Marcella Sembrich Vídeos
pianista, cantante de ópera, profesor de música, violinista
Conmemoraciones 2025 (Muerte: Marcella Sembrich)
- piano, voz, violín
- soprano
- ópera
- Polonia, Estados Unidos
Última actualización
2024-05-11
Actualizar
Dusolina Giannini Giannini Brahms Ferruccio Giannini Marcella Sembrich Anna Case Pertile Cattaneo Carnegie Hall Hamburg State Opera Covent Garden Scala Salzburg Festival 1902 1924 1925 1928 1930 1934 1936 1937 1941 1962 1986
Recorded 1937 with Michael Raucheisen. Biographical notes from cantabile-subito: American-Italian soprano, 1902 - 1986 She was born in Philadelphia to Italian parents and studied with her father, Ferruccio Giannini, who was a tenor and ran his own opera company. Her mother Antonietta Briglia-Giannini was an excellent violinist. She was immediately given singing lessons by her father. Dusolina’s sister was also a singer, one of her brothers became a cellist and the other one a well-known composer. At the age of thirteen she sang Azucena in her father’s company. Later she continued her studies with Marcella Sembrich . And it was in New York where there was the scene of her first triumph. She substituted for the indisposed Anna Case at a concert in Carnegie Hall. In 1924 she started recording for the Victor company. The same year she was very successful in London. In 1925 she made her debut as Aida at the Hamburg State Opera. She appeared there until 1930. In 1928 she sang a number of highly successful performances at Covent Garden. She was invited to sing Aida in a complete opera recording (her partners were Pertile, Minghini-Cattaneo and Inghilleri under Sabajno). This recording enjoyed almost legendary fame and familiarized her name throughout the world. She never actually sang at La Scala. In 1934/35 she appeared as Donna Anna at the Salzburg Festival. Guest appearances took her to Monte Carlo, Zurich, Oslo, Amsterdam, San Francisco and Mexico City. In 1936 she made her Met debut as Aida and remained a member of the Met ensemble until 1941. She continued to sing in Europe. After 1962 she was director of the Opera Studio in Zurich.
Mattia Battistini Tosti Luigi Mancinelli Augusto Rotoli Antonio Cotogni Donizetti Rossini Vincenzo Bellini Marcella Sembrich Francesco Marconi Reszke Adelina Patti Mario Ancona Giuseppe Campanari Antonio Scotti Pasquale Amato Jules Massenet Rieti Liceo Teatro Argentina Covent Garden Teatro San Carlo Scala Mariinsky Bolshoi Metropolitan Opera 1856 1878 1881 1883 1886 1888 1892 1902 1905 1906 1907 1908 1911 1914 1918 1924 1927 1928
Battistini sings 'La Serenata,' recorded in Milan on 7 June 1911. From Wikipedia: Mattia Battistini (27 February 1856 – 7 November 1928) was an Italian operatic baritone. He was called 'King of Baritones.' Battistini was born in Rome...[He] attended the Collegio Bandinelli and later the Istituto dell' Apollinare. Battistini dropped out of law school to study with Emilio Terziani (who taught composition) and with Venceslao Persichini (professor of singing) at the Accademia Nazionale di Santa Cecilia—then the Liceo Musicale of Rome. [He] worked with conductor Luigi Mancinelli and the composer Augusto Rotoli, and he consulted with baritone Antonio Cotogni, in an effort to refine his technique... A 22-year-old Battistini made his operatic début at the Teatro Argentina, Rome, as Alfonso in Donizetti's La Favorita on...9 November 1878... During the first three years of his professional career he toured Italy... In 1881 he went to Buenos Aires for the first time, touring South America for more than 12 months. On his return trip, he appeared in Barcelona and Madrid where he sang Figaro in Rossini's comic masterpiece Il Barbiere di Siviglia. His success in this was enormous and it marked the beginning of his ascent to major operatic stardom. In 1883, he undertook his first visit to the Royal Opera House at London's Covent Garden, where he appeared as Riccardo in Vincenzo Bellini's I Puritani in a stellar cast containing Marcella Sembrich, Francesco Marconi and Edouard de Reszke. He also sang opposite Adelina Patti, the leading soprano of her era, in other Covent Garden productions. In such exulted and entrenched company there was not much attention paid to a new, unheralded young baritone! However, he would receive much greater réclame in London during subsequent Covent Garden appearances in 1905–1906, when the now mature performer established himself as a darling of Edwardian-era high society due to his dashing vocalism and polished off-stage demeanour. Unlike his initial London experience, when Battistini made his debut at the important Teatro San Carlo in Naples in 1886, he scored an immediate triumph. Two years later, he once more sailed to Buenos Aires to fulfil a series of singing engagements; but this proved to be his last trans-Atlantic excursion, and he never appeared again in South America. He avoided North America, too, despite receiving overtures from the management of the New York Metropolitan Opera, where Battistini's core repertoire was allocated in his absence to the Italian baritones Mario Ancona, Giuseppe Campanari, Antonio Scotti and, after 1908, Pasquale Amato... 