Hugues Cuenod

Hugues Cuenod died two days ago at the very ripe old age of 108.

I only heard and saw him in live performance once. That was in 1971 when Glyndebourne brought their production of La Calisto to the Royal Albert Hall for a Promenade Concert.

I have seen other productions since, but this semi-staged version with props but no scenery or costume was one of the best, with a stellar cast.

Cuenod was the elderly nymph Linfea, a travesty role. On stage he had an elaborate panniered skirt and equally elaborate wig. In the Albert Hall he wore a black T shirt, black trousers and a black lace mantilla wrap. The illusion was perfect. As was the expression on his face of mingled horror and delight when carried off to a fate worse than death (nymphs were not quite immortal) at the hands of Satyrino (a small faun, also a travesty role) by the chorus of satyrs.

Centre stage was Ileana Cotrubas as a vulnerable Calisto. Jove, in white tie and tails with evening cane was sung by Ugo Trama, except when disguised as Diana when the part was sung by Janet Baker. Her costume was a straight evening dress from the shoulders, in royal purple. She wore the same costume as Jove, but with the evening cane. I don't know whether she has ever had the audience burst out laughing on her entrance on stage before, but as she swaggered to the front of the stage in the best Vesta Tilley fashion, it was obvious at once that this was not Diana.

Likewise the young James Bowman caused a sensation with his opening number "Lucidissima face" addressed to the moon. In those days it was a struggle to find recordings (let alone performances) of baroque music, so Raymond Leppard's "realisation" was of real value. Rather like Rimsky's orchestrations of Mussorgsky, we may have outgrown them, but they were invaluable in bringing works before the public. As James Bowman sang there was a constant rustle of programmes in the audience. What on earth, and who on earth were they listening to, what on earth was a counter-tenor?

I realise as I write this that it is almost half a century ago, a rather sobering thought.

Every Christmas Eve, with the pre-dinner drinks, we listen to Cuenod and Paul Derenne (accompanied by Dinu Lipatti) singing "Zefiro Torna" "Come back South Wind", a fitting request for the middle of winter.

This was a tradition instituted by the father of our customary Christmas guest Karen. He was a near contemporary of Cuenod, and a great fan of the gramophone, always using thorn needles (not steel) to preserve the records.

A lovely legacy of art and pleasure to leave for posterity. Rest in peace.