Nicks's voice, a strange, quivering contralto, gives her songs unexpected weight.
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Martin Luther King Jr.'s thundering oratory and Marian Anderson's unforgettable contralto.
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"I'm not really interested in pleasing," she said in her teasing contralto.
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Why wouldn't a lavishly gifted young contralto shout her arrival from the rooftop?
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But no singer seems to have influenced Whitman more than Alboni, the contralto.
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Ms. Amereau seems well on her way to taking a place beside them in contralto history.
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A soprano, contralto and countertenor—ie, two female singers and one male—give voice to others.
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Avery Amereau, a mezzo-soprano with stunning contralto richness and depth, was superb in the alto arias.
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Never mind that the African-American contralto Marian Anderson made her Carnegie Hall debut roughly 193 years earlier.
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"We stand side by side/Till the storms of life pass us by," Baker sings in her shimmering contralto.
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As Noisey has noted, her husky, earthy contralto is the inevitable eye of any musical tempest she tosses herself into.
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Her new book is another brief manifesto, and it is easy to imagine her speaking it in the same contralto.
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With her warm, smoky tone, the contralto Delphine Galou fit well into this program, with its focus on dark solo voices.
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"I definitely want to become No. 1 in the world and win every Grand Slam," she said in her contralto, measured voice.
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The legendary vocalist, who died in 1990, had a chocolate-mousse contralto that dipped into bass territory and soared to birdlike highs.
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As a high school student, he attended a recital in Morristown, N.J., by the great English contralto Kathleen Ferrier that proved pivotal.
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Music was her life's connective tissue; she spent decades after her Velvet Underground moment as a solo performer, writing and performing in her bewitching contralto.
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Polinesso (like Ariodante, a trouser role, here nailed by the hearty contralto Sonia Prina), sensing opportunity, feigns love for Dalinda in an audaciously manipulative aria.
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Ms. Marjane's warm contralto and intimate, impassioned delivery made her one of the great music-hall stars of Paris, a rival to the legendary Mistinguett.
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The contralto voice represents the wailing of the mothers who have lost their children, and the soprano represents the children who have vanished into the hill.
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The rapper Drake sampled Hill's "Ex-Factor" in "Nice for What," his recent paean to women's empowerment, speeding up Hill's languid contralto into a cute, bouncy refrain.
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She was a contralto singer, that could hit notes like Minnie Rippleton and come back down and hit a note like Melvin Franklin from The Temptations. Ha-ha.
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J.P. "Am I gonna be a witness?" sings Mavis Staples in the unmistakable husky contralto that has more than half a century of civil-rights advocacy behind it.
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The plush-voiced contralto Marie-Nicole Lemieux had a notable Met debut in the small but crucial role of Geneviève, the wistful mother to both Golaud and Pelléas.
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It was hard to take eyes off Brittany Howard; with her immaculate white dress and powerful contralto voice, I can't imagine anyone not being swept away by her presence.
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Her voice seesaws between soprano girlish affection and contralto hostility in a single sentence, and more than other Marys I've seen, she is endowed with a robust, uneasy sensuality.
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They were treated to an impromptu concert by the contralto Marian Anderson, who sang "Comin' Through the Rye" accompanied by their great-grandmother Sara Delano Roosevelt's out-of-tune piano.
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"Suddenly," one of the two songs featuring Mering, is an ultra-smooth mix of glassy piano and warm saxophone that could pass for Supertramp if it weren't for Mering's smoky contralto.
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He grew to idolize divas and claimed to have never missed a New York appearance by the Italian contralto Marietta Alboni, who "roused whirlwinds of feeling within me," he later recalled.
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I'm thinking especially of the contralto Sara Mingardo, too little known in this country, whose voice is like soft, moist, dark earth and whose dignity and tenderness made Ottone's melancholy magnetic.
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He used a Box Brownie Six-16 camera, which he had received for his 13th birthday, to take pictures of Marian Anderson, the African-American contralto, when she visited his school.
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ContrAlto appeared, in my brief testing, to work quite well — games and apps loaded up, though, of course, some crashed, owing to my not knowing the boot order of this or that.
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You don't need to know the title translates to God Is Woman to register how Soares's no longer curvaceous contralto makes the lyrics sound skeptical and soul-deep at the same time.
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In 1939, the opera singer Marian Anderson, the "colored contralto," was refused a performance space at Constitution Hall in Washington D.C., so she performed on the steps of the Lincoln Memorial instead.
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It may not be the return of the Bayreuth Festival, but at the very least, Prototype Festival has the potential to do for contralto connoisseurs what small-batch vinyl presses did for audiophiles.
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If the contralto field might seem the ultimate seller's market, it is also relatively small, and, versatile as she is, Ms. Amereau fears that being pigeonholed as an alto might limit her opportunities.
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But all this texture needs the melodic anchor provided by lithe power contralto Hawa Diabate, daughter of the renowned Kassé Diabate in a culture where music is a vocation passed generation to generation.
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" She became well-known for her arrangements of spirituals; the great contralto Marian Anderson closed her historic 1939 concert at the Lincoln Memorial with Price's arrangement of "My Soul's Been Anchored in De Lord.
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Five weeks before "Young Mr. Lincoln" opened, the contralto Marian Anderson, who had been forbidden to perform at Constitution Hall, sang instead at the Lincoln Memorial, crystallizing the monument's association with freedom and civil rights.
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In an all-Vivaldi program of works featuring solos for bassoon, cello and contralto, the players toyed with the tempo as if it were putty, stretching and compressing it to heighten the music's impatience, pathos or humor.
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Miss Prism (the wonderful contralto Hilary Summers), charged with tutoring Cecily in German but more interested in reading her copy of "Fifty Shades of Grey," had her own, much more voluptuous, setting of the same Schiller text.
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But she has long since carved her own path, showcasing her rich, smoky contralto in traditional R&B numbers with jazz influences — she's worked with Robert Glasper, Snarky Puppy and Esperanza Spalding in the past few years.
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Enter Dr. Beatrice Armstrong: the name given here to the role of Testo, the narrator of the oratorio, previously sung by a man (as all the parts were) but now taken up by the contralto Sara Couden.
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But Mr. Fontana typically presents as a lyric tenor, not a contralto, and he has never worn women's clothes before, except once, in the 8th grade, when he skirted up as a cheerleader for a school skit.
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"Her voice, a rich contralto with a baritone resonance, is so commanding that when a song's attitude is combative, she can scare you," Stephen Holden wrote in The New York Times in 2007, reviewing her performance at Birdland.
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When the contralto speaks of her love pains, Ms. Axelsen staggers slightly, as if in physical distress; when the two lovers' voices express sadness, the dancers cover their faces and curve forward, as if weighed down by emotion.
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"Le Marteau sans Maître" (1953-55), a setting of poems by René Char for contralto and chamber ensemble, is a work of ominous allure, the singer flitting birdlike within a fluctuating soundscape that suggests clouds forming over chasms.
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Ms. Slick brought with her a fierce vocal style very different from Ms. Anderson's soulful contralto, as well as two songs from the Great Society's repertoire, "Somebody to Love" and "White Rabbit," which would become the band's biggest hits.
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The contralto world, though thinly populated now (beyond the Polish star Ewa Podles), has a distinguished history, which Ms. Amereau first encountered through a recording of Tchaikovsky's "None but the Lonely Heart," by the American Eula Beal, on YouTube.
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Baby Jane Dexter, who captivated cabaret audiences with a booming contralto and, after a decade-long hiatus, returned with heartbreaking and healing performances that transformed her tribulations into teaching moments, died on Tuesday in Englewood, N.J. She was 21990.
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Mr. Hyde has shifted from Concert Royal to the ensemble New York Baroque Incorporated, largely made up of alumni of the Juilliard School's dynamo historical-performance program; he's also provided a showcase for the tremendously gifted young contralto Avery Amereau.
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CAROLINE SHAW Particularly gifted at choral work, this composer has written "The Listeners," a brimming new piece inspired by Carl Sagan, for Nicholas McGegan, his Philharmonia Baroque forces in San Francisco, the contralto Avery Amereau and the bass-baritone Dashon Burton.
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CAROLINE SHAW Particularly gifted at choral work, this composer has written "The Listeners," a brimming new piece inspired by Carl Sagan, for Nicholas McGegan, his Philharmonia Baroque forces in San Francisco, the contralto Avery Amereau and the bass-baritone Dashon Burton.
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At once delectable and stringent, this work united traditions of Austrian-German discipline and French finesse with the sounds of Africa, East Asia and South America, made available by its variegated ensemble; besides contralto voice, it included alto flute, viola, guitar and percussion.
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In an extravagant, register-leaping aria for contralto voice—delivered spectacularly in Ghent by Noa Frenkel, a regular Czernowin collaborator—the woman sings of crawling outside the gate, in search of familiar grasslands, and encountering "something hard and moving" under her feet.
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Her songs often twist Cantopop's formulas in audacious ways, and her voice, though agile in the silvery high register favored by female performers, can shift within a few beats to a forceful, earthy contralto that seems to issue straight from her solar plexus.
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Even though the buzz that followed never translated into massive commercial success, Ms. Lynne remains one of most singular singer-songwriters in country and blues, performing gut-wrenching compositions that show off both her contralto and her mastery of effortless, deeply expressive phrasing.
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Which is no fault of the vocal trio: Kirsten Sollek, with an alluringly full-bodied contralto; Daniel Moody, her male counterpart with a powerful and lucid countertenor; and Christopher Dylan Herbert, a baritone gifted with dramatic nuance and, when needed, hilariously deadpan delivery.
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When Trump, in his signature contralto, told the throng on the Washington Mall that "this American carnage stops right here and stops right now," he wanted to ensure that his audience, however many people that was, enjoyed the full range of his vocal stylings.
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Old Nagg (the tenor Leonardo Cortellazzi) and Nell (the contralto Hilary Summers), stuffed by Beckett into side-by-side ashcans, exist in a sphere of ethereal nostalgia and thread-thin high notes that Ms. Summers, in particular, spins with the eerie softness of elderly skin.
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A radical thinker who became an esteemed figure in the world of classical music, Boulez broke into the limelight in 1955 when 'Le Marteau Sans Maitre' (The hammer without a master) was first performed, setting the poetry of fellow Frenchman Rene Char for contralto and six instrumentalists.
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I walked past "Silenced Voices" panels devoted to Ottilie Metzger-Lattermann, a contralto who sang several roles here in the early 1900s and was killed in Auschwitz, and Hugo Lowenthal, a violinist who played here in 1912 and was later killed in a concentration camp in Poland.
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Chilli, a backing dancer-turned-singer and last to join the group, brought sex appeal and mid-range vocals, Left Eye repped for the tomboys with her rap and T-Boz's contralto vocals underpinned it all, giving their early new jack swing a funk-R&B sensibility too.
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Marian Anderson, the first great black classical contralto, whom the Daughters of the American Revolution would not allow to sing in an unsegregated Constitution Hall, who then was asked by Eleanor Roosevelt to sing at the Lincoln Memorial before thousands was refused a room at the Padre Hotel, Bakersfield.
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On Ms. Murphy's last few albums, including the 2015 release "Hairless Toys," which was nominated for the prestigious Mercury Prize in Britain, she has explored more avant-garde terrain: a compelling mixture of electronic beats and disco grooves with ambient explorations, orchestral strings and the singer's gorgeous, fluttery contralto.
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So — no slight intended toward Ms. Bottoms — it came as a pleasant surprise to hear Ms. Amereau's distinctive voice, with its lovely contralto richness, as Juno: a gift, in fact, since it helped to efface the memory of the ungodly get-up she was saddled with as Narciso in Louisa Proske's wildly uneven production.
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The singers look charming and sing wonderfully: the soprano Ailyn Pérez, in plush voice as Alice; the rich-toned mezzo-soprano Jennifer Johnson Cano, a knowing Meg Page; the impressive contralto Marie-Nicole Lemieux, a plucky Mistress Quickly; and the exquisite soprano Golda Schultz, endearing as Nannetta, Alice's daughter, who pines for young Fenton.
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Umm Kulthum was a contralto. Contralto singers are uncommon and sing in the lowest register of the female voice.Owen Jander, et al. "Contralto". Grove Music Online.
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Gerhild Romberger is a German mezzo-soprano and contralto concert singer.
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From these derive both the modern terms "alto" (and contralto) and "bass".
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Emmy Lisken (born 1939) is a German contralto in opera and concert.
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The American contralto Marian Anderson, She is one of the most famous singers of the 20th century.Jones The contralto voice in opera and classical music has a range which typically lies between the F below middle C (F3) to two Fs above middle C (F5). In the lower and upper extremes, some contralto voices can sing from the E below middle C (E3) to two Bs above middle C (B5).McKinney (1994) The contralto voice has the lowest tessitura of the female voices and is noted for its rich and deep vocal timbre.
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Reid is also known for her expansive vocal range and emotive contralto voice.
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Lurlean Hunter (December 1, 1919 - March 11, 1983) was an American contralto singer.
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Nietzsche), op. 11 for soprano, contralto and bass, mix. choir and orchestra (J.
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Daisy Tapley Contralto, member of the company,-In Dahomey w.-Henri Green Tapley.
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Percy Kahn was married to the contralto Olive Kavann, with whom he also recorded.
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Edna Freda Indermaur (December 21, 1892 - January 10, 1985) was an American contralto singer.
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Acucrack, Headcase, The Killers, Acid Android, and Orbital. Halliday has a contralto vocal range.
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Hildegard Laurich (15 January 1941 – 11 February 2009), was a German classical contralto singer.
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"Contralto" is primarily meaningful only in reference to classical and operatic singing, as other traditions lack a comparable system of vocal categorization. The term "contralto" is only applied to female singers; men singing in a similar range are called "countertenors". The Italian terms "contralto" and "alto" are not synonymous, "alto" technically denoting a specific vocal range in choral singing without regard to factors like tessitura, vocal timbre, vocal facility, and vocal weight. However, there exists some French choral writing (including that of Ravel and Poulenc) with a part labeled "contralto", despite the tessitura and function being that of a classical alto part.
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Alice Joy (born Frances Holcombe) was an American contralto singer in vaudeville and on radio.
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Caroline Meta Buring (1875 – 7 November 1955) was a South Australian contralto and singing teacher.
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Maude had outstanding musical talents. An accomplished pianist, she was also a popular contralto soloist locally.
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Elsbeth Plehn (7 March 1922 – 13 December 2001) was a German operatic contralto and voice teacher.
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Eulalia Pavlovna Kadmina (; 1853, Kaluga — 1881, Kharkov) was a Russian singer, contralto, mezzo-soprano, dramatic actress.
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John Nixon Theodosia Garrow (, previously Fisher; ca. 1770 – 4 November 1849) was an English contralto singer who performed with her sisters, Harriett, Eliza and Jane Abrams. She was considered, with Margaret Kennedy, the leading female contralto of her time, and abandoned a promising career upon her marriage.
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Isabella Fabbrica c. 1830 Isabella Fabbrica (Milan, c. 1802 - Turin, c. 1860) was an Italian operatic contralto.
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She was a contralto member of the D'Oyly Carte Opera Company's choir from August to December 1926.
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She was also trained by her aunt, the famous contralto Charlotte Sainton-Dolby, at her Vocal Academy.
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Irene von Chavanne (1890) Irene von Chavanne (18 April 1863 – 26 December 1938) was an Austrian operatic contralto.
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AnnaMaria Cardinalli (born AnnaMaria Cardinalli-Padilla) (born 1979) is an American military investigator, classical guitarist, and operatic contralto.
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Zamboni's wife, the contralto Marianna Gafforini, was the sister of Elisabetta Gafforini, a prominent singer at La Scala.
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Devora Nadworney, from a 1921 publication. Devora Nadworney (1895 – January 7, 1948) was an American operatic contralto singer.
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Her vocal range is contralto. Macdonald cites Travis as her biggest influence. Other influences include The Killers and Rammstein.
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Her most notable pupil was contralto Eva Gustavson. She died in Sandnes in 1994 at the age of 98.
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Ruby Helder (March 3, 1890 – November 21, 1938) was a British opera singer known for her powerful contralto voice.
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Anna de Belocca Anna de Belocca (née de Bellokh) (4 January 1854 – unknown) was a Russian-born operatic contralto.
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For the 1848 London run of Les Huguenots, Meyerbeer transposed the role of the page "Urbain" 'from soprano to contralto and composed the aria "Non! – non, non, non, non, non! Vous n'avez jamais, je gage" in Act 2' for her.Owen Jander, J.B. Steane, Elizabeth Forbes, Contralto, in S. Sadie, cited, I, p. 934.
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Anna Reynolds (5 June 193024 February 2014) was an English classical mezzo- soprano and contralto singer in opera and concert.
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Contralto Elizabeth Lennox was featured in duets with Rea. Gus Haenschen led the orchestra, with Frank Black at the piano.
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Clara Pasvolsky, from a 1920 newspaper. Clara Pasvolsky (born about 1893 — died after 1952) was a Russian mezzo-contralto singer.
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Anna Larsson is a Swedish contralto (2015). Anna Larsson (born September 10, 1966) is a Swedish contralto. As a student she attended the Adolf Fredrik's Music School in Stockholm. Her international debut was made with the Berlin Philharmonic and the conductor Claudio Abbado in a performance of Gustav Mahler's Symphony No. 2 in 1997.
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A contralto () is a type of classical female singing voice whose vocal range is the lowest female voice type. The contralto's vocal range is fairly rare; similar to the mezzo-soprano, and almost identical to that of a countertenor, typically between the F below middle C (F3 in scientific pitch notation) to the second F above middle C (F5), although, at the extremes, some voices can reach the D below middle C (D3) or the second B above middle C (B5). The contralto voice type is generally divided into the coloratura, lyric, and dramatic contralto.
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Most of the parts he played were those of rulers or villains. In 1698 he married the contralto Francesca Vanini-Boschi.
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Maartje Offers Maartje Offers (27 February 1891, Koudekerk (aan den Rijn) – 28 January 1944, Tholen) was a Dutch contralto classical singer.
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Astra Desmond Astra Desmond (10 April 1893 – 16 August 1973) was a British contralto of the early and middle twentieth century.
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Pamela Anne Bowden (17 April 19258 April 2003 (age 78)) was an English contralto. Bowden was born in Rochdale and was educated at Heywood Grammar School and the Royal Manchester College of Music.”Life of a low lady : memoirs of a contralto” Bowden,P.E: Salhouse, Norfolk, W. Elkin, 2002 During World War Two she was a Wren.
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Carmen Luisa Letelier Valdés is a Chilean contralto and voice teacher, the winner of the National Prize for Musical Arts in 2010.
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Legrand possesses a contralto vocal range. Some music outlets have compared her vocals to those of Nico and Mazzy Star's Hope Sandoval.
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Francisca "Fanny" Anitúa, from a 1921 publication. Fanny Anitúa Medrano (22 January 1887 – 4 April 1968) was a renowned Mexican contralto opera singer.
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Mary Eliza Walker Crump (1857 – August 6, 1928) was an African-American contralto singer and manager, one of the original Fisk Jubilee Singers.
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Therese Schnabel (née Behr; September 14, 1876 – January 30, 1959) was a German contralto. She was best known for her interpretations of Lieder.
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Martha Mears (July 18, 1910 - December 13, 1986)Martha Mears was a radio and film contralto singer, active from the 1930s to 1950s.
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Hasse's Arminio (Dresden 1753) Teresa Albuzzi-Todeschini (26 December 1723 – 30 June 1760) was an Italian opera singer (contralto) who performed in Germany.
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Branzell in Die Walküre Karin Branzell (24 September 189115 December 1974) was a Swedish operatic contralto (sometimes described as a mezzo-soprano), who had a prominent career at the Metropolitan Opera, New York, and in Europe. Her very wide range enabled her to sing both contralto roles and the occasional soprano role. She was particularly noted for her singing of the music of Richard Wagner, in roles such as Ortrud (Lohengrin), Venus (Tannhäuser), Erda (Das Rheingold and Siegfried), Brangäne (Tristan und Isolde), and Brunnhilde (Die Walküre). She was considered on a par with Margarete Klose and Kerstin Thorborg as a Wagnerian contralto.
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Mahler had died in 1911 having never heard the work. He had specified on the score that the singers could be either tenor and contralto or tenor and baritone. However, Walter felt that tenor and baritone did not work as well as tenor and contralto, and he did not repeat the experiment.Audiophile Audition Weidemann died in Vienna in 1919 at age 48.
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La Damoiselle élue (The Blessed Damozel), L. 62, is a cantata for soprano soloist, 2-part children's choir, 2-part female (contralto) choir (with contralto solo), and orchestra,IMSLP: La damoiselle élue (Debussy, Claude). Holograph manuscript, n.d.(ca.1902) composed by Claude Debussy in 1887–1888 based on a text by Dante Gabriel Rossetti. It premiered in Paris in 1893.
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300px Marie Victoria Parcells (also, Maritje Victoria Parcells Bixby; nicknames, Maude, Maxie; August 27, 1860, Cayuga, New York - July 22, 1937, Plattsburgh, New York) was an American singer, better known by her adopted name, Marie Parcello. Her contralto voice had the unusual range of three octaves, from C to C. She debuted as a concert contralto in Paris at the age of 20.
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After World War II, Thomas' warm, lyrical contralto voice was heard in opera and concerts in England for almost three decades."Marjorie Thomas (Contralto)", Bach-Cantatatas.com In 1945, Thomas debuted with the Hallé Orchestra under conductor John Barbirolli, in Edward Elgar's Sea Pictures. The same year, she sang the role of Konchakovna in Thomas Beecham's radio production of Alexander Borodin's Prince Igor.
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Marta Wittkowska (January 1, 1882 – May 24, 1977) was a Polish–American contralto opera singer popular during the early decades of the twentieth century.
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Nevada Van der Veer, from a 1921 publication. Nevada Van der Veer Miller (July 25, 1884 – September 26, 1958) was an American contralto singer.
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Sullivan began singing as a contralto in the children's choir, and later in the adult choir. Sullivan's exposure to secular music was initially limited.
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Simone Ballard (c. 1897 – c. 1974) was a French operatic mezzo-soprano and contralto who sang leading parts, including premieres, at La Monnaie in Brussels.
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He was married to contralto Jean Macleod, notably serving as her accompanist on three commercial recordings. He died in Hamilton at the age of 67.
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Her musical style fused gospel and pop with classical music, in particular Johann Sebastian Bach,. and accompanied expressive, jazz- like singing in her contralto voice..
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Louise Le Baron (1874–1918) was an American contralto singer who performed in opera and musical theatre during the early years of the twentieth century.
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Rebbie Jackson is a contralto with a three-octave range. She has an impressive belting range, reaching up to G#5 in her song "Reaction".
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Of her contralto roles, she recorded Lady Blanche (1955), Katisha (1957) and Ruth (1957). She was Lady Sangazure in the 1953 recording of The Sorcerer, a role she never played on stage, as the opera was not in the D'Oyly Carte repertory at the time. She played most of the contralto roles in BBC radio broadcasts with D'Oyly Carte between 1953 and 1959.Webster, Chris.
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Louie René Louie René (c. 1872 - 9 March 1955) was an English singer and actress best remembered for her performances with the D'Oyly Carte Opera Company in the Gilbert and Sullivan contralto roles at the turn of the 20th century. René performed with D'Oyly Carte touring companies from 1894 to 1903, except for one year, playing the principal contralto roles of the Savoy operas. For most of the period between 1906 and 1914, both in London and on tour, she served as the company's principal contralto, playing the roles of Little Buttercup in H.M.S. Pinafore, Ruth in The Pirates of Penzance and Katisha in The Mikado, among others.
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In 1950, she returned to the D'Oyly Carte company, at first as a contralto chorister and understudy to the principal contralto Ella Halman. She deputised on occasion as Dame Carruthers in Yeomen and the Duchess of Plaza-Toro in The Gondoliers.Rollins and Witts, p. 175 In 1951, on Halman's departure from the company, Drummond-Grant became principal contralto, appearing over the next seven and a half years as Little Buttercup in Pinafore, Ruth in The Pirates of Penzance, Lady Jane in Patience, the Queen of the Fairies in Iolanthe, Lady Blanche in Princess Ida (starting in 1955), Katisha in The Mikado, Dame Hannah in Ruddigore, Dame Carruthers and the Duchess.
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The Fisk Jubilee Singers, circa 1870s Robinson became a member of the Fisk Jubilee Singers, and was the only Jubilee singer to graduate from Fisk University. Because they were touring, she did not attend her graduation ceremony. For the third tour from January 1875 until July 1878, she was a lead contralto with the Fisk Jubilee Singers. The group photograph of the Fisk Jubilee Singers, circa 1870s, shows the following members: Jennie Jackson – soprano, Maggie L. Porter – soprano, Edmund W. Watkins – bass, Mabel R. Lewis – contralto, Ella Sheppard – pianist, Maggie Carnes – soprano, Hinton D. Alexander – tenor, Frederick J. Loudin – bass, and America W. Robinson – contralto.
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Eunice Alberts (1927-2012) was an American contralto who had an active career as a concert soloist and opera singer during the 1950s through the 1980s.
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Teresa Belloc-Giorgi Maria Teresa Belloc-Giorgi (Bellochi; Giorgi-Belloc; née Maria Teresa Ottavia Faustina Trombetta) (2 July 1784 – 13 May 1855) was an Italian contralto.
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Jeanne Gordon in 1920 Jeanne Gordon (born Ruby May Gordon, January 26, 1885 – February 22, 1952) was a Canadian contralto opera singer active during the early 1900s.
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Comfort Annor (1949 – 22 February 2015) was a Ghanaian musician known for her soothing unique voice, alternating between a mezzo-soprano and a contralto in the 90s.
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In 1941 Garnett married contralto Eula Beal (1919-2008) and together they raised three sons. Garnett died on August 26, 2006 at his home in Napa, California.
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Marian Anderson in 1940 Marian Anderson (1897–1993)Marian Anderson Biography , Lakewood Public Library. Retrieved 9 April 2012. was an African- American contralto of whom music critic Alan Blyth said: "Her voice was a rich, vibrant contralto of intrinsic beauty." Most of her singing career was spent performing in concert and recital in major music venues and with famous orchestras throughout the United States and Europe between 1925 and 1965.
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Teresa Brambilla was born in Cassano d'Adda to a musical family. Teresa was one of five sisters who all became opera singers.Somerset-Ward (2004) p. 206 Her elder sister, Marietta (1807–1875) was a contralto who specialised in travesti roles and sang in the premieres of several of Donizetti's operas. Her younger sister, Giuseppina (1819–1903) was also a contralto who appeared in major opera houses in Italy, Spain, and England.
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The contralto singing voice has a vocal range that lies between the F below "middle C" (F3) to two Fs above middle C (F5) and is the lowest type of female voice. In the lower and upper extremes, some contralto voices can sing from two Bs below middle C (B2)Toni Braxton's Vocal Range (Studio: Note By Note). YouTube. Uploaded by trentnjones (30 April 2009). Retrieved 13 December 2016.
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Russian composer Galina Ustvolskaya's Symphony No. 4 (subtitled "Prayer") was composed between 1985 and 1987. Its premiere was given by Dale Marrs (trumpet), Thomas Keemss (tam-tam), Ulrich Eisenlohr (piano) and Roswitha Sperber (contralto) in Heidelberg on 24 June 1988. For a symphony the piece is exceptionally spare and short. It is scored for just four performers - trumpet, tam-tam, piano and contralto - and lasts between 6 and 8 minutes.
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Biblioteca Nacional de Portugal. Catalog: "Miraglia, Corrado". Retrieved 27 January 2015 . In 1857, Miraglia married the contralto Giuseppina Brambilla, one of five sisters who were all opera singers.
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Gertrude Pitzinger (15 August 1904 – 15 September 1997) was a German contralto appearing in concert, especially singing Lieder. She taught at the music universities of Hannover and Frankfurt.
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These voices had in common with those of the greatest castrati the ability to sing widely contrasting tessituras, segments well into the contralto and segments in high soprano.
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Berceuses du chat is set for contralto and three clarinettists: E clarinet; B and A clarinet; A and B bass Clarinet.Stravinsky, Igor. Berceuses du chat. Reprint of full score.
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Margaret Kennedy (died 23 January 1793) was a contralto singer and actress. She was best known for her performances in male roles, especially in the operas of Thomas Arne.
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Claudia Hellmann (25 November 1923 – 24 May 2017) Death notice, Oberbayerisches Volksblatt (Rosenheim), 27 May 2017. was a German contralto concert and operatic singer, primarily with the Stuttgart Opera.
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Ardella V. Delker (October 21, 1924 – January 31, 2018) was an American contralto sacred music female vocalist who sang on the Voice of Prophecy radio ministry beginning in 1947.
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Discovered Mexico. 66\. Carlos Sainz, (1962-) rally driver. 67\. Paquirri, (1948-1984) bullfighter 68\. Telmo Zarra, (1921-2014) association football player 69\. Montserrat Caballé, (1933-) opera contralto singer. 70\.
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Janet Monach Patey Janet Monach Patey (née Whytock; 1 May 1842 – 28 February 1894) was an English concert and oratorio contralto. She was born Janet Monach Whytock in London in 1842. She had a fine alto voice, which developed into a contralto, and she studied singing under John Wass, Ciro Pinsuti and Emma Lucombe (wife of Sims Reeves). Whytock's first appearance, in 1860, was made at Birmingham under the name Ellen Andrews.
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Ira Malaniuk (; Iryna Malanyuk; 29 January 1919 – 25 February 2009) was an Austrian operatic contralto of Ukrainian descent. She sang a wide range of roles, from Mozart to contemporary works.
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Irina Alekseevna Zabiyaka (, born 20 December 1982) is a Russian singer and lead vocalist, songwriter in the popular Russian group Chi-li (). She is known for her deep contralto voice.
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On 26 June 1900 he married the contralto singer Clara Butt – they had one daughter and two sons before Clara died in 1936. In 1941 he married Dorothy Jane Elwin.
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Anna Erler-Schnaudt (11 March 1878 – 30 April 1963) was a German contralto and voice teacher. She performed in the premiere of Mahler's Eighth Symphony and taught at the Folkwangschule.
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Pauline Metzler-Löwy (31 August 1853 - 28 June 1921) was an Austrian contralto singer. Trained at the Prague Conservatory, she performed in Altenburg, Bremen, Brunswick, Hamburg, Leipzig, and other cities.
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The program's vocalist was contralto Ernestine Schumann-Heink, who also was heard on Enna Jettick Melodies.Dunning, John. On the Air: The Encyclopedia of Old-Time Radio. Oxford University Press, 1998.
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Pearl Jane Pearson Brison was a contralto and teacher of singing on the Board of the Long Beach Symphony Orchestra. She was also an organizer and leader of women's clubs.
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Mary Jarred (9 October 189912 December 1993) was an English opera singer of the mid-twentieth century. She is sometimes classed as a mezzo-soprano and sometimes as a contralto.
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Annette Richardson Dinwoodey (February 17, 1906 - January 21, 2007) was an American radio singer and centenarian. She sang with the Mormon Tabernacle Choir from 1971 to 1973. She was a contralto.
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Parcello, having a liberal education, spoke and sang in four languages. She was also a pianist and devoted considerable time to composition. Her songs for contralto were published by Schuberth & Company.
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She sang in the works of Jules Massenet and Richard Strauss. In 1967, she sang as contralto in Smetana's Battered Bride with the German Opera Orchestra Berlin conducted by Heinrich Hollreiser.
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When threatened, smaller or more vulnerable monkeys tend to resort to quickly fleeing. Males also possess a contralto bark which they utter repeatedly when encountered by another group of Patas monkeys.
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Jenny Arean in 1973 Jenny Arean (1972) Jenny Arean (born Joanna Jenneke Josepha Klarenbeek, October 4, 1942) is a Dutch singer, actress and comedian. She is known for her contralto voice.
