Commemorazioni 2025 (Inizio: Philadelphia La Scala Opera Company)
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Nicola Zerola Verdi Rossetti Ruggero Leoncavallo Oscar Hammerstein I Hammerstein Mariette Mazarin Marguerite Alvarez Emma Trentini Giacomo Meyerbeer Maschera Henry Février Teatro Comunale Florence Teatro Comunale Bologna Philadelphia Opera House Scala Manhattan Opera Company Philadelphia Opera Philadelphia Opera Company Chicago Grand Opera Company Baltimore Opera Company Metropolitan Opera Philadelphia Grand Opera Company 1876 1898 1903 1907 1908 1909 1910 1911 1912 1920 1921 1928 1936
Nicola Zerola - Pagliaccio - Non Pagliaccio non son - Victor 74247 eenregistré le 10 mars 1911 Nicola Zerola (1876 – 21 July 1936) was an Italian operatic tenor who had an active international career from 1898-1928. He began his career in his native country, but was soon heard in concerts and operas internationally during the first years of the 20th century. In 1908 he relocated to the United States where he was active with important opera companies in New York, Chicago, and Philadelphia up into the late 1920s. In 1910 he recorded several selections from Verdi's Otello for the Victor Talking Machine Company. He also made 11 solo recordings and one duet for the Gramophone and Typewriter Company in 1910-1911 Born in Naples, Zerola began his career as a baritone and made his professional opera debut in 1898 at the Teatro Rossetti in Trieste as Tonio in Ruggero Leoncavallo's Pagliacci. This was soon followed by performances at the Teatro Comunale Florence and at other opera houses in the Italian provinces. He made his debut as a tenor in 1903 in the role of Canio in Pagliacci.[2] He soon after undertook performances in Belgium, Egypt, France, Spain, Holland, and South America.[2] In November 1908 he had a great success at the Teatro Comunale di Bologna as Radamès to the Aida of Lucia Crestani In 1907 Zerola traveled with a small touring company to the United States where he was lauded by critics and audiences. This led to his appointment to New York City's Manhattan Opera Company by Oscar Hammerstein I in 1908. He made his debut with the company in January 1909 at the Manhattan Opera House under conductor Giuseppe Sturani as Radames to the Aida of Mariette Mazarin and Amneris of Marguerite d'Alvarez. He remained there until the company went bankrupt in 1910; singing such roles as Manrico in Verdi's Il trovatore and the title role in Verdi's Otello. He also sang with Hammerstein's Philadelphia Opera Company in 1909-1910. He made his debut with that company as Canio in Pagliacci with Emma Trentini as Nedda at the Philadelphia Opera House on November 25, 1909. On 21 November 1910 Zerola sang Radames again for his debut with the Chicago Grand Opera Company with Jeanne Korolowicz as Aida. He actively performed with the company through May 1911 in performances in both Chicago and Philadelphia. His other roles with that company included Raoul de Nangis in Giacomo Meyerbeer's Les Huguenots, Manrico, and Otello. In January 1911 he opened the Baltimore Opera Company's new season as Radames. In 1911-1912 he was committed to the Royal Opera House in London where he performed the roles of Riccardo in Verdi's Un ballo in maschera, Canio, Manrico, Otello, Radames, and Raoul de Nangis. In 1920-1921 Zerola was heard at the Metropolitan Opera in New York City as Canio. and at the Philadelphia Grand Opera Company as Otello. He was also active with the Philadelphia La Scala Opera Company in the 1920s. In 1928 he sang the role of Prinzivalle in the New York premiere of Henry Février's Monna Vanna.[9] He died in New York City in 1936. Source: Wikipedia
Dorothy Kirsten Giacomo Puccini Jean Paul Morel Morel Catherine Hayes Sewing Grace Moore Moore Pescia Nino Martini Martini Morelli Giovanni Martinelli Armand Tokatyan Georges Bizet Charles Gounod Jussi Björling William Walton Francis Poulenc Crosby Nelson Eddy Caruso Chapman Rca Victor Orchestra Chicago Grand Opera Company San Carlo Opera Company San Francisco Opera Metropolitan Opera Scala Bolshoi 1910 1938 1939 1940 1942 1943 1944 1945 1946 1947 1949 1950 1951 1962 1979 1982 1989 1992
