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Anne Roselle Puccini Székely Liebling Frances Alda Beniamino Gigli Antonio Scotti Adamo Didur Richard Tauber Fritz Busch Georges Thill Verdi Maschera Maria Olszewska Leopold Stokowski Richard Strauss Fritz Reiner Margarete Matzenauer Nelson Eddy Norena Armand Tokatyan Ezio Pinza Tito Schipa Margit Bokor László Halász Balogh Tom Scott Schubert Metropolitan Opera San Carlo Opera Company Philadelphia Orchestra Kodály Carnegie Hall 1894 1912 1916 1920 1922 1923 1925 1926 1927 1928 1929 1931 1932 1934 1935 1936 1937 1938 1941 1946 1948 1956 1967 1971 1989
Anne Roselle is no longer well-known, but her records are well worth attention. From Wikipedia: Anne Roselle (born Gyenge Anna, 20 March 1894 – 31 July 1989) was a Hungarian-American opera singer and actress. Gyenge Anna was born in Târgu Secuiesc (Kézdivásárhely), that time Hungary, now Romania, part of the city's large population of Székely Hungarians. (Some sources give her birthplace as Budapest.) She completed her studies in Csíkszereda (Miercurea Ciuc), Székelyudvarhely (Târgu Secuiesc) and Kolozsvár (Cluj-Napoca). She debuted in Budapest as Iluska in Pongrác Kacsó's "János Vitéz". In 1912, she married the banker Árpád Rosner in Temesvár (Timisoara), and they together moved to the US in this year, with her mother and stepfather. Roselle acted in Budapest and studied acting with Szidi Rákosi as a young woman. She studied singing with Estelle Liebling in New York City. Roselle sang in New York, with the Metropolitan Opera in 1920, as Musetta in La Bohème. She debuted on December 4, 1920, on the side of Frances Alda, Beniamino Gigli (his third performance in Met), Antonio Scotti and Adamo Didur. From 1922, she sang for two years with the San Carlo Opera Company, was a guest soloist with the Minneapolis Orchestra, toured in the central United States in the 1922-1923 season, and the private company of Antonio Scotti then moved back to Europe. She joined the Dresden Opera in 1925 to sing the title role in the first German performance of Puccinis's Turandot on the side of Richard Tauber and diricted by Fritz Busch (July 4, 1926). She premiered the first Turandot in the US outside the Met in San Francisco (1927) and next year, the first performance in Verona with Georges Thill (1928). She sang in Budapest, Milan, Vienna, London, Paris and Berlin, and was part of a radio broadcast of Verdi's Un Ballo in Maschera, with Maria Olszewska. She was also known for singing the title role in Verdi's Aïda and Leonora in Il Trovatore, among others. Roselle returned to the United States late in 1929, and sang at Carnegie Hall. The New York Times reported that 'her higher tones are usually produced with fine resonance and color and absolute fidelity to the pitch.' In 1931, she starred in the first United States performance of Wozzeck, with the Philadelphia Orchestra, under the direction of Leopold Stokowski, and in the Met, as her last appearance there. Also in 1931, she performed the first German-language version in America of Richard Strauss's Elektra in the US, conducted by Fritz Reiner, casting also Margarete Matzenauer, Charlotte Boerner and Nelson Eddy. She regularly sang in Budapest between 1926-1938, where she was a company member in 1936/1937. Her roles covered a rarely seen repertoire from Mozart's Constanze to Turandot, and also Nedda and Santuzza (after each other), Butterfly, Margit (Faust), Tosca, Leonore (Il Trovatore), Elisabeth (Tannhäuser), Saffi (Der Zigeunerbaron), Mimi, Desdemona and Donna Anna. In 1936, she went to a tour to her native land Transilvania with a selection of Kodály's Hungarian Folk Songs, and toured to Hungarian cities like Szeged, Miskolc, Nagykanizsa, Debrecen. In 1935, she got a role in the film 'Halló, Budapest'. In 1934, she was back at Carnegie Hall, in Orfeo ed Euridice and went to London to sing Turandot with her partners Eide Norena, Armand Tokatyan and Ezio Pinza. Her possible last appearance on a staged full opera was in 1941, in Mozarts Don Giovanni, with her partners Ezio Pinza, Tito Schipa, Margit Bokor, Lőrincz Alváry, conducted by László Halász. There is a 35 minute long recording of this performance. Until 1946, she sang arias at various concerts, too. In 1946, she sang in a diverse 'pop' concert at Carnegie Hall, sharing the program with Hungarian pianist Ernö Balogh, Huddie Ledbetter, Mary Lou Williams, Tom Scott, Susan Reed, and others. She gave a recital in 1948 at New York's Town Hall performance space. She recorded opera arias and songs by Schubert and Hungarian composers on 26 LP discs. After she retired from the stage, Roselle taught voice in Philadelphia. She was artist-in-residence at Florida Southern College in her later years, until she retired from teaching in 1967. Roselle made several recordings in Berlin in the 1920s. In 1934, she gave an interview decrying the effect of recorded music on live music. In 1971, she gave another interview, grateful to revisit the past through recordings. Anne Roselle made her first recordings under her birthname Anna Gyenge for Victor (Camden 1916-17), then followed records for Polydor (Berlin 1926-28 and Paris 1932). In 1948 she recorded in New York for Continental and Remington. In 1912, Roselle married a Hungarian banker, Árpád (later David in America) Rosner; they had a son, George. She was widowed when Rosner died in 1956; she lived in a nursing home in Lakeland, Florida in her later years. She died in 1989, aged 95 years.