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The Saracen princess Clorinde in André Campra's 1702 opera Tancrède was written for Julie d'Aubigny and is considered the earliest major role for bas-dessus or contralto voice.The part of Clorinde is notated in the soprano clef (original score, p. 71), but, although it never descends below d′, tradition has it that it was the first major bas-dessus (contralto) role in the French opera history (Sadie, Julie Anne, Maupin, in Sadie, Stanley (ed), op. cit., III, p. 274).
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In 1783 a concert of Ancient Music advertised the singers as Miss Abrams, Miss Abrams Jun. and Miss T. Abrams (probably Theodosia). Theodosia Abrams sang the contralto part in the quintet from Handel's Jephtha. Harriett, as soprano, and Theodosia, as contralto, sang again in 1784 Handel Memorial concerts at Westminster Abbey and the Pantheon. In 1785 Theodosia and Harriett Abrams were listed as main female singers in Charles Burney's An Account of the Musical Performances in Commemoration of Handel.
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By definition, the soprano sfogato is linked to the contralto. It possesses a dark timbre with a rich and strong low register, as well as the high notes of a soprano and occasionally a coloratura soprano. Those voices are typically strong, dramatic and agile, supported by an excellent bel canto technique and an ability to sing in the soprano tessitura as well as in the contralto tessitura with great ease, such as was said of Giuditta Pasta.
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Katherine Hilgenberg (December 29, 1920 – March 18, 1988) was a Broadway performer, university voice teacher and opera director. At 12 years old she became a church soloist. Between 1955 and 1961, Hilgenberg engaged in more than 35 roles as a contralto. At the University of Michigan School of Music, she taught the mezzo-contralto Cadence de Lattre. She worked with the San Francisco Opera Company for six years, mastering over 30 operas – unprecedented in the organization’s history.
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699; Guccini, p. 136 These roles could also be filled by singers employed in the comic intermezzi, if there were any, generally a bass and a soprano (or, in an earlier period, a contralto). The leading singer in the company of San Bartolomeo was the contralto Nicolò Grimaldi, known as "Cavalier Nicolino", a true star of the international operatic stage. Then nearing his sixties, he had been at the top of his profession for three decades.
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157-178 () When the terms soprano, mezzo-soprano, contralto, tenor, baritone, and bass are used as descriptors of non-classical voices, they are applied more loosely than they would be to those of classical singers and generally refer only to the singer's perceived vocal range. Contemporarily, the informal term alto is sometimes used interchangeably with contralto. The following is a list of singers in country, popular music, jazz, and musical theatre who have been described as contraltos.
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She performed in a concert at Wigmore Hall and as a soloist at Westminster Central Hall. In 1964, Uru returned to New Zealand, and was described at that time as a contralto.
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Her most famous pupil was the contralto Marta Krásová. Maturová also appeared in four silent films in the early 1920s. Růžena Maturová died in Prague in 1938 at the age of 68.
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Katharina Magiera is a German operatic contralto. A member of the Oper Frankfurt, she has appeared in major European opera houses. She is active also as a lieder singer and has recorded.
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Ernestine Schumann-Heink (15 June 186117 November 1936) was an Austrian-born German-American operatic contralto of German Bohemian descent. She was noted for the flexibility and wide range of her voice.
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Carol Smith (born 20 February 1926) is an American contralto who made an international career in opera and concert, and was an academic teacher in Zurich and at the Indiana University Bloomington.
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Sophie Braslau (August 16, 1892 – December 22, 1935) was a contralto prominent in United States opera, starting with her debut in New York City's Metropolitan Opera in 1913 when she was 21.
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Rosa Olitzka (September 6, 1873 – September 29, 1949) was a German-born contralto singer. She sang with the Metropolitan Opera from 1895 to 1901, and with the Chicago Opera from 1910 to 1911.
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Kathryn Meisle (October 14, 1899"Kathryn Meisle, 21 Mar 1931," "Florida Passenger Lists, 1898-1963," Ancestry.com (access by subscription).]—January 17, 1970) was an American operatic contralto. Kathryn Meisle was born in Philadelphia.
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There were originally two violas of different size in the set (tenor and contralto). Both of the violas went missing at the time of the Napoleonic Wars. Only the smaller one was retrieved.
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Imogen Harding Brodie (June 8, 1878 - August 16, 1956) was a vocal teacher and contralto soloist; she was the wife of the American Envoy to the court of King Rama VI of Siam.
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Eva-Maria Bundschuh (born 16 October 1941) is a German operatic soprano who began her career as a contralto. She received international when she collaborated with Harry Kupfer at the Komische Oper Berlin.
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Ina Gerhein is the stage name of Sabine Heinzinger (29 October 1906 – 11 February 1995), a German operatic mezzo-soprano and contralto who was a long- term member of the Bavarian State Opera.
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Johanna Bayerlee and Devora Nadworney, from a 1921 publication. Nadworney was a contralto singer."Cast for Grand Opera 'Aida' From KSD Tomorrow Night" St. Louis Post-Dispatch (October 31, 1926): 61. via Newspapers.com.
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Lyndsie Holland as Lady Sophy in Utopia, Limited (1975) Lyndsie Holland (12 March 1939 – 2 April 2014) was an English singer and actress, known for her performances in the contralto roles of the Savoy Operas. After beginning her singing career in the chorus of the Sadler's Wells Opera in 1968, Holland starred in the Gilbert and Sullivan contralto roles with the D'Oyly Carte Opera Company for seven years, beginning in 1970. In later years, she performed in musical theatre and concerts.
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One of her students in Leipzig was Indian contralto Bina Addy."Bina Addy Indian Contralto to Tour A. B. C." The Wireless Weekly (February 5, 1937): 67. via Trove In 1928, she met and fell in love with Dr Fritz Kohl, Director of Administration of the Mitteldeutscher Rundfunk in Leipzig, and they married in November 1932. In London she reappeared before the Royal Philharmonic Society in January 1931, under John Barbirolli, to perform Wolf songs with orchestral accompaniment, and Mahler's Kindertotenlieder.
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Budden (1984), p. 143 Although Verdi had agreed to try to accommodate the contralto Carolina Vietti when the opera was Allan Cameron, he was against making the leading character of Ernani a musico contralto. However, he compromised somewhat and, by the end of October, it appeared that the four voice types were to be soprano (Elvira), contralto (Ernani), tenor (Don Carlo), and baritone (de Silva), but after the acceptance of the libretto by the Venetian police, Verdi was able to hold firm and ultimately get what he wanted: a soprano, a tenor, a baritone, and – although Rosi was not an experienced enough singer – a bass in the role of de Silva. Thus it became a comprimario role, one to be sung by a second-rung singer in the company.
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Marie Powers (1902–1973) was an American contralto who was best known for her performance as Madame Flora in Gian Carlo Menotti’s The Medium, a role that she played on stage, screen and television.
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His third marriage was to the contralto Pamela Helen Stephen with two children - Adam and Abigail. His widow and three children survive him. His son Adam became an assistant conductor in Rotterdam in 2019.
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Chong has been moved around so often, she had stayed in Singapore, United Kingdom, Thailand and Hong Kong. Recently, she settled down in Hong Kong to pursue her music career. Tien is a contralto.
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Melinda Paulsen (born 1964) is an American mezzo-soprano and contralto who has appeared mostly in Germany, with a focus on concert singing. She has been an academic voice teacher at the Musikhochschule Frankfurt.
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Famous recent mezzo-soprano Rosinas include Marilyn Horne, Teresa Berganza, Lucia Valentini Terrani, Susanne Marsee, Cecilia Bartoli, Joyce DiDonato, Jennifer Larmore, Elīna Garanča, Isabel Leonard and Vesselina Kasarova. Famous contralto Rosinas include Ewa Podleś.
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She is a deep contralto and can play the piano. Viktoriya began to study at the Kharkiv State Academy of Culture, but two years later transferred to the Kiev National University of Culture and Arts.
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Sarah Hershey-Eddy Sara Hershey-Eddy (née Sarah Hershey; 1837 – 8 July 1911) was an American musician, pianist, contralto vocalist, vocal instructor, and musical educator. She founded the Hershey School of Musical Art in Chicago.
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Caroline Trevor is an English contralto, focused on early music and Baroque music in historically informed performance. She has been one of two alto voices in the award-winning ensemble The Tallis Scholars since 1982.
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After completing high school in Rhode Island, Cravat married Charles Harry Simpson on October 30, 1882 in Providence and moved to Boston. Continuing her studies she trained as a contralto for the next 7 years.
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Wiebke Lehmkuhl, the contralto, as Mary Cleophas, was a fit partner in her duet with Ms. Invernizzi and really shone in her late aria questioning the little birds and brooklets in search of her redeemer.
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Little (Chamber) Symphony No. 6, Op. 79, composed by Darius Milhaud in 1923, is a work for oboe, cello, and wordless chorus (soprano, contralto, tenor, bass). It premiered at the Concert Wiener in Paris in 1924.
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She married the D'Oyly Carte musical director, Isidore Godfrey, in 1940, and returned to the company in 1950 as a contralto, playing Gilbert's formidable older women, until shortly before her death at the age of 54.
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On 9 January 2015, Brown married New Zealand actress Madeleine Sami. She resides in Los Angeles. Brown is a fan of video games, describing herself as "a big, big gamer". Brown has a contralto vocal range.
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Else Brems (1908–1995) was a Danish contralto opera singer who is remembered in particular for her interpretations of Carmen, a role she performed not only in Denmark but in Vienna, Warsaw, Budapest, Stockholm and London.
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Henrietta Crawley Myers, a.k.a. "Mrs. James A. Myers" (10 November 1878 – 25 March 1968) was a singer (contralto) and choral director, primarily known for her work as director of the Fisk Jubilee Singers of Nashville, Tennessee.
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Marietta Marcolini Marietta Marcolini (born c. 1780 – 26 December 1855) was an Italian operatic contralto. Marcolini was born in Florence. The date of her stage debut is unknown, but she was appearing in Venice in 1800.
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Lucrècia Arana at Teatro de la Zarzuela Lucrècia Arana (Haro, 23 November 1871 - Madrid, 9 March 1927) was a Spanish soprano-contralto singer. She is remembered for her unique voice and style in the zarzuela genre.
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Margherita Maria Francesca LaCentra (c.1910 - June 1, 1996) was an American contralto singer, best known for her work on old-time radio and her singing with Artie Shaw's orchestra. She also performed as Barbara Fulton.
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The cantatas are in the Italian style. The lyrics are often very obscure. The cantatas for “contralto” are particularly elaborate with long melismatic sections. It is not clear whether they were intended for male or female singers.
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He sang the contralto man's part in Handel's Imeneo the same year, and in Deidamia in 1741. He does not seem to have gone with Handel to Ireland, but went on to work in Florence and Spain.
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Sofia Scalchi (November 29, 1850 - August 22, 1922) was an Italian operatic contralto who could also sing in the mezzo-soprano range. Her career was international, and she appeared at leading theatres in both Europe and America.
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Almost blind... A good composer, but he doesn't know how to sing his own works." :"Don Luis Lazo: Third contralto. Knows nothing of music, and never will. He entered the chapel fraudulently, and... is totally inept; superfluous.
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In January 1893 she sang the air (music) for Aida from Act I, and the duet for Aida and Amneris from Act II, with Mrs. Luckstone-Myers, a contralto. The Sunday concert was held at Music Hall.
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Catherine Julie "Ketty" Lapeyrette (23 July 1884 – 2 October 1960) was a French contralto opera singer. She remained with the Paris Opera for 30 years, seldom performing outside France. From 1944, she taught at the Paris Conservatory.
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Notable singers to perform with Russell's San Carlo Opera Company included sopranos Fély Dereyne, Alice Nielsen, Lillian Nordica, and Tarquinia Tarquini; tenors Florencio Constantino, Riccardo Martin, and Umberto Sacchetti; contralto Rosa Olitzka; and bass Andrés de Segurola.
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"The Favorite Contralto of Boston", books.google.com; accessed March 24, 2015 By 1857, Kempton moved to New York to study under the contralto Elena D'Angri and would perform many concerts.New York Musical Review and Gazette, August 8, 1857, p. 6. She then engaged for a multi-year contract with Father Kemp's Old Folks Concerts Company from approximately 1858 to 1861, performing lead solo performances in at least 100 concerts, including performances for President James BuchananSongs of the Old Folks Concerts Company, including "Father Kemp's Old Folks Concert Tunes" and "A New England 'Auld Lang Syne'", americanmusicpreservation.
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Michaelsen was born in Evje, and started off as the female vocalist in 1997 for Norwegian gothic metal band Trail of Tears, succeeding after Ales Vik who departed from the band that same year. A year later, Michaelsen and the band recorded their debut album Disclosure in Red in which she sang contralto vocals and contributed to writing lyrics. In 2000, she again took role of contralto vocals in their second album Profoundemonium, which was last album to feature Helena. Soon after, she was replaced by Cathrine Paulsen in May of that year.
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Gluck's Orfeo ed Euridice Jeanne Gerville-Réache (26 March 1882 – 5 January 1915) was a French operatic contralto from the Belle Époque. She possessed a remarkably beautiful voice, an excellent singing technique, and wide vocal range which enabled her to perform several roles traditionally associated with mezzo-sopranos in addition to contralto parts. Her career began successfully in Europe just before the turn of the twentieth century. She later came to the North America in 1907 where she worked as an immensely popular singer until her sudden death in 1915.
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A miniature portrait on ivory of the 20-year-old operatic contralto Mary Shaw Postans (1814–1876). The miniature, attributed to Michele Albanesi (1816–1878), was painted in Naples in March 1834 and dedicated to her future husband, the English painter Alfred Shaw. Mary Shaw (1814 – 9 September 1876) was an English classical contralto who had an active international career in concerts and operas during the 1830s and 1840s. She is best remembered today for creating the role of Cuniza in the world premiere of Giuseppe Verdi's first opera Oberto at La Scala in 1839.
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Marion Weed wrote, "My only equipments for my future career were a good, natural contralto voice, an excellent piano and an inordinate love of song." She goes on to write in The Hampton's Broadway Magazine that she started with the usual musical education with a mixed ability of teachers. When she was 16, she sang in the Rochester Central Church Ladies' quartette as a contralto and for two years received "excellent" training from the organist. In 1889, she auditioned for a New York Fifth Avenue church and was selected over 40 other competitors.
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Norma Procter (15 February 1928, Cleethorpes, Lincolnshire – 2 May 2017, Grimsby)"Celebrated Grimsby opera singer Norma Procter dies at 89" by Alex Thorp, Grimsby Telegraph, 10 May 2017 was an English contralto who studied with Roy Henderson.Norma Procter (Contralto) at bach-cantatas.com She was especially known for her oratorio and recital work, but also performed in opera, with her debut at the Royal Opera House, Covent Garden, in 1961 as Gluck's Orpheus. She also sang Lucretia in The Rape of Lucretia for Britten at the 1958 Aldeburgh Festival.
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Margrit Conrad (21 September 1918 – 2 August 2005) was a Swiss contralto in opera and concert. Conrad was born in Lucerne. She studied at the conservatory of Zürich with Ria Ginster. She recorded Bach cantatas with Diethard Hellmann.
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Frances Ingram, from an advertisement published in 1915. Elizabeth Frances Ingram (5 November 1888 – 12 April 1974) was an American operatic contralto of English birth who had an active career in North America during the 1910s and 1920s.
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Goffredo becomes a tenor, Armida a contralto, the Herald and the Magician become basses. Dean and Knapp summarise the 1731 revisions as "a striking illustration of the seeming vandalism with which Handel could treat his works in revival".
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The Kingdom is written for a large orchestra, of typical late Romantic proportions. There is a double chorus with semichorus, and four soloists representing: The Blessed Virgin (soprano), Mary Magdalene (contralto), St John (tenor), and St Peter (bass).
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Don Mills, Ont. : Society of Composers, Authors and Music publishers of Canada, 1994- (ML27 .C3S635) Most notable from the 1940s is contralto singer Portia White (1911–1968). She achieved international fame because of her voice and stage presence.
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Claramae Turner (née Haas; October 28, 1920 - May 18, 2013) was an American operatic contralto, perhaps best known for her appearance in the film Carousel (1956), adapted from the Rodgers and Hammerstein stage musical of the same name.
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Burmeister (top) as Cornelia in Handel's Giulio Cesare in Egitto, Berlin, 1970. With Sylvia Geszty (bottom), and Peter Schreier (left). Annelies Burmeister (1928-1988) was a German contralto and actress. Burmeister studied at the Hochschule für Musik in Weimar.
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While there, Haile conducted male singing societies, sent for his fiancee, Elise,"German folksong recital." Musical America (New York), 12/16/1911. and got married. His wife was a contralto, who was also from Germany, and had worked in Stuttgart.
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Elisabeth Schärtel (6 October 1919 – 24 August 2012) was a German operatic mezzo-soprano and contralto. A member of the Cologne Opera from 1959 to 1967, she performed leading parts at major European opera houses and regularly at the Bayreuth Festival.
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At the Opéra-Comique she sang Charlotte (Werther) up to the 1920s.Wolff S. Un demi-siècle d'Opéra-Comique (1900-1950). André Bonne, Paris, 1953. As a singer she is described as having a strong, vibrant 'mezzo-contralto' and a vivacious personality.
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Two arias from the opera's second act, "S'a voi penso, o luci belle" (Ormondo) and "Con palme ed allori" (Scanderbeg), can be heard on Arie ritrovate sung by contralto Sonia Prina with the Accademia Bizantina, conducted by Ottavio Dantone (Naïve Records).
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Ursula Zollenkopf is a German classical contralto singer. A member of the NDR Chor based in Hamburg, she appeared as a soloist in opera and concert, including premieres of contemporary music such as Stravinsky's Threni and Schoenberg's Moses und Aron.
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Cline possessed a contralto voice. Time magazine writer Richard Corliss called her voice "bold". Her voice has also been praised for its display of emotion. Kurt Wolff called it one of the most "emotionally expressive voices in modern country music".
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Autograph card, Bayreuth 1933 Rut Berglund, also Ruth Berglund (12 April 1897 – 29 August 1984) was a Swedish operatic mezzo-soprano and contralto, who was engaged in Germany from 1924 to 1944. She was personally appointed Kammersängerin by Adolf Hitler.
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Laura Hilgermann Laura Hilgermann (born Laura Oberländer, married Laura Rosenberg or Laura Hilgermann-Radó; 13 October 1869 in Vienna, (Austria- Hungary) – 9 February 1945 in Budapest, Hungarian Empire) was an Austro- Hungarian operatic singer (soprano and contralto) then singing teacher.
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Florence Pauline Wickham Lueder (1880October 20, 1962) was an American contralto who made an international career at major opera houses such as the Metropolitan Opera in New York City. After retiring from the stage, she composed several ballets and operettas.
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Zefira was a contralto. She emphasized traditional Yemenite diction, enunciating both the guttural heth and ayin in every song. Zefira was also noted for her performance style. She wore exotic, Yemenite-styled clothing and jewelry, and performed in bare feet.
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Maliqi possesses a soprano sfogato vocal range noted for a strong dark timbre with rich mezzo-soprano and contralto tessitura. Besides singing, Maliqi has the ability to play several musical instruments, notably piano and guitar which she has studied alongside canto.
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Elsa Waage is an Icelandic contralto opera singer.VareseNews, "Il “Coro Città di Como” si esibisce a Castellanza", 28 February 2008 She was born in Reykjavík 1959, the second child of parents Steinar Waage, orthopedic shoe maker, and Clara Grimmer Waage.
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"Clara Pasvolsky, Contralto" Musical Courier (November 22, 1917): 31.Leo Pasvolsky Papers, Manuscript Division, Library of Congress. Another brother, Valentine Pasvolsky, was a recognized expert on numismatics."Valentine Pasvolsky, Ex- Engineer, Nationally Recognized Numismatist" Asbury Park Press (July 3, 1980): 25.
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1945 White sang both classical European music and African-American spirituals, and works by Harry T. Burleigh were a constant part of her concert repertoire. Alongside English pieces, she performed music in Italian, German, French and Spanish, and White's three-octave range attracted critical acclaim. Hector Charlesworth's review in The Globe and Mail observed White's "pungent expression and beauty of utterance," while a critic with the Toronto Evening Telegram said she had a "coloured and beautifully shaded contralto... It is a natural voice, a gift from heaven." White was compared to noted American contralto Marian Anderson.
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2 and became particularly associated with American contralto Antoinette Sterling, with Sullivan's close friend and mistress, Fanny Ronalds, and with British contralto Clara Butt. Sullivan was proud of the song and later noted: "I have composed much music since then, but have never written a second Lost Chord.""The Lost Chord", The Gilbert and Sullivan Archive, accessed 13 August 2014 Many singers have recorded the song, including Enrico Caruso, who sang it at the Metropolitan Opera House on 29 April 1912 at a benefit concert for families of victims of the Titanic disaster.1912 Caruso recording, Encyclopedia-titanica.
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Hildegard Rütgers (born 1930) is a German classical contralto singer in opera and concert. She began her training with Hermann Weißenborn in Berlin, then studied for a brief time in Italy and then studied with Hilde Wesselmann at the Folkwangschule in Essen. At the university level, she took courses in music science at both the University of Cologne and the Free University of Berlin. Rütgers joined the Städtische Oper Berlin as a contralto from 1957 to 1959, specializing also in oratorio performances, and then worked with the Hamburg State Opera and at the Opera house of Essen until 1963.
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For example, one category of voice in opera is a contralto, which is the lowest female voice in the operatic system. One of the qualifying characteristics of this voice is a deep and dark quality to the vocal sound. This quality is not entirely innate to the voice, but is developed through classical vocal training. So although a singer in another genre might have a range equivalent to a contralto, they might not have a similar sound. “These differences in voice qualities are reflections on variation in the muscular, aerodynamic, and acoustical conditions in the larynx and in the vocal tract.
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Beacon Theater, 2012 Gerrard possesses the vocal range of a contralto but can also reach upward into the dramatic mezzo-soprano range. She has a vocal range from A2 to F♯5 (3 octaves and one note). Her vocal timbre has been described as "rich, deep" which creates a "mournful sound", and her voice is regarded by critics as "simply not of this world". More predominantly, Gerrard's vocal range spans from contralto to dramatic contralto, displayed for examples in "Sanvean", "Sacrifice", "Largo", and "Not Yet"; — to the dramatic mezzo-soprano voice in her other songs, such as "The Host of Seraphim", "Elegy", "Space Weaver", and "Come this Way". Jon Pareles of The New York Times describes that she uses "distinct voices that drew on far-flung traditions: an opalescent tone from Baroque opera, a reedy hint of Celtic folk style, the sharp and quavering approach of Balkan women’s music, blue notes bent like Billie Holiday's...".
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Muriel Foster, from a 1905 publication. Muriel Foster (22 November 187723 December 1937) was an English contralto, excelling in oratorio. Grove's Dictionary describes her voice as "one of the most beautiful voices of her time". Muriel Foster was born in Sunderland in 1877.
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Elsa Cavelti (4 May 1907 – 10 August 2001) was a Swiss operatic contralto and mezzo-soprano, temporarily also a dramatic soprano, who worked at German and Swiss opera houses and as an international guest. She was an academic voice teacher in Frankfurt.
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Ruth Siewert (also Sievert-Schnaudt, Sievert; 1915 – July 2002) was a German contralto and voice teacher. She performed roles by Richard Wagner at major opera houses in Europe and at the Bayreuth Festival, and was known as a singer of oratorio and Lied.
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No system is universally applied or accepted. However, most classical music systems acknowledge seven different major voice categories. Women are typically divided into three groups: soprano, mezzo-soprano, and contralto. Men are usually divided into four groups: countertenor, tenor, baritone, and bass.
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He was married to an Australian contralto, Erna Mueller, who trained at the Bendigo Conservatory.NSW Art Gallery. Retrieved 21 May 2016 The image of his statue Venus tying her sandals (1913) is now used as the logo of the Bendigo Art Gallery.
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She claimed to be only the second actress in the British empire ever to do so."Actress Gains Pilot's Licence", The Sydney Morning Herald, 18 April 1933, p. 12; and "G. and S. Contralto Is a Pilot", The Age, 9 September 1940, p.
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Varvara Vasilyevna Panina (Варва′ра Васи′льевна Па′нина; 1872, Moscow, Russian Empire, - May 28, 1911, Moscow, Russian Empire) was a Russian singer of Romani origins, famous for her deep contralto, one of the Russian popular music stars of the early 20th century.
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Birgit Remmert (born 4 September 1966) is a German operatic mezzo-soprano and contralto who has appeared in major European opera houses, concert halls and festivals. She has performed title roles such as Dalila, Penthesilea, and Iokaste in an opera composed for her.
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No system is universally applied or accepted. However, most classical music systems acknowledge seven different major voice categories. Women are typically divided into three groups: soprano, mezzo-soprano, and contralto. Men are usually divided into four groups: countertenor, tenor, baritone, and bass.
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Marie Louise Charbonnel (1880–1969) was a French contralto opera singer who made her début at the Lyon Opera in 1901. She was spectactularly successful at her Paris Opera début in 1907 when she played Dalila in Camille Saint-Saëns' Samson et Dalila.
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Soprano sfogato ("Vented" soprano) is a contralto or mezzo-soprano who is capable—by sheer industry or natural talent—of extending their upper range and being able to encompass the coloratura soprano tessitura. An upwardly extended "natural" soprano is sometimes called soprano assoluta.
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America W. Robinson (January 1855 – 23 April 1912) was an American educator. Robinson was in the first graduating class of Fisk University and sang as a contralto with the Fisk Jubilee Singers. She was the first woman to graduate from Fisk University.
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Bertha May Cushing was noted as a "true contralto" concert singer in Boston."Our Illustrations" Photo-era Magazine (March 1909): 156. Child's voice was described as "luscious" by a New York critic."Mrs. Bertha Cushing Child" The Times Dispatch (April 3, 1904): 6.
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She also occasionally played some of the larger contralto roles. She later became stage director of the company from 1947 to 1949 and also directed the J. C. Williamson Gilbert and Sullivan Company. Bethell was married to fellow D'Oyly Carte member Sydney Granville.
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Claudia Huckle is a British operatic contralto. Huckle studied at the Royal College of Music, the New England Conservatory and the Curtis Institute of Music. She was the first woman to win the Birgit Nilsson Prize for singing Wagner, at Operalia 2013.
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Ortrun Wenkel, 1993 Ortrun Wenkel (born 25 October 1942) is a German operatic contralto.Ortrun Wenkel (Contralto), bach-cantatas.com She notably portrayed the role of Erda in the Bayreuth Jahrhundertring (Centenary Ring) in 1976 and was awarded a Grammy Award as a Principal Soloist in 1983.
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Irma Tervani (1906) Irma Tervani, stage name of Irma Achté, (1887–1936) was a Finnish contralto opera singer who performed at the Finnish Opera in Helsinki and at the Dresden Royal Opera. She is remembered for her interpretation of Carmen and for her Wagnerian roles.
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Irina Konstantinovna Arkhipova (; 2 January 1925 11 February 2010, Moscow) was a Russian mezzo-soprano, and later contralto, opera singer. She sang leading roles first in Russia at the Sverdlovsk Opera and the Bolshoi Theatre, and then throughout Europe and in the United States.
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It was whilst living here, in 1735, that Charles Mordaunt, 3rd Earl of Peterborough (d.1735), was privately married to his second wife, Mrs. Anastasia Robinson, the celebrated contralto vocalist. He died the same year, after which the house was rebuilt by the Grosvenor family.
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Thomas Otten is a French countertenor singer in the Classical Crossover style. Otten was classically trained as a child, learning piano and singing in chamber choirs. His voice did not break as thoroughly as usual upon reaching adolescence, retaining a high contralto range.Profile at ClassicFM.com.
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Edith Rowena Noyes was born in Cambridge, Massachusetts, the daughter of Charles Claudius Noyes and Jeanette Mabel Pease Noyes. Her mother was better known as Boston contralto singer Jeanette Noyes Rice. Edith Noyes studied piano with Edward MacDowell and composition with George Whitefield Chadwick.
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Sullivan in about 1870 :1. Introduction: A Summer Night - Instrumental :2. "Hark! The Sound that Hails a King" - Contralto solo (Palmer) and chorus ::A soloist hails the arrival of Queen Elizabeth. The chorus then summarizes the entertainments to come and welcomes the queen. :3.
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Goddard and Mrs. R. S. Smythe remained touring India, Java and Singapore, returning to Sydney in September 1874. While in Sydney, Smythe added tenor Edward Armes Beaumont, basso Agostino Giuliano Susini and the American contralto Cassie Everett Dyer (Mrs. A. H. Cutter) to Goddard's company.
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Alberts moved to New York City in 1950 where she became a pupil of impresario Boris Goldovsky. Her first concert appearance in NYC was as the contralto soloist in Felix Mendelssohn's Elijah with the John Harms Chorus at Town Hall on April 30, 1950. She made her first appearance with the New York Philharmonic in a summer concert at Lewisohn Stadium on June 4, 1951 as the contralto soloist in Verdi's Requiem under conductor Dimitri Mitropoulos. This performance drew the attention of Laszlo Halasz, then director of the New York City Opera (NYCO), who offered her a contract to join the roster of singers at the NYCO.
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Lauris Margaret Elms (born October 20, 1931) is an Australian contralto, renowned in opera and lieder. She was born in Springvale, Victoria,Dictionary of Performing Arts in Australia the eldest daughter of Harry Britton Elms and Jean (née Halford)International Who’s Who of Women 2002 and trained with Katherine Wielaert in Melbourne.International Who’s Who in Classical Music 2003 She first sang with the National Theatre Opera Company in 1952 in The Consul. She had further study in Paris with Dominique Modesti. She made her Royal Opera, Covent Garden debut in 1957 as Ulrica in Verdi's Un ballo in maschera, and was principal contralto at Covent Garden from 1957 to 1959.
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When she was working in New York, she saw Lilli Lehmann as "Isolde" in Tristan und Isolde and that is when she "resolved to go abroad and study under Mme. Lehmann." She worked in New York for five years to save money for that goal. Before leaving for Germany, soloist Marion Weed sang "with charming effect a contralto aria from Freischütz" for the Metropolitan Opera's Grand Sunday Night Concert in 1894. Marion Weed then went to Germany where she planned to be trained as a contralto for concerts by Lilli Lehmann, but Lehmann said she was a pure dramatic soprano and should prepare for the grand opera.
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Late in life she retained a "youthful suppleness and remarkably luscious timbre" and was capable of the projection of coloratura passages described as "delicate and ringingly high". Vaughan had a large vocal range of soprano through a female baritone, exceptional body, volume, a variety of vocal textures, and superb and highly personal vocal control. Her ear and sense of pitch were almost perfect, and there were no difficult intervals. In her later years her voice was described as a "burnished contralto" and as her voice deepened with age her lower register was described as having "shades from a gruff baritone into a rich, juicy contralto".
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Alboni's voice, an exceptionally fine contralto with a seamless compass of two and one-half octaves, extending as high as the soprano range"She was a real contralto from f3 to g5, then, up to c6, she was an excellent soprano. Which enabled her to perform, with some adjustments ['con qualche "accomodo"'], also Zerlina in Don Giovanni, Amina in La sonnambula and Marie in La fille du régiment" (Celletti, pp. 243–244). In fact, her voice could reach down to f3 only while practising: in public her lowest note was g3. Alboni also reported that on practising she could sometimes climb up to e6 flat (Pougin, 2001, p. 96).
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Garland possessed a contralto vocal range. Her singing voice has been described as brassy, powerful, effortless and resonant, often demonstrating a tremulous, powerful vibrato. Although her range was comparatively limited, Garland was capable of alternating between female and male-sounding timbres with little effort. The Richmond Times-Dispatch correspondent Tony Farrell wrote she possessed "a deep, velvety contralto voice that could turn on a dime to belt out the high notes", while Ron O'Brien, producer of tribute album The Definitive Collection – Judy Garland (2006), wrote the singer's combination of natural phrasing, elegant delivery, mature pathos "and powerful dramatic dynamics she brings to ... songs make her [renditions] the definitive interpretations".
