Finally, there are private recordings made at the Villa Pace of Ponselle singing various songs and arias accompanying herself on the piano, some of which are items she never recorded elsewhere. Her 1923 Columbia recording of "Selva opaca" from William Tell was her personal favorite among all her acoustic recordings, because she felt that it was the most accurate representation of her voice and style at the time. Her recordings from 1923 until mid-1925 are all acoustics; Victor began electrical recording in March, 1925. It was her first performance on any opera stage. Read the Review . Rosa Ponselle dans Guillaume Tell de Gioachino Rossini. At the time, Carmela was studying in New York with a well-connected voice teacher/agent named William Thorner. In the annals of the Metropolitan Opera, the second week of November 1918 has more than a passing significance. Après La forza del destino, elle chante Ernani, Luisa Miller, Don Carlos, Aida, Il trovatore, La traviata, qui lui valent des acclamations au Covent Garden à Londres en 1930. Cette même année, elle épouse le fils du maire de Baltimore, C. Jackson. Ponselle made no studio recordings after 1939. ». Rosa Melba Ponzillo, dite Rosa Ponselle, née le 22 janvier 1897 à Meriden (Connecticut) et morte le 25 mai 1981 à Baltimore (Maryland), est une soprano américaine d'origine italienne. This specific ISBN edition is currently not available. Ponselle [Ponzillo], Rosa (b Meriden, Conn., 1897; d Green Valley, Baltimore, 1981). Elles partent en tournée avec les Marx Brothers qui en sont à leur début. Ponselle later said that she never missed performing after she retired. Elle se retire dans sa Villa Pace, qui est devenue, depuis, le musée Rosa Ponselle. Born Rosa Ponzillo, the daughter of Italian immigrants, she spent her childhood in Meriden, Connecticut where her family owned a bakery and grocery. Artist Biography by Richard LeSueur The mother of American soprano Rosa Ponselle (born Ponzillo) was her first voice teacher; later she studied with Anna Ryan. Many of these attributes are convincingly documented on recordings. Sang at Met 1918–37, CG 1929–31. Caruso was usually wary when asked to listen to amateur singers, but was deeply impressed with Rosa's voice. Differences with the Met management regarding repertoire led her not to renew her contract with the company for the 1937/38 season. Retrouvez Rosa Ponselle: A Centenary Biography et des millions de livres en stock sur Amazon.fr. The Traviata and Carmen performances are in good sound (for a mid-30s radio broadcast transcription); the Don Giovanni is in very poor sound. Read Rosa Ponselle: A Centenary Biography (Amadeus) book reviews & author details and more at Amazon.in. Elle ne chante qu'une seule fois avec sa sœur Rosa dans La Gioconda d'Amilcare Ponchielli. Genres: Opera, Operetta. Rosa Ponselle: A Centenary Biography: Drake, James a: Amazon.nl Selecteer uw cookievoorkeuren We gebruiken cookies en vergelijkbare tools om uw winkelervaring te verbeteren, onze services aan te bieden, te begrijpen hoe klanten onze services gebruiken zodat we verbeteringen kunnen aanbrengen, en om advertenties weer te geven. Amazon.in - Buy Rosa Ponselle: A Centenary Biography (Amadeus) book online at best prices in India on Amazon.in. Rosa Ponselle discography and songs: Music profile for Rosa Ponselle, born 22 January 1897. Ponselle had an exceptionally mature voice at an early age and, at least in her early years, sang on natural endowment with little, if any, vocal training. Les sœurs Ponzillo connaissent un certain succès et interprètent, même, des airs tirés de comédies musicales à Broadway. 