Anne Roselle Verdi Székely Liebling Frances Alda Beniamino Gigli Antonio Scotti Adamo Didur Richard Tauber Fritz Busch Georges Thill Maschera Maria Olszewska Leopold Stokowski Richard Strauss Fritz Reiner Margarete Matzenauer Nelson Eddy Norena Armand Tokatyan Ezio Pinza Tito Schipa Margit Bokor László Halász Balogh Tom Scott Schubert Metropolitan Opera San Carlo Opera Company Philadelphia Orchestra Kodály Carnegie Hall 1894 1912 1916 1920 1922 1923 1925 1926 1927 1928 1929 1931 1932 1934 1935 1936 1937 1938 1941 1946 1948 1956 1967 1971 1989
Anne Roselle sings - in German - the Ave Maria from 'Otello,' recorded in Berlin in 1928. From Wikipedia: Anne Roselle (born Gyenge Anna, 20 March 1894 – 31 July 1989) was a Hungarian-American opera singer and actress. Gyenge Anna was born in Târgu Secuiesc (Kézdivásárhely), that time Hungary, now Romania, part of the city's large population of Székely Hungarians. (Some sources give her birthplace as Budapest.) She completed her studies in Csíkszereda (Miercurea Ciuc), Székelyudvarhely (Târgu Secuiesc) and Kolozsvár (Cluj-Napoca). She debuted in Budapest as Iluska in Pongrác Kacsó's "János Vitéz". In 1912, she married the banker Árpád Rosner in Temesvár (Timisoara), and they together moved to the US in this year, with her mother and stepfather. Roselle acted in Budapest and studied acting with Szidi Rákosi as a young woman. She studied singing with Estelle Liebling in New York City. Roselle sang in New York, with the Metropolitan Opera in 1920, as Musetta in La Bohème. She debuted on December 4, 1920, on the side of Frances Alda, Beniamino Gigli (his third performance in Met), Antonio Scotti and Adamo Didur. From 1922, she sang for two years with the San Carlo Opera Company, was a guest soloist with the Minneapolis Orchestra, toured in the central United States in the 1922-1923 season, and the private company of Antonio Scotti then moved back to Europe. She joined the Dresden Opera in 1925 to sing the title role in the first German performance of Puccinis's Turandot on the side of Richard Tauber and diricted by Fritz Busch (July 4, 1926). She premiered the first Turandot in the US outside the Met in San Francisco (1927) and next year, the first performance in Verona with Georges Thill (1928). She sang in Budapest, Milan, Vienna, London, Paris and Berlin, and was part of a radio broadcast of Verdi's Un Ballo in Maschera, with Maria Olszewska. She was also known for singing the title role in Verdi's Aïda and Leonora in Il Trovatore, among others. Roselle returned to the United States late in 1929, and sang at Carnegie Hall. The New York Times reported that 'her higher tones are usually produced with fine resonance and color and absolute fidelity to the pitch.' In 1931, she starred in the first United States performance of Wozzeck, with the Philadelphia Orchestra, under the direction of Leopold Stokowski, and in the Met, as her last appearance there. Also in 1931, she performed the first German-language version in America of Richard Strauss's Elektra in the US, conducted by Fritz Reiner, casting also Margarete Matzenauer, Charlotte Boerner and Nelson Eddy. She regularly sang in Budapest between 1926-1938, where she was a company member in 1936/1937. Her roles covered a rarely seen repertoire from Mozart's Constanze to Turandot, and also Nedda and Santuzza (after each other), Butterfly, Margit (Faust), Tosca, Leonore (Il Trovatore), Elisabeth (Tannhäuser), Saffi (Der Zigeunerbaron), Mimi, Desdemona and Donna Anna. In 1936, she went to a tour to her native land Transilvania with a selection of Kodály's Hungarian Folk