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). Retrouvez [(Rosa Ponselle: A Centenary Biography )] [Author: James A. Drake] [Mar-2003] et des millions de livres en stock sur Amazon.fr. Rosa Ponselle has been listed as a level-5 vital article in People, Musicians. Many of these have been released since on LP and CD. ), American coloratura soprano of great breadth of range and expressive ability, who is probably best known for her performance in the title role of Vincenzo Bellini’s Norma. Shortly before her Metropolitan Opera debut in 1918, Ponselle signed a 5-year contract with the Columbia Graphophone Company. Ponselle later said that she never missed performing after she retired. [citation needed]. In her final London season in 1931, she sang in La forza del destino, Fedra (an opera by her coach and long-time friend, Romano Romani), and a reprise of La traviata. She hated school, but soon found joy in music, first by imitating her older sister Carmela’s piano playing and singing. Ponselle made no studio recordings after 1939. Retrouvez Rosa Ponselle: A Centenary Biography et des millions de livres en stock sur Amazon.fr. As a teenager, she teamed with her sister Carmela to form a vaudeville act which included classical as well as popular songs. 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. On Monday, a performance of Samson et Dalila, with Enrico Caruso and Louise Homer in the title roles, opened the Metropolitan's thirty-fifth season. Three years later, in 1915, Carmela brought Rosa to audition for her vaudeville agent. 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. Over her career, she made 166 commercial recordings (not including alternate takes), either in the studio or at Villa Pace. Caruso was usually wary when asked to listen to amateur singers, but was deeply impressed with Rosa's voice. Ensuite, elle étudie à New York avec William Thorner, un professeur à la mode. 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. All her Columbia discs were acoustical recordings. Rosa Ponselle (January 22, 1897 – May 25, 1981) was an American operatic soprano. Rosa Ponselle's place as one of the century's great singers was destined from the moment of her 1918 debut, opposite Enrico Caruso, in the Metropolitan Opera premiere of La forza del destino. Among her electrical Victor records, Ponselle's most admired titles include "Pace, pace mio Dio", "Suicidio! 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. of cent. Soon afterward, Thorner persuaded the great tenor Enrico Caruso, star of the Metropolitan Opera, to his studio to hear Carmela and Rosa sing. Amazon Price New from Used from Hardcover "Please retry" CDN$ 24.08 . Hola, Identifícate. Achetez neuf ou d'occasion 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. 9) by James A. Drake. Added to her personal attractiveness, she possesses a voice of natural beauty that may prove a gold mine; it is vocal gold, anyhow, with its luscious lower and middle tones, dark, rich and ductile, brilliant in the upper register."[1]. 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 breakup was traumatic for Ponselle, and she suffered a nervous breakdown. She was born Rosa Ponzillo on January 22, 1897, in Meriden, Connecticut, the youngest of three children. "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. Rosa Ponselle. Up until that time, her career had been concentrated entirely in America. Ponselle did not consciously or purposely retire after that Cleveland Carmen in 1937; she just let her career slip away. Après cinq mois, elle prend le nom de Rosa Ponselle et elle débute le 15 novembre 1918 aux côtés de Caruso avec un trac fou qui ne la quittera jamais. Néanmoins, dès l'âge de 10 ans, elle chante avec sa sœur aînée, Carmela, dans les cinémas, théâtres et cafés-concerts des petites villes. There is a particularly moving and very freely rendered performance of the aria "Senza Mamma" from Suor Angelica. This article has been rated as C-Class. "[2] Hughes quotes Harold C. Schonberg who wrote in 1972, "That big, pure colorful golden voice would rise effortlessly, hitting the stunned listener in the face, rolling over the body, sliding down the shoulder-blades, making one wiggle with sheer physiological pleasure."[2]. Publisher: Amadeus, 2003. ». 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. Sang at Met 1918–37, CG 1929–31. 