Zandonais FRANCESCA DA RIMINI, Opera Journeys Mini Guide (Opera Journeys Mini Guide Series)
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Therefore I worked up to three o'clock one morning, and before I went to bed I was able to trill. He had to admit it was a good trill, and he couldn't understand how I had so successfully disproved his theories by accomplishing it. It was then that I learned that the singer can do almost anything within the limits of the voice, if one will only work hard enough. Work is the great producer, and there is no substitute for it.
Do not think that I am ungrateful to my teacher. He gave me a splendid musical drilling in all the standard solfeggios, in which he was most precise; and in later years I said to him, "I am not grateful to you for making my voice, but because you did not spoil it. Of course, breathing exercises are the basis of all good singing methods, but it seems to me that singing teachers ask many of their pupils to do many queer impractical things in breathing, things that "don't work" when the singer is obliged to stand up before a big audience and make everyone hear without straining.
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If I were to teach a young girl right at this moment I would simply ask her to take a deep breath and note the expansion at the waist just above the diaphragm. Then I would ask her to say as many words as possible upon that breath, at the same time having the muscles adjacent to the diaphragm to support the breath; that is, to sustain it and not collapse or try to push it up.
The trick is to get the most tone, not with the most breath but with the least breath, and especially the very least possible strain at the throat, which must be kept in a floating, gossamer-like condition all the time. I see girls, who have been to expensive teachers, doing all sorts of wonderful calisthenics with the diaphragm, things that God certainly did not intend us to do in learning to speak and to sing. Any attempt to draw in the front walls of the abdomen or the intercostal muscles during singing must put a kind of pneumatic pressure upon the breath stream, which is sure to constrict the throat.
Therefore, in my own singing, I note the opposite effect. That is, there is rather a sensation of expansion instead of contraction during the process of expiration. This soon becomes very comfortable, relieves the throat of strain, relieves the tones of breathiness or all idea of forcing. There is none of the ugly heaving of the chest or shoulders; the body is in repose, and the singer has a firm grip upon the tone in the right way. The muscles of the front wall of the abdomen and the muscles between the lower ribs become very strong and equal to any strain, while the throat is free.
The road to success in voice study, like the road to success in everything else, has one compass which should be a consistent guide, and that is common sense. Avoid extremes; hold fast to your ideals; have faith in your possibilities, and work! After various small appearances in America, she traveled to Berlin in Eventually, she wound up as a pupil of Madame Marchesi in Paris. Although engaged for the Opera Comique, she never sang there. She married a Belgian and became Madame Doria. Later, she was back in America to sing with the Manhattan Opera House.
Helen Freund was born in Chicago and Studied with Mme. Herman Devries. Singers listed in alphabetical order.
Conductors and Administrators. She had an active international opera career during the early 20th century. She also appeared in several small to mid sized roles in Hollywood films between ; appearing in a total of 35 motion pictures. Amsden was born in Boston, Massachusetts, but during her school days her family moved to Providence, Rhode Island, where she was educated at the Elmhurst School. In she entered the International School for singers in Boston where she studied under William Whitney.
She then went to Paris where she remained for six years before making her professional debut at London's Royal Opera House in Following engagements in Nice and Brussels, she became a member of the Boston Opera Company in where her roles included Minnie in La fanciulla del West and the title role in Aida. Her first marriage to French-Canadian baritone Joseph Royer ended in divorce. Sawyer ended upon his death in She later married Gabriel Chaminadas who survived her upon her death in Marguerite d'Alvarez c.
Puccini's Manon Lescaut
While rehearsing for the show, she met a young critic for the Times as she was leaving the opera house. It was Carl Van Vechten. God, the good fairies, and the Fates have united to endow her with ten or a dozen qualities, any one of which would be sufficient to give her a notable position. She is gifted with a most extraordinary contralto voice of great range and flexibility, and of a mellow and luscious quality. She is so fond of you and talks of you and Carl incessantly. Even if I had not had an instantaneous affection for her, I would have loved her for her devotion to you both.