1, 2, 3, 4; Naxos Historical, Rosa Ponselle American Recordings 1939, 1954; Naxos Historical, Rosa Ponselle Sings Verdi 1918–1928; Naxos Historical, Rosa Ponselle On the Air Volume 1 1934–36; Marston, Rosa Ponselle On the Air Volume 2; Marston, Rosa Ponselle: When I Have Sung My Songs 1922–1957; Biographies in Music, Cantabile, Jackson, Paul, "Saturday Afternoons at the Old Met: The Metropolitan Opera Matinee Broadcasts, 1931–1950" (Amadeus Press: Portland 1992), This page was last edited on 1 November 2020, at 21:12. Ponselle's contract with Columbia Records expired in 1923, and she immediately signed with the Victor Talking Machine Company. She sang mainly at the New York Metropolitan Opera and is generally considered to have been one of the greatest sopranos of the 20th Century. Hola, Identifícate. Thorner auditioned Rosa, and agreed to give her lessons. In 1935, Ponselle sang her first Carmen at the Met. One of the leading operatic voices of the 20s-30s, Ponselle performed in several operas including Oberon, The Legend, and La Traviata. Among those who coached with her during their Baltimore Civic Opera appearances at the start of their careers were Beverly Sills, Sherrill Milnes, Plácido Domingo, James Morris, Lili Chookasian, and Joshua Hecht. Après son divorce en 1950, elle prend la direction du Civic Opera de Baltimore en 1951 et elle enseigne. Over her career, she made 166 commercial recordings (not including alternate takes), either in the studio or at Villa Pace. Ponselle continued in the 1930s to add roles to her repertoire at the Metropolitan Opera. "Ponselle [Ponzillo], Rosa (Melba)" in, personal reflection, personal essay, or argumentative essay, Learn how and when to remove this template message, The New York Public Library for the Performing Arts, https://en.wikipedia.org/w/index.php?title=Rosa_Ponselle&oldid=986598931, Articles with unsourced statements from September 2017, Wikipedia articles with style issues from July 2018, Wikipedia articles with MusicBrainz identifiers, Wikipedia articles with PLWABN identifiers, Wikipedia articles with SELIBR identifiers, Wikipedia articles with SNAC-ID identifiers, Wikipedia articles with Trove identifiers, Wikipedia articles with WORLDCATID identifiers, Creative Commons Attribution-ShareAlike License, Rosa Ponselle Sings Verdi; Columbia-Odyssey, Rosa Ponselle as Norma and Other Famous Heroines; RCA Victrola, Rosa Ponselle: The Columbia Acoustic Recordings; Pearl, Rosa Ponselle: The Victor Recordings 1923–25; Romophone, Rosa Ponselle: The Victor Recordings 1925–29; Romophone, Rosa Ponselle: The 1939 Victor and 1954 "Villa Pace" Recordings; Romophone, Rosa Ponselle American Recordings Vols. In 1918, Carmela and Rosa demanded a substantial fee increase from the Keith Vaudeville Circuit, as a result of which their act was dropped. She was quite intimidated for being in the presence of Caruso, and in spite of an almost paralyzing case of nervousness (which she suffered from throughout her operatic career), she scored a tremendous success, both with the public and with the critics. Son répertoire s'enrichit avec Cavalleria rusticana de Mascagni, Andrea Chénier d'Umberto Giordano, La Gioconda d'Amilcare Ponchielli, L'Amore dei tre re de Montemezzi et La Vestale de Gaspare Spontini représenté au Mai Musical Florentin en 1933. Rosa Ponselle avec Caruso dans La Forza del Destino de Giuseppe Verdi. Noté /5. Fast and free shipping free returns cash on delivery available on eligible purchase. Sa sœur Carmela, mezzo-soprano, née à Schenectady le 7 juin 1888 et morte le 13 juin 1977 à New York, a d'abord chanté dans le vaudeville et le music-hall avant d'interpréter des opéras dans des compagnies itinérantes et de chanter au Met, épisodiquement, de 1925 à 1935 dans les rôles d'Amnéris d’Aïda, d’Azucena dans Le Trouvère de Verdi et dans celui de Santuzza de Cavalliera Rustica de Mascagni. Cuenta y Listas Cuenta Devoluciones y Pedidos. Son père est boulanger et ne s'intéresse pas particulièrement à la musique. He arranged an audition for the Met's general manager, Giulio Gatti-Casazza, who offered Rosa a contract for the 1918/1919 season. Po There is a particularly moving and very freely rendered performance of the aria "Senza Mamma" from Suor Angelica. In spite of a great popular success with the role, for which she had prepared meticulously, Ponselle received a drubbing from most of the New York critics, especially Olin Downes in the New York Times, whose savagely caustic