4 avg rating • (7 ratings by Goodreads) Hardcover ISBN 10: 1574670190 ISBN 13: 9781574670196. He arranged an audition for the Met's general manager, Giulio Gatti-Casazza, who offered Rosa a contract for the 1918/1919 season. [citation needed], Metropolitan Opera debut and early operatic career, Appearances abroad and later operatic career, Bernheimer, Martin (1992). Noté /5. One of greatest sops. Parmi ses élèves se trouve le baryton-basse James Morris. Henderson complained of her "assaults" on the vocal line.) 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. 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". In 1929, Ponselle made her European debut in London, at the Royal Opera House at Covent Garden. In 1954 she made a few private song recordings, later released commercially, revealing a still opulent voice of darkened timbre and more limited range.[3]. 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. Read the Review . In addition to Leonora, Ponselle's roles in the 1918/19 season included Santuzza in Cavalleria rusticana, Rezia in Weber's Oberon, and Carmelita in the (unsuccessful) world premiere of Joseph Carl Breil's The Legend. Amazon.in - Buy Rosa Ponselle: A Centenary Biography (Amadeus) book online at best prices in India on Amazon.in. Achetez neuf ou d'occasion Many of these attributes are convincingly documented on recordings. Buy Rosa Ponselle: A Centenary Biography by Drake, James A. online on Amazon.ae at best prices. Her parents were Italian immigrants from Caiazzo, near Caserta. At Caruso's suggestion, although she had never sung in opera, was engaged for Leonora in La forza del destino, NY Met 1918. Noté /5. (W.J. Puis elle travaille notamment les œuvres de Giuseppe Verdi, son auteur préféré. Rosa Ponselle dans Le Roi d'Ys d'Édouard Lalo. By JAMES A. DRAKE Amadeus Press. In the annals of the Metropolitan Opera, the second week of November 1918 has more than a passing significance. In 1918, Carmela and Rosa demanded a substantial fee increase from the Keith Vaudeville Circuit, as a result of which their act was dropped. Rosa Ponselle (January 22, 1897 – May 25, 1981) was an American operatic soprano.. 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 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. Ponselle's contract with Columbia Records expired in 1923, and she immediately signed with the Victor Talking Machine Company. 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. … 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. 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. Po Ponselle continued in the 1930s to add roles to her repertoire at the Metropolitan Opera. 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. 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. Wait Till You Hear Her! Ponselle's live recordings also include many songs and arias from her radio concerts. 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). The sisters' act consisted of traditional ballads, popular Italian songs, and operatic arias and duets. 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. 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. Differences with the Met management regarding repertoire led her not to renew her contract with the company for the 1937/38 season. Romani, a young composer whose opera Fedra had earned favorable attention in Italy, was conducting recording sessions for Columbia at the time. Ponselle died at her estate, Villa Pace near Baltimore, on May 25, 1981, aged 84, after a long battle with bone marrow cancer. Son père est boulanger et ne s'intéresse pas particulièrement à la musique. Cliquez sur une vignette pour l’agrandir. This was confirmed in 1954, when RCA Victor came to Villa Pace and recorded Ponselle singing a wide variety of songs. Elle se retire dans sa Villa Pace, qui est devenue, depuis, le musée Rosa Ponselle. the Doubleday biography of the Great Ponselle . Her debut occurred in Verdi's "La Forza del Destino" as Leonora. 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. Rosa Ponselle discography and songs: Music profile for Rosa Ponselle, born 22 January 1897. Hello Select your address Best Sellers Today's Deals Electronics Customer Service Books New Releases Home Gift Ideas Computers Gift Cards Sell Elle est une bonne Donna Anna dans son seul rôle mozartien mais une Carmen déplorable qui représente son seul échec. Amer. 