D'Alvarez subsequently appeared at leading European opera houses such as Covent Garden, and also sang in Chicago and Boston. The following paragraphs are from the book Vocal Mastery - Talks with Master Singers and Teachers by Harriette Brower, which is now an e-book for the use of anyone anywhere at no cost. In handling and training that voice, breathing is perhaps the most vital thing to be considered. To some breath control seems to be second nature; others must toil for it. With me it is intuition; it has always been natural.
Breathing is such an individual thing. With each person it is different, for no two people breathe in just the same way, whether natural or acquired. Just as one pianist touches the keys of the instrument in his own peculiar way, unlike the ways of all other pianists.
For instance, no two singers will deliver the opening phrase of 'My heart at thy sweet voice,' from Samson , in exactly the same way.
One will expend a little more breath on some tones than on others; one may sing it softer, another louder. Indeed how can two people ever give out a phrase in the same way, when they each feel it differently? The great thing is to control the management of the breath through intelligent study. But alas, many singers do not seem to use their intelligence in the right way. They need to study so many things besides vocalizes and a few songs. They ought to broaden themselves in every way.
They should know books, pictures, sculpture, acting, architecture — in short everything possible in the line of art and of life. For all these things will help them to sing more intelligently. They should cultivate all these means of self-expression.
For myself, I have had a liberal education in music — piano, harmony, theory, composition and kindred subjects. And then I love and study art in all its forms and manifestations. I must sing those which mean much, either of sadness or mirth, passion or exaltation. No one knows who has not been through it what it means to face a great audience of strangers, knowing that something in you must awake those people and draw them toward you: you must bare your very soul to them and bring theirs to you, in answering response, just by your voice.
It is a wonderful thing, to bring to masses of people a message in this way. I feel this strongly, whenever I stand before a large audience, that with every note I sing I am delivering something of the God-given gift which has been granted to me — that I can do some good to each one who hears. If they do not care for me, or if they misunderstand my message, they may hate me — at first. When they do understand, then they adore me.
In the recital you are absolutely alone, and entirely responsible for your effect on the audience. You must be able to express every variety of emotion and feeling, must make them realize the difference between sorrow and happiness, revenge or disdain; in short, make them, for the moment, experience these things. The artist who can best vivify these varying emotions must have temperament. On the piano, you may hear players who express sentiment, feeling, fine discrimination in tone color and shading; but comparatively few possess real temperament.
There is great difference between that quality and sentiment. The one can be learned, to a certain extent; but temperament is one's very life and soul, and is bound to sweep everything before it. Of this one thing I am very sure; the singer cannot express all these emotions without feeling them to the full during performance. I always feel every phrase I sing — live it. That is why, after a long and exhausting program, I am perfectly limp and spent. For I have given all that was in me. Friends of Sara Bernhardt say that after a performance, they would find her stretched prone on a couch in her dressing room, scarcely able to move or speak.
The strain of a public appearance, when one gives one's heart's blood, is beyond words". One of these is to be born with a great gift and then, just at the right moment, to have a fairy-godmother appear. The Darches are poor, but Edna has a voice, and Mme. Did any princess in a fairy-book, or out of one, ever fare better than this?
And it has all happened so suddenly and unexpectedly that Edna Darch feels as though she were afraid to open her eyes wide lest she find she has been asleep and it was only a dream. She had dreamed that Nordica heard her sing and had taken her away to Europe and made her a great artist. Just as she was singing, with all the world at her feet, she woke up.
But I wish they came true.
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Not that Edna's teacher hoped for anything more than a word of praise that might be used to advertise a benefit concert which it was proposed to give in January to help a little with the expense of music lessons. The wages of a clerk in a lumber-yard do not warrant the training of nightingales. But Edna had a teacher who knew that her pupil was a genius, and for more than a year her one wish has been that the child should sing for a truly great artist. She consented, and on the very day of Edna's dream the vision of the night was partly realized. Edna Darch, in a plain little cotton frock, with a voice that faltered just the least with excitement, sang for the great song-geddess, the unrecognized fairygodmother.
