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Félia Litvinne Barthe Banderali Pauline Viardot Victor Maurel Verdi Devriès Mapleson Meyerbeer Mozart Massenet Wagner Camille Saint Saëns Camille Erlanger Gluck Enrico Caruso Nina Koshetz Germaine Lubin Théâtre Italien Scala Fenice Covent Garden Théâtre Monnaie Metropolitan Opera 1860 1883 1885 1886 1896 1903 1915 1919 1924 1933 1936
Felia Litvinne - Le Cid - Pleurez mes yeux - G&T. 33158 enregistré en 1903 Félia Litvinne (October 11, 1860, Saint Petersburg – October 12, 1936, Paris) was a Russian-born, French-based dramatic soprano. She was particularly associated with Wagnerian roles, although she also sang a wide range of parts by other opera composers. Born in Russia as Françoise Jeanne Schutz into a family of German and French Canadian origin (her mother was born in the Province of Quebec), she came to Paris to study with Barthe-Banderali, Pauline Viardot and Victor Maurel. She made her stage debut at the Théâtre-Italien in 1883, as Amelia in Verdi's Simon Boccanegra, as a last-minute replacement for Fidès Devriès. Shortly afterwards, she made her official debut as Elvira in Ernani (also by Verdi). Litvinne's career rapidly became international in scope. During the course of the next three decades she appeared at the Academy of Music in New York, at the Paris Opera, at La Scala in Milan, at the Rome Opera, at La Fenice in Venice, at the Royal Opera House, Covent Garden, in London and at the Théâtre de la Monnaie in Brussels. Tsarist Russia's two main cities, Moscow and Saint Petersburg, experienced her vocal artistry as well. Livinne first sang in New York in 1885-1886 with the Mapleson Company. She made her Metropolitan Opera debut in that city on November 25, 1896, as Valentine in Meyerbeer's grandest work, Les Huguenots. She sang at the Met for only one season, however. Her other roles there included Verdi's Aida, Mozart's Donna Anna, Massenet's Chimène, Meyerbeer's Sélika, and Wagner's Brünnhilde and Isolde. Paris became Litvinne's base. She took part in the premieres of three works by Camille Saint-Saëns, Hélène, L'ancêtre and Déjanire, as well as of Camille Erlanger's Bacchus triomphant. Livinne also won acclaim for her splendid singing in revivals of two 18th-century operas by Gluck, namely Alceste and Armide. In 1915, she sang Aida at Monte Carlo opposite Enrico Caruso. Her last operatic appearances were at Vichy in 1919 but she continued giving recitals until 1924. In retirement, she taught at the American Conservatory in Fontainebleau. Among her pupils were the sopranos Nina Koshetz and Germaine Lubin. She published a book of Conseils et exercices in 1924 while her autobiography, Ma vie et mon art, was released in 1933. She died in Paris three years later, just after her 76th birthday. Litvinne was regarded widely as being one of the greatest dramatic sopranos of the late 19th century and the early 20th century. She possessed an excellent technique and a strong, flexible and resonant voice. Her low and middle registers had a mezzo-soprano like coloration and were particularly impressive but her top notes did not always ring out with total freedom, if her records are any guide. Litvinne was not famous in her lifetime as a singing-actress but she commanded a stately stage presence. Source : Wikipedia
Françoise Jeanne Schütz Richard Wagner Schütz Barthe Banderali Pauline Viardot Victor Maurel Verdi Devriès Meyerbeer Massenet Camille Saint Saëns Camille Erlanger Gluck Enrico Caruso Nina Koshetz Germaine Lubin Théâtre Italien Scala Fenice Covent Garden Théâtre Monnaie Metropolitan Opera 1860 1883 1885 1886 1896 1915 1919 1924 1933 1936 2018
THIS IS THE SUCCESSOR CHANNEL TO "liederoperagreats" WHICH WAS RECENTLY TERMINATED Félia Litvinne--soprano No recording information / "Félia Litvinne (11 October 1860, Saint Petersburg – 12 October 1936, Paris) was a Russian-born, French-based dramatic soprano. She was particularly associated with Wagnerian roles, although she also sang a wide range of parts by other opera composers.