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A caricature of Vanini-Boschi. Francesca Vanini-Boschi (died 1744) was an Italian contralto singer of the 18th century. She is best remembered for her association with the composer George Frideric Handel, for whom she sang both in Italy and in London. Vanini was born in Bologna.
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Jane Elizabeth Kempton (née Twitchell; October 4, 1835 – March 13, 1921) was an American contralto opera solo singer who had an active career spanning over fifty years starting in 1850. She sang in hundreds of performances across the United States and Europe during her long career.
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Hanna Schwarz (born 15 August 1943), is a German mezzo-soprano and contralto singer in opera and concert. In 1976 she performed the parts of Fricka and Erda in the centenary production of Wagner's Der Ring des Nibelungen at the Bayreuth Festival, staged by Patrice Chéreau.
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Her daughter, Blanche Marchesi (1863–1940), a contralto, also a noted singer and teacher, made her début at a young age. She first appeared in opera at Prague in 1900, and subsequently sang at Covent Garden in 1902 and 1903. She was an admired concert singer.
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Riza Eibenschütz in 1898 Riza Eibenschütz, married name Riza Malata, (17 February 1870 – 16 January 1947),See also the OeML (Weblinks), the year of birth and death varies in some sources (1868/1870/1971/1873 respectively 1946/1947/1948) was an Austrian operatic soprano and contralto.
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Ataloa Lodge Museum (2010) at Bacone College, Muskogee, Oklahoma Mary "Ataloa" Stone McLendon (c.1895–1967) was a Native American Chickasaw musician, storyteller, humanitarian, and educator. McLendon was an important figure in Native American arts education. She was a concert vocalist, known for her contralto voice.
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In Potchefstroom she was featured as the soloist for Ariel Ramírez's Missa Criola. The work, originally conceived for the tenor voice, proved well-suited to Strydom's own contralto voice, much the same as it did for the Argentinian singer Mercedes Sosa who recorded it in 1999.
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This was performed at the St Petersburg Conservatory on 6 May 1876, under the conductor Karl Davydov.John Warrack, Tchaikovsky, Comprehensive List of Works: Choral Works, p. 273 Petrov's 52-year career continued until the night before he died. His wife was a Russian operatic contralto, Anna Vorobyova.
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Lynda Kay Parker, known as Lynda Kay, is an American contralto singer, songwriter, guitarist, actor and business owner. Born in Dallas, Texas, she began her entertainment career appearing in stage plays and commercials. Lynda Kay is now a professional musician and an official endorsee of Gretsch guitars.
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Elizabeth Bainbridge (born 28 March 1930) is a retired English opera singer. Her career in singing spanned several decades. She achieved most of her successes while a member of the company of the Royal Opera House, Covent Garden, London. Bainbridge is a mezzo-soprano and contralto.
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University Press of Kentucky, 2015, p. 103, accessed July 26, 2016. the contralto roles in Iolanthe and The Yeomen of the Guard at the Boston Arts Festival,O'Neill, Paul. "A Memory of Early Tatiana Troyanos", Opera-L, Part One and Part Two, accessed June 30, 2016.
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After attending services at a Catholic parish for 25 years, Smith converted to Catholicism in 1965. During the time she spent in Lake Placid, she regularly attended Sunday Mass at St. Agnes Roman Catholic Church and could be heard singing the hymns in her contralto voice.
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Requiem Canticles is scored for contralto and bass soloists, mixed chorus, and an orchestra consisting of 3 flutes (3rd doubles on piccolo), alto flute, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani (2 performers), 2 percussionists (xylophone, vibraphone, and tubular bells), harp, piano, celesta, and strings.
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Sharleen Eugene Spiteri (born 7 November 1967) is a Scottish recording artist and songwriter from Finnieston, Glasgow, Scotland. She is the lead singer of the rock band Texas. She has a contralto vocal range. In 2013, Texas's worldwide album sales were counted at 40 million records.
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"Open Your Heart", on the other hand, combines Bindiger's contralto vocals with an uilleann pipes solo. The .hack//Sign soundtrack also features vocals by Yuriko Kaida. "Mimiru" has her humming across a saxophone melody performed by Kazuo Takeda; in "Das Wandern" she sings over a lone piano.
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Upon graduation he became steersman-pilot of a Russian vessel in the Far East. It was there that he met his future wife. Lydia Christianovna Shalich, was of Polish-German origin, born in Galicia, Russian Empire. She had a very good contralto voice, often singing in concerts.
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Elizabeth Young (173? in London – 12 April 1773 in London) was an English contralto and actress. She was part of a well-known English family of musicians that included several professional singers and organists during the seventeenth and eighteenth centuries.Biography of Isabella Young (Scott) on Operissimo.
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Lula Mysz-Gmeiner (15 August 1876 – 7 August 1948) was a German concert contralto and mezzo-soprano born in Transylvania, who performed lieder recitals in Europe and the United States. She was an academic voice teacher in Berlin and taught both Elisabeth Schwarzkopf and Peter Anders.
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During this time, she began being called "The Favorite American Contralto".Advertisement. Daily National Republican, June 1, 1863. p. 3. In 1864, Kempton signed a contract with the Richings-Bernard Opera Company and traveled by steamship"Theatrical Record". San Francisco Daily Morning Record, July 3, 1864, p. 1.
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As a contralto, Sýkorová has performed numerous times with the Czech Philharmonic, Prague Symphony Orchestra, Prague Radio Symphony Orchestra, and other orchestras in her native country. She has also performed with major symphony orchestras in Denmark, Norway, France, Italy, Great Britain, Spain, Poland, Hungary, Slovak Republic and Japan.
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Copies are found in the hands of book collectors, in the Library of Congress, in the University of Edinburgh Library, in the Yale University Library and in the Harvard University Library. The contralto Emma Curtis accompanied by The Frolick produced an album of music from Calliope in 2006.
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Godfrey married two members of the company - first, a soprano chorister Marguerite Kynaston about 1919 (they later divorced), and, in 1940, the soprano (later contralto) principal Ann Drummond-Grant. After Drummond-Grant died in 1959, Godfrey married a third time, in 1961, to Glenda Gladys Mary née Cleaver.Stone, David.
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Jeff Hanson on Allmusic.com. Retrieved April 12, 2014. whose voice was described in a 2005 Paste review as an "angelic falsetto, a cross between Alison Krauss and Art Garfunkel that is often (understandably) mistaken for a female contralto". Hanson's vocal style is sometimes compared to Elliott Smith's singing manner.
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Among his students was the Swiss tenor and early music specialist Max Meili and heldentenor Karel Burian. In 1899 Kraus married the American contralto Adrienne Osborne, also a Wagnerian. He had a child called Max Kraus. He retired from the stage in 1927 and died in Munich in 1937.
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Burgess, Michael. "Evelyn Gardiner", Memories of the D'Oyly Carte Opera Company, accessed 22 May 2015 Gardiner joined the D'Oyly Carte Opera Company in 1921 singing in the chorus of their Gilbert and Sullivan operas. Within months, she was cast as the understudy for the company's principal contralto, Bertha Lewis.
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Ruth Alice Gilbert (September 7, 1926 – June 6, 2015) as stage name Ronnie Gilbert, was an American folk singer, songwriter, actress and political activist. She was one of the original members of the music quartet the Weavers, as a contralto with Pete Seeger, Lee Hays, and Fred Hellerman.
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Ewa Podleś Ewa Podleś (; born April 26, 1952) is a Polish coloratura contralto singer who has had an active international career both on the opera stage and in recital. She is known for the agility of her voice and a vocal range which spans more than three octaves.
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Barbara Scherler (born 20 January 1933)Her year of birth is given as 1933 in: is a German classical mezzo-soprano and contralto singer in opera and concert. She was a member of the Deutsche Oper Berlin and active in performances and recordings of operas of the 20th century.
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Amalie Joachim (née Schneeweiss) (10 May 1839 – 3 February 1899) was an Austrian-German contralto, working in opera and concert and as voice teacher. She was the wife of the violinist Joseph Joachim, and a friend of Clara Schumann and Johannes Brahms, with whom she made international tours.
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Dorothy Gill (1891 - 7 April 1969) was an Indian-born British opera singer and actress, best known for her performances in the contralto roles of the Savoy Operas with the D'Oyly Carte Opera Company. After entertaining troops in France during the First World War, Gill toured for three years in The Beggar's Opera as Lucy Lockett. She joined a touring cast of the D'Oyly Carte Opera Company from 1925 to 1927, playing the contralto roles in the Gilbert and Sullivan operas. She then appeared in a musical adaptation of The Rose and the Ring in the West End for two holiday seasons and toured in Australia and New Zealand in Gilbert and Sullivan.
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Frederick Hobbs (King) and James Hay (Frederic) She returned to the company in 1914, replacing Louie René as principal contralto. Derek Oldham later reported that, in 1920, at the insistence of musical director Geoffrey Toye, Rupert D'Oyly Carte considered expanding the company's repertoire so she could play Carmen. For more than 16 years after her return, Lewis portrayed all the leading contralto roles in the company's repertory: Lady Sangazure in The Sorcerer, Buttercup, Ruth, Lady Jane, Fairy Queen, Lady Blanche, Katisha, Dame Hannah in Ruddigore, Dame Carruthers, and the Duchess of Plaza-Toro. Grave of Bertha Lewis in Cambridge City Cemetery Lewis died at the age of 43 in May 1931 after sustaining fatal injuries in a car accident.
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Sister Inez Andrews born Inez McConico (April 14, 1929 - December 19, 2012) and better known as Inez Andrews was an American gospel singer, songwriter and recording artist. Her soaring, wide-ranging voice — from contralto croon to soul-wrenching wail — made her a pillar of gospel music. The Chicago Tribune stated that "Andrews' throaty contralto made her low notes thunder, while the enormous range of her instrument enabled her to reach stratospheric pitches without falsetto" and that "her dramatic delivery made her a charismatic presence in church and on stage." Andrews started singing in the church as a child and performed gospel music on the road in various gospel groups from the 1940s before joining The Caravans in 1957.
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Christine Johnson Smith (September 8, 1911 - June 9, 2010), usually credited as Christine Johnson, was an American contralto opera singer and actress who sang at the Metropolitan Opera and other opera houses. She is best known, however, for creating the role of Nettie Fowler in the original Broadway production of Carousel.
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The gallery's logo is an image of Ettore Cadorin's statue Venus tying her sandals (1913).The Age, 19–20 December 2003, Review, "Work of the Week", p. 7. Cadorin was an Italian-born American, but was married to an Australian contralto, Erna Mueller, who trained at the Bendigo Conservatory.NSW Art Gallery.
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Pribaoutki is written for low voice and instrumental ensemble. Stravinsky is said to have preferred a male singer, although the work is commonly performed by mezzo-soprano or contralto. The eight-member ensemble consists of: flute, oboe (doubling English horn), clarinet, bassoon, violin, viola, cello, and double bass.Stravinsky, Igor. Pribaoutki.
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She excelled at English and art, and had a fine contralto voice. Her teachers, nevertheless, advised her against matriculation. Instead, she took a drawing course that enabled her to get a job in a studio near Smithfield. In 1935, she married Sidney Joseph Proops, with whom she had a son, Robert.
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Khan is a contralto with an expansive range. Critics have likened Khan's music to the work of Joni Mitchell, Nico, Siouxsie Sioux, Björk, Kate Bush, Cat Power, PJ Harvey, Annie Lennox, Tori Amos and Fiona Apple. Her music has been described by MTV Iggy as "at once haunting and way danceable".
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Sigrid Onégin (June 1, 1889 – June 16, 1943) was a Franco-German operatic contralto who enjoyed a major international career prior to World War II. She was celebrated for the richness of its tone, its flexibility, its size, and its expert coloratura technique. She also possessed a remarkably wide vocal range.
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Gilbert's singing was characterized as "a crystalline, bold contralto." Her voice is heard, blending with and rising over the others, in Weavers tracks such as "This Land Is Your Land", "If I Had a Hammer", "On Top of Old Smoky", "Goodnight, Irene", "Kisses Sweeter than Wine", and "Tzena, Tzena, Tzena".
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The viola also sometimes uses treble clef for very high notes. Treble clef is used for the soprano, mezzo-soprano, alto, contralto and tenor voices. When sung, a tenor singer will sing the piece an octave lower, and is often written using an octave clef (see below) or double- treble clef.
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Hedwig Mathilde Plümacher (3 December 1919 – 3 June 2005) was a German operatic mezzo-soprano and contralto) who appeared on stage as Hetty Plümacher. A long-term member of the Staatstheater Stuttgart, she also performed at international festivals and major opera houses. She made recordings including rhose of complete operas.
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Michael Umlauf (August 9, 1781 – June 20, 1842), was an Austrian composer, conductor, and violinist. His father, Ignaz Umlauf, was also a notable composer. His sister, Elisabeth Hölzel (née Umlauf), had a career as a contralto and her son Gustav Hölzel was an important bass-baritone. Umlauf was born at Vienna.
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John Macurdy (né John Edward McCurdy; – ) was an American operatic bass, who sang at the Metropolitan Opera 1,001 times from 1962–2000 (and also sang numerous performances in other opera houses). Among his teachers was the contralto Elisabeth Wood of New Orleans, who was also the pedagogue of Norman Treigle.
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Aafje Heynis in 1960 Aafje Heynis in 2008 Aafje Heynis (2 May 1924 – 16 December 2015) was a Dutch contralto. In 1961, she was awarded the Harriet Cohen International Music Award. A tea rose, hybridised by Buisman 1964, was named after her. She died on 16 December 2015, aged 91.
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Ilse Gramatzki (born 1939) is a German operatic mezzo-soprano and contralto who performed at major European opera houses. A member of both the Cologne Opera and the Frankfurt Opera she is known for singing parts by Mozart, contemporary opera and parts by Wagner at the Bayreuth Festival including the Jahrhundertring.
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Carolina Cortesi c.1819 Carolina Cortesi (floruit 1819–1821) was an Italian contralto who in her brief career sang in the premieres of several operas of the early 19th century. Most notably, she created the roles of Eduardo in Rossini's Eduardo e Cristina and Edemondo in Meyerbeer's Emma di Resburgo.
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Belle Cole (1845 or 1853–1905) was a well-known American contralto. Belle Cole She first achieved success while on a transcontinental tour of the United States with Theodore Thomas in 1883. She later sang in England, performing at The Crystal Palace and many other venues. In 1901, she toured Australia.
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Marga Höffgen (26 April 1921 – 7 July 1995) was a German contralto, known for singing oratorio, especially the Passions by Johann Sebastian Bach, and operatic parts such as Erda in Wagner's Der Ring des Nibelungen, performed at the Bayreuth Festival and Covent Garden Opera in London between 1960 and 1975.
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Margarethe Bence (August 13, 1930 – April 1, 1992) was an American opera singer, who sang both mezzo-soprano and contralto parts and was mostly active in German and Austria, including international festivals such as the Bayreuth Festival and the Salzburg Festival. Her repertoire included music from Baroque to contemporary premieres.
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Born Sabine Heinzinger in Munich, Gerhein attended a girls' gymnasium. She studied voice with the contralto Luise Willer in Munich. In addition, she received speaking and acting lessons from Georg Putscher. She had her first engagement in the 1927/28 season as a volunteer (Volontärin) at the Bavarian State Opera.
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Christene M. Palmer is a retired Australian singer and actress, known for her performances in the contralto roles of Gilbert and Sullivan's Savoy operas with the D'Oyly Carte Opera Company during the 1960s. Her performance as Katisha in The Mikado is preserved in the D'Oyly Carte 1967 film version of that opera.
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In 1910 Heyner married the Savoyard contralto Bertha Lewis, who died in May 1931 after being involved in a car accident. He did not attend the funeral. In June 1931 he married Mary Louise Hamilton (1902–1973), with whom he had two daughters, Susan, born in 1936 and Diana, born in 1937.
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Langford originally trained as an opera singer. While a young girl she required a tonsillectomy that changed her soprano range to a rich contralto. As a result, she was forced to change her vocal approach to a more contemporary big band, popular music style. At age 17, she was singing for local dances.
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A highly skilled contralto,First Week's Opera Bills, New York Times, November 8, 1913, pg. 13. Ober enjoyed a particularly long and fruitful association with the Berlin State Opera from 1907 to 1944. She also was notably a principal singer at the Metropolitan Opera in New York City between 1913 and 1917.
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Oksana "Slava" Kuznyetsova was born in Odessa. Before the duo became a party involved in the project "People's Artist" and the reality show Temptation Island in 2005. She studied at the Kyiv National University of Culture and Arts with a vocal coach. She is a coloratura contralto and got married in 2012.
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Luise Willer (1888–1970) was a German operatic contralto. She made her professional opera debut in 1910 as Annius in Wolfgang Amadeus Mozart's La clemenza di Tito. She spent most of her career performing at the Bavarian State Opera in Munich. At the Bayreuth Festival, she portrayed Brängane in Tristan und Isolde.www.historicopera.
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Ilona Durigo (13 May 1881 – 25 December 1943) was a Hungarian classical contralto and an academic voice teacher. She appeared internationally, mostly in concert, singing Lieder and oratorios. She is known for singing Lieder that Othmar Schoeck composed for her, and is regarded as one of the leading concert contraltos of her era.
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Kern once remarked: "I really was a contralto. I started to exercise the voice a little more floridly, and the voice really started to travel up very easily. As a result, most of my time was spent in the higher, lighter mezzo range." Kern's stage personality was described as engaging and sympathetic.
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During this time Güden arranged for Nielsen to study with her own teacher in Stuttgart. However, Nielsen was not satisfied with her studies in Austria and Germany and she ultimately completed her studies at the Franz Liszt Academy of Music in Budapest under Jenö Sipos under the recommendation of Hungarian contralto Julia Hamari.
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The opera premiered on 26 December 1819 at La Scala. Giuseppe Fioravanti, a popular basso buffo of the day and the son of composer Valentino Fioravanti, sang in the premiere.Warrack & West 1992, pp. ? Carolina Bassi Manna, Italian contralto considered one of the best in her day, also created a role in this opera.
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Brambilla was born in Cassano d'Adda, the daughter of Gerolamo and Angela (née Columbo) Brambilla. She was the fourth of five sisters, all of whom became opera singers. Marietta (1807–1875) was a contralto who specialised in travesti roles. Teresa (1813–1895) was a soprano who created the role of Gilda in Rigoletto.
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Marguerite d'Alvarez Marguerite d'Alvarez (c. 1886 – 18 October 1953) was an English contralto. D'Alvarez was born in Bootle, her father was Peruvian and her mother French. She studied at the Brussels conservatoire, and made her debut in Rouen in 1907, singing in Samson and Delilah.Potter T. Ladies of low repute - Part 7.
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However, the coloratura contralto roles (some of them trouser roles) in Rossini's operas have been central to her repertoire. Critics have noted the expressive power of her voice and her ability to cope with the florid singing demanded of Rossini's heroes and heroines.Glass, Herbert (30 July 1995). "New Opera Recordings for a Song".
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Nina Companeez (26 August 1937 - 9 April 2015) was a French screenwriter and film director. Nina Companeez was the younger daughter of Russian Jewish émigré screenwriter Jacques Companéez and younger sister of contralto Irène Companeez. She was the mother of actress Valentine Varela. Companeez was a long time collaborator of Michel Deville.
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It was originally written for flute and orchestra. In 1907 it became the second movement, Solitude, of the orchestral suite. In the same year Sibelius arranged it as a song for voice and piano. In 1939, he arranged it for voice and orchestra for the American contralto Marian Anderson, under the title "Solitude".
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Ignaz Umlauf (1746-1796) was an Austrian composer. He was Kapellmeister of the new German National Singspiel of Emperor Joseph II beginning from 1778 to his death. His son Michael Umlauf (1781-1842) was also a notable composer, and his daughter Elisabeth, mother of the composer Gustav Hölzel, was an operatic contralto.
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Jean Allister (26 February 1932 – 11 July 2012) was an opera singer who encompassed a wide range of repertoire both on stage and on the concert platform in a career spanning over 30 years.Garry Humphreys: Jean Allister - Versatile contralto and Proms veteran Independent, 6 September 2012 (with photo), accessed 5 January 2016.
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Even her admirers—white and black—considered her a "rough" woman (i.e., working class or even "low class"). Smith had a strong contralto voice, which recorded well from her first session, which was conducted when recordings were made acoustically. The advent of electrical recording made the power of her voice even more evident.
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Verger's second wife was the contralto Amalia Brambilla (1811–80), who came from a famous Italian family of opera singers. From this marriage several children were produced, including the baritone Napoleone Verger and mezzo-soprano Maria Verger, both of whom had significant careers on the stage. He spent his retirement in Palermo.
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The couple have four children and several grandchildren together. In 1973 Fischer Monastero joined the voice faculty at Northwestern University where she taught for more than 30 years. Her notable pupils include baritone Victor Benedetti, mezzo-soprano Edyta Kulczak, contralto Helen Tintes-Schuermann and sopranos Dara Hobbs and Maria Russo among others.
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The manager of the opera company complimented Cisneros on her successful performance and she became a key singer. Cisneros became their key contralto singer from 1906 -1911. Cisneros married Count Francois de Cisneros, a Cuban journalist, in 1901, becoming Countess Eleonora de Cisneros. She then went to Turin, Italy, in 1902 to perform.
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Camille MouveauIn the press of the time, she was referred to as "Camille Chadeigne, "Mme Chadeigne" or "Mme Marcel Chadeigne. singer at the Opera, led a career as a contralto with her husband sometimes accompanying her on stage. Their daughter Odette (1902-2002) was also a lyrical singer under the name "Miss Chadeigne".
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Giuseppina Maria Camilla (also Josephina) Grassini (April 18, 1773 in Varese, Italy – January 3, 1850 in Milan) was a noted Italian contralto, and a singing teacher. She was also known for her affairs with Napoleon and the Duke of Wellington. She sang in various productions by composers such as Cimarosa, Cherubini and Zingarelli.
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Knight was born in Redditch, Worcestershire, England, and educated in Birmingham. She won a five-year scholarship to the Royal Academy of Music, where she studied with May Blythe and Roy Henderson.Sleeve notes to "Gilbert and Sullivan Hits for All", Enterprise Records, ENTB 1032 She sang in concerts, oratorio and on television with the Linden Singers while still at the Academy.Gillian Knight profile at the Memories of the D'Oyly Carte website, accessed 5 May 2009 Knight joined the D'Oyly Carte Opera Company in 1959, going on tour immediately in eight of the leading contralto roles in the Gilbert and Sullivan repertory. In September of that year, at the age of 25, she succeeded Ann Drummond-Grant as the company's principal contralto on Drummond-Grant's death.
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Rosina Brandram, from an advertisement for The Emerald Isle in The Sketch, 1901 Rosina Brandram (2 July 1845 – 28 February 1907) was an English opera singer and actress primarily known for creating many of the contralto roles in the Savoy operas with the D'Oyly Carte Opera Company. Brandram joined the D'Oyly Carte company in 1877 as a chorister and understudy. By 1879, she was originating roles with the company, and she became its principal contralto in 1884, creating roles in seven of the famous Gilbert and Sullivan operas, as well as many other Sullivan comic operas. She was the only principal to appear in every original Sullivan production at the Savoy Theatre, and she performed with the company until 1903.
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Festivals were celebrated with the men and women collecting in separate groups, forming semi-circles. They would sing and chant their ancestral legends and fables. Sometimes these traditional songs would be sung with treble, contralto, and falsetto singers in a three-part harmony. The songs were accompanied by certain gestures and movements of the body.
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Sarah Gorby (Russian Сара Горби or Го́рбач Sara Gorbi or Gorbach, Yiddish שׂרה גאָרבי Sarah Gorbi; 1900 , Chisinau, Bessarabia - 1980 , Paris) was a French singer (contralto) known for her performance of Jewish songs, Russian and Romany romances, and the work of French and Soviet composers. Her recording career spanned the 1940s to the 1970s.
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Concordia Antarova (, also known as Cora Antarova, 25 April 1886 O.S./13 April 1886 (N. S.) – 6 February 1959) was a Russian contralto who starred in the Bolshoi Theater for more than twenty years. After her singing career ended, she wrote theosophical texts. She was recognized as an Honored Artist of the RSFSR in 1933.
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Constance Nantier-Didiée (16 November 1831 – 4 December 1867) was a French mezzo-soprano. According to commentators of her time, she was described as a true mezzo-soprano rather than a contralto. She had a wide range of comic, dramatic and travesty roles in her theatrical career developed in Paris, London, Moscow and Madrid.
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Victoria BDM – Marriage Certificate Ref. 6246 She was a contralto. In 1886 she travelled to England to study, before returning to Melbourne the following year, where she subsequently performed professionally. Newspaper notices indicate that she performed publicly with her sister Amy on some occasions, including in Sydney in 1898 and in Perth in 1910.
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Hâyedeh (), born Ma'sumeh Dadehbâlâ (; 10 April 1942 – 20 January 1990), was an Iranian classical and pop music vocalist with a contralto vocal range. She was well known for her wide range of voice. She was active for more than two decades, and was considered as one of the most popular singers of 20th-century Iran.
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The Trio lyrique was a Canadian vocal trio founded in 1932 by baritone Lionel Daunais. Based in Montreal, the group's other original members also included contralto Anna Malenfant and tenor Ludovic Huot. Jules Jacob replaced Huot in the early 1940s. Daunais recruited pianist and composer Allan McIver to serve as the group's accompanist and arranger.
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Verlet assembled a company and undertook a tour of England in 1910. Other members included contralto Edna Thornton and pianist Mark Hambourg; the accompanist was Cyril Towsey of Wellington, New Zealand, who had carved out a career performing in such ad hoc groups."About People: Personal Notes from London", Wellington (NZ) Evening Post, Vol.
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This American trip broke new ground for Ferrier—the West Coast—and included three performances in San Francisco of Orfeo ed Euridice, with Pierre Monteux conducting. At the rehearsals Ferrier met the renowned American contralto Marian Anderson, who reportedly said of her English counterpart: "My God, what a voice—and what a face!"Leonard, pp.
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Essie Ackland (27 March 189614 February 1975) was an Australian contralto who performed ballads, songs and in oratorio and concerts. At one time her recordings were more in demand than those of any other female singer in the world. She also recorded Gilbert and Sullivan with Sir Malcolm Sargent, but never sang in standard operas.
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In 1906, he met Charlotte Snell, a contralto. Ruggles began a search for steady employment so that he and Charlotte could marry. This led him to Winona, Minnesota, to work for the Mar D'Mar School of Music as a violin teacher. He became active as a soloist as well, eventually directing the Winona Symphony Orchestra.
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Esther Young (also Esther Jones or Hester Jones) (14 February 1717 in London - 6 June 1795 in London) was an English operatic contralto and the wife of music publisher Charles Jones. She was part of a well-known English family of musicians that included several professional.singers and organists during the 17th and 18th centuries.
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She also played in trios with violinist Edmund Zygman and cellist Adolf Hoffman, and gave a concert with German contralto Rosa Olitzka on Mackinac Island in 1920. In 1922, 1928, 1932, 1936 and 1940, she was briefly noted for being the very last alphabetical listing in each year's new edition of Who's Who in America.
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Muriel Brunskill (18 December 1899 – 18 February 1980) was an English contralto of the mid-twentieth century. Her career included concert, operatic and recital performance from the early 1920s until the 1950s. She worked with many of the leading musicians of her day, including Sir Thomas Beecham, Albert Coates, Felix Weingartner and Sir Henry Wood.
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Hertha Töpper (; 19 April 1924 – 28 March 2020)"Österreichische Altistin stirbt 95-jährig" by juw, Stuttgarter Zeitung, 31 March 2020 (in German) was an Austrian contralto in opera and concert, and an academic voice teacher. A member of the Bavarian State Opera, she appeared in leading roles at major international opera houses and festivals.
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907, claims that Charlotte Helen Sainton-Dolby sang the contralto role, but she is writing 15 years later. Charles Santley (baritone) and William Hayman Cummings (tenor), a last-minute substitution for the ailing Mario.Chorley, writing in the Athenaeum, 17 September 1864, p. 378, quoted in Henry Fothergill Chorley, Victorian Journalist by Robert Terrell Bledsoe.
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Radner's father obtained additional voice lessons for her with Jeannette Zarou in Düsseldorf, and later with mezzo-soprano Marga Schiml, both of whom are experts in early music and Lieder. They recognized that she was really a contralto. Radner's mother died in 2003 after a long illness. Almost a year later, Radner earned her diploma.
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Devora Nadworney married lawyer Herman Spingarn in 1935; and they divorced in 1941. She died in 1948, aged 52 years, in New York. Her obituary listing in Billboard Magazine described her as a "pioneer radio contralto... one of the first singers to perform over radio.""The Final Curtain" Billboard Magazine (January 17, 1948): 46.
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Cornelia Wulkopf (born 1952) is a German operatic mezzo-soprano and contralto. A long-time member of the Bavarian State Opera, she has performed leading parts at international opera houses and festivals. She made her debut at the Bayreuth Festival in the Jahrhundertring and sang in Franz Schmidt's Das Buch mit sieben Siegeln at the Salzburg Festival.
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She later toured in Australia and New Zealand playing the same contralto Gilbert and Sullivan roles as she had with D'Oyly Carte.Prestige, Colin. "Dorothy Gill", Memories of the D'Oyly Carte Opera Company, accessed 8 October 2016 After returning to England, she joined the main D'Oyly Carte company in September 1931 after the accidental death of Bertha Lewis.
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Scott Russell as Lord Dramaleigh in Utopia, Limited (1893) Harry Henry Russell, better known as Scott Russell (25 September 1868 - 28 August 1949), was an English singer, actor and theatre manager best known for his performances in the tenor roles with the D'Oyly Carte Opera Company. He was the brother-in-law of D'Oyly Carte contralto Louie René.
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Charlotte Saunders Cushman (July 23, 1816 – February 18, 1876) was an American stage actress. Her voice was noted for its full contralto register, and she was able to play both male and female parts. She lived intermittently in Rome, in an expatriate colony of prominent artists and sculptors, some of whom became part of her tempestuous private life.
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Louise Kirkby Lunn as Kundry in Parsifal, from a 1907 publication. Louise Kirkby Lunn (8 November 1873 – 17 February 1930) was an English contralto. Sometimes classified as a mezzo-soprano, she was a leading English-born singer of the first two decades of the 20th century, earning praise for her performances in concert, oratorio and opera.
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Sonia Prina (born 30 November 1975) is an Italian operatic contralto who has had an active career in concerts and operas since the mid-1990s. She is particularly known for her appearances in Baroque operas and for her performances of the Baroque concert repertoire. She has recorded works by composers George Frideric Handel and Antonio Vivaldi.
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There was great interest as well as speculation amongst music journalists and reviewers about the group's identity. Discussions also ensued about Milosh's high and sigh-like contralto androgynous vocals. His voice and the band's instrumentation are likened to those of British-Nigerian singer Sade and The xx. In 2013, the band released its debut album, Woman.
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In 1946, Horne won an ovation singing the role of Lenski in a performance of Tchaikovsky's Eugene Onegin at Town Hall in New York City. Cleveland-born soprano Brenda Miller and Chicago-born contralto Margery Mayer Voutsas (1918–2014) were the sisters, Tatiana and Olga; Bulgarian-born baritone Ivan Petroff (1899–1963) sang the title role; Laszlo Halasz conducted.
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An influential figure in experimental music, La Barbara was born in Philadelphia, Pennsylvania. She is a classically trained singer who studied with soprano Helen Boatwright at Syracuse University and contralto Marion Freschl at the Juilliard School in New York.Sadie, Julie Ann & Samuel, Rhian. The Norton/Grove Dictionary of Women Composers, , The Macmillan Press Limited, 1995, p. 259.