It took but one look from the deep, wonderful eyes of the diva to tell the child that all was well, that the soul of the other understood. After the song there were more hugs and kisses and more adjectives. She must take Edna with her, teach her, have her study and hear other great artists, and have pretty frocks and furs — but simple, mind you, for a petite.
And then Paris, and then — the world. No wonder the child blinked hard and pinched herself to make sure she was really awake. Edna Darch has always loved music, always lived for it. When a baby, tied in her little rocking chair and left to amuse herself, she sang and sang, rolling her eves far back and rocking vigorously to help make the high notes come.
Her mother had the love of music and an ear for it, without the knowledge of it, and her father had a voice. Edna's gift was a natural one, and when she was old enough both parents meant that she should have the best help they could give her. But the best is not to be had for the least money, and it was not until a family friend came to the rescue with an open purse that Edna could have instruction worthy of her art.
For a year or two she studied only for piano, but that other longing would not cease. Still she must sing, stretching her voice from its highest to its lowest pitch. Then, when she was nearly 12, she began to study voice culture with Miss Elizabeth Carrick. There were no more wild, unstudied bursts of tone. She must sing not higher than D for a whole year, and not more than an hour a day in fifteen-minute periods. When she was just slipping into her teens there was a short rest, and she was not allowed to sing a note.
In those days Edna was restless and unhappy, but she obeyed her teacher. Yet the music must out, and the child would shut herself away in a room and whistle until her overburdened soul found relief. When she went back to her lessons again her tones were rounder, fuller. But now she must not go higher than E, with an occasional F with Miss Carrick, by way of a treat. Not only must Edna thank Miss Carrick for her first training, but for this great opportunity that has come to her. It was really Miss Carrick who discovered this embryonic artist.
A year later she had the child sing for Damrosch, and the great interpreter of Wagner praised her. But she was reminded that a year ago the voice was but half of what it is now. Edna and her mother had their Thanksgiving dinner with the fairygodmother, and it was a dinner that none of the three will ever forget.
Darch was the silent one, for back of the thankfulness for her child's fortune was the thought of separation. But from to-day I must attend to her needs, give her everything and attend to her education for three years. Then she will be ready to make her debut.
Francesca da Rimini
You will wait and come with your mother and meet me in New York December We will have Christmas together; then when the mother sees that you are happy in your new home she can come away. No, you must not live with me. You must learn nothing now of the theater, not yet. You must remain sweet and good and pure as you are now. You will live with some friends, and study German, Italian and French, for the last year will be spent in Paris.
You must know French, for my sake for so much is lost when everything must be repeated between us. I believe in le bon Dieu and his wisdom. I shall not let la petite forget that God is over all.
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I shall arrange everything so that if I die the child shall not suffer. I am now responsible to you and to God for the little one. And now before leaving the home where, she has worked so hard for her art Edna, is busy and happy as a bird. Then there is the dear piano nearly filling the tiny parlor which she cannot abandon all at once. And as she sits and dreams and plays, the faces of Beethoven and Mozart and Paderewski and the rest seem to speak to her from out of their frames, encouraging her to work, work, work for the great art.
I could not help asking if they were real. She took my face between her hands and said, ' Ma petite, mon enfant. I would not wear them if they were not. If you cannot have what is genuine have nothing. Let nothing about you be sham. It is so pretty and plain, just black straw with a bit of ribbon and a feather. She is the picture of health, with a clear skin. In spite of praise and good looks enough to turn many a head, she is still thoroughly unspoiled.
I shall try to do something for those who have been so good to me. Countess Eleonora de Cisneros Oct. Agnes Seminary in Brooklyn. She studied singing under Mme. In she joined the Chicago Opera Company. During World War I she was a major promoter of liberty bonds. Note: Three bios in three languages with three different birth years! Dosia was born in Constantinople. She became a soprano singer, and enjoyed her first major success at age 20 with the title part in Tosca. Before World War II she was described as "the most popular singer in the world".
