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2024-04-28
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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.
Verdi Schonberg Antonio Scotti Wilfrid Pelletier Giovanni Martinelli Donizetti San Carlo Opera Company Chicago Opera Company Lyric Opera Chicago 1884 1914 1919 1921 1929 1934 1941 1942 1944
Here at last is the reverse side of a record I uploaded some weeks ago, a well-played and well-recorded version of a fantasy on 'Aida,' recorded on 11 February 1929. Harold Schonberg wrote that 'the marches and ballet music of the second act can be listened to, these days, at best with indulgence,' but the music remains popular! In transferring this disc, I have kept the sound rather open. The record is in remarkably good condition, and the only real problem is a small amount of not-too-distracting thumping right at the beginning of the disc. As an experiment, I will follow this upload with another transfer of the same recording! From Wikipedia: Carlo Peroni (1884, Rome - March 12, 1944, New York City) was an Italian opera conductor who served as the musical director of Fortune Gallo's San Carlo Opera Company (SCOC) from 1921 until his death 23 years later. With that company he performed in almost every major city in North America, typically conducting 8 opera performance a week eight months out of the year. In 1934, upon Peroni's 500th performance with the SCOC, The New York Times declared that he had conducted more grand opera performances in North America than any conductor in history. Peroni studied music at the Accademia Nazionale di Santa Cecilia. He began working as a musician and music teacher at a young age, and by the age of 13 his wages from teaching piano and harmony was the primary source of income for his family. At the age of 15 he began conducting, leading a 30 piece boys band in Rome. In 1914 he immigrated to the United States where his career was largely centered for the rest of his life. He served in the United States Navy during World War I, after which he worked as a conductor for Antonio Scotti's touring company the Scotti Opera Company from 1919-1921. Wilfrid Pelletier was notably his assistant at the Scotti Opera. Peroni was admired for his photographic memory. He often conducted without a score and was said to have completely memorized the complete scores to more than 70 operas. In 1929 he conducted several arias with Giovanni Martinelli for some of the last recordings made by Edison Records. He also served as director of the Chicago Opera Company from 1941-1942 and continued to collaborate with that company periodically up until his death. The last performance he conducted was an SCOC performance of Donizetti's Lucia di Lammermoor at the Academy of Music in Philadelphia in February 1944. After his death in a month later in New York City at the age of 59, he was succeeded by Nicola Rescigno, who later founded the Lyric Opera of Chicago, as musical director of the SCOC.
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.
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- Compagnies d'opéra (Amérique du Nord).
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