1888... proved to be the year of his début at Italy's foremost opera house—La Scala, Milan. La Scala's audiences acclaimed him and he was re-engaged for the next season. From 1892 onwards, Battistini established himself as an immense favourite with audiences at Russia's two imperial theatres in Saint Petersburg and Moscow: the Mariinsky and the Bolshoi respectively. He returned to Russia regularly, appearing there for 23 seasons in total, and touring extensively elsewhere in eastern Europe, using Warsaw as his stepping-stone. He would journey to Warsaw, Saint Petersburg, Moscow and Odessa like a prince, travelling in his own private rail coach with a retinue of servants and innumerable trunks containing a vast stage wardrobe renowned for its elegance and lavishness. Indeed, the composer Jules Massenet was prepared to adjust the role of Werther for the baritone range, when Battistini elected to sing it in Saint Petersburg in 1902, such was the singer's prestige. The industrious Battistini also appeared with some regularity in Milan, Lisbon, Barcelona, Madrid, Berlin, Vienna, Prague, Budapest and Paris (where he sang for the first time in 1907). But his many social connections in Russia, and the favour that he enjoyed with the imperial family and the nobility, ensured that Russia—more than perhaps even Italy—became his artistic home prior to the outbreak of the First World War, in 1914... [His]career after the war's conclusion in 1918 was confined to Western Europe. Battistini formed his own company of singers following the 1914–1918 war. He toured with them and appeared frequently in concerts and recitals. He sang in England for the final time in 1924, and gave his last concert performance one year before his death. His voice was reportedly still steady, responsive and in good overall condition. His last singing engagement occurred in Graz, Austria, on 17 October 1927. He withdrew to his estate at Collebaccaro di Contigliano, Rieti, dying there from heart failure on 7 November 1928. Battistini also taught voice in later years... I transferred this side from a 1920s DGG 'Grammophon' pressing
Bellini Marcella Sembrich Thorn 1907
"Casta Diva". (Queen of Heaven). "Norma". Bellini. Marcella Sembrich---Soprano with Orchestra in Italian. Victrola 6290-A. 11th October 1907. EMG Xb Overszie gramophone. EMG two-spring soundbox. Burmese colour thorn needle.
Pietro Mascagni Ferruccio Giannini Giannini Marcella Sembrich Anna Case Pertile Cattaneo Carnegie Hall Hamburg State Opera Covent Garden Scala Salzburg Festival 1924 1925 1928 1930 1934 1936 1941 1947 1962
She was born in Philadelphia to Italian parents and studied with her father, Ferruccio Giannini, who was a tenor and ran his own opera company. Her mother Antonietta Briglia-Giannini was an excellent violinist. She was immediately given singing lessons by her father. Dusolina’s sister was also a singer, one of her brothers became a cellist and the other one a well-known composer. At the age of thirteen she sang Azucena in her father’s company. Later she continued her studies with Marcella Sembrich . And it was in New York where there was the scene of her first triumph. She substituted for the indisposed Anna Case at a concert in Carnegie Hall. In 1924 she started recording for the Victor company. The same year she was very successful in London. In 1925 she made her debut as Aida at the Hamburg State Opera. She appeared there until 1930. In 1928 she sang a number of highly successful performances at Covent Garden. She was invited to sing Aida in a complete opera recording (her partners were Pertile, Minghini-Cattaneo and Inghilleri under Sabajno). This recording enjoyed almost legendary fame and familiarized her name throughout the world. She never actually sang at La Scala. In 1934/35 she appeared as Donna Anna at the Salzburg Festival. Guest appearances took her to Monte Carlo, Zurich, Oslo, Amsterdam, San Francisco and Mexico City. In 1936 she made her Met debut as Aida and remained a member of the Met ensemble until 1941. She continued to sing in Europe. After 1962 she was director of the Opera Studio in Zurich.
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- cronología: Cantantes líricos (Europa). Intérpretes (Europa).
- Índices (por orden alfabético): S...