Thereafter Dosia concentrated on her family life. Sie starb in Boulogne-sur-Seine. Parmi ceux-ci notons les ouvrages italiens de Verdi : la Traviata et Othello She was born in On March 12, she was to sing the role of Giulietta in Les Contes d'Hoffmann when she fainted and her role was taken over by madam Fremsted who had sung the role when it premiered in the United States. With the company she notably portrayed the role of the Peasant Woman in the United States premiere of Gustave Charpentier's Julien on February 26, Her final and th performance with the Met was as Ulrica in Un ballo in maschera in an out of town performance at the Boston Opera House on April 18, The date of her death is not known.
Besides the Caruso disc and the Edison pictured above, she recorded 3 duets with Emmy Destinn. Two from Pique Dame Victor , Mat. C [inch in German] on March 9, and Victor , Mat. B [inch in German, apparently not issued] on April 14, , all conducted by Walter B. The program will begin at the usual hour, o'clock.
The Association is particularly fortunate in securing for one of the recitals such artists as Alfred Wallenstein and Helen Freund. They are preeminently American products and tho so young have made international reputations. The success of these two young artists has been almost phenomenal. The acclaim these musicians have received from critics and public alike is based upon the recognition of real and actual attainment, talent developed to the point of real genius.
Alfred Wallensteln, premiere 'cellist of the Chicago Symphony Orchestra, has achieved a rare standing in the very highest rank of Master 'cellists. Miss Freund has a good deal of common sense advice gathered from her own experience, for young American girls who aspire to operatic fame. The committee urges those members who find it impossible to attend this recital to inform the secretary, Miss Dickinson, so that other members desiring "guest" tickets will be able to procure them. They will present the delightfully varied program below.
The musical "cogniscenti" say this program is exceptionally well chosen for it is composed of numbers of the highest musicianly character yet which have a spontaneous appeal to the unaccustomed concert-goer. Miss Virginia Wilson will be at the piano. Miss Freund. Virginia Wilson at the Piano. Yvonne Gall 6 March — 21 August was a famous French operatic soprano. Gall was born and died in Paris.
She sang at the premieres of Raoul Gunsbourg's operas, Le vieil aigle , Le cantique des cantiques and Lysistrata , also at the American premiere of Ravel's L'heure espagnole. She was one of the best-known operatic singers of the early 20th century with her gramophone records selling in large numbers. She was born as Amelita Galli into an upper-middle-class family in Milan, where she studied piano at the Milan Conservatory, winning a gold medal and at the age of 16 was offered a position as a "professor" or teacher there.
She was inspired to sing by her grandmother. Operatic composer Pietro Mascagni also encouraged Galli-Curci's singing ambitions. By her own choice, Galli-Curci's voice was largely self-trained. She honed her technique by listening to other sopranos, reading old singing-method books, and doing piano exercises with her voice instead of using a keyboard. Galli-Curci made her operatic debut in at Trani, as Gilda in Giuseppe Verdi's Rigoletto , and she rapidly became acclaimed throughout Italy for the sweetness and agility of her voice and her captivating musical interpretations.
She was seen by many critics as an antidote to the host of squally, verismo-oriented sopranos then populating Italian opera houses. The soprano had toured widely in Europe including appearances in Russia in and South America. These were to be her only appearances in opera with the great tenor, though they later appeared in concert and made a few recordings together. Galli-Curci arrived in the United States in as a virtual unknown.
Her stay was intended to be brief, but the acclaim she received for her performance as Gilda in Rigoletto in Chicago on November 18, her 34th birthday was so wildly enthusiastic that she accepted an offer to remain with the Chicago Opera Company. Scouring the water-bound city for a red-headed girl named Calliope, Quick finds the soldier who loved her, a pager-carrying bouncer named King of the Birds, and a demon who claims to be toiling for the good of the world.
The doctor is separated from his family once Pol Pot assumes control. The issues were different on the surface but underneath, probably a lot the same. Dante wanted to get his point of view heard and send the people he thought should be in hell to hell. Echoes to Dante abound.