Soprano Dorothy KIRSTEN +••.••(...)) / Che il bel sogno di Doretta (What a beautiful dream of Doretta) / La Rondine (Puccini) / RCA Victor Orchestra (Jean-Paul Morel - conductor) / Recorded: March 22, 1949 (via 45rpm disc)-- Chi il bel sogno di Doretta Potè indovinar? Il suo mister come mai Come mai fini? Ahimè! un giorno uno studente In bocca la baciò E fu quel bacio Rivelazione: Fu la passione! Folle amore! Folle ebbrezza! Chi la sottil carezza D'un bacio cosi ardente Mai ridir potrà? Ah! mio sogno! Ah! mia vita! Che importa la ricchezza Se alfine è rifiorita La felicità! O sogno d'or, Poter amar così!/ Who can guess the lovely dream Doretta had ... how its mystery came to be, came to be resolved? Ah! One fine day a student kissed her on the lips, and with this first kiss came epiphanies ablaze with passion's fire! Exquisite madness... Delirious ecstasy... How might one find a way to express the soft caress of such a burning kiss? O my yearning! O my life's dream! How could one care for wealth when at last the lovely dream of happiness awakes? O golden dream, To hold such love as that! Dorothy Kirsten (July 6, 1910, Montclair, New Jersey – November 18, 1992, Los Angeles, California): American operatic soprano. Kirsten's mother was an organist and music teacher, her grandfather was a conductor, and her great-aunt, Catherine Hayes, was also an opera singer. She left high school at age 16 and worked for the Singer Corporation sewing machine company and for New Jersey Bell, studying voice in her spare time. Her teacher, Louis Darnay, eventually employed her as a secretary and maid. By the late 1930s she had an ongoing professional career as a radio singer on WINS, a member of the Kate Smith Chorus, and as a vocalist for pop orchestras. She mentored under Grace Moore from 1938, who had her study in Rome with Astolfo Pescia. Her time in Europe was cut short by the outbreak of World War II, and she returned in 1939, debuting at the New York World's Fair. Roles followed at the Chicago Grand Opera Company (Manon, 1940), San Carlo Opera Company (1942), New York City Opera (1943), San Francisco Opera (1945), and New York Philharmonic (1945). Her radio program "Keepsakes" ran for a year in 1943-44. Kirsten joined the roster of principal sopranos at the Philadelphia La Scala Opera Company (PLSOC) in 1943 and spent much of her time performing there through 1947. She made her debut with the company in an out-of-town performance at the Syria Mosque in Pittsburgh on May 18, 1943 as Mimì in Giacomo Puccini's La Boheme with Nino Martini as Rodolfo, Carlo Morelli as Marcello, and Armand Balendonck conducting. In the 1943-1944 PLSOC season at the Academy of Music she portrayed Mimì many times and sang Nedda in Pagliacci with Giovanni Martinelli as Canio. She also toured with the company to Detroit in October 1943, singing Mimì to Armand Tokatyan's Rodolfo. Kirsten opened the PLSOC's 1944-1945 season singing Micaëla in Georges Bizet's Carmen with Bruna Castagna in the tile role. She also toured with company to Cleveland singing Mimì. In February 1946 she traveled with PLSOC to Washington D.C. to perform Marguerite in Charles Gounod's Faust. In December 1949 she recorded Manon Lescaut with the world renowned tenor Jussi Björling. Her final year performing with the PLSOC was the 1946-1947 season, portraying Cio-cio-san in Madama Butterfly and Juliette in Roméo et Juliette. Kirsten debuted at the Metropolitan Opera with the role of Mimi in La Boheme on December 1, 1945, and continued to sing with the Met for the next thirty years. While she performed primarily in the United States, she did perform in Europe at times, and gave performances in the USSR in 1962, singing Violetta in La Traviata at the Bolshoi Opera. She sang in the American premieres of William Walton's Troilus and Cressida and Francis Poulenc's Dialogues of the Carmelites in San Francisco. In addition to her operatic activities, she sang on radio with Frank Sinatra, Bing Crosby, Nelson Eddy, and Perry Como. She also appeared in two films, Mr. Music (1950) and The Great Caruso (1951). Her last performance with the Met was on February 10, 1979 as the title role in Tosca. She published an autobiography, A Time to Sing in 1982. She was married three times. Her first marriage was to Edward MacKayes Oates, with a divorce in 1949; the second to Eugene Chapman in 1951, who died three years later; and the third to neurosurgeon Douglas French, who died in 1989. She suffered a stroke on November 5, 1992, and died of complications on November 18, 1992. Her papers are currently housed at the Howard Gotlieb Archival Research Center at Boston University. (http•••)/
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