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Hyacinth Hazel O'Higgins (4 October 1919 – 10 May 1970), stage name Hy Hazell, was a British actress of theatre, musicals and revue as well as a contralto singer and film actress. Allmusic described her as "an exuberant comic actor and lively singer and dancer". A pretty brunette, with long legs, she was billed as Britain's answer to Betty Grable.
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Zelda Harrison, a contralto,"Theatrical Talk: New Roles for Zelda Seguin" Freeport Journal-Standard (August 24, 1883): 2. via Newspapers.com first appeared on stage in 1865, at age 17, in Saratoga Springs, New York. As Zelda Seguin she found success singing popular French and Italian operas in English translations, including with Emma Abbott in her Abbott English Opera Company.
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Brambilla was born in Cassano d'Adda, the daughter of Gerolamo and Angela (née Columbo) Brambilla. She was the eldest of five sisters, all of whom became opera singers. Teresa (1813–1895) was a soprano who created the role of Gilda in Rigoletto. Giuseppina sang both contralto and soprano roles and was married to the tenor Corrado Miraglia.
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Hermine Kittel in 1902 Hermine Kittel (December 2, 1879 – April 7, 1948) was an Austrian contralto from Vienna. She studied singing with Amalie Materna in Vienna. She made her operatic debut in 1897 in Ljubljana. Kittle first sang under Gustav Mahler at the Vienna Hofoper (Vienna State Opera) and later premiered in a revision of Ariadne auf Naxos.
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There she sang a wide range of mezzo and contralto parts from the classical repertoire, including four central Verdi roles, Azucena, Eboli, Amneris and Emilia. Her preference, however, was for the Wagner roles. In 1934 she sang Magdalene in the Meistersinger von Nürnberg again in Bayreuth as well as on guest performances in London and Paris.
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Retrieved 30 January 2013. Her voice has a wide range, spanning more than three octavesMidgette, Anne (16 October 1998). "A Voice as Rare in Type as in Beauty", The New York Times. Retrieved 30 January 2013. and has been called a "force of nature".Silverman, Mike (28 October 2009). "Contralto Ewa Podles in Rossini: A force of nature".
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The contralto viola is dated 1696. It returned to Madrid in the 20th century after having come into the possession of the dealer W.E. Hill & Sons of London. It is one of thirteen known extant violas by Stradivari. It is unusual in being decorated, although the tenor viola in Florence has decorations including the Medici crest on the fingerboard.
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Hilary Summers is a Welsh lyric contralto. She was trained at Reading University, the Royal Academy of Music, and the National Opera Studio in London.Making Music: Pierre Boulez , Carnegie Hall, January 17, 2008. She has performed on soundtracks such as The Lord of the Rings: The Two Towers, The Libertine, and The Hitchhiker's Guide to the Galaxy.
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Béatrice "Betty" Bonifassi (born 1971) is a Canadian vocalist based in Montreal. She has a deep, contralto singing voice, sometimes referred to as "masculine",Bernier, Sophie. ”Beast”, CHYZ FM, Mar 7, 2008 (French text) Retrieved Nov 5, 2008McMahon, Rob. "Beast’s creepy sound",Metro, Oct 17, 2008 Retrieved Nov 5, 2008 which has been compared to that of Shirley Bassey.
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Axel Klein: Die Musik Irlands im 20. Jahrhundert (Hildesheim: Georg Olms Verlag, 1996), p. 408. He entered an anthem, O God of My Salvation for contralto and chorus, for the 1897 Dublin Feis Ceoil and won; on this occasion he heard folk song arrangements of Charles Villiers Stanford and others for the first time.Allen (1998), see Bibliography.
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Signed cover of vocal score The Prodigal Son is an oratorio by Arthur Sullivan with text taken from the parable of the same name in the Gospel of Luke. It features chorus with soprano, contralto, tenor and bass solos. It premiered in Worcester Cathedral on 10 September 1869 as part of the Three Choirs Festival.Howarth, Paul.
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In 1890, De Koven wrote his most successful comic opera, Robin Hood. After opening night, the contralto playing Alan-a-Dale, Jessie Bartlett Davis, demanded a song to better show off her voice, threatening to walk out of the production. De Koven inserted "Oh Promise Me" into the score for her."Enduring American Song Hits", Parlorsongs.
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Her contralto voice had a deep resonance and sure melodic footing which must stem from classical training. Her pronunciation was pure Castilian, and her music pure Latin American. Her repertoire encompassed some of the most memorable melodies from Mexico, Peru, Venezuela and Chile and her interpretations close to genuine. She typically sang accompanied by guitars, requintos, and drums.
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Secondly, dialogue was replaced by recitative. Thirdly, Lothario's Act 1 aria acquired an extra verse. Fourthly, Philine was given an extra aria, inserted after the Act 2 entr'acte. And finally, Frédéric was changed from a buffo tenor into a contralto, and was awarded his Act 2 Gavotte to appease the singer who was to perform the regendered role.
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Lalo composed Le roi d'Ys between 1875 and 1878 (drafting the entire opera, in its first version, in 1875). His interest in the folklore of Brittany was prompted by his wife, the contralto Julie de Maligny, who was of Breton origin. The role of Margared was originally written for her. Getting the opera staged proved difficult, however.
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Lee had a short but busy professional singing career. She sang in a Drury Lane production of Die Walküre in 1894, and had her debut concert the following year. She also sang at campaign events when her husband ran for a seat in Parliament in 1895. She was described variously as a contralto or a mezzo-soprano in range.
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She was active in civic affairs. She was a vocal teacher until 1915. For many years she was a contralto soloist in various Portland churches. From 1921 to 1925 moved in Bangkok where her husband was the American Envoy to the court of King Rama VI. She was a member of the Professional Woman's League of Portland.
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The History of Broadcasting in the United Kingdom: Vol. I: The Birth of Broadcasting by Asa Briggs, 1961, pages 49-50. Seeking an additional outlet, the Daily Mail turned to PCGG, providing financing for its programmes from July 1922 until July 1923. The series debut was held the evening of July 27, 1922, and featured Australian contralto Lily Payling.
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"Obituary: Peter Pratt", The Stage, 9 February 1995, p. 30 During Pratt's years, principals included the bass- baritone Donald Adams, tenor Leonard Osborn (who later directed the company's productions), contralto Ann Drummond-Grant and mezzo-soprano Joyce Wright.Rollins and Witts, pp. 176–183 Pratt's successor was John Reed, who served as principal comedian for two decades.
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She took the look and made it her own.On someone who influenced her look, Glamour, December 1981. Nicks possesses the vocal range of a contralto and her voice has been described as a "gruff, feathery alto" Over the years, she has decorated her microphone stand with roses, ribbons, chiffon, crystal beads, scarves, and small stuffed toys.
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The music was provided by local performers: one frequent guest was contralto Olive Barlow, and other guest entertainers came from the Tivoli Theatre in downtown Hamilton."For Monday February 6." Toronto Globe & Mail, February 6, 1928, p. 13. The station was an affiliate of CBC Radio's Dominion Network from 1944 until the network dissolved in 1962.
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Since 1994, he has been a member of Kölner Saxophon Mafia. Since 1996, he has been the leader of Bobby Burgess Big Band Explosion. Since 1997, he has been baariton saxophoniste in NDR Bigband. Beside his main instrument, baritone saxophone, Schorn plays several pother instruments such as piccolo, bass flute, bass saxophone, contralto clarinet, contrabass clarinet and tubax.
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Contralto solo and Chorus: "After banquet, play, and riot" (Palmer)... "Sleep, great Queen!" (Chorus) ::Now that the banquet and play are over, it is time for the queen to sleep. The masque is not yet ended, and the next day will bring new delights. The people bless and hail the queen in a happy, but subdued ending.
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Although critics as usual could not agree, Giuseppina Grassini was undoubtedly one of the greatest stage singers of the 18th and 19th centuries. Commonly classed as a contralto, Grassini sang, in fact, in tessiture which would later be ascribed to mezzo-sopranos Caruselli, Grande Enciclopedia, I, p. 296; III, p 818. and had rather a narrow vocal range.
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Helene Wildbrunn, c. 1920 Leonore Helene Wildbrunn (born Helene Wehrenfennig; 8 April 1882 – 10 April 1972) was an Austrian operatic soprano. She was a celebrated Wagnerian singer, possessing a wide vocal range and dramatic creativity and fine sense of style. She made her debut in 1907 at the Stadttheater Dortmund as a contralto and mezzo-soprano.
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Hilde Rössel-MajdanHer name is also spelled Hilde Rössl-Majdan and Hilde Rossel-Majdan. (30 January 1921 – 15 December 2010) was an Austrian contralto in opera and concert. She was a member of the Vienna State Opera and is known for early recordings of Bach's music including his cantatas. She was an influential voice teacher in Graz and Vienna.
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'Vera James Known as Contralto too', Los Angeles Times 5 July 1928: A11. In 1929, she travelled back to Australia and New Zealand, intending to return to Hollywood the following year.Andrew Pike and Ross Cooper, Australian Film 1900–1977: A Guide to Feature Film Production, Melbourne: Oxford University Press, 1998, 106. However, there is no evidence that she did.
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Constance Shacklock OBE (1913–1999) was an English contralto. After more than a decade of roles with the Covent Garden Opera Company, with other companies and on the concert stage, Shacklock performed for six years in The Sound of Music in London as the Mother Abbess. She taught singing at the Royal Academy of Music from 1968 to 1978.
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Kerstin Thorborg (May 19, 1896 - April 12, 1970) was a Swedish opera singer. The contralto Kerstin Thorborg was one of the best dramatic Wagnerian singers in the two decades between 1930 and 1950. By all accounts, Thorborg was a magnificent actor with great stage presence. In addition, she was endowed with a beautifully steady and intense tone.
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Eric Funk is an American contemporary classical composer and conductor.Harbinger Article Originally from Deer Lodge, Montana, he currently resides in Bozeman, Montana, where he teaches music courses at Montana State University. Mr. Funk's considerable compositional output includes five symphonies, three operas, six ballet scores, three large works for chorus and orchestra, thirteen concertos, several orchestral tone poems, and numerous works for chamber ensembles, solo instruments, and vocal works. Among recent prominent premiers of his works include his one-act solo opera for contralto and ballet troupe, Akhmatova, based on key texts from the Russian poet's life, his Violin Concerto, and the song cycles Gongora (for baritone and chamber orchestra, on texts by the Spanish baroque poet) and Sequentia (contralto and 9-person chamber ensemble, on texts by Paul Celan).
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Tancrède is a 1702 tragédie en musique (a French opera in the lyric tragedy tradition) in a prologue and five acts by composer André Campra and librettist Antoine Danchet, based on Gerusalemme liberata by Torquato Tasso. The opera contains 23 dances in addition to the singing, but is famous for the alleged first contralto role in French opera (though in modern terms more of a mezzo- soprano range) written for Julie d'Aubigny, known as 'La Maupin', the most colorful singer of this era, or any other.The part of Clorinde is notated in the soprano clef (original score, p. 71), but, although it never descends below d′, tradition has it that it was the first major bas-dessus (contralto) role in the French opera history (Sadie, Julie Anne, Maupin, in Sadie, Stanley (ed), op. cit.
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Records of his early life are inexact, but he was probably born in Naples, and was likely a boy singer at St. John Lateran in 1544 and 1545. An "Annibale contralto" is also listed at the same church in 1555 and 1556; since it is unlikely that a twenty-year-old would have been listed as a contralto, this may have been a different person; alternatively it has been proposed that Annibale was born in the mid-1540s. Stabile himself mentioned that he studied with Palestrina, who was maestro di cappella at St. John Lateran in 1555 and 1556. Stabile became maestro di cappella at St. John Lateran in 1575, and retained that position until 1578, at which time he moved on to a similar position at the Collegio Germanico.
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Recordings of the solo version are more plentiful. Most of these employ a female voice, usually either a soprano or mezzo-soprano, but two contralto versions are available. There are also male voice versions for baritone, tenor and countertenor. The year and the label information are generally those of the most recent issue, and do not necessarily relate to the initial recording.
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He sang opera in Chicago and folk songs on early radio. In 1925, he moved to New York City and held various jobs in the entertainment industry. In the 1930s, he toured Europe and the United States with contralto Marion Kerby. He performed at the White House in 1938, and on occasion at the Newport Folk Festival during the 1950s.
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From the beginning, the choir performed with international soloists. The German heldentenor Heinrich Vogl was a soloist in 9 concerts between 1872 and 1885. The contralto Ilona Durigo from Budapest was a soloist in more than 40 concerts between 1911 and 1943. The German tenor Karl Erb performed from 1920 to 1938 in 12 concerts, especially as the Evangelist in Bach's Passions.
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Braxton has been recognized for her distinctive contralto voice. Her voice has been called "husky, sultry, elegant and sexy." Due to the huskiness of her voice, Braxton often used male singers such as Michael McDonald, Luther Vandross and Stevie Wonder as vocal style models. Chaka Khan and Anita Baker were two of the few female singers that she could stylize.
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Starover Blue is an American experimental dream pop band from Portland, OR, with roots in San Jose, CA. Their sound has been described as "a darker, moodier take on traditional synth-pop," layering "familiar, warm Juno synthesizer tones" with "somber, contralto vocals." Comparisons have been drawn to the Scottish band Cocteau Twins as well as Wye Oak, The Antlers, and Low Roar.
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After his retirement from the stage in 1829, Ronconi founded a music school in Milan which became widely known. He became a famous teacher of singing, with his notable pupils including soprano Erminia Frezzolini and contralto Caroline Unger. He was also the teacher of three of his sons, Giorgio Ronconi, Sebastiano Ronconi, and Felice Ronconi, all of whom had successful singing careers.
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Francesca Bertolli (? Rome - 9 January 1767, in Bologna) was an Italian contralto of the 18th century. She is best remembered for her association with the composer George Frideric Handel, in whose operas she sang.Grove Details of her early career are not known, but by 1728 she was in service to the Grand Duchess of Tuscany, singing at Bologna and Livorno.
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Gilbert was born in Carmarthen, Wales. By 1919, she began her professional career in contralto and mezzo-soprano roles with the Carl Rosa Opera Company, such as Carmen, Delilah, Mignon, Nicklaus and Suzuki."Opera", The Times, 28 August 1919, p. 8, col. E She performed for many years with that company,"Miss Olive Gilbert", The Times, 20 February 1981, p. 16, col.
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Wright, Adrian. Chapter 2: "Delusions of Grandeur", A Tanner's Worth of Tune: Rediscovering the Post-war British Musical, p. 41, Boydell & Brewer (2010) At Drury Lane, she starred in Novello's Careless Rapture (1936), Crest of the Wave (1937) and The Dancing Years (1939). She was the contralto voice in the unusual female duet from The Dancing Years, "The Wings of Sleep".
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He accompanied the contralto Marianne Brandt on her 1887 American tour. He then settled in New York City, where he set up the Lachmund Conservatory, of which he was the director for 22 years. By 1912 it had become largely devoted to the training of voices for opera. In 1896 he founded the Women's String Orchestra, and conducted it for twelve seasons.
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Students usually start vocal instruction after their voices have settled in later teen years. Part of the job of any voice teacher is to know a student's vocal characteristics sufficiently well to identify their voice type. Women are usually classified in one of three categories: soprano, mezzo- soprano, and contralto. Men's voices are divided into four categories: countertenor, tenor, baritone, and bass.
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Kismara Pessatti (born June 3, 1974 in Curitiba, Brazil) is a Brazilian operatic contralto. She studied singing at the Escola de Música e Belas Artes in Paraná from which she graduated in 1998. In 1999, she moved to Europe where she studied further at the Hochschule für Musik Hanns Eisler in Berlin before joining Zurich Opera.Girardi, Juliana (11 August 2010).
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Jennifer Charles (born Jennifer Asher Zipken; November 15, 1968) is an American singer, songwriter, poet, writer, and actor. Along with Oren Bloedow, she co-founded the New York band Elysian Fields. Her work is known for its emotional intensity, with her writing exploring nature, love, loss, death, myth, and identity, often with philosophical and literary influences. She has a contralto voice.
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In Europe, she performed in major Italian theaters, we well as in Lisbon, Madrid and London. She was equally comfortable in dramatic or lyrical roles, mezzo-soprano or contralto, thanks to the exceptional extension of her voice. Her stage presence was characterized by a passionate and dramatic temperament. In 1909, she founded a singing academy in Buenos Aires, while also teaching in Brazil.
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Print of Adelaide Malanotte by Giovanni Antonio Sasso (c. 1810) Adelaide Malanotte (1785 – 31 December 1832) was an Italian operatic contralto who performed in major opera houses in Italy from 1806–1821. She is best known for creating the title role in the world premiere of Gioachino Rossini's Tancredi in 1813. After her marriage, she performed under the name Adelaide Montresor.
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AllMusic called her "one of the quintessential singer-songwriters of the '70s". She has a contralto vocal range, and has cited Odetta as a significant influence. She was inducted into the Songwriters Hall of Fame in 1994. In 1995 and 1998, respectively, she received the Boston Music Awards Lifetime Achievement and a Berklee College of Music Honorary Doctor of Music Degree.
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He completed further vocal studies in Innsbruck, Bologna and finally in Berlin with the well-known contralto Emmi Leisner. Günter also studied musicology for four years. Günter was initially active as a concert singer. In 1937 he made his debut in Eisenach as Christ in Bach's Matthäus-Passion. In 1938 he sang in the Leipzig Thomaskirche in the same role.
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Zaïre has been the inspiration for at least thirteen operas.Carlson (1998) p. 44. For other operas based on Zaïre, see List of operas set in the Crusades One of the earliest operatic adaptations was Peter Winter's Zaire which premiered in 1805 at The King's Theatre in London with the famous Italian contralto, Giuseppina Grassini, in the title role.Stafford (1830) p.
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Nathalie Stutzmann (née Dupuy; born 6 May 1965) is a French operatic contralto and conductor. As a singer, she specialises in Lieder, mélodies and baroque music. As a conductor, she directed Orfeo 55, the chamber orchestra she founded. She has been the principal guest conductor of RTÉ National Symphony Orchestra since September 2017 and chief conductor of Kristiansand Symphony Orchestra since September 2018.
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At one party in particular, he meets Lizzie Timms-Kelly, a young contralto. He is so impressed, that he brings John to meet her, who becomes smitten. Much to the distress of Emmy, John and Lizzie are married. Richard becomes much distressed at his wife's seeming illness, but it turns out that, at long last, they are to have a child.
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While working on the costumes for King's Rhapsody, she met the composer in person and encouraged her to take formal lessons. June's first lessons came when she was 16 with the contralto Kate Opperman. In an interview in 2005, she described her as "the founder of my voice". June studied at the London Opera Centre and received coaching from the soprano Joan Cross.
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J. Kresser) Biographies of Celebrated Organists of America; 1908; pg. 86 accessed September 11, 2012"Retired Opera Singer Dies". Syracuse Herald Journal (Syracuse, New York): Wednesday, May 25, 1977; pg. 32 Two years earlier, Wittkowski had been given the opportunity to sing in front of the noted contralto Ernestine Schumann-Heink, at the time in Syracuse to perform at a concert.
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He sang the Brahms Liebeslieder in Brussels in 1908 with Marie Brema, and in London gave a recital with Paderewski.W. & R. Elwes (1935), pp. 181–3. In January 1913 at the Queen's Hall, under Henry J. Wood, he sang Mahler's Das Lied von der Erde in company with the contralto Doris Woodall: Wood thought it 'excessively modern but very beautiful'.
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Basil Desmond Neame was a farmer and fruit grower in Kent, and an active figure in the agricultural industry. He was born in Kilburn, London in 1921 and died in Tankerton, Kent in 2010. He was educated at Cheltenham College and the Royal Agricultural College. He was the first son of Sir Thomas Neame and the British contralto Astra Desmond CBE.
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Nevada Van der Veer was a paid contralto soloist at two New York City churches, Collegiate Church of St. Nicholas and Fifth Avenue Presbyterian Church,"Van der Veer Accepts New Church Position with Record Salary" Music News (March 11, 1921): 16. and at Church of the Pilgrims in Brooklyn."New Position for Mme. Van der Veer" Musical America (March 12, 1921): 8.
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Portrait of Betty Fibichová that was first published on 1 November 1884. Betty Fibichová (16 March 1846 – 20 May 1901) was a Czechoslovak opera singer and the wife of composer Zdeněk Fibich. The greatest Czech operatic contralto of her day, she enjoyed close artistic partnerships with both Antonín Dvořák and Bedřich Smetana in addition to collaborating frequently with her husband.
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He began appearing at major music festivals throughout the United States in the first decade of the 20th century. He was married to contralto Nevada Van der Veer (1870-1958). Along with his wife, soprano Agnes Kimball and bass-baritone Frank Croxton, Miller toured the United States in the Croxton Quartet. He was also a member of the Columbia Stellar Quartet.
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338 and her great-great uncles John Philip Kemble and Charles Kemble. She trained as a concert singer under Natalia Macfarren, the wife of George Alexander Macfarren, and made many appearances as a contralto soloist around Britain. She sang in oratorios such as Mendelssohn's Elijah,The Era, 27 April 1873, p. 7 Rossini's Stabat Mater,The Northern Echo, 16 January 1874, p.
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Polly Young was born in Covent Garden, London on 7 July 1749. Her father, Charles Young, was a clerk at the Treasury.Olive Baldwin, Thelma Wilson: "Charles Young", Grove Music Online ed. L. Macy (Accessed 12 January 2009), (subscription access) She was the youngest of three daughters, her oldest sister Isabella becoming a successful soprano and her other sister Elizabeth a successful contralto.
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Marietta Alboni (6 March 1826Date stated by both Ciliberti and Pougin; the 1911 Encyclopædia Britannica gives the year as 1823. – 23 June 1894) was a renowned Italian contralto opera singer. She is considered as 'one of the greatest contraltos in operatic history'.Entry in Harold Rosenthal & John Warrack (ed.), The Concise Oxford Dictionary of Opera, Oxford UK, Oxford University Press, 1986, p.
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Sieglinde Wagner (21 April 1921 - 31 December 2003) was an Austrian operatic contralto, who could also sing mezzo-soprano roles. Wagner was born in Linz, and studied in Linz and Munich. In 1947, she made her debut at the Vienna State Opera. Two years later, she was hired by Wilhelm Furtwängler to sing in The Magic Flute at the Salzburg Festival.
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The second act love scene in Delilah's tent is one of the set pieces that define French opera. Two of Delilah's arias are particularly well known: "" ("Spring begins") and "" ("My heart opens itself to your voice", also known as "Softly awakes my heart"), the latter of which is one of the most popular recital pieces in the mezzo-soprano/contralto repertoire.
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Bina Addy was from Calcutta, from a Bengali Christian family; two of her brothers became college professors. Her voice first attracted notice in a church choir in Calcutta. She studied music in Europe after 1928, with Elena Gerhardt in Leipzig and Mario Cotogni in Rome."Bina Addy Indian Contralto to Tour A. B. C." The Wireless Weekly (February 5, 1937): 67.
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Addy was considered a mezzo-soprano or contralto singer. She was promoted as the first Indian woman to study Western music in Europe, and the first to become a professional singer touring internationally. She performed on BBC radio broadcasts between 1929 and 1932. In 1931, the League of Nations Union in Croydon held a reception for Addy, where she performed.
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Lyse Charny Lyse Charny (1890–1950) was a French contralto opera singer who made her début at the Paris Opera in 1910 in the ballet Les Bacchantes. She went on to become a celebrated performer there, playing Erda in Wagner's Niebelungenring and Uta in Ernest Reyer's Sigurd. She also appeared at the Opéra-Comique where she first performed as Carmen in July 1919.
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This provided him with his first stage appearance, in the opera house of Lille, in the musical Aladdin. It was around this time that he chose the professional name Dennis Noble, after seeing a Dennis lorry drive past.Charles A. Hooey, Dennis Noble (baritone) – Music Web International In 1923 he married Marjorie Booth, a contralto. He studied singing with Dinh Gilly and Mattia Battistini.
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Soprano, contralto, and baritone soloists; SATB choir; and orchestra consisting of 2 flutes, 2 oboes (2nd doubling cor anglais), 2 clarinets in A, two bassoons (2nd doubling contrabassoon), 4 horns, 2 trumpets, timpani, bass drum, triangle, suspended cymbal, tam-tam, tubular bells, harp, organ (ad lib), and strings consisting of 8 first violins, 8 second violins, 6 violas, 6 cellos, and 4 contrabasses.
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In June, contralto Etta Moten, whom Gershwin had first envisioned as Bess, replaced Brown in the role. Moten was such a success that Bess became her signature role. The Crawford production ran for nine months and was far more successful financially than the original. Radio station WOR in New York broadcast a live one-hour version on May 7, 1942.
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Her role was as Rossweise in Die Walküre. She performed the same role in New York City on January 5, 1900 – being her debut in that city. After performing in New York City she then went to Philadelphia in a hurry and filled in as a contralto, with no rehearsal, in Il trovatore by Giuseppe Verdi at the Metropolitan Opera.
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He was a composer of Lieder, especially ballads, and of chamber and organ music. His compositions were published by Henri Hinrichsen, on a recommendation by Hugo Wolf, including 17 Liederhefte (song collections). He composed lieder for the contralto Lula Mysz-Gmeiner, and accompanied her in performances. These lieder included "Selige Sehnsucht" (Blissful longing), "Die kleine Passion" (The little passion) and "Philomele".
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Sara Elizabeth Flower (21 October 1820 – 20 August 1865)Essex County Record Office (Chelmsford), Baptismal Records, Grays. was a British-born contralto singer who became Australia's first opera star. She began a musical career in London in the 1840s but decamped to Australia late in 1849. In 1852, she appeared in Sydney in the first production in Australia of Bellini's opera Norma.
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Scherzo fantastique is scored for piccolo, 3 flutes (2nd doubling alto flute, 3rd doubling 2nd piccolo), 2 oboes, cor anglais, 3 clarinets in A (3rd doubling clarinet in D), bass clarinet in A, 2 bassoons, contrabassoon, 4 horns, 2 trumpets in A, contralto trumpet in F, cymbals, celesta, 3 harps and strings. Stravinsky reduced the number of harps to 2 in 1930.
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Mary Bothwell 1948 Mary Bothwell (November 28, 1900 – mid-1970s) was a Canadian classical vocalist and painter. As a singer she began her career as a contralto,The Musician: America's Leading Magazine for Musicians, Music- lovers, Teachers and Students. Vol. 42-43. N. Jaakobs; 1932. p. 188. but ultimately ended up performing soprano parts in the opera and concert repertoire.
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She studied at the Canadian Academy of Music in Toronto where she was a voice student of Otto MorandoMiloslav Rechcigl Jr.. Encyclopedia of Bohemian and Czech-American Biography. AuthorHouse; 10 November 2016. . p. 648–. and a piano student of Peter C. Kennedy. From 1920-1929 she performed as a contralto in opera and oratorio performances in Toronto and Buffalo, New York.
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When Capilupi heard him sing Lenten music at Santa Trinità, he proclaimed him the best falsettist in Rome, praising Conforti's resonance, improvization, and ornamentation. Cardinal Gonzaga's letters say Conforti sang both contralto and soprano skillfully, the first with a full voice, and the latter with a sweet tone. His skill came to impress many, and he was considered a prominent virtuoso soloist.Jackson, Roland.
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28 Preludi per Flauto Dolce solo in forma di progressione musicale 8 Preludi (Studi) in forma di progressione melodica dalle «Sonate a Flauto solo» di Paolo Benedetto Bellinzani (Venezia 1720) per Flauto Dolce Contralto 9 Preludi (Studi) in forma di progressione melodica dai «XII Solos» di Francesco Mancini (London 1724) per Flauto Dolce Contralto Baroquefantasy n. 1 (1996) per Clarinetto e Pianoforte Baroquefantasy n. 2 (1996) per Viola e Pianoforte Duo didattici in forma di progressione musicale estrapolati da diversi autori e atti a superare velocemente e con sicurezza le difficoltà della letteratura musicale Rinascimentale e Barocca. Vol. I: per 2 Flauti Dolci S[A]-T (Violino e Violoncello) Duo didattici in forma di progressione musicale estrapolati da diversi autori e atti a superare velocemente e con sicurezza le difficoltà della letteratura musicale Rinascimentale e Barocca. Vol.
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Her use of her contralto register was likened to "dipping into a deep, mysterious well to scoop up a trove of buried riches." Musicologist Henry Pleasants noted, "Vaughan who sings easily down to a contralto low D, ascends to a pure and accurate [soprano] high C." Vaughan's vibrato was described as "an ornament of uniquely flexible size, shape and duration," a vibrato described as "voluptuous" and "heavy" Vaughan was accomplished in her ability to "fray" or "bend" notes at the extremities of her vocal range. It was noted in a 1972 performance of Leslie Bricusse and Lionel Bart's "Where Is Love?" that "In mid-tune she began twisting the song, swinging from the incredible cello tones of her bottom register, skyrocketing to the wispy pianissimos of her top." She held a microphone in live performance, using its placement as part of her performance.
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Between the end of the eighteenth and the beginning of the nineteenth century, the shortage of castrati among available opera singers compelled coeval composers to contrive substitutes for the roles of "primo musico" Viz leading castrato singer. in operatic companies. The solution that seemed the most immediate and the most according to tradition, was the so-called "contralto musico", or female singers—usually mezzo-sopranos rather than real contraltos—who could perform the roles originally written for castrati as well as the parts composed with female singers in mind. According to Rodolfo Celletti, in the first 35 years of the 19th century, more than 100 cases of original resort to the "contralto musico" can be counted up, and it was employed also by musicians of the rising post- Rossini generation, such as Donizetti, Mercadante, Pacini and Bellini.
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Kempton sang often in the First Parish Church in Cambridge, Massachusetts and entertained in the houses of church members including James Russell Lowell, John Greenleaf Whittier, Francis H. Underwood, Oliver Wendell Holmes Sr., Ralph Waldo Emerson, and Henry Wadsworth Longfellow. In particular, she became lifelong friends with Longfellow.Personal letters of Jenny Twitchell Kempton. By 1855, she was described as "the favorite contralto of Boston".
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She also organized and served as the pianist for the Chamber Music Quintet of Denver. Lola maintained a studio at Brinton Terrace in Denver, where she coached pianists, singers, and young composers. She gave recitals with contralto Louis Merten, whom she accompanied on piano. In addition to her work as a musician, Lola filed patents for dolls she developed in 1922, 1924, and 1925.
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Three siblings of Marjory Kennedy-Fraser died in the fire: Lizzie, Kate and James (soprano, contralto and baritone respectively). The city of Nice immediately decided to rebuild another theatre on the same site. It was designed by architect François Aune with the apparent approval of Charles Garnier, the architect of the Paris Opera. On February 7th 1885, the Théâtre Municipal re-opened with Verdi’s Aida.Alexandre.
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Anna Groff Bryant, "A Scientific Analysis of the Contralto Voice Instrument" The Schoolmaster (March 1909): 284-287. She also published and edited a journal, The Institute, about vocal music and pedagogy,"A Woman's Scientific Achievement in Matters Vocal" Musical Monitor (February 1915): 194. and organized a visiting artists' series in Galesburg."Woman Musician-Manager Introduces Greatest Artists to Small City" Musical Leader (August 2, 1917): 107.
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Gabriella Lucia Cilmi ( ; Video clip in which Gabriella Cilmi pronounces her own name ; born 10 October 1991) is an Australian singer-songwriter. A contralto, Cilmi is known for her distinctive raspy singing voice. Her debut album, Lessons to Be Learned, was released in March 2008, becoming a moderate international success. Cilmi won six ARIA Music Awards, including Single of the Year and Best Female Artist, in 2008.
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She favored Rossini roles and created Ninetta, a soprano part, in La gazza ladra at La Scala in 1817. However, the contralto roles of La Cenerentola, Tancredi, and Isabella in L'italiana in Algeri were her most successful roles. In 1818, Belloc-Giorgi appeared in London under the name of Bellochi, but failed to find success and returned to Milan. She married a Frenchman and retired in 1828.