Songs, and toured to Hungarian cities like Szeged, Miskolc, Nagykanizsa, Debrecen. In 1935, she got a role in the film 'Halló, Budapest'. In 1934, she was back at Carnegie Hall, in Orfeo ed Euridice and went to London to sing Turandot with her partners Eide Norena, Armand Tokatyan and Ezio Pinza. Her possible last appearance on a staged full opera was in 1941, in Mozarts Don Giovanni, with her partners Ezio Pinza, Tito Schipa, Margit Bokor, Lőrincz Alváry, conducted by László Halász. There is a 35 minute long recording of this performance. Until 1946, she sang arias at various concerts, too. In 1946, she sang in a diverse 'pop' concert at Carnegie Hall, sharing the program with Hungarian pianist Ernö Balogh, Huddie Ledbetter, Mary Lou Williams, Tom Scott, Susan Reed, and others. She gave a recital in 1948 at New York's Town Hall performance space. She recorded opera arias and songs by Schubert and Hungarian composers on 26 LP discs. After she retired from the stage, Roselle taught voice in Philadelphia. She was artist-in-residence at Florida Southern College in her later years, until she retired from teaching in 1967. Roselle made several recordings in Berlin in the 1920s. In 1934, she gave an interview decrying the effect of recorded music on live music. In 1971, she gave another interview, grateful to revisit the past through recordings. Anne Roselle made her first recordings under her birthname Anna Gyenge for Victor (Camden 1916-17), then followed records for Polydor (Berlin 1926-28 and Paris 1932). In 1948 she recorded in New York for Continental and Remington. In 1912, Roselle married a Hungarian banker, Árpád (later David in America) Rosner...Rosner died in 1956... She died in 1989, aged 95 years. I transferred this side from Grammophon 66745.
Anne Roselle Verdi Székely Liebling Frances Alda Beniamino Gigli Antonio Scotti Adamo Didur Richard Tauber Fritz Busch Georges Thill Maschera Maria Olszewska Leopold Stokowski Richard Strauss Fritz Reiner Margarete Matzenauer Nelson Eddy Norena Armand Tokatyan Ezio Pinza Tito Schipa Margit Bokor László Halász Balogh Tom Scott Schubert Metropolitan Opera San Carlo Opera Company Philadelphia Orchestra Kodály Carnegie Hall 1894 1912 1916 1920 1922 1923 1925 1926 1927 1928 1929 1931 1932 1934 1935 1936 1937 1938 1941 1946 1948 1956 1967 1971 1989
Anne Roselle is no longer well-known, but her records are well worth attention. Here, she sings 'O patria mia,' recorded in Berlin in 1928. From Wikipedia: Anne Roselle (born Gyenge Anna, 20 March 1894 – 31 July 1989) was a Hungarian-American opera singer and actress. Gyenge Anna was born in Târgu Secuiesc (Kézdivásárhely), that time Hungary, now Romania, part of the city's large population of Székely Hungarians. (Some sources give her birthplace as Budapest.) She completed her studies in Csíkszereda (Miercurea Ciuc), Székelyudvarhely (Târgu Secuiesc) and Kolozsvár (Cluj-Napoca). She debuted in Budapest as Iluska in Pongrác Kacsó's "János Vitéz". In 1912, she married the banker Árpád Rosner in Temesvár (Timisoara), and they together moved to the US in this year, with her mother and stepfather. Roselle acted in Budapest and studied acting with Szidi Rákosi as a young woman. She studied singing with Estelle Liebling in New York City. Roselle sang in New York, with the Metropolitan Opera in 1920, as Musetta in La Bohème. She debuted on December 4, 1920, on the side of Frances Alda, Beniamino Gigli (his third performance in Met), Antonio Scotti and Adamo Didur. From 1922, she sang for two years with the San Carlo Opera Company, was a guest soloist with the Minneapolis