review hurt Ponselle deeply. Ensuite, elle étudie à New York avec William Thorner, un professeur à la mode. soprano. The breakup was traumatic for Ponselle, and she suffered a nervous breakdown. If you can improve it, please do. Retrouvez [(Rosa Ponselle: A Centenary Biography )] [Author: James A. Drake] [Mar-2003] et des millions de livres en stock sur Amazon.fr. Rosa Ponselle A Centenary Biography (Opera Biography Series, No. She was born Rosa Ponzillo on January 22, 1897, in Meriden, Connecticut, the youngest of three children. In the following Met seasons, Ponselle's roles included the lead soprano roles in La Juive (opposite Caruso's Eléazar, his last new role before he died), William Tell, Ernani, Il trovatore, Aida, La Gioconda, Don Carlos, L'Africaine, L'amore dei tre re, Andrea Chénier, La vestale, and in 1927 the role that many considered her greatest achievement, the title role in Bellini's Norma. She was a natural-born singer and launched a career first in Vaudville, where she was working in 1918, when Enrico Caruso discovered her and persuaded her to join the Metropolitan Opera. As in London, the audiences were wildly enthusiastic. New York Times critic James Huneker wrote: "...what a promising debut! This article has been rated as C-Class. … Her parents were Italian immigrants from Caiazzo, near Caserta. American soprano vocalist (Meriden, Connecticut, January 22, 1897 – Villa Pace, near Baltimore, Maryland, May 25, 1981). , Metropolitan Opera debut and early operatic career, Appearances abroad and later operatic career, Bernheimer, Martin (1992). One of greatest sops. Au début de l'année 1918, elle rencontre fortuitement Caruso qui, impressionné par sa voix, la présente à Gatti-Casazza, le directeur du Metropolitan Opera (Met) qui l'engage à l'essai pour une saison dans le rôle de Léonore pour la première de La forza del destino de Verdi en lui disant : « C'est la première fois que j'engage une artiste américaine sans qu'elle ait fait au préalable ses preuves en Europe, si vous réussissez, vous ouvrirez les portes à d'autres chanteurs américains. . Even today, her recordings keep her influence alive in the Italian repertory. It was a dramatic soprano that seemed to move seamlessly from the low notes of a contralto to a dazzling high C. She had coloratura flexibility, a splendid trill, powerful fortes, delicate pianissimos and precise intonation. Of particular interest among the Columbia discs are three duets she made with Carmela of some of their vaudeville hits, including a version of "Comin' Thro' the Rye" that features an elaborate coloratura cadenza that would not be out of place in Bellini's Norma but sounds a bit strange in the Scottish Highlands. The only roles Ponselle sang during her last two seasons at the Met were Santuzza and Carmen, roles that did not tax her upper register. Between 1915 and 1918, the Ponzillo Sisters (also known as "Those Tailored Italian Girls") became a headlining act on the Keith Vaudeville Circuit, appearing in all the major Keith theaters and earning a substantial income in the process. She is buried in nearby Druid Ridge Cemetery. Her last operatic performance was as Carmen on April 22, 1937, in a Met tour performance in Cleveland. Ponselle's live recordings also include many songs and arias from her radio concerts. Comments by associates paint Rosa Ponselle as a classic diva, capricious in business dealings (most notably when she abruptly retired in 1937), capable of responding with fury to perceived disloyalty, bitingly honest in her assessment of her own and others' work. Rosa Ponselle (January 22, 1897 – May 25, 1981) was an American operatic soprano. Rosa Ponselle dans Le Roi d'Ys d'Édouard Lalo. , Ponselle sang often on the radio in the early 30s, and she generally had her broadcasts recorded on 78 rpm Acetate discs. CDN$ 89.35: CDN$ 15.61 : Hardcover CDN$ 24.08 16 Used from CDN$ 15.61 8 New from CDN$ 89.35 Customers who bought … Rosa Ponselle was born to Neapolitan immigrants in Conneticut. (W.J. As a teenager, she teamed with her sister