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Jana Sýkorová as a soloist in a performance of Stabat Mater by Antonin Dvořák Jana Sýkorová (born 9 June 1973) is a Czech operatic contralto. She has been a leading soloist with the Prague State Opera since 1999. Since 2002, she has been a permanent guest at the National Theatre in Prague and was made a permanent guest at the National Theatre in Brno in 2006.
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Luciano Mariani (1801 – 10 June 1859) was an Italian operatic bass. Amongst the several roles he created were Rodolfo in Bellini's La sonnambula [Milan, Teatro Carcano, 1831], Alfonso d'Este in Donizetti's Lucrezia Borgia and Oroe in Rossini's Semiramide. His elder sister, Rosa Mariani, was also an opera singer (contralto) and sang Arsace in the premiere of Semiramide. They toured Italy singing together in many operas.
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Perry possesses a contralto vocal range. Her singing has received both praise and criticism. Betty Clarke of The Guardian commented that her "powerful voice is hard-edged" while Rob Sheffield from Rolling Stone described Perry's vocals on Teenage Dream as "processed staccato blips". Darren Harvey of musicOMH compared Perry's vocals on One of the Boys to Alanis Morissette's, both possessing a "perky voice shifting octaves mid-syllable".
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Karen Anne Carpenter (March 2, 1950 – February 4, 1983) was an American singer and drummer who, along with her elder brother Richard, was part of the duo The Carpenters. She was praised for her 3-octave contralto vocal range. Her drumming abilities were viewed positively by other musicians and critics. Her struggles with eating disorders would later raise awareness of anorexia and body dysmorphia.
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Ursula Boese (27 July 1928 – 25 October 2016) was a German operatic contralto. A member of the Hamburgische Staatsoper from 1960 to 1993, she pursued an international career. She appeared as Stravinsky's Iocaste at the San Francisco Opera in the presence of the composer, as Wagner's Fricka in Wieland Wagner's last production of the Ring Cycle at the Bayreuth Festival, and as Verdi's Ulrica alongside Luciano Pavarotti.
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She came on stage sounding like our deepest contralto, Cloe Elmo. And before the evening was over, she took a high E-flat. And it was twice as strong as Toti Dal Monte's!" In the same vein, mezzo-soprano Giulietta Simionato said: "The first time we sang together was in Mexico in 1950, where she sang the top E-flat in the second-act finale of Aida.
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At the festival he also portrayed Samuel de Champlain in Healey Willan's The Order of Good Cheer. Later that year he made his debut with the Société canadienne d'opérette in Montreal as Clément Marot in André Messager's La Basoche. He performed frequently with that company through 1935. In 1932 Daunais founded the Trio lyrique (TL) whose original members also included contralto Anna Malenfant and tenor Ludovic Huot.
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When a member of the group wrote a new song, each of the four singers individually decided his or her own part to create the harmony. John Hutchinson later recalled, > Judson had a naturally high voice, a pure tenor. My voice was a baritone, > though I sang falsetto easily, and Asa had a deep bass. Abby had an old- > fashioned "counter" or contralto voice.
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Vestali was admired for her beauty and her contralto voice and for her independence from the norms of femininity at the time. She was a self-described "man-hater" ("Männerfeindin") and widely described as Uranian, with links to the feminist movement, the nascent movement for gay and lesbian rights, and to the movements for racial and religious emancipation.Vestvali, Felicità von. Pallas Athene: Memoiren einer Künstlerin. 1873.
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The Jacobethan country house Howbery Court (also known as Howbery Park) in Crowmarsh was built in about 1850Sherwood & Pevsner, 1974, page 562 for local MP William Seymour Blackstone. It now houses the facilities of HR Wallingford Group.HR Wallingford Group Nearby North Stoke was the home of the contralto singer Dame Clara Butt, who died there and was buried locally in St Mary's Church graveyard in 1936.
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Lilian Benningsen (17 July 1924 – 12 June 2014) was an Austrian operatic mezzo-soprano and contralto. She made an international career based at the Bavarian State Opera for decades, where she first appeared as Eboli in Verdi's Don Carlos. She created several roles, such as Carolina in Henze's Elegie für junge Liebende at the 1961 Schwetzingen Festival. Her recordings include both operas and concerts.
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In 1913, the Škoda Wetzlar gunpowder factory was established in Moosbierbaum. As a target of the Oil Campaign of World War II, Moosbierbaum had a chemical works which performed 60,000 tons/year of Naphtha dehydrogenation, and an adjacent refinery for the oil from Zistersdorf. Moosbierbaum also had a Nazi Germany forced labor subcamp of Mauthausen. Singer contralto Hilde Rössel-Majdan was a native of Moosbierbaum.
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The Billboard Book of Top 40 Hits, 8th Edition (Billboard Publications), page 289. After Wells departed, Motown eventually convinced Holloway to record some of Wells' songs, partially due to the fact that Gordy felt Holloway was the next Mary though both singers' vocals differed from each other: Wells' deep, smokey contralto vocal contrasted with Holloway's lighter soprano. Holloway recorded "When I'm Gone" in Detroit.
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XI The publishing of Moravian Duets represented very important turning point in the shaping of Dvořák's career.Šourek (2004), p. XI Arrangements for the first publication were managed by Jan Neff himself before Christmas 1876, under the title "Duets for Soprano and Contralto, with Piano accompaniment". The edition was lithographed by the firm of Emanuel Starý, Prague, and Neff gave this edition to Dvořák as a gift.
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By 1914 she was an experienced vaudevillian, appearing in Ziegfeld Follies between 1916 and 1918. In 1921 Tashman made her film debut in Experience, and over the next decade and a half she appeared in numerous silent films. With her husky contralto singing voice she easily navigated the transition to sound film. Tashman married vaudevillian Al Lee in 1914, but they divorced in 1921.
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Requiem Canticles is a 15-minute composition by Igor Stravinsky, for contralto and bass soli, chorus, and orchestra. Stravinsky completed the work in 1966, and it received its first performance that same year. The work is a partial setting of the Roman Catholic requiem mass, with the six vocal movements in Latin. It is from Stravinsky's serial period, but it has elements from all his stylistic periods.
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Treadville was known as a "torch singer", a contralto who favored blues and ballads."Torch Singer Bette Treadville Gets Movie Role" Jet (July 8, 1954): 62. She sang in Paris in the 1930s. She was described as the "heavy, heavy mama of song", in reference to her physique and performance style,Earl J. Morris, "Grand Town Day and Night" Pittsburgh Courier (June 10, 1939): 20.
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In October 1932 Kelly formed a new group, the New English Singers,Britten, p. 306. whose repertoire was again Elizabethan madrigals but also including contemporary works by Gustav Holst and Ralph Vaughan Williams. The members were Dorothy Silk and Nellie Carson (sopranos), Mary Morris (contralto), David Brynely and Norman Notley (tenors) and Kelly himself. The group toured in the United States, appearing at New York's Town Hall.
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" His older daughter is the contralto Irène Companeez, who recorded with Maria Callas and was married to great Italian baritone Dino Dondi. His younger daughter Nina Companeez was also a screenwriter.Françoise Audé Ciné-modèles cinéma d'elles.: Situations de femmes dans le cinéma 1981 Page 77 "[Michel Deville]... Il ne se lance alors pas seul dans l'aventure : avec lui, une scénariste-dialoguiste brillante, Nina Companeez.
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Gustavson made her professional opera debut in Oslo in 1946. In 1947 she won first prize at the UNESCO international music competition in Paris. In 1947-1948 she was a principal contralto at the Opéra Royal de Wallonie and made several appearances at La Monnaie in Brussels, Belgium. She spent the next 15 years performing lead roles in major opera houses throughout Europe and North America.
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Black Dub is the debut album by the Daniel Lanois-instigated collaboration Black Dub, an amalgam of dub, blues, soul and rock. Allmusic gave it three and a half stars out of five, praising singer Trixie Whitley's "deeply soulful contralto." All songs are written by Lanois, save for two, the group effort "Last Time." and the song "Ring the Alarm" written by Tenor Saw.Jurek, Thom.
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The missing viola was larger and is believed to have been a tenor. The surviving tenor viola by Stradivari in the Musical Instruments Museum in Florence, which was part of a set belonging to the Medici court, also had a contralto pair. The role of tenors would have been to play the lower register viola lines or second viola in five-part harmony depending on instrumentation.
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Welch has been compared to other singers such as Kate Bush, Stevie Nicks, Siouxsie Sioux, PJ Harvey, Shirley Manson, Alison Goldfrapp, Tori Amos and Björk. When describing Lungs, Welch said, "When I was writing these songs, I used to refer to myself as Florence 'Robot...because I really like what a machine thinks organic instruments really sound like." Welch possesses a contralto vocal range.
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Frequently seen in music as (incorrect Italian) con sordino, or con sordini (plural). ; concerto : Composition for solo instrument(s) and orchestra ; conjunct : An adjective applied to a melodic line that moves by step (intervals of a 2nd) rather in disjunct motion (by leap). ; contralto : Lowest female singing voice type ; contrapuntalism : See counterpoint ; coperti : (plural of coperto) covered (i.e. on a drum, muted with a cloth) ; corda : String.
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The Requiem is scored for 2 basset horns in F, 2 bassoons, 2 trumpets in D, 3 trombones (alto, tenor, and bass), timpani (2 drums), violins, viola, and basso continuo (cello, double bass, and organ). The basset horn parts are sometimes played on conventional clarinets, even though this changes the sonority. The vocal forces consist of soprano, contralto, tenor, and bass soloists and an SATB mixed choir.
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Denise Scharley (born Neuilly-en-Thelle, 15 February 1917 – died Versailles, 26 July 2011) was a French contralto who made her debut in 1942, singing Pelléas et Mélisande at the Opéra-Comique.Europe 1 (28 July 2011). "Décès de la cantatrice Denise Scharley". Accessed 31 July 2011 Long associated with French opera, she starred as Madame de Croissy in the Paris première of Poulenc's Dialogues of the Carmelites.
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University Musical Encyclopedia of Vocal Music. University Society, New York, 1912 Also personally recruited by Beethoven, 20-year-old contralto Caroline Unger, a native of Vienna, had gained critical praise in 1821 appearing in Rossini's Tancredi. After performing in Beethoven's 1824 premiere, Unger then found fame in Italy and Paris. Italian composers Donizetti and Bellini were known to have written roles specifically for her voice.
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Clive Barnes wrote: "With the splashy Mack & Mabel ... diminutive and contralto Bernadette Peters found herself as a major Broadway star."Barnes, Clive. "Mack & Mabel and Silent Film Era", The New York Times, October 7, 1974, p. 54 Although these had short runs, Peters was singled out for praise by the critics, and the Mack and Mabel cast album became popular among musical theatre fans.
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The English mezzo-soprano Carolyn Watkinson (born 19 March 1949) is a well- known singer of baroque music. Her voice is alternately characterized as mezzo-soprano and contralto. Watkinson was born in Preston and studied at the Royal Manchester College of Music and in The Hague. In 1978 she sang Rameau's Phèdre (Hippolyte et Aricie) at the English Bach Festival at London's Royal Opera House, Covent Garden.
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At the age of 20, Ernest Irving married Bertha Newall of Blackpool at Fylde register office on 11 May 1898. There were two children, but the marriage ended in divorce. He married his second wife Muriel Heath (1898-1983), a contralto who had sung in Lilac Time, on 19 December 1930. After the marriage, which produced one daughter, Irving suffered financial difficulties and filed for bankruptcy.
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La Compagnia del Madrigale is an Italian virtuoso early music vocal ensemble specializing in the Italian madrigal.Rome Festival The ensemble includes several members of La VenexianaArtists and has continued that ensemble's Gesualdo recordings on Glossa Records. The ensemble at the time of the Glossa recordings comprised: Rossana Bertini, Francesca Cassinari, sopranos, Elena Carzaniga, contralto, Giuseppe Maletto, Raffaele Giordani, tenors, Marco Scavazza, baritone, Daniele Carnovich, bass.
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Delphine Galou (born 1977 in Paris) is a French contralto. She was born in Paris, and studied philosophy at the Sorbonne while also studying piano and singing. She was the "Discovery of the Year" of the French Association for the Promotion of Young Artists in 2004. Her outstanding vocal technique combined with noble bearing allow her performances of the most virtuoso roles of the baroque repertoire.
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"Burney, I, p. 324 Later, relying almost literally upon the opinions expressed by Johann Joachim Quantz, a direct witness of the singer's early performances, Herrn Johann Joachim Quantzens Lebenslauf, von ihm selbst entworfe, in Friedrich Wilhelm Marpurg, Historisch-Kritische Beyträge zur Aufnahme der Musik, Berlin, Schützens Witwe, 1755, I, p. 227 (accessible online at Commons). he added: "Vittoria Tesi had by nature a masculine, strong, contralto voice.
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The composer and librettist were forced to change the action to ancient Scotland for fear of offending the King. So, unlike Lucia di Lammermoor, another opera with a Cammarano libretto, Malvina has no real connection to Scottish culture. The lead tenor quit before the opening, and the opera had to be hastily rewritten for an unconventional cast of soprano, coloratura contralto, baritone and bass.
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Born in Sögel, Germany, Romberger studied music pedagogy at the Hochschule für Musik Detmold, and then voice with Heiner Eckels. She graduated in 1990 with the artistic diploma (künstlerische Reifeprüfung) and took the concert exam in 1992. She took master classes with Hartmut Höll, Annie Schoonus, and Mitsuko Shirai. Her repertories are mezzo and contralto parts in Lied, oratorio, and concert, from Baroque to contemporary.
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Indeed, he was one of the so-called "Puritani Quartet" of leading international singers, along with Grisi, Rubini and the bass Luigi Lablache. The quartet was reunited on stage, albeit with Giovanni Mario replacing Rubini, in 1843 at the premiere of Donizetti's Don Pasquale. A particular favourite with London and Paris audiences, Tamburini was married to the contralto Marietta Gioia-Tamburini. They often sang together.
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Etta Moten Barnett (November 5, 1901 - January 2, 2004) was an American actress and contralto vocalist, who was identified with her signature role of "Bess" in Porgy and Bess. She created new roles for African-American women on stage and screen. After her performing career, Barnett was active in Chicago as a major philanthropist and civic activist, raising funds for and supporting cultural, social and church institutions.
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He recorded duets with female singers, for example with Denise Orme in "The Kissing Duet" from The Geisha, and with the music-hall star Florrie Forde in "Would You Like to Change With Me?", both in 1906. His collaborations with artists for other record companies included one with the contralto Jessie Broughton in "If You Were the Only Girl in the World" in c. 1916 for Scala.
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The term soprano sfogato appeared in the bel canto era of the 19th century, the time when its greatest exponents were performing. They included: Isabella Colbran, Giuditta Pasta, Maria Malibran, Giuseppina Ronzi de Begnis, Wilhelmine Schröder-Devrient, Mary Ann Paton (Mrs. Wood), Giuseppina Strepponi, Emma Calvé, Marianne Brandt, Félia Litvinne among others. Another example was Pauline Viardot, who alternated roles of soprano and contralto.
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XIV–XV During Green's tenure, in addition to the long-serving Fancourt, principal players included the baritone Richard Walker, soprano Helen Roberts, mezzo-soprano Marjorie Eyre, baritone Leslie Rands and contralto Ella Halman.Rollins and Witts, pp. 159–163 and 171–175 Green was followed by Peter Pratt. He left the company in 1959, after more than eight years as principal comedian, still only 36 years old.
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In 1941 Bart married singer Lillian Robbins, an operatic contralto, who performed as a soloist at Radio City Music Hall. Their children are Judy Bart Kancigor (1943- ) food writer and author of "Cooking Jewish (Workman Publications) and Gary Bart (1946- ), Weight Watchers founder in Orange and San Diego Counties and film producer ("In the Name of the People" and 'Invincible"). Lillian died in 2010 at age 93.
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Listeners of Cisneros remember her wide vocal range of "G" to "C" and high volume contralto voice. Cisneros had a large physical statuesque stage presentation. She stood at 6 feet 2 inches and presented a queenly majestic appearance, which was ideal for her performances representing heroes. With her mezzo-soprano opera voice she sang difficult roles like that of Santuzza, Gioconda, Kundry, Carmen, Laura, Urbain, and Azucena.
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She was born in Lancashire, UK, but moved with her family to Philadelphia, Pennsylvania, at the age of six in 1879. She started performing on stage, including juvenile roles in the 1880s. She sang in a contralto, learning songs by ear, and lacked the ability to read music or play an instrument. Her repertoire included ballads, ragtime, vaudeville, and comedy in a variety of dialects.
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Marian Anderson Music Center (1970) is named for the internationally famous contralto from Philadelphia, who performed at Cheyney, and attended the center's dedication ceremony. The classroom building with accompanying auditorium also contains practice suites. The 36,000 square foot facility contains state-of-the-art acoustics and a wireless communication system installed. Marian Anderson (1897-1993) was one of the most celebrated contraltos of the twentieth century.
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Routledge has had a prolific career in theatre, particularly musical theatre, in the United Kingdom and the United States. Her vocal range was labelled as a mezzo-soprano and a contralto. She has been a long-standing member of the Royal Shakespeare Company (RSC), appearing in such acclaimed productions as the 1983 Richard III, which starred Antony Sher in the title role.Patricia Routledge – Unsung Heroines , Musical Theatre.
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One critic described her voice as a 'smooth contralto, vigorous and natural', while another said that she had a 'harsh tonal quality that is not very easy on sensitive eardrums'.Mayne, J. Directed by Dorothy Arzner, p.47 Variety stated that her voice was 'good enough' to survive the transition to sound. Film Daily also stated that there was 'nothing wrong' with her 'hard and metallic' voice.
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She was born Helene Wehrenfennig in Vienna in 1882, the daughter of a railway operator. She studied in Vienna at the Gesellschaft der Musikfreunde Conservatory under Rosa Papier-Paumgartner, who had earlier taught Anna Bahr- Mildenburg and Lucie Weidt. She was initially a contralto, but had a wide vocal range. She made her debut in 1907 at the Stadttheater Dortmund as an alto and mezzo-soprano.
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Alma Webster Hall was born to William Henry Hall and Alma (Webster) Hall, on November 20, c.1869, in Elgin, Illinois.leftHall met future husband Adoniram Judson Powell in New York City. She was singing contralto at a "leading church"; Judson, the organist and a piano manufacturer, recognized her talent and began working with her to develop it. On April 16, 1890, they married in Brooklyn.
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But, in direct contradiction to the French tradition, Donizetti found himself having to employ the "old-fashioned Italian convention of the musico", the female singer trouser role which musicologist William Ashbrook states was defined by the composer to mean "a male-hero role intended to be sung by a female contralto".Ashbrook 1989 "The Music of L'assedio di Calais": Note in the booklet for the Opera Rara recording, pp. 21–29 When contacts with a favourite tenor with local audiences in Naples, Giovanni Basadonna, were fruitless and when the composer did not consider any of three available primo tenors good enough for the part("almost useless", he calls them), he created a trouser role in the Rossinian tradition of Tancredi (from the opera Tancredi) or Arsace (in Semiramide). Therefore, the leading male role of Aurelio in L'assedio, while written for a contralto, is most often performed by a mezzo- soprano.
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Marianna Radev, also Marijana Radev, (21 November 1913 – 17 September 1973) was a Yugoslav-Croatian contralto. Radev was considered one of the great alto singers in the period after the Second World War. Above all in Italy and in Berlin, she gained a great reputation "because of her rich, expressive and seemingly never-ending alto voice". Radev was born on 21 September 1913 to Croatian parents in Constanța, Romania.
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Karl Ulrich Schnabel (August 6, 1909 – August 27, 2001) was an Austrian pianist. Schnabel was the son of pianist Artur Schnabel and operatic contralto and lieder singer Therese Behr and elder brother of the American actor Stefan Schnabel. An internationally celebrated teacher of the piano, his students include, among others, Leon Fleisher, Claude Frank, Richard Goode, Kwong-Kwong Ma, Stanislav Ioudenitch, Jon Nakamatsu, Murray Perahia, and Peter Serkin.
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The musical term alto, meaning "high" in Italian (Latin: altus), historically refers to the contrapuntal part higher than the tenor and its associated vocal range. In 4-part voice leading alto is the second highest part, sung in choruses by either low women's or high men's voices. In vocal classification these are usually called contralto and male alto or countertenor. Such confusion of "high" and "low" persists in instrumental terminology.
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Helen Landis played the contralto roles in seven of the recordings and videos.Shepherd, Marc. "The G&S; for All Pinafore (1972)", The Gilbert and Sullivan Discography, 6 April 2009, accessed 3 February 2018 In the "Gilbert and Sullivan Discography, Marc Shepherd writes, "The productions, despite being heavily abridged, are beautifully costumed and staged. Business and blocking are in the traditional manner, but do not slavishly reproduce D'Oyly Carte stagings.
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As a performer, Wainwright is known for her rich contralto voice and personal lyrics. Her musical style combines pop, folk, jazz, and blues. Born into a highly acclaimed musical family (youngest sister to Loudon Wainwright, aunt to Rufus Wainwright and Martha Wainwright) her teenage years were largely influenced by a constant flow of diverse artists, writers and musicians. Writing and performing throughout the Greenwich Village scene, she developed her songwriting style.
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She graduated in 1925 from the University of Redlands. It was around 1925 she began using the name "Ataloa" or "Princess Ataloa" and started to dress in ceremonial clothing to emphasize her "Indianness". McLendon created this romanticized image of an "Indian Princess", in order to play to her mostly White audience. She gained popularity for her performances featuring Native American dance, and she was known for her contralto singing voice.
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William Capon (V&A;) She moved to London in autumn 1742 – perhaps following Giuseppe Ferdinando Brivio – with her friend and fellow singer the contralto Caterina Galli. In England she joined Lord Middlesex's Italian opera company. Lord Middlesex was director of Italian opera at the Haymarket Theatre whose purpose was to challenge Handel's solid hold on London opera goers. She studied under the English educator, musician and historian Charles Burney.
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In 1937 Bornoff founded the Bornoff School of Music in Winnipeg, serving as the school's director until 1947. His wife, pianist and contralto Mary Ada Baron Bornoff, taught with him at the school. He then taught violin and chamber music at Columbia University in New York City from 1945 to 1953. He became Professor of Music Education at Boston University in 1953 where he taught for the next two decades.
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Emma Aline Osgood was born in Boston, Massachusetts, circa 1852. Her family was eminently musical, and her father had a rich basso voice, while the full toned contralto of her mother was known throughout the New England area close to their home. She began singing here in the choirs at church on Sundays. Her first appearance in public was in Boston, when in 1873, she sang with the Beethoven Quintette Club.
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Midnight Vigil (, transliteration: tikkun ḥatzot) is an oratorio for tenor (optionally contralto in the revised 1984 version), three mixed choirs, and orchestra by Israeli composer Mordecai Seter (1916–94). The libretto is by Mordechai Tabib. A first version was commissioned by Sara Levi-Tanai for her Inbal Dance Theater company performed in 1957. The concert oratorio version premiered on 17 July 1963 to open the third annual Israel Festival.
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Maria Malibran Maria Felicia Malibran (24 March 1808 – 23 September 1836) was a Spanish singer who commonly sang both contralto and soprano parts, and was one of the best-known opera singers of the 19th century. Malibran was known for her stormy personality and dramatic intensity, becoming a legendary figure after her death at age 28. Contemporary accounts of her voice describe its range, power and flexibility as extraordinary.
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Helen Landis, c. 1950s Helen Landis (20 March 1923 – 22 March 2015) was an English singer and actress, known for her performances in musical theatre, operetta and opera, especially roles in early British productions of Rodgers and Hammerstein's and Ivor Novello's musicals and the contralto roles in the Savoy operas with the Gilbert and Sullivan for All company, with whom she toured extensively for more than 20 years.
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Foreman, Lewis. Notes to Hyperion CD A67838 (2011) His 'scena', The Triumph of Alcestis, for contralto voice and orchestra, was composed for Clara Butt, and his five movement setting of Charles Kingsley’s Ode to the North East Wind (1905) was popular with choral societies. Its third movement is a programmatic orchestral Nocturne. However, after the Coronation March of 1910 he stopped composing altogether, and subsequently his works received fewer performances.
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Cooke), "The Singing Lesson – a Duet" (C. Aveling 1906), "The Watchman" (Edward Teschemacher 1909 – bass and piano Proms premiere 6 September 1910), "When You Come Home" (Frederick Weatherly 1912 – contralto and piano Proms premiere 2 September 1913), "The Token" (baritone and piano Proms premiere 14 September 1911), "Three for Jack" (Frederick Weatherly 1904 – soprano and piano Proms premiere 28 September 1905), "Unforgotten" (mezzo and piano Proms premiere 31 October 1900).
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His maternal aunt, Louise Homer, was a leading contralto at the Metropolitan Opera; his uncle, Sidney Homer, was a composer of American art songs. Louise Homer is known to have influenced Barber's interest in voice. Through his aunt, Barber was introduced to many great singers and songs. At a very early age, Barber became profoundly interested in music, and it was apparent that he had great musical talent and ability.
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Three members of Saporta's dance company provided the singing. The opera is scored for one soprano, one contralto, and one tenor, two saxophones, and orchestra. The three singers are not assigned roles on character lines. They are voices, "carriers of text", and two or three singers often sing the role of a single character at points in the opera, and no character is sung consistently by any one voice.
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"La Negri" in a knight costume (a caricature by Anton Maria Zanetti probably depicting Maria Caterina Negri)Sechi, Giovanni Andrea (2013) "Negri, Maria Caterina". Dizionario Biografico degli Italiani. Retrieved 30 March 2016 Maria Caterina Negri (28 September 1704 – after 1744) was an Italian contralto who created numerous roles in 18th-century operas, including many by George Frideric Handel. She primarily portrayed male characters en travesti or female warriors such as Bradamante.
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Robert (Bobby) Lewis was born in Brooklyn in 1909 to a middle class working family. Encouraged in the arts by his mother, a former contralto, Lewis acquired an early and lifelong interest in music, particularly opera. He studied cello and piano as a child but these eventually gave way to his love of acting. In 1929, he joined Eva Le Gallienne's Civic Repertory Theatre in New York City.
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One amanuensis was composer Oliveria Prescott.Smither (2000), 350. On 27 September 1844, Macfarren married Clarina Thalia Andrae, subsequently known as Natalia Macfarren (1827–1916), an operatic contralto and pianist who was born in Lübeck. Trained at the Royal Academy of Music, she was successively a concert singer and singing teacher, as well as being a writer and a prolific translator of German poetry, songs (lieder) and operatic libretti into English.
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Helga Pilarczyk (12 March 1925 – 15 September 2011) was a German operatic soprano. Born in Schöningen, she originally trained as a pianist, at Braunschweig and at the . However, she made her debut as a contralto at the Staatstheater Braunschweig, as Irmentraud in Lortzing's Der Waffenschmied in 1951. By 1954 to 1955, she emerged as a dramatic soprano at the Hamburg State Opera, where she remained until the 1966/67 season.
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The Music Makers, Op. 69, is a work for contralto or mezzo-soprano, chorus and orchestra composed by Edward Elgar. It was dedicated to "my friend Nicholas Kilburn". It was first performed at the Birmingham Festival on 1 October 1912, conducted by the composer, with Muriel Foster as the soloist. The text of the work is the 1874 poem Ode by Arthur O'Shaughnessy, which Elgar set in its entirety.
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She has published seven collections of poems in Latvian. Aizpuriete's works have been translated into at least 14 languages. Eric Funk composed a symphony for contralto and orchestra, This Eventide Seems Spoiled, using her poetry. Notable awards include the Horst Bienek Poetry Prize from the Bavaria Academy of Art (1999), Poetry Days' Prize in Latvia (2000) and the Annual Prize in Literature for the best poetry translation (2003).
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Profile of Bond's career, in The Theatre, February 1885, accessed 10 March 2008See, e.g., this report of her concert at St. George's Hall, Liverpool in 1877: "Bow and Bromley Institute". The Musical Standard, London 1877, Volume 13, p. 257, accessed 6 May 2010 For example, in 1873, she was the contralto soloist in Mendelssohn's Elijah in BirkenheadThe Wrexham Advertiser, 22 March 1873, p. 6 and in Handel's Messiah in Liverpool.
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Zakai in Leipzig, 2008 Mira Zakai (; 21 September 1942 - 20 May 2019) was an Israeli contralto. Zakai was born in Jerusalem as Mira Koigen, the daughter of George Koigen and his wife Eva (née Patai). She studied at the University of Tel Aviv, initially in the Faculty of Humanities, and later at the Rubin Academy of Music, graduating in 1976. She married Jacob Zakai and they had two daughters.
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Birgit Finnilä (born 20 January 1931) is a Swedish contralto and opera singer. Finnilä was born in Falkenberg, Sweden and studied at the Royal Academy of Music in London. She made her operatic debut in Gothenburg in 1967. Though principally singing concert works, her operatic roles include parts in Britten's The Rape of Lucretia, Gluck's Orfeo ed Euridice, Handel's Flavio, Mozart's Le Nozze di Figaro, and Wagner's Ring cycle.
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The German newspaper "Neuen Zeitschrift für Musik" found it a worrisome sign of possible times ahead, should women's rights activists get their way, that the two women overpowered the man. In April 1905, Coen and Van Lier gave concerts in Leipzig and Erfurt with the German contralto Grete Hentschel. They opened with the Variations on a Rococo theme by Tchaikovsky. The critics were especially pleased with Coen's play.
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Hand-written note by contralto Marietta Alboni about the decay of bel canto in the late 19th century. The French text reads: "The art of singing is going, and it will only revert with the sole real music of the future: that of Rossini. Paris, 8 February 1881." (signature) The popularity of the bel canto style as espoused by Rossini, Donizetti and Bellini faded in Italy during the mid-19th century.
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Eva Gustavson and Richard Tucker, 1949Eva Gustavson (18 February 1917 — 10 February 2009), sometimes known as Eva Gustafson, was a Norwegian-American contralto who had an active international performance career in operas and concerts during the 1940s and 1950s. She later embarked on a second career as a voice teacher in the United States, notably teaching for many years on the music faculty of the University of Southern California.
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Anny (sometimes Anni) Konetzni (February 12, 1902 – September 6, 1968) was an Austrian soprano. She was the sister of soprano Hilde Konetzni. Born in Vienna, Anny Konetzni was a pupil of Erik Schmedes in her hometown, making her debut in Chemnitz as a contralto in 1927. Soon she became a dramatic soprano, singing at the Berlin Staatsoper from 1931 until 1935 and at the Vienna State Opera from 1935 until 1954.
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She began her career at Brazilian Comedy Theater (TBC) with her sister, actress Cacilda Becker. Having a repertoire of more varied and illustrious theatrical dramaturgy nationwide. To Cleyde, has always been normal squad to play characters older than her own, perhaps because of its contralto voice and her serious features. She actively participated in theater productions and television, in cinema but acted very little in more than a half-century career.
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Costa became a naturalized Englishman and received a knighthood in 1869. He was conductor of the Philharmonic Society from 1846 to 1854, of the Sacred Harmonic Society from 1848, and of the Birmingham Triennial Music Festival from 1849-1882. He conducted at the Bradford (1853) and Handel festivals (1857–1880), and the Leeds Festivals from 1874 to 1880. He also taught several musicians in England, including contralto Emma Albertazzi.
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Mahalia Jackson ( ; born Mahala Jackson; October 26, 1911 – January 27, 1972) was an American gospel singer. Possessing a contralto voice, she was referred to as "The Queen of Gospel". She became one of the most influential gospel singers in the world and was heralded internationally as a singer and civil rights activist. She was described by entertainer Harry Belafonte as "the single most powerful black woman in the United States".