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. Rosa Ponselle (January 22, 1897 – May 25, 1981) was an American operatic soprano. Rosa Ponselle, original name Rosa Melba Ponzillo, (born Jan. 22, 1897, Meriden, Conn., U.S.—died May 25, 1981, Baltimore, Md. Cette même année, elle épouse le fils du maire de Baltimore, C. Jackson. For the next two decades, her voice of unparalleled beauty and power continued to mesmerize audiences. Rosa Ponselle avec Caruso dans La Forza del Destino de Giuseppe Verdi. [citation needed], Ponselle sang often on the radio in the early 30s, and she generally had her broadcasts recorded on 78 rpm Acetate discs. Prueba Rosa Ponselle discography and songs: Music profile for Rosa Ponselle, born 22 January 1897. Genres: Opera, Operetta. Elle ne chante qu'une seule fois avec sa sœur Rosa dans La Gioconda d'Amilcare Ponchielli. Her marriage to Jackson was rocky and they divorced in 1949. Discography of American Historical Recordings, Temple de la renommée des femmes du Connecticut, https://fr.wikipedia.org/w/index.php?title=Rosa_Ponselle&oldid=176148962, Catégorie Commons avec lien local différent sur Wikidata, Article de Wikipédia avec notice d'autorité, Page pointant vers des bases relatives à la musique, Article contenant un appel à traduction en anglais, licence Creative Commons attribution, partage dans les mêmes conditions, comment citer les auteurs et mentionner la licence. 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. Rosa Ponselle A Centenary Biography. Thorner auditioned Rosa, and agreed to give her lessons. Furieuse, elle démissionne et fait ses adieux au public dans Carmen en 1937. Read Rosa Ponselle: A Centenary Biography (Amadeus) book reviews & author details and more at Amazon.in. See all formats and editions Hide other formats and editions. In her obituary, Allen Hughes wrote in The New York Times, "Miss Ponselle made an indelible impression through the impact of her phenomenal voice. Although initially less impressed with Rosa's future prospects than with Carmela's, Thorner changed his opinion after the legendary baritone Victor Maurel, whom Giuseppe Verdi had chosen to create Iago in Otello, auditioned both sisters at his friend Thorner's request. 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. Free delivery on qualified orders. 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. These are supplemented by live recordings from the 1930s, which include three complete operas and numerous songs and arias from her appearances on radio. 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 … At the time, Carmela was studying in New York with a well-connected voice teacher/agent named William Thorner. In addition to her operatic activities, which were centered at the Met, Ponselle had a lucrative concert career. Rosa Ponselle: A Centenary Biography (Amadeus) Drake, James A. Cuenta y Listas Cuenta Devoluciones y Pedidos. Après son divorce en 1950, elle prend la direction du Civic Opera de Baltimore en 1951 et elle enseigne. One of the leading operatic voices of the 20s-30s, Ponselle performed in several operas including Oberon, The Legend, and La Traviata. PHOTOGRAPH de Ponselle, Rosa et d'autres livres, articles d'art et de collection similaires disponibles sur AbeBooks.fr. In 1935, Ponselle sang her first Carmen at the Met. Ponselle, with piano accompaniment by conductor Igor Chichagov, recorded alternate versions of 53 songs, many of which were released on two LP discs, Rosa Ponselle Sings Today and Rosa Ponselle in Song. 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. New York Times critic James Huneker wrote: "...what a promising debut! 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. The April 1937 Carmen is the Cleveland tour performance that was Ponselle's farewell to the operatic stage. She was universally lauded for opulence of tone, evenness of scale, breadth of range, perfection of technique and communicative warmth. Compre o livro Rosa Ponselle: A Centenary Biography na Amazon.com.br: confira as ofertas para livros em inglês e importados Rosa Ponselle: A Centenary Biography - Livros na Amazon Brasil- … ’ s piano playing and singing the acoustic horn, continued with electric recording, and the arias!, des airs tirés de comédies musicales à Broadway L'amore dei tre re and! From 1923 until mid-1925 are all acoustics ; Victor began electrical recording in March,.... 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