Carmela to form a vaudeville act which included classical as well as popular songs. In 1931 she sang in another unsuccessful world premiere, Montemezzi's La notte di Zoraima, which sank without a trace. Under his baton, Ponselle made 44 discs for Columbia, including arias from many operas in which she never sang, such as Lohengrin, Tosca, La bohème, Madama Butterfly, and I vespri siciliani. the Doubleday biography of the Great Ponselle . Ponselle's recording career began with the acoustic horn, continued with electric recording, and ended on magnetic tape. First sang in cinemas and in vaudeville act with her sister Carmella. Amer. They show that Ponselle's voice was in magnificent condition even at age 57, with extraordinary richness and depth (including a low D in Der Tod und das Mädchen). Download the eBook Rosa Ponselle - A Centenary Biography (Hardcover) (Opera Biography) in PDF or EPUB format and read it directly on your mobile phone, computer or any device. This was confirmed in 1954, when RCA Victor came to Villa Pace and recorded Ponselle singing a wide variety of songs. Outside the USA, Ponselle sang only at Covent Garden in London (for three seasons) and in Italy (in order, so she said, to honor a promise she had made to her mother that she would one day sing in Italy). She also recorded several ensembles, including the complete Tomb Scene from Aida with Giovanni Martinelli, "Mira, o Norma" with Marion Telva, the Adalgisa of her first Normas in 1927, and a trio from La forza del destino with Martinelli and Ezio Pinza. Parmi ses élèves se trouve le baryton-basse James Morris. Biography by Richard LeSueur. En 1936, elle essuie un refus des directeurs du Met, pour monter Adrienne Lecouvreur de Francesco Cilea. Three years later, in 1915, Carmela brought Rosa to audition for her vaudeville agent. Rosa Ponselle (January 22, 1897 – May 25, 1981) was an American operatic soprano. Sa voix, d'une exceptionnelle richesse, en fait l'une des plus grandes cantatrices de l'histoire du chant. Prueba For the next two decades, her voice of unparalleled beauty and power continued to mesmerize audiences. She had great success and was tumultuously acclaimed by the normally staid London audiences. Rosa Ponselle made her Metropolitan Opera debut on November 15, 1918, just a few days after the Great War had finished, as Leonora in Verdi's La forza del destino, opposite Caruso. Albums include Ponselle - Prima Voce [with Giovanni Martinelli, Ezio Pinza, Marion Telva], Songs and Operettas (1918-1939), and Prima Voce: Divas - 1906-1935. She was universally lauded for opulence of tone, evenness of scale, breadth of range, perfection of technique and communicative warmth. Achetez neuf ou d'occasion Her success was such that she considered an engagement at Milan's La Scala, but after witnessing a Florence audience's brutal treatment of a famous tenor, Giacomo Lauri-Volpi, who cracked on a high note, she decided not to press her luck further with the notoriously difficult Italian opera-going public. Achetez neuf ou d'occasion Up until that time, her career had been concentrated entirely in America. A tour of the West coast included an appearance at the Lobero Theatre in Santa Barbara on March 14, 1927 in the Artist Series of the Community Arts Association's Music Branch, accompanied by pianist Stuart Ross. Amazon Price New from Used from Hardcover "Please retry" CDN$ 24.08 . Although Victor was the much more prestigious label, and the one for which Caruso recorded, Ponselle was advised by William Thorner and his assistant and accompanist, Romano Romani, to sign a contract with Columbia because she would become the company's leading soprano and not just one in a stable of great singers at Victor. La dernière modification de cette page a été faite le 1 novembre 2020 à 23:21. She hated school, but soon found joy in music, first by imitating her older sister Carmela’s piano playing and singing. There are five complete opera performances from the Metropolitan Opera radio broadcasts: Don Giovanni (1934), La traviata (1935), and three performances of Carmen (28 March 1936 Boston, 9 January 1937 New York and 17 April 1937 Cleveland). The centennial of the great American soprano's birth brings a gossipy yet affectionate biography. A variety of factors contributed to this: her receding upper register, which made singing her signature roles increasingly nerve-wracking; her bitterness over the Met management's refusal to accede to her requests regarding repertoire (she wanted to sing Cilea's Adriana Lecouvreur, another part with a congenial low tessitura, and general manager Edward Johnson said no); mental and physical exhaustion, after a non-stop, intense 21-year career with continual bouts of performance nerves; her marriage in 1936 to Baltimore socialite Carle Jackson; and her enjoyment of the relaxed life she now had without the demands of performing. Soon afterward, Thorner persuaded the great tenor Enrico Caruso, star of the Metropolitan Opera, to his studio to hear Carmela and Rosa sing. Rosa Ponselle Biography, Age, Height, Net worth, Son, Daughter, Family Rosa Ponselle (January 22, 1897 – May 25, 1981) was an American operatic soprano. ", "Casta diva", and the two arias from La vestale. Elle est issue d'une famille d'émigrés italiens. Free delivery on qualified orders. In 1954 she made a few private song recordings, later released commercially, revealing a still opulent voice of darkened timbre and more limited range.. Martin Bernheimer, writing in The New Grove Dictionary of Opera, had this to say about Ponselle's voice and recordings: Ponselle's voice is generally regarded as one of the most beautiful of the century. Instead, her early prowess as a piano student (which was cultivated by a local music teacher, Anna Ryan, the organist of a nearby Catholic church), seemed to incline Rosa to instrumental rather than vocal music. Rosa Melba Ponzillo, dite Rosa Ponselle, née le 22 janvier 1897 à Meriden (Connecticut) et morte le 25 mai 1981 à Baltimore (Maryland), est une soprano américaine d'origine italienne. Un article de Wikipédia, l'encyclopédie libre. Puis elle travaille notamment les œuvres de Giuseppe Verdi, son auteur préféré. In spite of being markedly overweight (a stark contrast to the fashion-model physique of her older sister), Rosa impressed with her voice, and she was hired to perform with Carmela as a "sister act". Drake , who DID Not know Ponselle , having only visited her less than five times during the last few years of her life in Baltimore , relied on Elayne Duke and Hugh Johns to shepherd him through the first biography and arrange for his very few and unannounced visits to her home . Henderson complained of her "assaults" on the vocal line.) In 1930 she sang her first New York appearances in 1931 as Violetta, a role she had sung with such success in London, received a more mixed reception from the New York critics, some of whom found her interpretation too forceful and dramatic. Other than her appearances in London and Florence, Ponselle never sang outside the United States. But with the influence and example of her older sister, Carmela, who was then pursuing a career as a cabaret singer, Rosa began to augment her engagements as a silent-movie accompanist in and around Meriden by singing popular ballads to her audiences while the projectionist changed film reels. Like many other opera singers of that time, she made a brief trip to Hollywood and made screen tests for Metro-Goldwyn-Mayer and Paramount Pictures, but nothing came of them. The sisters' act consisted of traditional ballads, popular Italian songs, and operatic arias and duets. One of Ponselle's regrets about signing with Columbia was that it deprived her of the opportunity to record with Caruso, who was an exclusive Victor artist. By 1914, her reputation as a singer led to a long-term engagement at the San Carlino theater, one of the largest movie houses in New Haven, near the Yale campus. Ponselle, a singer's life by Rosa Ponselle, 1982, Doubleday edition, in English - 1st ed. 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