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Eleonora Olson 1917 Ethel Olson 1917 The Olson Sisters were versatile performers, adept at both singing and comedy. They usually worked with a piano accompanist and presented a program of vocal works, piano solos, and comic monologues. Eleonora, a contralto, was the primary vocalist, and Ethel, a soprano, joined her for duets. Their musical repertoire ranged from recital pieces and folk songs to parlor songs and gospel hymns.
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Qiulin Zhang Qiulin Zhang (or Qiu Lin Zhang) is an opera contralto of Chinese descent. Zhang was born in 1964 into a family of traditional Chinese Opera singers. Her father was a local opera singer of Qinqiang and play writer. Zhang is the winner of the Grand Prix of the International Contest of Marmande in 1995 and winner of the Masters of French Song in Paris the same year.
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Elena D'Angri, circa 1851 Elena D'Angri Vitturi (also known as Elena Angri) (May 1821 or 1824 in Corfu – 29 August 1886 in Barcelona) was a Greek-born operatic contralto of Italian origin who was active in the mid-19th century in European opera houses and in the United States.Elena D'Angri: North American Theatre Online gives her birth date as 14 May 1824. gives 14 May 1821. The death date is from .
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The Carpenters were an American vocal and instrumental duo consisting of siblings Karen (1950–1983) and Richard Carpenter (b. 1946). They produced a distinct soft musical style, combining Karen's contralto vocals with Richard's harmonizing, arranging and composition skills. During their 14-year career, the Carpenters recorded ten albums, along with numerous singles and several television specials. The siblings were born in New Haven, Connecticut, and moved to Downey, California, in 1963.
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The all-female African-American group are from Shreveport, Louisiana, where they formed in 1998. Their current members are Christina Bell, a contralto, Crystal Bell, a soprano, and, Keyondra Lockett, a mezzo- soprano, with their two former members being Aphten Jones who was the second to leave the group, while the first was Undrea Northcutt-Daniels. The group have gone from a quintet to a quartet, and now being a trio.
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So it is now stated by the Dizionario Biografico degli Italiani. – 9 May 1775 in Vienna) was an Italian opera singer (later singing teacher) of the 18th century. Her vocal range was that of a contralto. She is "regarded as the first eminent singer of black African descent in the history of Western music". (Dinko Fabris, Serenata Hasse al Sannazaro in concerto la "Cappella Neapolitana", «la Repubblica», 30 gennaio 2019).
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Edith Ellen Furmedge (London, 27 March 1890—London, 9 October 1956) was a British operatic contralto and singing teacher. After secondary school she attended Homerton College, Cambridge to train as a teacher. While in attendance she took up singing and abandoned a career in teaching. She studied with Dinh Gilly whom she eventually married on 2 June 1932.Marriage certificate, COL 223787, available as part of "Perfitt Family Tree" on Ancestry.
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The symphony is scored for full orchestra with 3 flutes (the 3rd doubling on piccolo), 3 oboes (the 3rd doubling on cor anglais), 2 clarinets in A and B, bass clarinet in A and B, 2 bassoons, contrabassoon, 4 horns, 2 trumpets in A and B, 1 contralto trumpet in F, 3 trombones, tuba, timpani, cymbals, bass drum, snare drum, triangle, tambourine, tam-tam, xylophone, 2 harps, celesta, and strings.
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Simone Schröder (born 1964) is a German contralto in opera and concert, and an academic teacher. She has been associated with the Bayreuth Festival from her student days in 1992, performing in three different productions of Parsifal. She has appeared regularly at the Staatsoper Berlin and the Semperoper, and appeared as a guest at opera houses including La Scala in Milan, New National Theatre Tokyo and Teatro Colón in Buenos Aires.
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It was directed by the Emmy Award-winning TV director Kirk Browning. The opera’s chamber orchestra was conducted by Peter Herman Adler. Among the other cast members were bass- baritone Spiro Malas and contralto Lili Chookasian. In 1974, Mr. Crofoot appeared in the world premiere of Hans Werner Henze's Rachel, la cubana, also for NET Opera Theater, opposite Lee Venora, Susanne Marsee and Alan Titus, conducted by the composer.
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Sacred and Profane, Op. 91, is a collection of 'Eight Medieval Lyrics' for unaccompanied voices in five parts (SSATB) composed by Benjamin Britten in 1975. The work was first performed by the Wilbye Consort of Voices, for whom the work was composed, on 14 September 1975 at The Maltings, Snape in Suffolk, England (Elaine Barry & Rosemary Hardy, sopranos, Margaret Cable, contralto, Nigel Rogers, tenor, Geoffrey Shaw, bass), directed by Peter Pears.
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Huberwald had entire charge of the vocal part of the program that reflected so much credit upon Louisiana. Her speech at the 1895 General Federation of Women's Clubs convention was notable. She was the only singer who represented New Orleans at the Cotton States and International Exposition, and received a perfect ovation. Her contralto voice had a range of over two octaves, her enunciation was clear, and her method good.
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Born in Guelph, Ontario, Canada, Johnson was the son of James Johnson and the former Margaret Jane Brown. The young tenor sang in his local church choir and at events in the Guelph area. At a concert in Stratford, Ontario in 1897, contralto Edith Miller encouraged him to move to New York and pursue a singing career. He sang as a soloist with several church choirs in the New York area.
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In concert, she was famed as contralto soloist in Handel's Messiah, J.S. Bach's St Matthew Passion, Mendelssohn's Elijah and Beethoven's Choral Symphony. She was also a well-known Angel in Elgar's The Dream of Gerontius. The Times commented: "In all these parts her commitment, sincerity and warmth of personality were abundantly evident." On 5 October 1938, she was one of the original 16 singers in Vaughan Williams's Serenade to Music.
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Klara Rumyanova was born on 8 December 1929 in Leningrad. In 1947, Klara moved to Moscow and on the first attempt she entered VGIK, where she studied at the course of Sergei Gerasimov and Tamara Makarova. In childhood and adolescence, Klara had a completely different voice, a contralto. The ability to speak with her famous children's voice, she found only in her student years after a serious illness.
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Soloists included soprano Kirsten Flagstad, tenor Thomas Hayward, Helen Jepson, contralto Gladys Swarthout, tenor Richard Tauber, baritone John Charles Thomas (a 1936-37 regular) and Lawrence Tibbett. For the first two seasons, programs originated from Orchestra Hall in Detroit, Michigan. Demand for seats was so great, however, that Detroit's Masonic Temple Auditorium, which had more than twice as many seats, was used beginning in the fall of 1936.
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Leopold Weil's School, New York City. She was a contralto at the Temple Ahawath Chesed, New York; Sabbath School teacher, Temple Shaare Emeth, St. Louis, Missouri; president German Women's Club, Rochester; founder and president, Boys' Industrial School, Cincinnati. Mannheimer invented the Pureairin Patent Ventilator. She was a speaker at 1893 World's Columbian Exposition Congress of History and Congress of Religions, in Chicago; and for Mothers' Meetings, in Cincinnati.
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In: The New Grove Dictionary of Opera. Macmillan, London & New York, 1997. Lauters created the role of Princess Eboli in Don Carlos on 11 March 1867 at the Paris Opera. The contralto Rosine Bloch had been the intended singer but Verdi was persuaded by Perrin to adapt and transpose the role for the older and higher singer, thus creating tessitura problems with which later singers have had to cope.
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This was the London debut of Sophie's sister Maria Cruvelli, in a contralto role. But Cruvelli's successes continued there with Le nozze di Figaro with Sontag, Fiorentini, Coletti, Ferranti and Lablache, and in Ernani with Sims Reeves.Lumley, Reminiscences, 314–16. Linda di Chamounix was given with both Cruvelli sisters, 'which was less congenial to the wild and passionate nature of the charming Sophie than any of her more tragic parts.
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The contra-alto clarinet is higher-pitched than the contrabass and is pitched in the key of E rather than B. The unhyphenated form "contra alto clarinet" is also sometimes used, as is "contralto clarinet", but the latter is confusing since the instrument's range is much lower than the contralto vocal range; the more correct term "contra-alto" is meant to convey, by analogy with "contrabass", that the instrument plays an octave lower than the alto clarinet. It is also referred to as the E contrabass clarinet and the great bass It is the second-largest member of the clarinet family in regular use, larger than the more common bass clarinet but not as large as the B contrabass clarinet. Like other clarinets, the contra-alto clarinet is a wind instrument that uses a reed to produce sound. The keys of the contra-alto are similar to the keys on smaller clarinets, and are played in the same way.
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A sopranist is able to sing in the soprano vocal range which is approximately between C4 and C6, though at times may expand somewhat higher or lower. Men of all voice types can possess the wide-ranged and effective reinforced falsetto needed to produce the contralto, mezzo-soprano and soprano vocal ranges. Some countertenors can sing up into the female vocal tessituras using the modal register (normal singing production) and need not employ any falsetto.
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Stone possesses the vocal range of a mezzo-soprano and contralto. She often performs barefoot and has been described as "the white Aretha Franklin" since her debut in music industry. However, Stone was the subject of some contention in the United States, where her audience expected soul artists to have been born in poverty and have had a rough and painful life in order to sing soul music due to its emotional nature.
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The piece is scored for contralto soloist with alto flute, xylorimba, vibraphone, percussion, guitar and viola. Boulez said that the choice of these instruments showed the influence of non-European cultures, to which he had always been attracted.Boulez (1976), 67. Stéphane Mallarmé For the text of his next major work, Pli selon pli (1957–1989), Boulez turned to the symbolist poetry of Stephane Mallarmé, attracted by its extreme density and radical syntax.
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Rollins and Witts, p. 119 After this, she was absent from the company for three years. During the company's 1906–07 and 1908–09 London repertory seasons, René returned to the D'Oyly Carte Opera Company to perform at the Savoy Theatre, playing all the lead Gilbert and Sullivan contralto roles, including Dame Carruthers, the Duchess of Plaza Toro, Jane, and the Fairy Queen in Iolanthe, in the first season,Rollins and Witts, p.
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After 1770, Galli was once again committed to the London stage. She had a particular triumph as the contralto soloist in Handel's Messiah at the Haymarket Theatre in 1773. That same year she sang the role of Aniceto in Antonio Sacchini's Lucio Vero to great success at the King's Theatre opposite soprano Cecilia Davies. She was mainly active at the King's Theatre for the remainder of her career, performing both serious and comic roles.
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Ruth Hesse (born 18 September 1936) is a German operatic mezzo-soprano and contralto. She was a member of the Deutsche Oper Berlin from 1962 to 1995, and appeared internationally, including the Bayreuth Festival and the Salzburg Festival. She appeared regularly at the Vienna State Opera from 1965 to 1988, and was appointed an Austrian Kammersängerin in 1982. In Berlin, she took part in the world premiere of Henze's Der junge Lord.
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Mária von Ilosvay (8 May 1913 - 16 June 1987) was a Hungarian contralto renowned for her performances of the role of Erda in Richard Wagner's Der Ring des Nibelungen. She studied in Budapest and Vienna, where her teachers included Laura Hilgermann, Felicie Kashovska and Mária Budanovicz.Potter T. Ladies of low repute - Part 7. Classical Recordings Quarterly, Autumn 2014, No 78, p42. In 1937 won first prize in the International Singing Contest in Vienna.Opera.
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Keys has a three octave contralto vocal range. Keys has cited several artists as her inspirations, including Whitney Houston, John Lennon, Sade, Aretha Franklin, Bob Marley, Carole King, Prince, Nina Simone, Marvin Gaye, Quincy Jones, Donny Hathaway, Curtis Mayfield, Barbra Streisand, and Stevie Wonder. An accomplished classical pianist, Keys incorporates piano into a majority of her songs. Keys was described by New York Daily News as "one of the most versatile musicians of her generation".
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While A-Lin considers herself as a Contralto, she has been noted to have an extremely wide vocal range closely identical to that of Amanda Seyfried, as noted in many of her songs to have over two octaves or more, and in the concert in Auckland, New Zealand, she was suffering from illnesses that made her unable to hit her falsetto range. She has also notably performed "Remember", by A-Mei, in infantile speech.
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Clara Langhorne Clemens Samossoud, formerly Clara Langhorne Clemens Gabrilowitsch (June 8, 1874 – November 19, 1962), was a daughter of Samuel Clemens, who wrote as Mark Twain. She was a contralto concert singer and she managed his estate and guarded his legacy after his death as his only surviving child. She was married first to Ossip Gabrilowitsch, then to Jacques Samossoud after Gabrilowitsch's death. She wrote biographies of Gabrilowitsch and of her father.
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The film was one of her biggest box-office hits. In 1933, Colbert renegotiated her contract with Paramount to allow her to appear in films for other studios. Her musical voice, a contralto that footnotes list as being coached by Bing Crosby was also featured in the film Torch Singer (1933), which co-starred Ricardo Cortez and David Manners. On 1934's poll, she was already ranking as the previous year's 13th box-office star.
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Carolina has a contralto vocal range.Musica Popular Brasileira: Singers to watch Her musical influence comes from the crib, her grandmother used to sing on the radio, and her great aunt and uncle played percussion, piano, cello, and violin. She grew up listening to Brazilian musical icons such as Chico Buarque, João Bosco, Maria Bethânia as well as international icons such as Nina Simone, Björk, and Alanis Morissette. She began her career singing in local bars.
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The Paris Opéra hired La Maupin in 1690, having initially refused her. She befriended an elderly singer, Bouvard, and he and Thévenard convinced Jean-Nicolas de Francine, master of the king's household, to accept her into the company. She debuted as Pallas Athena in Cadmus et Hermione by Jean-Baptiste Lully the same year. She performed regularly with the Opéra, first singing as a soprano, and later in her more natural contralto range.
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Gordon Wry (1910–1985) was a Canadian tenor and conductor. His voice is preserved on a handful of recordings made with pianist Glenn Gould. Born in Saint John, New Brunswick, Wry studied singing with renowned contralto Nellie Smith and music theory with Healey Willan at the Toronto Conservatory of Music. He was one of the original members of the Festival Singers of Canada and was instrumental in encouraging Elmer Iseler to form that choir.
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She was born Marguerite Lofft in Lapeer, Michigan,1 one of six children. Her father, George Shadrach Lofft, was a photographer and illustrator; her mother was Ruby Adele Tuttle Lofft. In 1902, her family moved to West Philadelphia, where she spent her most formative years. Marguerite entered high school in 1904, but a year later at age fifteen began to sing professionally as contralto in a Presbyterian choir for $1 a week.
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In concert, Herzberg worked with conductors Herbert Kegel and Ekkehard Tietze,Ekkehard Tietze on Discogs among others. She sang the contralto parts in Bach's Christmas Oratorio BWV 248, in the cantatas Gott der Herr ist Sonn und Schild, BWV 79 and Erschallet, ihr Lieder, erklinget, ihr Saiten! BWV 172, in Mozart's Requiem KV 626 and Beethoven's Mass in C major Op. 86. Herzberg was married with the author and playwright Horst Enders.
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To make ends meet, she worked as an organist for silent film screenings and composed songs for radio ads under a pen name. During this time, Price lived with friends. She eventually moved in with her student and friend, Margaret Bonds, also a black pianist and composer. This friendship connected Price with writer Langston Hughes and contralto Marian Anderson, both prominent figures in the art world who aided in Price's future success as a composer.
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Yvonne Fay Minton CBE (born 4 December 1938) is an Australian-born but mostly British-resident opera singer. She is variously billed as a soprano, mezzo- soprano or contralto. A native of Sydney, she originally studied voice while on a scholarship at the New South Wales Conservatorium of Music. She won the National Eisteddfod in Canberra, as well as a number of other singing competitions, such as the £1000 Shell Aria, 1960.
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29 Her D'Oyly Carte colleague, the veteran Darrell Fancourt, said of her, "one of the very few people who have sung the contralto parts … not as hard, beastly women, but with a true understanding of their light and shade."Joseph, p. 279 Of one of her last appearances, The Guardian wrote, "Lady Blanche [was] majestically portrayed last night by Ann Drummond- Grant, in whose hands tradition is always safe."The Guardian, 31 March 1959, p.
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Kathryn Elizabeth Smith (May 1, 1907 – June 17, 1986), known professionally as Kate Smith and The First Lady of Radio, was an American singer, a contralto, well known for her rendition of Irving Berlin's "God Bless America". She had a radio, television, and recording career spanning five decades, which reached its pinnacle in the 1940s. Smith became known as The Songbird of the South after her enduring popularity during World War II.
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The Spring Symphony is a choral symphony by Benjamin Britten, his Opus 44. It is dedicated to Serge Koussevitzky and the Boston Symphony Orchestra. It was premiered in the Concertgebouw, Amsterdam, on Thursday 14 July 1949 (not 9 July which is quoted by many sources) as part of the Holland Festival, when the composer was 35. At the premiere the tenor soloist was Peter Pears, the soprano Jo Vincent and the contralto Kathleen Ferrier.
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Rosenthal pursued his singing career till 1938. Although he continued to perform in a range of settings, the focus of his singing was the Rosenthal Quartet which enjoyed considerable success. In addition to Wolfgang Rosenthal the quartet comprised his wife Ilse Helling- Rosenthal, the contralto Marta Adam (who much later became Rosenthal's second wife) and the tenor Hans Lissmann (tenor). The singing career came to an end because of a government ban.
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Ruth Fernández (23 May 1919 – 9 January 2012) was a Puerto Rican contralto and a member of the Puerto Rican Senate. According to the "Comisiones Nacionales para la Celebración del Quinto Centenario" (National Commission for the Celebration of the Fifth Centennial), she is said to be one of three artists whose contributions have helped unite Latin America. The other two artists named were Libertad Lamarque from Argentina and Pedro Vargas from Mexico.
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"Van Der Veer's Recital a Triumph" Musical Courier (May 6, 1920): 58. Her voice was described as "powerful, but always smooth and velvety in quality, no matter how loudly she sings.""Nevada Van der Veer, Mezzo-Contralto" Musical Courier (April 15, 1920): 25. Van der Veer made several recordings between 1911 and 1925, including with the Victor Light Opera Company, and several with her husband Reed Miller, in duet or quartet arrangements.
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Morlacchi was quickly successful as an opera composer. His first operatic works were written in 1807, and were a farce and a comic opera. His first truly effective theatre work was the opera seria Corradino (Parma, 1808), and led to commissions from opera houses in Rome and Milan. In 1810 he was brought to Dresden by contralto Marietta Marcolini, and in 1811 Morlacchi was made Kapellmeister of the Italian Opera in Dresden.
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Nilsson also performed the role at the Metropolitan Opera in New York in 1883.Forbes, Elizabeth. "Mignon" in Sadie, 3: 382-384. The versions of the opera performed outside France, in particular, those in the United States and Italy, have been in Italian (later also in French), with Mignon as a soprano or mezzo-soprano, and Frédéric as a mezzo-soprano or contralto, and with the sung recitatives and the shortened finale.
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Leni Lynn (born Angelina Ciofani; May 3, 1923 – January 1, 2010) was an American actress and a contralto singer. She was also known as Leni Hoffer. The daughter of a Pasaic, New Jersey, factory worker, Francesco Ciofani, and his wife, Carmelita, Lynn learned to sing by listening to recordings. When she was 13, friends and neighbors in Pasaic contributed 10,000 dimes to send her to Hollywood to try for success in films.
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She was a member of the Theater Münster from 1958 until 1960, the Stuttgart Opera, from 1966 the opera house of Nürnberg, and she returned to Stuttgart in 1975, singing there until 1983. Hellmann frequently performed the contralto part in the recordings of Bach's cantatas, his Christmas Oratorio and his Easter Oratorio with the Heinrich-Schütz-Chor Heilbronn, the Pforzheim Chamber Orchestra and Fritz Werner.Fritz Werner & Heinrich-Schütz-Chor Heilbronn & Pforzheim Chamber Orchestra, bach-cantatas.
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Other notable roles included: Amelia, Elisabetta, Gioconda, Santuzza, Tosca. Mancini was a dramatic coloratura soprano, possessing a large and powerful, yet surprisingly flexible voice, which made her an excellent exponent of early Verdi operas. Health problems in the early 1960s led her to withdraw little by little from the stage. In fact, on 30 November 1963 she sang the contralto part in a performance of the oratorio Messiah, for the Dallas Opera.
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Her younger sister Esther was a successful contralto and her older brother Charles was a clerk at the Royal Treasury. Isabella's nieces, Isabella, Elizabeth, and Polly, followed in the footsteps of their aunts to become successful singers.Olive Baldwin, Thelma Wilson: "Cecilia Young", Grove Music Online ed. L. Macy (Accessed 12 January 2009), (subscription access) Along with her sisters, Isabella's earliest musical training was with her father but she eventually studied privately with other teachers.
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Jeff Bate was born in Tilba, New South Wales, a son of Henry John Bate, a Member of the New South Wales Legislative Assembly, and his wife Lily Percival, a leading contralto. He was educated at Newington College (1918–21),Newington College Register of Past Students 1863–1998 (Syd, 1999) p. 11 The King's School, Parramatta (1922–23)The Kings School, Parramatta, Register 1831–1981 (Syd, 1982) p. 34 and the University of Sydney.
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Theodosia Abrams abandoned a promising career upon her marriage; she was considered, with Margaret Kennedy, the leading female contralto of her time. Harriett Abrams' last song in 1803 was dedicated to Queen Charlotte, "with Her Majesty's most Gracious Permission". The Abrams siblings were friends with brothers and actors John Philip Kemble, Charles Kemble and Sarah Kemble. After Theodosia's marriage to Joseph Garrow, the family was involved with the St. John's Chapel, Torquay.
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Anne Childe Seguin is valued because she was the first English opera singer to make America her home. She also left her notes which give an important insight into the introduction of opera into America. One of her students, who also became her daughter-in-law, was contralto Zelda Seguin Wallace.Thomas Allston Brown, A History of the New York Stage from the First Performance in 1732 to 1901, Volume 1 (Dodd, Mead 1903): 250.
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Nico's vocal style on Camera Obscura is somewhat different from her prior records, with some songs bearing similarities to Dead Can Dance's Lisa Gerrard. The jazz standard "My Funny Valentine", by contrast, has a more standard legato vocal style, despite her very deep contralto. Many of the tracks offer a refined version of the new wave gothic rock of her previous album Drama of Exile. The album is dedicated to her then-manager, Alan Wise.
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Jan Swafford, Johannes Brahms, Knopf (1997), reprinted in the UK by Papermac (1999) pp. 207–211 The famous Joachim Quartet. From left to right: Robert Hausmann (cello), Josef Joachim (1st violin), Emanuel Wirth (viola) and Karel Halíř (2nd violin) On 10 May 1863 Joachim married the contralto Amalie Schneeweiss (stage name: Amalie Weiss) (1839–99). Amalie gave up her own promising career as an opera singer and gave birth to six children.
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Autumn in Frankfurt, 2007 Her music encompasses a wide range of styles. Autumn's vocal range is contralto, but also has the ability to perform in the dramatic soprano range. Her vocal work has been compared to Tori Amos, Kate Bush, and The Creatures. She has released two instrumental albums (On a Day... and Laced/Unlaced), and four featuring her vocals: Enchant, Opheliac, A Bit o' This & That, and "Fight Like a Girl".
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Amy Augarde as Thames Darrell in a revival of Little Jack Sheppard (1894) Amy Florence Augarde (7 July 1868 – 1 April 1959) was an English actress and singer in musical theatre and operetta. Born at Westminster, Augarde was a member of a musical family. Among her siblings, Louise Adele Augarde (later King, 1863–1909) was a contralto with the D'Oyly Carte Opera Company,Sardeson, p. 20 Frank Wells Augarde was a violinist,Sardeson, p.
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She sang in London in 1905, Italy in 1906 and 1907, in Mexico City in 1908, in Havana in 1915, and at the Pan-American Exposition in San Diego in 1916. In 1908, she was the soloist at ceremonies marking the anniversary of the founding of Quebec, with the Prince of Wales in attendance. She made many recordings, between 1911 and 1914, including several duets with German contralto Rosa Olitzka.Discography of American Historical Recordings, s.v.
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He remained assistant to Widor in the organ class, and also to his successor Alexandre Guilmant from 1896. In July 1898, Vierne was godfather at a baptism, and Berthe Arlette Taskin the godmother. She was born in 1880, and was a contralto singing who had worked with her father, the baritone and teacher at the Conservatoire Émile-Alexandre Taskin. Vierne proposed to her on 18 July, and they got married on 20 April 1899.
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Gabrielle Krauss, the soprano in the first public performance Marietta Alboni, the contralto The first performance of the orchestral version, which was also the first public performance of the work, took place on 24 February 1869, close to what would have been Rossini's seventy-seventh birthday. It was performed at the Salle Ventadour in Paris by the company of the Théâtre- Italien, with soloists Gabrielle Krauss, Marietta Alboni, Ernest Nicolas and Luigi Agnesi.
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At the age of 18, she won a Glamoran Scholarship to study at the Guildhall School of Music and Drama. While at the school, she earned praise from The Times's music critic for her account of the aria "Inflammatus" from Antonín Dvořák's orchestra Stabat Mater in December 1954. Guy focused on her studies, and made the finals of the 1955 Kathleen Ferrier Award, and despite not winning, her "rich and expressive contralto" was respected.
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Guy made her debut as a mezzo-soprano singer at Sadler's Wells Theatre as Dryade in Ariadne auf Naxos. She gave a recital at London's Wigmore Hall, where she sang arias by George Friedrich Händel and Gaetano Donizett in 1957. Guy received praise for her performance and one critic noted "the assurance with which [she] projected her resonant contralto tone … was irresistible". The following year, she married the tenor John Mitchinson at Bethel Chapel, Penclawdd.
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The Violin Sonata No. 2 in A major, Op. 100 ("Thun" or "Meistersinger"), by Johannes Brahms was written while spending the summer of 1886 in Thun in the Bernese Oberland, Switzerland. It was a very fertile and refreshing time for Brahms. His friend, the Swiss pastor and poet (1842–1911), lived in Berne and they visited each other. He was also visited by the poet Klaus Groth and the young German contralto Hermine Spies.
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Geology, microscopy and photography claimed a share of her attention, and she had an interesting collection of specimens of her own finding, slides of her own mounting and photographs of her own taking. She delighted in music and had a cultivated contralto voice. Cobb died January 24, 1917 from apoplexy at the Frances Willard Hospital in Chicago, Illinois, after a very brief illness, and was buried in Union Cemetery, Adams Center, New York.
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She had numerous big rock hits, and also sang Bosnian sevdalinka songs (Omer beže), as well as Croatian Christmas songs. Beside being a top act within the world of Croatian popular music, she was also highly acclaimed in the former Yugoslav rock scene. She is known for her strong voice, which she describes as contralto, as well as her unique sense of fashion. On 5 March 2015, the 40th anniversary of Gubec-Beg was celebrated.
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On top of her scientific role, Annie Greenly was a contralto singer and pianist, and a long-standing member of her local branch of the North Wales RSPCA. Edward Greenly (and with him Annie to a lesser extent) was a mystic who shifted from Evangelicalism to pantheistic religion and Buddhism. He strongly believed to be reunited with his wife, who he survived by almost a quarter of a century, in an afterlife.
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Christine Anne Perfect (born 12 July 1943), known professionally as Christine McVie following her marriage to John McVie, is an English singer, songwriter and keyboardist, best known as one of the three lead vocalists and the keyboardist of Fleetwood Mac. She joined the band in 1970. She has also released three solo albums. McVie is known for her contralto vocals and her direct but poignant lyrics, which concentrated on love and relationships.
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There have been numerous recordings of the different versions, especially of the Berlioz adaptation featuring a female Orfeo. The British contralto Kathleen Ferrier and American mezzo-soprano Marilyn Horne were especially notable interpreters. In recent years, recordings and stage productions of the Vienna version of the opera have featured countertenors in the role of Orpheus. Countertenors Derek Lee Ragin, Jochen Kowalski, René Jacobs, James Bowman, and Michael Chance have recorded Orfeo ed Euridice.
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Dean, Winton, "A Handel Tragicomedy" (August 1969). The Musical Times, 110 (1518): pp. 819–822. Flavio is unusually concise for an opera by Handel of this period. It is also notable as a skillful blend of tragedy and comedy, both in the text and the music, and for being one of Handel's few operas to feature leading roles for all major voice categories of his day – soprano, contralto, castrato, tenor and bass.
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In 1914, Mrs. MacLean, a student of the famous Russian ballet dancer Louis Chalif, ran a ballroom dance studio out of the hotel. Sir Robert Borden, Prime Minister of Canada at the time, and Lady Borden stayed at the hotel on December 31, 1914 where they were received in the drawing room. Australian contralto Eva Mylott, a protégé of the famous Dame Nellie Melba, stayed at the hotel in the mid to late 1910s.
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In 1918, she began to understudy the principal contralto roles, then played by Bertha Lewis, and began to play Mrs. Partlett in The Sorcerer and Inez in The Gondoliers. Between 1918 and 1924, she also toured, from time to time, in two plays by Stanley Houghton, Hindle Wakes (as Fanny Hawthorn) and The Younger Generation.The Manchester Guardian, 23 October 1918, p. 1; 7 May 1921, p. 1; and 24 July 1924, p.
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Annice Sidwells (1902–2001) was a star of early wireless radio in the UK as a contralto singer. Sidwells was born in Settle, North Yorkshire, England. Her talent belied the meagre settings of an amateur operatic society in a remote Yorkshire market town, and Sidwells became a star of the early radio broadcasts of the BBC. Sidwells married Matt Haygarth—a romantic story that was remembered and celebrated in a Yorkshire Television documentary in 1985.
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Many of Truro's black community has roots in the historically imporant Black Nova Scotian settlements of Guysborough County. Zion United Baptist Church, first founded in 1896 on Prince Street, has long been the spiritual heart of the community. Truro is also the birthplace of world-renowned contralto, Portia White (1911–1968). To support herself while taking music lessons at the Maritime Conservatory of Performing Arts she taught school in Africville and Lucasville.
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The reviewer described her voice then as 'a mezzo-soprano of singular volume, with some excellent contralto notes, which she touches with firmness'. She was probably not yet 23 at this time. Unusually though, he went beyond his own critical autonomy to call, not upon an actual description of the voice, but upon the reaction (authority) of an audience. It was an audience which cried out spontaneously over a few bars of recitative.
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Among the passengers were 16 students and two teachers from the Joseph-König-Gymnasium of Haltern am See, North Rhine-Westphalia. They were returning home from a student exchange with the Giola Institute in Llinars del Vallès, Barcelona. Haltern's mayor, Bodo Klimpel, described the crash as "the darkest day in the history of [the] town". Bass-baritone Oleg Bryjak and contralto Maria Radner, singers with Deutsche Oper am Rhein, were also on the flight.
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Their father was a piano maker in the city. Both Barbara and Carlotta Marchisio trained as singers in Turin with Carlotta Marchionni. Barbara made her stage debut as Adalgisa in Bellini's Norma in Vicenza in 1856. After her sister's debut in 1857, they frequently appeared together, singing leading contralto and soprano roles in Paris (at the Théâtre-Italien) as well as in Brussels, Berlin, Moscow, St Petersburg, and various theatres in Great Britain.
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In 1832, Donizetti revised the opera somewhat, adapting the original soprano role of Elisabetta for the popular Austro-Hungarian contralto, Caroline Ungher. He revised the opera further for its premiere in Livorno in 1833. Between 1838 and 1840 Donizetti substantially re-worked the opera again, adding new music, for a longer version, Élisabeth ou la fille de l'exilé which was intended for performance in Paris. The new French libretto was written by Adolphe de Leuven and Léon-Lévy Brunswick.
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One of four children, Lorraine Hunt was born to parents who were both involved with opera in the San Francisco Bay Area. Her mother, Marcia, was a contralto and music teacher and her father, Randolph, taught music in high school and college. She performed as a child in Engelbert Humperdinck's Hänsel & Gretel, as a gingerbread boy. She returned to opera after taking part in a charity performance of the same work at a prison, this time taking Hänsel's role.