Orchestra, toured in the central United States in the 1922-1923 season, and the private company of Antonio Scotti then moved back to Europe. She joined the Dresden Opera in 1925 to sing the title role in the first German performance of Puccinis's Turandot on the side of Richard Tauber and diricted by Fritz Busch (July 4, 1926). She premiered the first Turandot in the US outside the Met in San Francisco (1927) and next year, the first performance in Verona with Georges Thill (1928). She sang in Budapest, Milan, Vienna, London, Paris and Berlin, and was part of a radio broadcast of Verdi's Un Ballo in Maschera, with Maria Olszewska. She was also known for singing the title role in Verdi's Aïda and Leonora in Il Trovatore, among others. Roselle returned to the United States late in 1929, and sang at Carnegie Hall. The New York Times reported that 'her higher tones are usually produced with fine resonance and color and absolute fidelity to the pitch.' In 1931, she starred in the first United States performance of Wozzeck, with the Philadelphia Orchestra, under the direction of Leopold Stokowski, and in the Met, as her last appearance there. Also in 1931, she performed the first German-language version in America of Richard Strauss's Elektra in the US, conducted by Fritz Reiner, casting also Margarete Matzenauer, Charlotte Boerner and Nelson Eddy. She regularly sang in Budapest between 1926-1938, where she was a company member in 1936/1937. Her roles covered a rarely seen repertoire from Mozart's Constanze to Turandot, and also Nedda and Santuzza (after each other), Butterfly, Margit (Faust), Tosca, Leonore (Il Trovatore), Elisabeth (Tannhäuser), Saffi (Der Zigeunerbaron), Mimi, Desdemona and Donna Anna. In 1936, she went to a tour to her native land Transilvania with a selection of Kodály's Hungarian Folk Songs, and toured to Hungarian cities like Szeged, Miskolc, Nagykanizsa, Debrecen. In 1935, she got a role in the film 'Halló, Budapest'. In 1934, she was back at Carnegie Hall, in Orfeo ed Euridice and went to London to sing Turandot with her partners Eide Norena, Armand Tokatyan and Ezio Pinza. Her possible last appearance on a staged full opera was in 1941, in Mozarts Don Giovanni, with her partners Ezio Pinza, Tito Schipa, Margit Bokor, Lőrincz Alváry, conducted by László Halász. There is a 35 minute long recording of this performance. Until 1946, she sang arias at various concerts, too. In 1946, she sang in a diverse 'pop' concert at Carnegie Hall, sharing the program with Hungarian pianist Ernö Balogh, Huddie Ledbetter, Mary Lou Williams, Tom Scott, Susan Reed, and others. She gave a recital in 1948 at New York's Town Hall performance space. She recorded opera arias and songs by Schubert and Hungarian composers on 26 LP discs. After she retired from the stage, Roselle taught voice in Philadelphia. She was artist-in-residence at Florida Southern College in her later years, until she retired from teaching in 1967. Roselle made several recordings in Berlin in the 1920s. In 1934, she gave an interview decrying the effect of recorded music on live music. In 1971, she gave another interview, grateful to revisit the past through recordings. Anne Roselle made her first recordings under her birthname Anna Gyenge for Victor (Camden 1916-17), then followed records for Polydor (Berlin 1926-28 and Paris 1932). In 1948 she recorded in New York for Continental and Remington. In 1912, Roselle married a Hungarian banker, Árpád (later David in America) Rosner...Rosner died in 1956... She died in 1989, aged 95 years. I transferred this side from Grammophon 66745.