[1] This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. Find sources: "Félia Litvinne" – news · newspapers · books · scholar · JSTOR (February 2018) (Learn how and when to remove this template message) Young Felia Litvinne (Alexei Harlamov) Born in St Petersburg, Russian Empire as Françoise-Jeanne Schütz in 1860, her father was Russian, and her mother was French-Canadian (from Quebec). After study in Russia, Switzerland and Italy, she became multi-lingual. Then, she moved with her family to Paris, where she studied singing with Madame Barthe-Banderali for three years and took lessons with Pauline Viardot and Victor Maurel. She possessed a wide range, encompassing both mezzo-soprano and soprano coloratura roles.[2] She made her stage debut at the Théâtre-Italien in 1883, as Amelia in Verdi's Simon Boccanegra, as a last-minute replacement for Fidès Devriès.[3] Litvinne's career rapidly became international in scope. During the course of the next three decades she appeared at the Academy of Music in New York, at the Paris Opera, at La Scala in Milan, at the Rome Opera, at La Fenice in Venice, at the Royal Opera House, Covent Garden, in London and at the Théâtre de la Monnaie in Brussels.[3] Tsarist Russia's two main cities, Moscow and Saint Petersburg, experienced her vocal artistry as well. Litvinne first sang in New York in 1885-1886 with the Mapleson Company. She made her Metropolitan Opera debut in that city on 25 November 1896, as Valentine in Meyerbeer's grandest work, Les Huguenots. She sang at the Met for only one season, however. Her other roles there included Verdi's Aida, Mozart's Donna Anna, Massenet's Chimène, Meyerbeer's Sélika, and Wagner's Brünnhilde and Isolde.[4] Paris became Litvinne's base. She took part in the premieres of three works by Camille Saint-Saëns, Hélène, L'ancêtre and Déjanire, as well as of Camille Erlanger's Bacchus triomphant. Livinne also won acclaim for her splendid singing in revivals of two 18th-century operas by Gluck, namely Alceste and Armide. In 1915, she sang Aida at Monte Carlo opposite Enrico Caruso. Her last operatic appearances were at Vichy in 1919 but she continued giving recitals until 1924.[4] Last years and death In retirement, she taught at the American Conservatory in Fontainebleau. Among her pupils were the sopranos Nina Koshetz and Germaine Lubin. She published a book of Conseils et exercices in 1924 while her autobiography, Ma vie et mon art, was released in 1933. She died in Paris three years later, one day after her 76th birthday.[4]"; ;wikipedia
Gluck Camille Erlanger Massenet Meyerbeer Verdi Victor Maurel Pauline Viardot Banderali Barthe Litvinne Enrico Caruso Scala Fenice 1924 1919 1915 1896 1886 1885 1883 1860 Metropolitan Opera Covent Garden
Born in St Petersburg, Russian Empire as Françoise-Jeanne (Fiokla Vassilievna) Schütz in 1860, her father was Russian, and her mother was French-Canadian (from Quebec). After study in Russia, Switzerland and Italy, she became multi-lingual. Then, she moved with her family to Paris, where she studied singing with Madame Barthe-Banderali for three years and took lessons with Pauline Viardot and Victor Maurel. She possessed a wide range, encompassing both mezzo-soprano and soprano coloratura roles. She made her stage debut at the Théâtre-Italien in 1883, as Amelia in Verdi's Simon Boccanegra, as a last-minute replacement for Fidès Devriès. Litvinne's career rapidly became international in scope. During the course of the next three decades she appeared at the Academy of Music in New York, at the Paris Opera, at La Scala in Milan, at the Rome Opera, at La Fenice in Venice, at the Royal Opera House, Covent Garden, in London and at the Théâtre de la Monnaie in Brussels. Tsarist Russia's two main cities, Moscow and Saint Petersburg, experienced her vocal artistry as well. Litvinne first sang in New York in 1885-1886 with the Mapleson Company. She made her Metropolitan Opera debut in that city on 25 November 1896, as Valentine in Meyerbeer's grandest work, Les Huguenots. She sang at the Met for only one season, however. Her other roles there included Verdi's Aida, Mozart's Donna Anna, Massenet's Chimène, Meyerbeer's Sélika, and Wagner's Brünnhilde and Isolde. Paris became Litvinne's base. She took part in the premieres of three works by Camille Saint-Saëns, Hélène, L'ancêtre and Déjanire, as well as of Camille Erlanger's Bacchus triomphant. Livinne also won acclaim for her splendid singing in revivals of two 18th-century operas by Gluck, namely Alceste and Armide. In 1915, she sang Aida at Monte Carlo opposite Enrico Caruso. Her last operatic appearances were at Vichy in 1919 but she continued giving recitals until 1924.
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