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Zazà
''Zazà'' is an opera by Ruggero Leoncavallo, with a libretto by the composer. The story concerns the French music hall singer, Zazà, and her affair and subsequent decision to leave her lover, Milio, when she discovers that he is married. The music is influenced by the French music halls where Leoncavallo had spent his early years as a composer. Its premiere was at the Teatro Lirico (Milan), Teatro Lirico in Milan on 10 November 1900, starring Rosina Storchio as Zazà, Edoardo Garbin as Milio, Mario Sammarco as Cascart and Clorinda Pini-Corsi as Anaide, and conducted by Arturo Toscanini. It was later seen in opera houses around the world. Over the following twenty years it received over fifty new productions from Palermo to Paris, Buenos Aires to Moscow, Cairo to San Francisco, arriving at the Metropolitan Opera on 16 January 1920 in a production directed by David Belasco and conducted by Roberto Moranzoni, starring Geraldine Farrar, Giulio Crimi and Pasquale Amato, and later, G ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ruggero Leoncavallo
Ruggero (or Ruggiero) Leoncavallo ( , , ; 23 April 18579 August 1919) was an Italian opera composer and librettist. Although he produced numerous operas and other songs throughout his career it is his opera '' Pagliacci'' (1892) that remained his lasting contribution, despite attempts to escape the shadow of his greatest success. Today he remains largely known for ''Pagliacci'', one of the most popular and frequently performed works in the opera repertory. His other compositions include the song "Mattinata", popularized by Enrico Caruso, and the symphonic poem ''La Nuit de mai''. Biography The son of Vincenzo Leoncavallo, a police magistrate and judge, Leoncavallo was born in Naples on 23 April 1857. As a child, Leoncavallo moved with his father to the town of Montalto Uffugo in Calabria, where he lived during his adolescence. He later returned to Naples and was educated at the city's San Pietro a Majella Conservatory and later the University of Bologna studying literature ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Edoardo Garbin
Edoardo Garbin (12 March 1865 – 12 April 1943) was an Italian operatic tenor. He was married to the soprano Adelina Stehle. One of the most important Italian tenors of his day, Garbin created, inter alia, tenor roles in Alberto Franchetti's '' Cristoforo Colombo'', Fenton in Verdi's last opera ''Falstaff'' (1893), and Milio in Leoncavallo's ''Zazà''; in 1917, in Rome, he appeared in the world premiere of Renzo Bianchi's ''Gismonda'' alongside Ida Quaiatti and Domenico Viglione Borghese. His success in Anglo-Saxon countries (such as England) was (put charitably) limited (he was, by ''The Times,'' described as "miserable" as Cavaradossi at Covent Garden in 1908); but in the Latin sphere (South America and Italy) he was in constant demand until his retirement in 1918. He recorded for G&T (to become HMV) in 1903, Fonotipia and Columbia; his recordings for the two last mentioned companies sold very well, and are easily found. According to Scott (''Record of Singing'' 1978) h ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Rosina Storchio
Rosina Storchio (19 January 1872 – 24 July 1945) was an Italian lyric coloratura soprano who starred in the world premieres of operas by Puccini, Leoncavallo, Mascagni and Giordano. Biography Born in Venice in 1872, Storchio studied at the Milan Conservatory before making her operatic debut as Micaëla in Bizet's ''Carmen'' at Milan's Teatro Dal Verme in 1892. Three years later, she debuted at Italy's most famous opera house, La Scala, Milan, performing in Massenet's ''Werther''. She sang Violetta at La Scala in 1906, the first performance of the opera in contemporary dress. Milan became her home base from then on, but she also appeared during the pre-World War I period at theatres in other key Italian cities, including Rome and her native Venice. She toured South America and Spain, too, and undertook singing engagements in Paris and Moscow, unwisely attempting parts as heavy as that of the title role in Puccini's ''Tosca''. In 1921, by which time her voice was ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Teatro Lirico (Milan)
The Teatro Lirico (known until 1894 as the Teatro alla Canobbiana) is a theatre in Milan, Italy. In the 19th and early 20th centuries it hosted numerous opera performances, including the world premieres of Donizetti's '' L'elisir d'amore'' and Giordano's '' Fedora''. The theatre, located on Via Rastrelli, closed in 1998. However, a restoration project was begun in April 2007, and it has finally re-opened in December 2021 as the Teatro Lirico Giorgio Gaber. Stage Entertainment carried on the renovation of the Theatre, completing all finishes and all workings started by the administration "Comune di Milano". History The Teatro Regio Ducale, the court theatre of the Royal Palace of Milan, was destroyed by fire on February 26, 1776. With the city deprived of its only theatre, Giuseppe Piermarini was commissioned to design and build two new theatres on land surrounding the Palace. The church of Santa Maria della Scala was demolished to build the Teatro alla Scala. A second theatre w ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Geraldine Farrar
Alice Geraldine Farrar (February 28, 1882 – March 11, 1967) was an American lyric soprano who could also sing dramatic roles. She was noted for her beauty, acting ability, and "the intimate timbre of her voice." She had a large following among young women, who were nicknamed "Gerry-flappers". Biography Farrar was born in Melrose, Massachusetts, the daughter of baseball player Sidney Farrar, and his wife Henrietta Barnes. At age five, she began studying music in Boston and by 14 was giving recitals. Later she studied voice with the American soprano Emma Thursby in New York City, in Paris, and finally with the Italian baritone Francesco Graziani in Berlin. Farrar created a sensation at the Berlin Hofoper with her debut as Marguerite in Charles Gounod's ''Faust'' in 1901 and remained with the company for three years, during which time she continued her studies with famed German soprano Lilli Lehmann. (She had been recommended to Lehmann by another famous soprano of the previ ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mario Sammarco