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Feuchtwanger's piano teachers included Edwin Fischer and Walter Gieseking, but especially inspiring were the pianist Clara Haskil, who practiced on their concert tours in England with him, and the contralto Kathleen Ferrier. He studied composition with Hans Heimler, Lennox Berkeley and . He broke early from a career as a pianist to devote himself to composition and music education. He was a follower of Zen and dealt with music and philosophy from India and the Arab world.
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Randi Stene (born 12 April 1963) is a Norwegian opera singer and contralto from Trondheim. After her studies in Trondheim, Oslo and København, her international breakthrough came as Octavian in Der Rosenkavalier (The Knight of the Rose) at the Opéra Bastille in Paris in 1993. She had the same success with this role in London. Her interpretation of Silla in Hans Pfitzner's opera Palestrina at Covent Garden rocketed her to the Metropolitan Opera in New York City.
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In 1968, Knight joined Sadler's Wells Opera, making her debut as Ragonde in Count Ory.Forbes, Elizabeth. "Knight, Gillian", The New Grove Dictionary of Opera, Grove Music Online, accessed 5 May 2009 The Times noted, "Gillian Knight has a formidable stage presence as Ragonde, and a superbly articulated contralto to match."The Times, 1 May 1967, p. 6 For Sadler's Wells she also played, among other roles, Suzuki in Madama Butterfly,The Musical Times, January 1969, pp.
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Signed portrait of Cahier Sara Cahier (8 January 187015 April 1951) was an American-born mezzo-soprano or contralto singer in opera and lieder, singing primarily in Europe. Cahier later acquired Swedish citizenship. She was associated with Gustav Mahler, and was one the soloists in the posthumous premiere of his Das Lied von der Erde in 1911. She sang at the Metropolitan Opera in New York, and was a teacher at the Curtis Institute of Music in Philadelphia.
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Jose Sosa Esquivel studied singing with the professor José Pierson, and the contralto Fanny Anitùa, at the Academia de la Ópera de Bellas Artes (Opera Academy of Fine Arts). He debuted in 1950 at the Palacio de Bellas Artes playing the role of Azael on Debussy's L'Enfant prodigue. In 1951, he played the role of Rinuccio in the Mexican premiere of Puccini's Gianni Schicchi. He was principal tenor of the national opera and first comprimario of the international opera.
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Monica Sinclair (23 March 19257 May 2002) was a British operatic contralto, who sang many roles with the Royal Opera, Covent Garden during the 1950s and 1960s, and appeared on stage and in recordings with Joan Sutherland, Luciano Pavarotti, Maria Callas, Sir Thomas Beecham, Sir Malcolm Sargent and many others. She had a great gift for comedy, and sang in recordings of many of the Gilbert and Sullivan operettas, as well as in recordings from the standard operatic repertory.
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One of her early pupils was the German contralto, Sigrid Onegin. She made her final stage performance in 1925 as the Marschallin in Der Rosenkavalier in Breslau, but continued to sing in concerts, often with the German singer and composer, Georg Hartmann, a fellow resident of Bad Landeck, where she spent her retirement years. Towards the end of her life, Margarethe Siems moved back to Dresden where she died on 13 April 1952 at the age of 72.
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By this stage she had become one of the country's leading contraltos, often appearing on radio and television and with the Sydney and Queensland orchestras. Minton left Australia in 1961 to pursue her studies in London. The same year, she won the Kathleen Ferrier Prize for the best contralto at the International Vocal Competition 's-Hertogenbosch in the Netherlands. Her first major part in England was as Maggie Dempster in the premiere of Nicholas Maw's One Man Show.
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Mendelssohn, on hearing him rehearse the song, asked him also to sing "If with all your hearts", which had been assigned to another singer. "A young English tenor," the composer wrote in a letter, "sang the last air so very beautifully that I was obliged to collect myself to prevent my being overcome, and to enable me to beat time steadily." On 24 May 1853 he married Martha Williams, a contralto singer (died 1897). They had one son, John.
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Lomax later claimed he was blown away, and called it the most significant work in his long and storied career. Edward Neill worked to revitalize the tradition in the middle of the 20th century. Trallalero groups consist of tenor, baritone and bass parts, accompanied by a contralto and a singer whose voice imitates a guitar (chitarra). As the names of parts suggest, the imitation of instrumental styles replaces traditional vocal polyphony: this is a distinguishing feature of this genre.
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The work depicts Weda Cook, a "respected Camden vocalist... recognized for her 'powerful contralto voice, unassuming manner, and thorough training.'"Bohan 2006, p. 128 She stands center stage, wearing pink slippers and a low-necked sleeveless pink dress, a luminous and central element in the picture, fringed with lace and pearl beads. Eakins's realism is notable in the painting of skin tones, with Cook's bare neck, chest, arms, and shoulders visibly paler than her head and hands.Goodrich 1982, vol.
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A review in English considered that the book was "very readable" with a "pleasant style", and recommended it to the general reader "interested in learning more about the complexities of the 'human' instrument." Martienssen-Lohmann died in Düsseldorf aged 83. Sigrid Gloede and Ruth Grünhagen wrote a biography Franziska Martienssen-Lohmann – Ein Leben für die Sänger (... a life for the singers), published in 1993. Among her students are the contralto Hanna Ludwig and the tenor Hermin Esser.
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12 In 1936, she returned to the D'Oyly Carte Opera Company for their American tour and then, over the following three years, she played the contralto roles in all their productions: Lady Sangazure in The Sorcerer, Little Buttercup in H.M.S. Pinafore, Ruth in Pirates, Lady Jane in Patience, the Fairy Queen in Iolanthe, Lady Blanche in Princess Ida, Katisha in The Mikado, Dame Hannah in Ruddigore, Dame Carruthers in Yeomen, and the Duchess in The Gondoliers.
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Kennerley Rumford, c. 1905. Robert Henry Kennerley Rumford (2 September 1870 – 9 March 1957) was an English baritone singer of the 20th century. He was first known for his performances of oratorios, but following his marriage to the well-known contralto singer Clara Butt, he toured with her throughout the English-speaking world singing repertoire of a more popular type. He was twice mentioned in dispatches while serving on the Western Front during the First World War.
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John was born on 5 November 1877 in Hobart, Tasmania to parents who were immigrants from Wales. She left her parents' home while young and moved to Melbourne to study music. She was a contralto and performed with the Metropolitan Liedertafel, the Royal Melbourne Philharmonic Society, and the German Opera Company. John also became an expert in the field of raising poultry, having started her own poultry farm at Deepdene in order to finance her musical education.
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He also brought together an exceptional troupe of musicians and singers from Italy, including the composer Ferdinando Paër, who became master of his household music, the castrato Girolamo Crescentini, and the contralto Giuseppina Grassini. Napoleon did not allow applause in the hall during performances. The orchestra played a special air by André Grétry when Napoleon entered the theater, and the Vivat Imperator when he departed. But, because of his military campaigns, he was rarely in Paris to enjoy them.
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Emma Seehofer (before 1854 – 1912) was a German operatic contralto who was a principal artist at the Bavarian State Opera in Munich from 1854 to 1887. She created the roles of Erda in Richard Wagner's Das Rheingold on 22 September 1869 and Schwertleite (one of the Valkyries) in Wagner's Die Walküre on 26 June 1870. She was also highly active as a concert singer. After retiring from the stage, she worked as a singing teacher in Munich.
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Her stage performance also improved with guidance from Désirée Artôt. As a result, she was able to perform soprano parts such as Julie in Gounod's Roméo et Juliette, where she was particularly dramatic in the final scene. With her aristocratic looks, she was however less successful as Carmen. As she grew older, she experienced difficulty in reaching the high soprano notes, preferring to return to contralto roles such as the Witch of Endor in Carl Nielsen's Saul og David.
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Rosedale appeared on Broadway in four shows: Hello, Alexander (1919), The Midnight Rounders of 1920 (1920), The Century Revue (1920), and Red Pepper (1922). A contralto or mezzo-soprano singer, she recorded more than a dozen duets with Vivian Holt in 1919, for Victor. She accompanied Holt as a pianist in two other recordings. She and Holt performed "a refined act of musical worth" on vaudeville in the 1910s, and sang together on radio in the 1930s.
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Salvatori died in Rome. He is buried in the Monumental Cimitero di Campo Verano in Alessandro Moreschi's tomb. He recorded, along with Giovanni Cesari and Vincenzo Sebastianelli, a few phonograph recordings together with Alessandro Moreschi; but these were only pure choral pieces, and none of them were solo. It is, however, possible to hear him clearly as the contralto voice audible in a SATB quartet recording of Giovanni Pierluigi da Palestrina's "La cruda mia nemica" (with Moreschi as soprano).
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She was also a student of the famous Mexican contralto Fanny Anitúa. Rey began her career participating in recitals at Mexico City's Palacio de Bellas Artes, but she married and went abroad to live with her husband. She made a comeback singing in her own radio programs and performing at the posh Capri nightclub in Mexico City. Rey also made her television debut, and one of her TV programs remained on the air for 26 consecutive weeks.
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In Havana at the same time, the choirmaster, Lazo de la Vega, was ailing, and died. Upon his death four men sought the post: 28-year-old first violinist José Francisco Rensoli, singer Luis Lazo, maestro Cayetano Solis and the Catalan Cayetano Pagueras, a religious composer and first contralto. The matter was to be decided by competitive examination. Pagueras was a strong candidate, regarding himself as a maestro in four arts: plainsong, organ playing, counterpoint and composition.
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Susannah began performing in Dublin with Handel in the spring of 1742. She most notably sang the contralto solos in the first performance of Handel's Messiah on 13 April. Their success inspired Thomas Arne and Cecilia to try their luck in Dublin and they soon arrived, along with tenor Thomas Lowe, the following June. The Arnes stayed for two seasons in Dublin and staged a number of Handel oratorios in addition to several of Thomas's works.
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She sang frequently in Melbourne at concerts and in oratorio, and was the principal contralto in the choir of Charles Strong'sC. R. Badger, 'Strong, Charles (1844–1942)', Australian Dictionary of Biography, Volume 6, (MUP), 1976 Australian Church. She made her début performance in Sydney in January 1892, and also became well known there, too. In 1894, she went to Europe and studied under Mathilde Marchesi for voice production, and under (Sir) Charles Santley for oratorio work.
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Vera Michelena (June 16, 1885 – August 28, 1961) was an American actress, contralto prima donnaThe Advocate: America's Jewish Journal, Volume 38, December 25, 1909, p. 783 and dancer who appeared in light opera, musical comedy, vaudeville and silent film. She was perhaps best remembered for her starring roles in the musicals The Princess Chic, Flo Flo and The Waltz Dream, her rendition of the vampire dance in the musical Take It from Me and as a Ziegfeld Follies performer.
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Bryars chose to distinguish the character types through the vocal ranges they were given. The adults of the town are largely given deep voices, bass and bass-baritone for the men, contralto and mezzo-soprano for the women. The lovers have high voices, soprano and counter-tenor. In order to make the scientists sound unlike the townspeople, Bryars made Ox a tenor and Ygène a baritone, both parts being agile, lyric and relatively high in their voice range.
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The Andrews Sisters were an American close harmony singing group of the swing and boogie-woogie eras. The group consisted of three sisters: contralto LaVerne Sophia (July 6, 1911 – May 8, 1967), soprano Maxene Anglyn (January 3, 1916 – October 21, 1995), and mezzo-soprano Patricia Marie "Patty" (February 16, 1918 – January 30, 2013). The sisters have sold an estimated 80 million records. Their 1941 hit "Boogie Woogie Bugle Boy" can be considered an early example of jump blues.
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Anna Mombelli, born Marianna Mombelli, (1795 – after 1817) was an Italian opera singer who sang both mezzo-soprano and contralto roles. She is primarily known for having created the role of Siveno in Rossini's first opera Demetrio e Polibio in 1812. Mombelli was born in Naples, the second of Domenico Mombelli and Vincenza Viganò-Mombelli's twelve children. She was trained in singing by her father who had been a prominent tenor in the 1780s and 90s.
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Prikhodko has become known for her deep contralto vocal range. Due in part to her training as a folk vocalist, Prikhodko's repertoire consists of songs often in a minor key, inspired by genres such as folk rock and pop music. Initially, many of her songs were performed in the Russian language; she later began incorporating the Ukrainian language into her music, until swearing off performing in Russian completely in 2015. She has also performed in English.
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After this successful collaboration, Furtwängler signed her to sing Floßhilde and Grimgerde in Richard Wagner's Der Ring des Nibelungen at La Scala. This was the beginning of a career that included many of Wagner's alto roles (she and the composer were not related). In 1950, Sieglinde Wagner sang as a contralto, as Orlovsky, a blase young nobleman in Die Fledermaus. In 1952, she made her first appearance at the Städtischen Oper in Berlin as Maddalena in Rigoletto.
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"Others who died in Auschwitz, often via Holland and Terezin, were Alfred Kropf, a conductor from Stettin; Magda Spiegel, a Frankfurt contralto; and composer James Simon, a student of Max Bruch." According to Peter Hugh Reed writing in American Record Guide (1949), Breitenfeld recorded for Odeon and HMV between 1910 and 1914.Peter Hugh Reed, American Record Guide, No. 16, 1949 Richard Breitenfeld has a memorial stone in Frankfurt.Dinah Shelton, Encyclopedia of genocide and crimes against humanity, 2, 2005.
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Quote: "However, among them are: the baritone and cantor Erhard E. Wechselmann, murdered in Auschwitz; the contralto Magda Spiegel, murdered in Auschwitz; Richard Breitenfeld, a member of the Frankfurt opera ensemble, murdered in Theresienstadt"Great singers, from the seventeenth century to the present day Kurt Pahlen - 1974 Ottilie Metzger-Lattermann, who before 1914 had sung in all the important opera-houses and at Bayreuth, died in Auschwitz; the baritone Richard Breitenfeld, also a Wagner lead, in Theresienstadt.
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Her voice range was wide, from contralto registers to dramatic soprano. In 1970, she appeared in Florence in the title role in Handel's Deborah. In 1971, she sang at the Maggio Musicale Fiorentino in the role of Sélika in Meyerbeer's L'Africaine. The same year, she portrayed Countess Almaviva in Mozart's Le nozze di Figaro, alongside Dietrich Fischer-Dieskau as the count at the Berlin Festival, and recorded the role with the BBC Orchestra conducted by Colin Davis.
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Alyce Rogers is an American mezzo-soprano and alto opera singer. She began her career as an actor on the East Coast, but later found her passion in opera and light opera. After moving to Portland, Oregon, she appeared with the Oregon Symphony, the Israel Philharmonic Orchestra, and the Seattle Symphony Orchestra, among others. Rogers is well known for her interpretations of the mezzo and contralto riles in the operas of Gilbert and Sullivan, and Menotti.
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Eames Story. Resuming her concert-tour she went to England and Belgium, appearing before King Leopold and other royalties and everywhere meeting success. During this tour, Parcells used the professional name of Marie Parcello, which she permanently adopted thereafter, for euphony. After her return to New York, Parcello gave recitals at the Waldorf and Steinway Hall, and also opened a studio in Carnegie Hall where she trained contralto voices only, limiting herself to six pupils at a time.
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Singing master Giovanni Battista Mancini, who, in his youth, had happened to perform on stage alongside Tesi and Farinelli, reported she naturally possessed "most perfect intonation" and had gained, by studying, full mastery of the art of singing.Mancini, pp. 19 e 20. Notwithstanding, it was in fact as a 'singer-actress' — to put it in modern terms — that she went down in history: "the first 'divina' in the contralto clef", as she has been recently called.
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Blumenthal enjoys an active career performing joint recitals. He collaborates with such renowned artists as violinists Peter Zazofsky and Pierre Amoyal, Barry Tuckwell, bass-baritone Jose Van Dam, tenor John Aler, soprano Dinah Bryant, contralto Marie-Nicole Lemieux, and the Orlando, Enesco, and Colorado String Quartets. Blumenthal is an annual participant in the Thy Chamber Music Festival in the north of Denmark. He was a regular performing member of the acclaimed Spectrum Concerts in Berlin from 1999-2008.
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Even relative to the standards of early music composers, the life of Juan Vásquez is largely unknown, despite the best efforts of leading musicologists.Asociación Cultural "Ubi Sunt?" (Spa) (PDF) As a result, all mentions of his age are educated guesses by professionals rather than hard facts.Medieval.org CD review A chapel singer from boyhood, his engagement in 1511 as a "contralto" at the cathedral of Plasencia, Cáceres indicates that he was still a boy at that time.
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Susannah Cibber Susannah Maria Cibber (February 1714 – 30 January 1766),DNB entry also known as Susannah Maria Arne, was a celebrated English singer and actress. She was the sister of the composer Thomas Arne. Although she began her career as a soprano, her voice lowered in the early part of her career to that of a true contralto. She was universally admired for her ability to move her audiences emotionally both as an actress and vocalist.
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Accompanied by pianist Margo Garrett, she sang arias and songs by Handel, Mozart, Liszt, Rachmaninoff, Gershwin and Richard Strauss, as well as several traditional spirituals. The contralto Marian Anderson, who had ended her farewell tour with a recital at Carnegie Hall in April 1965, was in the audience that night and Battle dedicated Rachmaninoff's "In the Silence of the Secret Night" to her.Chicago Sun-Times, Battle's recital has a bonus, April 29, 1991. Accessed via subscription July 23, 2008.
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He and his wife had a large mansion and gardens designed for them. The Biedenharn home in Monroe is now a tourist attraction, operated as the Biedenharn Museum and Gardens at 2000 Riverside Drive. It is visited by 25,000 to 30,000 persons per year. The original Biedenharn home is furnished as it was during the years when the Biedenharns' daughter, Emy-Lou, a contralto opera singer prior to World War II, resided there until her death in 1984.
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The prologue includes Apollo (tenor) and cyclopes. The opera itself has roles for the enchantress Falsirena (soprano); Adone (alto); Plutone (bass); Venere (soprano); Idonia (soprano) and Arsete (bass), advisers of Falsirena ; Oraspe (tenor) ; Amore (soprano) ; Eco (alto) ; nymphs and shepherds.Voice types according to Vaccariini. At the premiere, Adone was sung by the 'artificial' contraltoSances, a brother of composer Giovanni Felice, is styled an '"artificial" contralto' (namely, a non-castrated male falsettist) in Rodolfo Celletti, La grana della voce.
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Critics have analyzed and scrutinized Gaga's musical and performance style, as she has experimented with new ideas and images throughout her career. She says the continual reinvention is "liberating" herself, which she has been drawn to since childhood. Gaga is a contralto with a range spanning from B♭2 to B5. She has changed her vocal style regularly, and considers Born This Way "much more vocally up to par with what I've always been capable of".
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Unlike the Orlando furioso (RV 728) of 1727, in which the role of Orlando is sung by a contralto, the 1714 opera assigns the title role to a bass. The third act is missing and the rest of the score (evidently used in performances by the composer) is incomplete. Two arias are lost, seven arias are incomplete (only the bass part is extant) and three arias are identical with extant arias in RV 727 and RV 729.
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It is based on the Classical legend of the sculptor Pygmalion. Pimmalione was specially commissioned by the Emperor Napoleon Bonaparte to show off the talents of two of his favourite singers, the famous castrato Girolamo Crescentini and the contralto Giuseppina Grassini (who had been Napoleon's lover). It was first given in a private performance at the emperor's palace, Les Tuileries. Napoleon was delighted with the work and offered Cherubini a large reward and a commission for another piece.
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He says "threatening Spain" could not touch one blade of grass in Britain, as the land itself would rise up against them. :6a. Contralto recitative: "Place for the Queen our show to see, Now speak Immortal Poetry." (Palmer) :7. Scene from The Merchant of Venice (Act V, scene i): "How sweet the moonlight sleeps" (Lemmens-Sherrington and Cummings) ::Lorenzo speaks to his new bride, Jessica, comparing the moon and stars in the quiet night to harmony of their souls.
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Lumley Reminiscences, 282-83. June 1850 saw a première of Halévy's La tempesta in which as Fernando he partnered Sontag's Miranda, Carlotta Grisi's Ariel, Colini's Prospero and the celebrated impersonation of Caliban by Lablache, directed by Balfe.Gossip of the Century (cited above), 167-68. Read here, Gardoni and the star contralto Marietta Alboni were the lead soloists, in the presence of Queen Isabella II, in the 1850 inaugural performance of La favorita at the Teatro Real in Madrid.
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Muriel Costa-Greenspon (December 1, 1937 – December 26, 2005) was an American mezzo-soprano who had a lengthy career at the New York City Opera from 1963 to 1993. She portrayed a gallery of character roles that extended from twentieth- century works by Leonard Bernstein, Benjamin Britten, Carlisle Floyd, Lee Hoiby, Arthur Honegger, Gian Carlo Menotti, and Douglas Moore, to the contralto heroines of Gilbert and Sullivan, and comic scene-stealers by Puccini, Mozart, and Donizetti.
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Chappell was born in Portland, Oregon in 1925, the son of a contralto mother who was a singer with the Portland Symphony Choir. His father was a train engineer, and was of part- Native American descent, descending from the Umatilla people. Chappell spent his early life on the Umatilla Indian Reservation in northeastern Oregon, until the family returned to Portland when he was three years old. Chappell attended Benson Polytechnic High School, and studied musical composition at the Ellison-White Conservatory of Music.
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During the 1920–30s, she also contributed the contralto voice to a well-known and often broadcast singing duo called The Carroll Sisters, with Elsie Eaves (soprano). In 1941, she joined the BBC in Cardiff as a radio producer of light entertainment programmes. Programmes produced by her included Welsh Rarebit and Saturday Starlight. As part of the wartime Cardiff artistic and music community Mai had known Idloes Owen, also a composer, arranger and conductor, who performed with the pre-war Lyrian Singers.
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They had a very happy marriage that lasted for forty-six years, ending when Gavejian died in 1987. They had several children and eleven grandchildren together. Chookasian began performing professionally as an oratorio and concert singer in the 1940s, mostly in Chicago but also occasionally out of town. The biggest triumph of her early concert career was in January 1955 when she was chosen by Bruno Walter as the contralto soloist for Mahler's Symphony No. 2, "Resurrection" with the Chicago Symphony Orchestra.
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Basia's biggest influence has always been American music, particularly soul and jazz. Her songs are also inspired by Latin American music, especially Brazilian, and such genres as bossa nova and samba. She has cited Aretha Franklin, Stevie Wonder, Astrud Gilberto and Antônio Carlos Jobim as some of her favourite artists. The singer is noted for possessing a wide vocal range, approximately three octaves that span from contralto to soprano tessituras, as well as her singular jazz-influenced stylings and multi-layered harmonies.
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At the Expo 67, she sang the soprano part in Gustav Mahler's Fourth Symphony with the New York Philharmonic Orchestra, conducted by Leonard Bernstein. She sang in Beethoven's Ninth Symphony with the Bach-Chor Bonn in 1977. Zarou has been a professor of voice at the Robert Schumann Hochschule in Düsseldorf. One of her notable students was Maria Radner, a contralto who appeared in international operas including the Metropolitan Opera in 2012 in Götterdämmerung, which was part of the opera's documentary Wagner's Dream.
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His great uncle, Anthony Young, was also a notable organist and composer. Charles's Aunt Cecilia (1712-1789), was one of the greatest English sopranos of the eighteenth century and the wife of composer Thomas Arne. His Aunt Esther was a well known contralto and wife to Charles Jones, a successful music publisher in England during the eighteenth century. Three of his cousins, Isabella, Elizabeth, and Polly Young were all successful singers, and his cousin Michael Arne was a successful composer.
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Rollins and Witts, pp. 87 and 91. Dow and Workman René continued to tour with D'Oyly Carte until December 1901, playing all the principal Gilbert and Sullivan contralto roles in repertory, as well as the Marquise de Montigny in Mirette (1895), Inez de Roxas in The Chieftain (1895), Lazuli in The Lucky Star (1899), Lady Vernon in Haddon Hall (1899), Dancing Sunbeam in The Rose of Persia (1900–1901), and the Countess of Newtown in The Emerald Isle (1901).Stone, David.
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Rupp also accompanied singers Lotte Lehmann, Sigrid Onégin, Maria Stader and Beniamino Gigli, and was a highly esteemed chamber musician who, among others, performed with cellist Emanuel FeuermannRupp called him "the most accomplished instrumentalist I ever played with". and violist William Primrose. He also played as a soloist with various German conductors, among them Wilhelm Furtwängler. In 1938 he moved to New York and soon became the permanent accompanist of contralto Marian Anderson, until her retirement from the stage in 1965.
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Hector William Crawford was born in Melbourne in 1913. His parents were William Henry Crawford, a commercial traveller, and Charlotte, née Turner, a contralto and organist.Australian Dictionary of Biography: Dorothy Crawford He studied at the Melbourne Conservatorium of Music and later conducted the orchestra there. In 1940 he became the musical and recording director of Broadcast Exchange of Australia, a radio broadcasting house, and its managing director in 1942. In 1945 he and his sister Dorothy Crawford founded Crawford Productions.
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The entertainments focused on satire and "clean" comedy, eschewing any hint of the vulgarity that permeated the London stage. Reed himself composed the music for many of these pieces, and often appeared in them, together with Mrs. German Reed. Horton was a mentor to the dramatist W. S. Gilbert, who wrote six short operas for the German Reeds, each with a prominent role for Horton, and these roles became the pattern for his later contralto characters in the Savoy Operas.
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When Ace of Base was signed to Danish label Mega Records in 1990, Malin, or Linn as she became known, chose to put her teaching career on hold. But while her sister Jenny has stated she always wanted to be a singer, Linn has never said anything similar. On the contrary, in 1997 Linn said: "I wanted to sing; I never wanted to be a singer". Linn's vocal range is contralto as she is recognised by her distinguishable vibrato and expressive unique voice.
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Following the collapse of Mr. Peanutbutter's house, he digs down to save everyone inside which results in the loss of his hands. He briefly has his hands replaced with gorilla feet and then lobster claws, but later receives hand transplants from a pedophile/murderer named Ernest Contralto. He is forced to re-run for governor following Todd's victory in the skiing race in which he is the only experienced politician. He eventually beats Jessica Biel following the revelation that she hates avocados.
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Q Lazzarus has a deep, husky, androgynous contralto voice. She was born in New Jersey, married young, and fled an abusive marriage that later inspired her to write the song "Tears of Fear." Moving to New York City, she became a nanny for an English man named Swan, who tried to steer her toward a "practical occupation" rather than encourage her musical gifts. Q decided to drive a taxi instead and continued making music independently with her band, The Resurrection.
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Vigna, a contralto, performed roles in opera in several Italy citiesTecla Vigna listing, La Voce Antica. before being recruited by pianist Albino Gorno to the faculty of the Cincinnati Conservatory of Music in 1882."Signorina Tecla Vigna" Music (May 1892): 88. Vigna wrote a text, 90 Daily Vocal Exercises (1894), published while she was teaching at the conservatory. After years of contentious disagreements with the school's administration,"Miss Vigna to Fight Van der Stucken" Cincinnati Enquirer (February 10, 1897): 5.
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After graduating from high school, she moved to New York City in August 1939 to study with retired Metropolitan Opera contralto Merle Alcock. While studying singing with Alcock, she received language coaching from Charlie Baker, who was the music director of Rutgers Presbyterian Church. After working with him for a few months, he hired her as a paid singer at Rutgers. When her radio career took off, Baker became Farrell's vocal coach and helped her prepare most of her music.
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She was born in Wayne, Maine, the daughter of Nelson Howard Cary and his wife, Maria Stockbridge. After an early education in the common schools, she attended the female seminary at Gorham, Maine, and graduated in 1862. In 1866, her natural gifts as a singer becoming evident, she went to Italy and studied in Milan with Giovanni Corsi until January 1868. That year, she made her debut in Italian opera as a profundo contralto in Copenhagen under the direction of Achille Lorini.
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She was born as Raitza Burchstein, the daughter of Herschel and Frieda Leah Burchstein, in Białystok in 1893. Her family fled Poland when she was 14 due to the pogroms, emigrating to Italy. There Raitza met Dario Ascarelli, who recognized her talent and potential and sponsored her at the Naples Conservatory (San Pietro a Majella). Her teacher at the conservatory, the contralto Barbara Marchisio (1833–1919), had been one of the most prominent Italian singers of the mid-19th century.
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The first police station and fire station staffed by African Americans were located on South Street. Famous South Philadelphians include opera contralto Marian Anderson and musicians Kenny Gamble and Chubby Checker. The Udunde Festival, arguably the largest street festival in Philadelphia, is an African-American celebration that is held annually in the South Street area. As of 2013, those that identified as "Black alone" or in combination with another ethnicity totaled 45,482 persons living in the zip codes 19145, 19146, 19147 and 19148.
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Evelyn Gardiner as the Duchess of Plaza Toro in The Gondoliers, 1938 Evelyn Gardiner (12 March 1894 – 13 June 1970), born Enid Mary Griffin, was an English opera singer and actress known for her work as principal contralto in the Gilbert and Sullivan comic operas with the D'Oyly Carte Opera Company and J. C. Williamson, as well as for other stage acting. In 1933, Gardiner earned a pilot's licence and claimed to be only the second British actress ever to do so.
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Pasta retired from the stage in 1835 and performed only infrequently after that date (including performances in London in 1837 and in Germany and Russia in 1840–1841.) Pasta later taught singing in Italy.Elson 1912, p. ?? Among her notable pupils were contralto Emma Albertazzi and soprano Marianna Barbieri- Nini and the English soprano Adelaide Kemble. Another pupil was Carolina Ferni, herself a noted Norma, who in her turn taught the soprano Eugenia Burzio whose recordings are known for their passionate expression.
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VI – "Land of hope and glory" – Finale (Contralto Solo and Tutti) Solo Land of hope and glory, Mother of the free, How shall we extol thee, who are born of thee? Truth and Right and Freedom, each a holy gem, Stars of solemn brightness, weave thy diadem. Chorus 'Tho thy way be darken'd, still in splendour drest, As the star that trembles o'er the liquid West. Thron'd amid the billows, thron'd inviolate, Thou hast reign'd victorious, thou hast smil'd at fate.
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Historic Opera Artôt retired in 1884, but on 22 March 1887 she and Padilla appeared in a scene from Don Giovanni in a celebration of the Emperor's birthday at the Imperial Palace in Berlin; it was also the centenary year of Don Giovanni. She became a singing teacher in Berlin until 1889, before moving to Paris. Her students included the contralto Rosa Olitzka and Berglioth Prom. She died in 1907 in Paris (or Berlin), just four months after her husband died.
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From 1868 to 1886, she was associated with the Royal Opera in Berlin. Brandt travelled to New York during the 1880s, where she sang for several seasons (1884–1888) the principal contralto rôles at the Metropolitan Opera House under Anton Seidl's baton. Two other leading Germanic singers, the soprano Lilli Lehmann and the bass- baritone Emil Fischer, were performing at the Met at the same time as Brandt. Her associate artist for her 1887 tour was the pianist Carl Lachmund.
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Vera Pearl Little-Augustithis (December 10, 1928October 24, 2012) was an American contralto and mezzo-soprano opera singer who belonged to the ensemble of the Deutsche Oper Berlin for more than four decades. She performed each of the important mezzo-soprano roles of the repertoire, appearing at major international opera houses and festivals. She took part in world premieres of operas by Hans Werner Henze, in 1965 Der junge Lord in Berlin and in 1966 Die Bassariden at the Salzburg Festival.
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March 20, 2008. Accessed May 11, 2008, The Three Tenors in 1999 at the historic Tiger Stadium in Detroit,Michigan Opera Theatre Cashes in on Three Tenors Ludington Daily News. July 15, 1999. Accessed May 11, 2010 Andrea Bocelli who made his staged operatic debut in Werther and Denyce Graves who made her MOT debut in Werther; Vyacheslav Polozov, the Russian tenor who sang in Puccini's La Boheme; and Ewa Podleś, the Polish contralto who sang in Verdi's A Masked Ball.
