implies a sense of foreboding - that there is a cost to be paid for our indulgence in the present moment. Despite this, the lyrics advocate for living in the moment before it's too late. The shift in tone in the final verse, where the moon is soon gone, and different tune will be hummed, emphasizes the fleeting nature of life and the need to embrace the moment.
Overall, the song is a reminder to appreciate the present moment fully, even amidst the uncertainty and potential sadness of life. It acknowledges the cost of living fully but suggests that the memories and experiences are worth the price.
Line by Line Meaning
There may be trouble ahead
We may come across difficulties in the future
But while there's music and moonlight (moonlight and music) and love and romance
However, if we have the pleasure of music, moonlight, love and romance around us
Let's face the music and dance
We should enjoy and make the most of the moment by dancing to the music
Before the fiddlers have fled
We should not waste any time and should start dancing immediately, as the musicians may leave soon
Before they ask us to pay the bill, and while we still have THE chance
We should also take advantage of the opportunity to dance before we are asked to pay for the services, while we still have the chance to dance
Soon, we'll be without the moon
In the near future, we may no longer have the comfort of the moon
Humming a different tune - and then...
We may have a change of heart and view things differently
There may be teardrops to shed
We may encounter sadness and have to cry
So (But) while there's music and moonlight (moonlight and music) and love and romance
However, despite the potential for tears, if we have music, moonlight, love and romance
(Let's face the music and dance, dance)
(let's dance)
(Let's face the music - let's HEAR that music)
(let's appreciate and enjoy the music)
Let's face the music and dance
We should take advantage of the pleasure we have around us and dance to the music.
Lyrics © Universal Music Publishing Group, CONCORD MUSIC PUBLISHING LLC
Written by: Irving Berlin
Lyrics Licensed & Provided by LyricFind
Donald Blackmore
on Tarakihi (The Locust)
Beautiful