(Giuseppe) Mario Sammarco (13 December 1868, although some sources say 1867 – 24 January 1930) was an Italian operatic baritone noted for his acting ability. Biography Sammarco was born in Palermo, Sicily, and studied locally with Antonio Cantelli. He made his operatic début in Palermo as Valentine in ''Faust'' in 1888. He subsequently sang to acclaim in Milan (at La Scala, Italy's most celebrated theatre), Buenos Aires and London. Between 1904 and 1919 he appeared intermittently, in 26 different roles, at the Royal Opera House, Covent Garden. In New York City, he was hired by Oscar Hammerstein I for his Manhattan Opera Company as a replacement for the great French singing-actor Maurice Renaud. He sang with the Manhattan company in 1908–1910, becoming its principal Italian baritone, but he never 'graduated' to the rival Metropolitan Opera. Sammarco next joined the Chicago–Philadelphia opera company. His career there continued smoothly enough until 1913 when he encou ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The New York Herald
The ''New York Herald'' was a large-distribution newspaper based in New York City that existed between 1835 and 1924. At that point it was acquired by its smaller rival the ''New-York Tribune'' to form the '' New York Herald Tribune''. History The first issue of the paper was published by James Gordon Bennett Sr., on May 6, 1835. The ''Herald'' distinguished itself from the partisan papers of the day by the policy that it published in its first issue: "We shall support no party—be the agent of no faction or coterie, and we care nothing for any election, or any candidate from president down to constable." Bennett pioneered the "extra" edition during the ''Heralds sensational coverage of the Robinson–Jewett murder case. By 1845, it was the most popular and profitable daily newspaper in the United States. In 1861, it circulated 84,000 copies and called itself "the most largely circulated journal in the world." Bennett stated that the function of a newspaper "is not to ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
New York Tribune
The ''New-York Tribune'' was an American newspaper founded in 1841 by editor Horace Greeley. It bore the moniker ''New-York Daily Tribune'' from 1842 to 1866 before returning to its original name. From the 1840s through the 1860s it was the dominant newspaper first of the American Whig Party, then of the Republican Party. The paper achieved a circulation of approximately 200,000 in the 1850s, making it the largest daily paper in New York City at the time. The ''Tribune''s editorials were widely read, shared, and copied in other city newspapers, helping to shape national opinion. It was one of the first papers in the north to send reporters, correspondents, and illustrators to cover the campaigns of the American Civil War. It continued as an independent daily newspaper until 1924, when it merged with the ''New York Herald''. The resulting '' New York Herald Tribune'' remained in publication until 1966. Among those who served on the paper's editorial board were Bayard Taylor, Ge ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Brooklyn Times-Union
The ''Brooklyn Times-Union'' was an American newspaper published from 1848 to 1937. Launched in 1848 as the ''Williamsburgh Daily Times'', the publication became the ''Brooklyn Daily Times'' when the cities of Brooklyn and Williamsburg were unified in 1855. The newspaper supported the then-progressive Republican Party, and the Abolition movement. Walt Whitman was one of their reporters, and was later the managing editor after he left the ''Brooklyn Daily Eagle''. The paper was published both daily and on Sunday, and had a peak circulation that included all of Kings County, and large segments of Nassau and Suffolk Counties. As the ''Brooklyn Daily Times'', the paper was published in various editions, including the Long Island, Wall Street, and Noon editions. The ''Daily Times'' was renamed the ''Brooklyn Times-Union'' after it bought out the ''Brooklyn Standard Union'' in 1932, and was itself bought out by the ''Brooklyn Eagle'' in 1937. Brooklyn's Times Plaza at the interse ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tenor
A tenor is a type of classical music, classical male singing human voice, voice whose vocal range lies between the countertenor and baritone voice types. It is the highest male chest voice type. The tenor's vocal range extends up to C5. The low extreme for tenors is widely defined to be B2, though some roles include an A2 (two As below middle C). At the highest extreme, some tenors can sing up to the second F above middle C (F5). The tenor voice type is generally divided into the ''leggero'' tenor, lyric tenor, spinto tenor, dramatic tenor, heldentenor, and tenor buffo or . History The name "tenor" derives from the Latin word ''wikt:teneo#Latin, tenere'', which means "to hold". As Fallows, Jander, Forbes, Steane, Harris and Waldman note in the "Tenor" article at ''Grove Music Online'': In polyphony between about 1250 and 1500, the [tenor was the] structurally fundamental (or 'holding') voice, vocal or instrumental; by the 15th century it came to signify the male voice that ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Voice Type
A voice type is a group of voices with similar vocal ranges, capable of singing in a similar tessitura, and with similar vocal transition points ('' passaggi''). Voice classification is most strongly associated with European classical music, though it, and the terms it utilizes, are used in other styles of music as well. A singer will choose a repertoire that suits their voice. Some singers such as Enrico Caruso, Rosa Ponselle, Joan Sutherland, Maria Callas, Jessye Norman, Ewa Podleś, and Plácido Domingo have voices that allow them to sing roles from a wide variety of types; some singers such as Shirley Verrett and Grace Bumbry change type and even voice part over their careers; and some singers such as Leonie Rysanek have voices that lower with age, causing them to cycle through types over their careers. Some roles are hard to classify, having very unusual vocal requirements; Mozart wrote many of his roles for specific singers who often had remarkable voices, and some of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