Richard Bonelli Bonelli Teschemacher Brunswick Jenkins Jean Reszke Gounod Catalani Carnevale Verdi Claudia Muzio Antonio Cortis Rossini Flotow Gatti Casazza Lily Pons Tito Schipa Ezio Pinza Rosa Ponselle Burke Armand Tokatyan Leoncavallo Ashton Donizetti Puccini Frank Guarrera Lucine Amara Norman Mittelmann Edward Johnson Titta Ruffo Robert Merrill Giovanni Martinelli Elisabeth Rethberg Brooklyn Academy Music Lincoln Center Music Academy West San Carlo Opera Company Chicago Opera Company San Francisco Opera Chicago Civic Opera Metropolitan Opera 1889 1915 1922 1923 1924 1925 1926 1927 1931 1932 1935 1936 1940 1941 1942 1945 1949 1966 1980
Richard Bonelli sings 'Calling Me Home to You,' recorded for Brunswick on 11 October 1927. Bonelli had an excellent voice, but Brunswick's 'light ray' method of recording was temperamental. Sometimes, it produced quite good results. At other times, the sound was intermodulated and distorted. In general terms, the process improved with time, until it was quietly dropped in favour of more conventional recording methods.Regrettably, this relatively late example of the process is a good advertisement for its defects, but it is still worth listening to. From Wikipedia: Richard Bonelli (February 6, 1889 – June 7, 1980) was an American operatic baritone active from 1915 to the late 1970s. Bonelli was born George Richard Bunn to Martin and Ida Bunn of Port Byron, New York. His family later moved to Syracuse and soon George preferred to be called Richard. Prior to deciding on a career in music, Bonelli was a friend of race car driver and later mayor of Salt Lake City, Ab Jenkins. Bonelli studied at Syracuse University and his voice teachers included Arthur Alexander in Los Angeles, Jean de Reszke and William Valonat in Paris. Bonelli's operatic debut came on April 21, 1915 at the Brooklyn Academy of Music as Valentin in Gounod's Faust. He toured with the San Carlo Opera Company between 1922 and 1924. In 1923 he made his European debut as Dardano in Catalani's Dejanice during the Carnevale season in Modena, Italy. He returned to Europe in 1924 to sing at the Monte Carlo Opera and was eventually engaged by the Théâtre de la Gaîté in Paris. Between 1925 and 1931 Bonelli performed with the Chicago Opera Company and between 1926 and 1942 frequently performed at the San Francisco Opera. His Chicago debut in 1925 was in the role of Germont in Verdi's La Traviata with Claudia Muzio (Violetta) and Antonio Cortis (Alfredo). His debut role in San Francisco was Figaro in Rossini's Il Barbiere di Siviglia, after appearing in Flotow's Martha at the Los Angeles Grand Opera earlier in September 1926. Seizing the opportunity of a one-year collapse of Chicago Civic Opera, the Met impresario Giulio Gatti-Casazza quickly engaged Bonelli for leading baritone roles in New York. His first performance with the Metropolitan Opera was on 29 November 1932, again as Rossini's Figaro, at the company's tour to Philadelphia. (It was also the role for his last Met stage performance on 14 March 1945.) The cast included Lily Pons (Rosina), Tito Schipa (Count Almaviva), and Ezio Pinza (Don Basilio). Bonelli's New York Metropolitan Opera debut came on December 1, 1932 as Giorgio Germont in Verdi's La traviata opposite Rosa Ponselle as Violetta and Tito Schipa as Alfredo. He remained on the Met's active roster until 1945, making his final performance as Rossini's Figaro on March 14 that year. He was the Tonio in the first ever live telecast of opera, from the Met on March 10, 1940 alongside Hilda Burke and Armand Tokatyan. He returned to the Met in 1966 as an honored guest at the 'Gala Farewell' marking the last performance by the Metropolitan Opera in the old opera house at Broadway and 39th Street, before moving to the Lincoln Center. Of his many roles, Bonelli was known best for his Verdi repertory as Giorgio Germont, Di Luna, Renato, Rigoletto and Amonasro, and also for his portrayals of Valentin in Gounod's Faust, Wolfram in Wanger's Tannhäuser, Tonio in Leoncavallo's Pagliacci, Rossini's Figaro, Enrico Ashton in Donizetti's Lucia and Sharpless in Puccini's Madama Butterfly. In Italy, he performed under the name Riccardo Bonelli. He also appeared in two movies; a supporting role in 1935's Enter Madame and a cameo appearance in 1941's The Hard-Boiled Canary. After retiring from singing, Bonelli became a successful voice teacher at the Curtis Institute of Music in Philadelphia, the Music Academy of the West in Santa Barbara, and in New York. Among his students were Frank Guarrera, Enrico Di Giuseppe, Lucine Amara, and Norman Mittelmann. In 1949 when Edward Johnson retired from his position of general manager of the Metropolitan Opera, Bonelli was a contender for the job though it ultimately went to Rudolf Bing. Bonelli's favorite baritone was Titta Ruffo. American baritone Robert Merrill had stated that Bonelli was his inspiration to study singing, after hearing him perform the Count di Luna at the Met alongside Giovanni Martinelli and Elisabeth Rethberg in 1936. Even after retiring from teaching, he periodically performed on stage into his 80s. His later appearances were more on the West Coast of the United States. He was actor Robert Stack's uncle. Bonelli died in Los Angeles on June 7, 1980 at the age of 91.
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