Bessie Abott Vidéos
actrice américaine
- soprano
- opéra
- États-Unis
- artiste lyrique, acteur ou actrice de théâtre
Dernière mise à jour
2024-04-30
Actualiser
Bessie Abbott Hölle Enrico Caruso Abbott Diana Damrau Florence Foster Jenkins Jenkins Grand Opera House 1906 1907
Mozart: Magic Flute: “Gli angui d’inferno” (Queen of the night aria) by Bessie Abott 1907 Original title: Mozart: Die Zauberflöte: Der Hölle Rache This 1907 acoustic recording was sung one full tone low to •••@••• rpm according to the DAHR database. I have read that elsewhere as well. I suppose the high F was a challenge, as it remains today, for many singers. The lower key takes some of the sparkle away from the flute like head tones the soprano makes. Why it was sung in Italian at this time when German opera was still a big thing in New York City strikes me as odd. But, it is still an interesting and early recording from a major American opera artist. An interesting happening from a year before this recording was made is that she sang in a production of Carmen with Enrico Caruso in San Francisco's Grand Opera House the night before the 1906 San Francisco earthquake. DAHR Link: (http•••) Bessie Abbott Wikipedia Link: (http•••) Perhaps the best version of Der Hölle Rache ever recorded by German Soprano Diana Damrau: (http•••) For sure the WORST version of Der Hölle Rache ever recorded by Florence Foster Jenkins: (http•••) Queen of the night aria Wikipedia LinK: (http•••)
Bessie Abott Arditi 1878 1908 1919
Anonimo/Arditi “PARLA” Soprano BESSIE ABOTT Heuvelton (New York) 1878 - New York 9.2.1919
Mattiwilda Dobbs Jacques Offenbach Hoffmann Jean Morel Morel Nicolai Gedda Marian Anderson Leonard Warren Jan Peerce Eames Bessie Abott Hilde Gueden Bizet René Leibowitz Mozart Menuhin Maschera Birgit Nilsson Richard Tucker Doll Simoneau Konya Thomas Stewart Kraus Rossignol Stravinsky Rossini Sereni Callas Sutherland Hume Olympia Scala San Francisco Opera 1925 1952 1953 1956 1957 1958 1959 1962 1974 2015
Please open the bar to read more about this artist! Mattiwilda Dobbs, Soprano +••.••(...)) Jacques Offenbach LES CONTES D´HOFFMANN Les oiseaux dans la charmille Conducted by Jean Morel (Live recording 1959) My personal opinion: In December 1958, the African-American coloratura soprano Mattiwilda Dobbs sang the first of three performances as Olympia in LES CONTES D´HOFFMANN at the Met. Her partner was swedish tenor Nicolai Gedda. By a funny coincidence, both singers were born on July 11 in 1925. Dobbs came to the Met one year after Marian Anderson, the first black soloist. Dobbs´ first role was Gilda in RIGOLETTO (with Leonard Warren and Jan Peerce), the beginning of a long-term contract offered by Sir Rudolf Bing. After the performance, US-writer and photographer Carl van Vechten wrote, that she was "glorious: A warm and brilliant coloratura and the best Gilda in my experience, and I have heard Melba, Eames and Bessie Abott. And Hilde Gueden who always leaves me cold as a sardine in the icebox!" Dobbs sang Gilda twelve times at the Met. Dobbs´ soprano was small, but her vocal technique was refined and her interpretations very lively. She was predestinated to sing all this young lyrical opera girls. On records you can find her as Leila in Bizet´s PEARL FISHERS (enervating because of René Leibowitz´ unconventional conducting. He also was the conductor who gave us the most awful BALLO-recording ever. You must hear it to believe it!) and Cathérine in the rare opera LA JOLIE FILLE DE PERTH by the same composer, ZAIDE and Konstanze by Mozart (in an english sung performance of THE ABDUCTION OF THE SERAGLIO with Gedda under Menuhin), Zerlina in DON GIOVANNI and Oscar in UN BALLO IN MASCHERA opposite Birgit Nilsson and Richard Tucker. But her signature role was the doll Olympia with all the sparkling coloraturas: We have three live- recordings from the late 1950s with Simoneau, Gedda and the unknown David Garen as Hoffmann - and a 1962 highlights-version (with Sandor Konya as Hoffmann and Thomas Stewart as the villains under Richard Kraus. In this version, the german pronunciation is a problem for all performers). After winning an international music competition in Switzerland, Mattiwilda Dobbs made her operatic debut as LE ROSSIGNOL by Stravinsky in 1952. She quickly sang at major festivals and opera houses throughout Europe and came to the Glyndebourne Festival as Zerbinetta in 1953. She was Elvira in Rossini´s L´ITALIANA IN ALGERI at La Scala - the first time a black artist ever sang there. Other stations soon followed: London, Paris, Vienna, Hamburg and Stockholm. At the Met she was the first black LUCIA DI LAMMERMOOR on December 21, 1957 (with Tucker and Sereni). She also sang at the San Francisco Opera. In 1974 she retired from the stage. She was married twice, but sadly both husbands died prematurely. Although critics praised her freshness and agility (her voice often was compared to the clear and resonant sound of a bell), it may be, that her singing delighted not everyone´s ear. It was a crystal clear, but also quivering singing, sometimes a little bit hectic. Again Carl van Vechten, who assumed, that if Dobbs has not received the popular attention her voice and accomplishments deserve, it is likely that she has been overlooked only because of the abundance of fine singers who were her contemporaries. "Sandwiched between the debuts of Anderson and Price, Dobbs' bow at the house in 1956 was greeted warmly but inevitably overshadowed." "Opera News" critic Ira Siff has said. "The impact was perhaps reduced even more by the advent of the big-voiced coloratura, personified by Callas (who arrived at the Met a few weeks before Dobbs) and later by Sutherland." Still, Dobbs is often celebrated for what Paul Hume has called the "singular purity and radiant texture" of her voice. Mattiwilda Dobbs died on December 8, 2015 aged 90.
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