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Homer was the youngest child born to deaf parents in Boston, Massachusetts on December 9, 1864 (some sources use 1865). He attended the 1884 class of Phillips Academy in Andover, Massachusetts, but did not attend college, although he studied composition with George Whitefield Chadwick and with Josef Rheinberger in Munich. He married contralto Louise Dilworth Beatty in 1895. Sidney and Louise had six children, including twin daughters Anne Homer and Kathryn Homer, son Sidney Homer, Jr. (economist and author), and daughter Louise Homer.
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Nuntita was convinced to audition for Thailand's Got Talent by Anucha "Chi" Lanprasert, a talent scout. It was Nuntita's idea to surprise the crowd by first singing in a middleweight contralto voice before switching to a masculine baritone midway through the audition. In an April episode of the show, the judges picked Nuntita to be one of 48 semi-finalists. She received the second most votes in the semi-final round, and was thus subject to the three judges' determining votes.
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The approval of the king was confirmed, and Elgar began work. The contralto Clara Butt had persuaded him that the trio of the first Pomp and Circumstance march could have words fitted to it, and Elgar invited Benson to do so. Elgar incorporated the new vocal version into the Ode. The publishers of the score recognised the potential of the vocal piece, "Land of Hope and Glory", and asked Benson and Elgar to make a further revision for publication as a separate song.
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Peter Hugh Reed, American Record Guide, No. 16, 1949. Quote: "Official confirmation has at last come through informing us that this grand old singer, a fine baritone, who sang with the Metropolitan Company in 1890, died in a Jewish camp in Poland in 1943. The exact day of his death has not been ascertained." Under the Nazi regime, Wechselmann performed for Jewish audiences, on at least one occasion with the contralto Ottilie Metzger- Lattermann who was also to perish in Auschwitz.
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Breitenfeld was born in Reichenberg (now in the Czech Republic) and made his debut in 1897 as Count Luna in Verdi's Il trovatore in Cologne. In 1912, he sang the role of the count in Act II of Franz Schreker's Der ferne Klang in its world premiere at the Frankfurt Opera. The contralto Magda Spiegel, also of the Frankfurt Opera, was murdered in Auschwitz.F. C. DeCoste, Bernard Schwartz, The Holocaust's ghost: writings on art, politics, law, and education, 80, 2000.
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The following year, they had their biggest hit with an energetic Hi-NRG cover version of Harold Melvin and the Blue Notes' soul classic "Don't Leave Me This Way" (in a version inspired by Thelma Houston's cover) which spent four weeks at number one and became the UK's biggest selling single of 1986. It also made the US Top 40. It featured Sarah Jane Morris as co-vocalist, taking advantage of the contrast between Morris' deep and rounded contralto and Somerville's soaring falsetto.
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Few episodes went without two music interludes, usually an upbeat or novelty number by Harris in his friendly baritone and a ballad or soft swinger by Faye in her affectionate contralto. Occasionally, they switched musical roles, Harris taking a ballad and Faye taking a hard swinger. Walter Scharf was the program's musical director until partway through season eight, when Skip Martin became the musical director. Also in season eight, Red Nichols and his Five Pennies provided dixieland- style accompaniment for Phil's songs.
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The celebrated violinist Joachim, who also played viola, married Amalie Schneeweiss in 1863. She appeared as a contralto singer under the stage name Amalie Weiss. Both were friends of Brahms, who composed the song "Geistliches Wiegenlied" for the occasion of their wedding; he withdrew it but sent it again a year later for the baptism of their son, named Johannes after Brahms. Probably in 1884, Brahms revised the song and added the setting of Rückert's poem, beginning "In goldnen Abendschein getauchet".
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Elisabeth Kulman (born 28 June 1973) is an Austrian classical singer who has performed operatic roles in soprano, mezzo-soprano and contralto repertory. She has appeared at opera houses in Vienna and internationally. She has performed early operas such as Legrenzi's Il Giustino as well as new works, creating the role of Gora in the premiere of Reimann's Medea at the Vienna State Opera. She recorded Lieder by Mussorgsky, Bach's Christmas Oratorio with Peter Schreier and Beethoven's Missa solemnis with Nikolaus Harnoncourt.
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Peter, Paul and Mary was an American folk group formed in New York City in 1961, during the American folk music revival phenomenon. The trio was composed of tenor Peter Yarrow, baritone Noel Paul Stookey and contralto Mary Travers. The group's repertoire included songs written by Yarrow and Stookey, early songs by Bob Dylan as well as covers of other folk musicians. After the death of Travers in 2009, Yarrow and Stookey continued to perform as a duo under their individual names.
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A small portion of them, however, would most likely be contraltos. Therefore, one could say, "I am a mezzo- soprano singing the alto line", and another could say "I am a contralto singing the alto line." They would have two different ranges and sounds but they would be singing the same part. This is important to understand because it means that choral music is not really about vocal type but about vocal range within a specific type of music: choral music.
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Maureen Forrester (1930–2010) was a Canadian operatic contralto known for her performances of Mahler and for her great stamina onstage. Victor Braun (1935–2001) was a Canadian-born operatic baritone who performed at major opera houses from Europe and North America. His contemporary Teresa Stratas (born 1938) is a soprano who had a 36-year career at the Metropolitan Opera. Judith Forst (born 1943) is a Canadian mezzo-soprano who was made an Officer of the Order of Canada in 1991.
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She also had three famous aunts who were all notable singers. Her Aunt Cecilia (1712–1789), was one of the greatest English sopranos of the eighteenth century and the wife of composer Thomas Arne. Her Aunt Isabella was also a successful soprano and the wife of composer John Frederick Lampe and her Aunt Esther was a well known contralto and wife to Charles Jones, a successful music publisher in England during the eighteenth century.Olive Baldwin, Thelma Wilson: "Cecilia Young", Grove Music Online ed.
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Hanna Ludwig (10 January 191811 March 2014) was a German contralto and mezzo- soprano and an academic voice teacher. She participated in several roles at the first Bayreuth Festival after World War II and performed leading roles at major European opera houses, such as the title role of Der Rosenkavalier at the Vienna State Opera. She toured the world as a lieder singer. After retiring from the stage she turned to teaching in Ankara and, from 1971, at the Mozarteum.
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65 and 1974 images of the same scene on the sleeve of D'Oyly Carte recording, Decca SKL 5188/9 Some of the company's staging became accepted as traditional by Gilbert and Sullivan fans, and many of these traditional stagings are still imitated today in productions by both amateur and professional companies.Bradley (2005), p. 61"Patricia Leonard: principal contralto of the D’Oyly Carte opera" . The Times, 22 February 2010 Helen Carte died in 1913, and Carte's son Rupert inherited the company.
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Anna Margaret Michelle Calvi (born 24 September 1980) is an English singer- songwriter and guitarist. Her accolades include three Mercury Prize nominations, one Brit Award nomination, and a European Border Breakers Award. She has been noted by some critics as a virtuoso guitarist, as well as for her powerful, wide-ranging operatic contralto voice and sometimes androgynous stage appearance. Born to therapist parents in London, Calvi graduated from the University of Southampton with a degree in music, having studied violin.
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Since about 1870 three-act adaptations of the Berlioz score, translating it back into Italian and restoring much of the music from the 1774 French version which Berlioz had left out, were common. An 1889 edition for contralto, published by Ricordi, became the most popular. On occasion the role of Orfeo has even been transposed down an octave for a baritone to sing. Dietrich Fischer-Dieskau and Hermann Prey are two notable baritones who have performed the role in Germany.
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Becoming more serious about performing, she began to study voice at the Birmingham School of Music. Among other awards, she won the Rose Bowl at the Blackpool Music Festival at the age of twenty."Patricia Leonard: principal contralto of the D'Oyly Carte opera", The Times, 22 February 2010Stone, David. Patricia Leonard at Who Was Who in the D'Oyly Carte, 27 August 2001, accessed 8 February 2010 Leonard began her career a soloist in oratorio and a recitalist for BBC Radio.
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Information about Chorley from MusicWeb Nevertheless, the young Sullivan's effort showed promise. Its most successful movement was the duet, "How sweet the Moonlight sleeps." The soloists at the premiere were Helen Lemmens-Sherrington (soprano), Elizabeth Annie "Bessie" Palmer (contralto),That Palmer was the soloist is confirmed both in the review by The Times published on 12 September 1864 and in Chorley's review in the Athenium on 17 September 1864. Kate Field, writing in the May 1879 issue of Scribner's Monthly magazine, p.
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After winning a radio audition contest around 1934, Duke headed to New York City, where, from December 30, 1934, to 1936 (and later), she sang regularly on NBC radio and the Mutual Broadcasting Company. She was billed as a blues singer and contralto. Her radio broadcasts included performances with the orchestras of Leon Brusiloff (1898–1973) and his brother Nathan Brusiloff (1904–1951) and Paul Whiteman. In 1935, her broadcast performances were sometimes with The Charioteers, a male choral quartet.
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Ann Bullock from Brownsville, Tennessee caught the band's act at the predominantly black Manhattan Club in East St. Louis, with her sister Alline. One night in 1957, Kings of Rhythm drummer, Eugene Washington, gave Bullock a microphone and she sang the B.B. King ballad, "You Know I Love You." Stunned by her deep contralto vocals, Turner asked her to more songs. By the end of the night, Turner decided to include Bullock into the act as one of his many lead singers.
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Portrait of Carlotta Marchisio by Giovanni Ferrero Carlotta Marchisio (8 December 1835 – 28 June 1872) was an Italian operatic soprano and one of Rossini's favorite singers. Her voice was noted for its agility and beautiful timbre. Portrait of Carlotta Marchisio (right) and her elder sister Barbara (left), published for their performances in Alessandria in 1858 She was born in Turin into a family of musicians. Her elder sister, Barbara Marchisio was a noted contralto and their brother Antonino was a composer.
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Both Carlotta and Barbara Marchisio trained as singers in Turin with Carlotta Marchionni. Carlotta made her debut as Adalgisa in Bellini's Norma at the Teatro Real in Madrid in March 1857. She frequently appeared with her sister Barbara, singing leading soprano and contralto roles in Paris (at the Théâtre-Italien) as well as in Brussels, Berlin, Moscow, St Petersburg, and various theatres in Great Britain. In 1861, she married the Austrian bass Eugen Kuhn, who performed under the name Eugenio Cosselli.
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Eva Theresa Mylott (27 February 1875 – 20 March 1920) was an Australian contralto opera singer. Eva Mylott was born in Tuross Head, New South Wales, Australia. Her parents, Patrick Mylott, an importer of wine and spirits and Mary Heffernan (the daughter of Edmund and Honora Heffernan), were Roman Catholic immigrants from Ireland to Australia.Ancestry of Mel Gibson Mylott became a protégé of Dame Nellie Melba and in 1902, she went to England with her to pursue an opera career outside Australia.
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Ickes was a strong supporter of both civil rights and civil liberties. He had been the president of the Chicago National Association for the Advancement of Colored People, and supported African American contralto Marian Anderson when the Daughters of the American Revolution prohibited her from performing in DAR Constitution Hall. Ickes was the organizer and master of ceremonies at Anderson's subsequent concert at the Lincoln Memorial. In 1933, Ickes ended segregation in the cafeteria and rest rooms of his department, including the national parks around the country.
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Anna and Florence were excellent pistol shots which would figure into Florence's murder case below. Burns' sister, Eva, was a well-known contralto and lyricist who taught music in Brooklyn with her live-in boyfriend of 25 years, the esteemed Professor Albert Caswell (considered the best music director in Brooklyn). There is even a story of Professor Caswell directing over 5,000 children to sing at once, directing them with a megaphone in 1900. This is the first known usage of a megaphone to direct a music group.
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In October 1884, D'Oyly Carte revived The Sorcerer at the Savoy Theatre, and Dorée was sent there to perform the secondary contralto part, Mrs Partlett. She continued with this until March 1885, then took the same role on tour until 9May, when the production closed and Dorée left the D'Oyly Carte Opera Company. Dorée's daughter Gladys Edith Hilda Earée Thorne was born at Alphamstone on 17 June 1885 and was baptized there a few weeks later."Doree- Thorne Gladys Edith H 17JE1885" in Deaths for Worthing, vol.
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These manuscripts have been microfilmed or scanned. Digitised versions of the microfilm are online.Música Colonial Management Site They include manuscript and printed works, the latter possibly from Torres' printing press. These compositions include a large number of villancicos in three, four, seven and eight parts, solo cantatas for treble, soprano and “contralto”, an 8-part “Missa annuntiate nobis” with violin, oboe and basso continuo accompaniment and a 4-part a cappella mass "ad omnem tonum" concluding in an eight-part Agnus Dei based on Magnificat tones.
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Dalida had mezzo-contralto singing voice, equal of basso cantante for men. Her vocal range was from C3/C#3 to Bb5 which is almost three octaves, and her tessitura stretched for two octaves from D3/Eb3 to Bb4/C5. Dalida seldom used her falsetto and head voice so her singing was mostly confined within her expressive chest voice range. She also tackled tenor and mezzo-soprano keys in her songs due to the ease her voice had in carrying both the low and mid-high registers.
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Latice Crawford (born July 22, 1982 as Latice Tenae Crawford) is an American urban contemporary gospel singer, composer, and actress. She is best known for using her three-octave, contralto vocal range of to finish third on the second season of the competitive gospel singing television show Sunday Best on Black Entertainment Television. Her self-titled debut album reached two Billboard charts, the Top Gospel Albums and the Top Heatseekers. Her second album, Diary of a Church Girl, also appeared on the Top Gospel Albums chart.
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However, despite its richness his voice cannot be compared to the color of a contralto, unlike singers such as David Daniels, given that D'Or has a unique, male-sounding timbre. When he sings in modern fashion, he employs his speaking—or chest—voice, instead of his singing, alto voice. D'Or has been compared to Italian tenor Andrea Bocelli ( but with a Middle Eastern flavor), and his voice has been described as having the smoothness of Jack Johnson overlaid with the falsetto style of Jeff Buckley.
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In 1899, when Schnabel was 17, his daughter Elizabeth Rostra was born in the Czech city of Brno. The offspring from a youthful love affair, Elizabeth became a pianist and piano pedagogue, was married to a psychoanalyst and died in Switzerland in 1995. In 1905, Artur Schnabel married the contralto and Lieder singer Therese Behr (1876-1959). They had two sons, Karl Ulrich Schnabel (1909–2001) who also became a classical pianist and renowned piano teacher, and Stefan Schnabel (1912–99), who became a well regarded actor.
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Of Le Visage nuptial Paul Griffiths observes that "Char's five poems speak in hard- edged surrealist imagery of an ecstatic sexual passion", which Boulez reflected in music "on the borders of fevered hysteria". In its original version (1946–47) the piece was scored for small forces (soprano, contralto, two ondes Martenot, piano and percussion). Forty years later Boulez arrived at the definitive version for soprano, mezzo-soprano, chorus and orchestra (1985–1989). Le Soleil des eaux (1948) originated in incidental music for a radio drama by Char.
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Amy Jade Winehouse (14 September 1983 – 23 July 2011) was an English singer and songwriter. She was known for her deep, expressive contralto vocals and her eclectic mix of musical genres, including soul, rhythm and blues and jazz. A member of the National Youth Jazz Orchestra during her youth, Winehouse signed to Simon Fuller's 19 Management in 2002 and soon recorded a number of songs before signing a publishing deal with EMI. She also formed a working relationship with producer Salaam Remi through these record publishers.
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Like fellow M-Base artists, Wilson signed to the Munich-based, independent label JMT. She released her first recording as a leader Point of View in 1986. Like the majority of her JMT albums that followed, originals by Wilson in keeping with M-Base dominated these sessions; she would also record material by and co-written with Coleman, Jean-Paul Bourelly, and James Weidman as well as a few standards. Her throaty contralto gradually emerges over the course of these recordings, making its way to the foreground.
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McEntire possesses a contralto vocal range and performs "vocal gymnastics" with her voice, a musical technique in which a singer twirls a note around, using their vibrato. McEntire has credited Dolly Parton for influencing this trait, stating that she always listened to Parton's records and find her style of vocal gymnastics "so pretty".Interview with Reba McEntire for CMT Inside Fame on Country Music Television; retrieved August 26, 2009. McEntire often has been regarded as one of country music's more influential female vocalists and most beloved entertainers.
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The work has been recorded several times, in abridged format or with the symphonic music only. The orchestral version, arranged by Caplet, is generally described as Fragments symphoniques, and was published in 1912. Conductors who have recorded this version have included Pierre Monteux, Jean Martinon, Daniel Barenboim and Esa-Pekka Salonen. In 1953 an LP of music from the score was issued by Allegro Records, with the Oklahoma City Symphony Orchestra and Chorale, Frances Yeend and Miriam Stewart, sopranos, and Anna Kaskas, contralto, conducted by Victor Alessandro.
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John McKay (born November 11, 1938) is an American pianist and music educator of Canadian birth. He has performed in concerts, recitals, and on radio and television broadcasts throughout North America and Europe. His programs often include works by contemporary American and Canadian composers, and he has performed the world premieres of works by Mortimer Barron, Clermont Pépin and Harry Somers among other composers. He has also performed extensively as a chamber musician and accompanist, including in performances with his wife, contralto Sara Hayden.
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"Obituaries: Helen Landis", Gilbert and Sullivan News, Vol. V, No.8, Summer 2015"Helen Landis", AusStage, accessed 9 April 2015 she played Anna in The King and I at the Princess Theatre in Melbourne in 1963, and again with Williamson, she toured in Lilac Time by Ivor Novello in 1964. From the 1960s to the 1980s, she toured extensively with Gilbert and Sullivan for All in the UK, US and Australia, recording seven of the contralto roles in the Savoy operas on both record and video.
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Charlotte was a remarkably bright, sportive child, excelling over her schoolmates and developing a voice of remarkable compass and richness, with a full contralto register. Two friends of her father, one of them John Mackay, in whose piano factory Jonas Chickering was then foreman, provided her with musical instruction. Cushman was forced to take on serious responsibilities at a very young age. When she was thirteen, her father was beset by serious financial troubles and shortly thereafter died, leaving his family with nearly nothing.
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Her repertoire included songs from her films as well as popular songs of the day. Bacharach's arrangements helped to disguise Dietrich's limited vocal range—she was a contralto—and allowed her to perform her songs to maximum dramatic effect; together, they recorded four albums and several singles between 1957 and 1964. In a TV interview in 1971, she credited Bacharach with giving her the "inspiration" to perform during those years., 1/2 hour video Bacharach then felt he needed to devote his full-time to songwriting.
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As the vocalist for Esa Pethman's quartet and Hazy Osterwald's sextet in the early 1960s, Carola made fame in Finland and Sweden, and toured Poland, Czechoslovakia, and Switzerland. Her most significant recording is a session with the Heikki Sarmanto Trio from 1966, which the Finnish Music Information Centre considers among the original blueprints of Finnish jazz. Carola's recordings have been credited for the accosting tone of her contralto voice and her phrasing. The singer also co-produced the groovy approach of her supporting orchestras.
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In 1944, she returned to Switzerland, singing as the leading dramatic contralto at the Opernhaus Zürich. She appeared as Brangäne in Wagner's Tristan und Isolde, as Fricka in his Die Walküre, as Ortrud in his Lohengrin, and in the title role (Octavian) of Der Rosenkavalier by Richard Strauss, among others. In 1949, she took part in the premiere of Willy Burkhard's Die schwarze Spinne. The same year, she performed in Monteverdi's L'incoronazione di Poppea, both at Vicenza's Teatro Olimpico and at La Fenice in Venice.
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Examples of voice types that indicate the range of a singer's voice include contralto, mezzo-soprano and soprano (these go from the lowest range to the highest range). Examples of voice types that indicate both the singer's range and the "color" of her voice type are coloratura soprano and lyric soprano. Whereas popular music singers typically use a microphone and a sound reinforcement system for their vocals, in classical music the voice must be projected into the hall naturally, a skill for which they undertake vocal training.
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This work introduced a number of the characters that Gilbert would use consistently in his later operas, including the overbearing, mature contralto and the meek, submissive baritone. Many of the elements in the piece are precursors to similar elements in Gilbert and Sullivan's famous 1879 opera, The Pirates of Penzance. The pirate "chief", Captain Bang, became the Pirate King in Pirates. Bang was also a precursor to the Frederic character, having been mistakenly apprenticed to a pirate band as a child by his deaf nursemaid.
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Desfado received generally positive reviews by music critics. Robin Denselow wrote for The Guardian that Moura performed in the album "exquisite as ever", but he considered the decision of using additional instruments to her fado trio as a mistake. Denselow noted an exception with the song "Dream of Fire", where he thought Hancock contribution was "fine". In her review for PopMatters, Deanne Sole praised Moura's voice, saying it makes the album "good, [because of her] strong unwavering contralto, excellent on the sad-hopeful tone".
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He continued to compose, mainly for primary schools. His five SSC (two sopranos and contralto) part songs, ‘Abantwana besikole’ (translated ‘school children)', ‘Amagqabi emiti’ (the leaves), ‘Ikonjane’ (translated the swallow bird), ‘Ukuba bendinamaphiko’ (translated ‘’If I had wings’’) and ‘U-Nonhayi’ became, and still remain, firm favorites for Xhosa primary school choir teachers. In 1925, his song ‘Ivoti’ was the set piece for the Transkei-Cape choir competition making it the first vernacular composition to be a set piece. The majority of Tyamzashe’s compositions are choral works.
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Nine singers are considered a normal line-up: one each of chitarra, tenor, contralto, baritone and five basses. Group harmony in Liguria is historically associated with mountain villages, where two voices (usually a tenor and a baritone) sung over accompaniment by bass or drone. A repertoire of traditional songs evolved over time, and the style moved to the docks of Genoa, a noted port city. There, metal-workers, longshoremen and stevedores sang trallalero, with the practice peaking in the first three decades of the 20th century.
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Charlotte Dolby, 1860 Charlotte Dolby by Henry Hering Charlotte Helen Sainton- Dolby (17 May 182118 February 1885), was an English contralto, singing teacher and composer. Charlotte Helen Dolby was born in London to Samuel Dolby and Charlotte Niven. Her father died when she was 10 years old. She studied at the Royal Academy of Music from 1832 to 1837, Domenico Crivelli being her principal singing-master. In 1837 she was elected to a King's scholarship, and first appeared at a Royal Philharmonic Society concert in 1841.
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Giuseppina (or Giuseppa) Brambilla (9 May 1819 – April 1903) was an Italian opera singer who, like her sisters Marietta and Teresa Brambilla, sang leading roles in the major opera houses in Italy, Spain, France and England. Although often described in modern reference works as a contralto, she also sang many soprano roles including Marie in La fille du régiment and Abigaille in Nabucco. She married the tenor Corrado Miraglia in 1857 and retired from the stage in 1862. Her niece, Teresina Brambilla, was also an opera singer.
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Born on 10 December 1959 in Hong Kong, she experienced much hardship in her childhood. Her father died when she was very young and her mother Tam Mei-kam (覃美金) raised her brothers and sisters alone. Like her sister Anita, she has a dramatic contralto singing voice, which is a rarity in Chinese pop music. Despite not being twins, both Ann and Anita's singing voices were strikingly similar, with the only way to tell them apart was the hand in which they hold the microphone.
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68–69 (). See also Tarasti, Eero, Signs of music: a guide to musical semiotics, Walter de Gruyter, 2002, pp. 157–178 () When the terms soprano, mezzo-soprano, contralto, tenor, baritone, and bass are used as descriptors of non-classical voices, they are applied more loosely than they would be to those of classical singers and generally refer only to the singer's perceived vocal range. The following is a list of singers in country, popular music, jazz, and musical theatre who have been described as basses.
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The project was intended to bring together the strongest Chicago- based artists. The project features many other GOOD Music artists, including Big Sean, Really Doe, Common, Mr Hudson, GLC and John Legend, alongside well- known Hip Hop artists including KRS-One, Twista, and Paul Wall, and operatic contralto AnnaMaria Cardinalli. The release of the album figures in the 2013 book by Cardinalli Crossing the Wire: One Woman's Journey into the Hidden Dangers of the Afghan War. The album was released on June 2, 2009.
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She sang with the Manhattan Opera House from 1909 to 1913. She was committed to the Metropolitan Opera in 1910–1911, where she performed the roles of Azucena in Il trovatore, Fricka in Das Rheingold, Lola in Cavalleria Rusticana, Naoia in Frederick Converse's Iolan, Or, the Pipe of Desire, and Venus in Tannhäuser, Her voice changed from contralto to dramatic soprano while she was in Europe. She sang the part of Brunnhilde in Bayreuth in 1914. She married J. Frank Aldrich on April 18, 1901.
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In 1932 McIver was enlisted to work as an accompanist and arranger for Trio lyrique (TL), a newly formed vocal trio in Montreal that consisted of baritone Lionel Daunais, contralto Anna Malenfant, and tenor Ludovic Huot. Jules Jacob replaced Huot in the early 1940s. In 1933 the ensemble was engaged by CRBC for its network series One Hour with You, on which the group performed for 87 weeks. In 1934 the TL released the LP album Chansons de Lionel Daunais for Radio Canada International.
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94–96 Ferrier's association with Glyndebourne bore further fruit when Rudolf Bing, the festival's general manager, recommended her to Bruno Walter as the contralto soloist in a performance of Mahler's symphonic song cycle Das Lied von der Erde. This was planned for the 1947 Edinburgh International Festival. Walter was initially wary of working with a relatively new singer, but after her audition his fears were allayed; "I recognised with delight that here potentially was one of the greatest singers of our time", he later wrote.Walter, pp.
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Born Pavel Vyskočil in Prague, his father was a conductor at the Prague Opera and his mother, Františka Ludikarová-Vyskočilová, was an operatic contralto. He first studied law and philosophy at the University of Prague and then trained as a concert pianist. In 1901, at the age of 19, he traveled throughout North America giving piano concerts. Upon his return home he decided he wanted to pursue a singing career and began opera studies with first his mother and then Jean Lassalle in Paris.
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P. Hale, It was revived in November 1988 at St. Michael's, Cornhill, London, by organist Kevin Bowyer, who continues to perform it on occasion.Kevin Bowyer's performance of 'The Pilgrim's Progress' in Glasgow, 16 June 2007Glasgow International Organ Festival : he performed the complete Pilgrim's Progress at the 2007 festival The song Farewell by Havergal Brian from his Op. 6 (Three Songs for contralto or baritone) - his first surviving work, from 1902 - was dedicated to Austin, as was Battle Song, from 6 Characteristic Songs, Op. 22, by Joseph Holbrooke.
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Carol Brice Carol Brice (April 16, 1918 - February 15, 1985) was an American contralto. Born in Sedalia, North Carolina, she studied at Palmer Memorial Institute and later at Talladega College in Talladega, Alabama, where she received a Bachelor of Music in 1939. She continued her studies at the Juilliard School of Music from 1939 to 1943. She attracted considerable attention for her role in a 1939 production of The Hot Mikado at the New York World's Fair, where she worked with Bill "Bojangles" Robinson.
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Keenan possessed a contralto vocal range. Music critics noted Keenan's vocals as "childlike" and "alluringly aloof," often "woven within squishy analog synths, pastoral melodies, and mod-style rhythms." In a review published in Spin in 2001, Keenan's vocals and instrumentation alongside bandmate James Cargill were likened to being "stuck in a time warp–the sound of '70s wife-swapping parties with beanbags and unhappy children serving sausages on sticks." Keenan often explored cut-up lyric techniques, inspired partly by her interest in the occult.
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The event was dedicated to the memory of John F. Kennedy, who had been slain in that city a few days earlier. The other soloists included Jon Vickers and Norman Treigle, and it was conducted by Nicola Rescigno. It was billed as her "first appearance as a contralto and in an English work." Her career was in many ways similar to that of Anita Cerquetti; both had short but brilliant careers, and both were more of less eclipsed by Maria Callas, and nowadays almost forgotten.
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Lotte Wolf-Matthäus (8 April 1908 – 12 November 1979) was a German contralto singer, who focused on the works by Johann Sebastian Bach. Born in Brünlos (now part of Zwönitz), she studied voice at the Landeskonservatorium Leipzig with Ilse Helling-Rosenthal from 1926 to 1930. She appeared in 1929 at the Thomaskirche, performing the alto part of Bach's Christmas Oratorio with the Thomanerchor conducted by Karl Straube. She focused on Bach's works, collaborating in performances and recordings with Günther Ramin, Rudolf Mauersberger and Karl Ristenpart, among others.
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Isabella Young was born in the 1720s or early 1730s but the exact year is now unknown as no record of her birth or baptism exists.Olive Baldwin, Thelma Wilson: "Isabella Young (ii)", Grove Music Online ed. L. Macy (Accessed January 12, 2009), (subscription access) Her father, Charles Young, was a clerk at the Treasury. She was the eldest child of three daughters and her younger sister Elizabeth was a successful contralto and her youngest sister Polly was a celebrated soprano, composer and keyboard player.
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Ma Rainey, the "Mother of Blues", and Bessie Smith each "[sang] around center tones, perhaps in order to project her voice more easily to the back of a room". Smith would "sing a song in an unusual key, and her artistry in bending and stretching notes with her beautiful, powerful contralto to accommodate her own interpretation was unsurpassed".Clarke, p. 137. In 1920 the vaudeville singer Lucille Hegamin became the second black woman to record blues when she recorded "The Jazz Me Blues",Stewart-Baxter, Derrick (1970).
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Austrian conductor Georg Tintner succeeded Boris Brott in 1987. Under his leadership, Symphony Nova Scotia made six recordings, toured to Ontario and Quebec, and initiated several community outreach programs, including a production of The Nutcracker in collaboration with Halifax Dance and Mermaid Theatre of Nova Scotia. The orchestra also raised $140,000 during a 1992 fundraising event called Pure Gold that featured violinist Isaac Stern and contralto Maureen Forrester. Tintner served as Symphony Nova Scotia’s principal conductor until 1994, and as Conductor Laureate until his death in 1999.
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Awarding the album four stars from CCM Magazine, Matt Conner states, "Cobbs' charisma and power continues to shine." Bob Marovich, giving the release five stars at the Journal of Gospel Music, writes, "The melodic songs, the expert pacing, and the strong singing make this one of the best gospel albums of the year." Rating the album a nine out of ten for Cross Rhythms, Tony Cummings describes, "The...Georgia-born singer and songwriter possesses an astonishing vocal armoury able to sing in a rich and expressive contralto".
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Peter Heyworth, Otto Klemperer, His Life and Times: 1885–1933, 1996. p. 103 footnote She was a student of Selma Nicklass-Kempner, Georg Vogel and Emanuel Reicher (acting). Her debut was 1898 in Halle, followed by engagements in Cologne, then from 1903 to 1915 first contralto with the Hamburg State Opera and played opposite Enrico Caruso. Then followed Dresden, Bayreuth Festival, Vienna State Opera, Saint Petersburg, Prague, Zurich Opera, Amsterdam, Munich, Budapest, Royal Opera House Covent Garden and tours with conductor Leo Blech in the USA.
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Louise Beatty Homer (April 30, 1871May 6, 1947) was an American operatic contralto who had an active international career in concert halls and opera houses from 1895 until her retirement in 1932. After a brief stint as a vaudeville entertainer in New England, she made her professional opera debut in France in 1898. She then became a member of the Metropolitan Opera from 1900 to 1919 and again from 1927 to 1929. She was also active as an opera singer in Boston, Chicago, and California.
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Born on 18 December 1880 in Lyon, Marie Louise Charbonnel studied music theory, piano and voice at the Lyon Conservatory. At the Lyon Opera, she performed contralto roles in Gluck's Orphée et Euridice, Carmen, Amneris in Aida, and Azucena in Il trovatore. On 24 February 1906 at the Monte Carlo Opera, she played Vanina at the première of Saint-Saëns' L'ancêtre. She also sang at the Paris Opera, playing the First Norn in the French première of Götterdämmerung (1908) and Erda in the première of Das Rheingold.
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By 1915, Sid LeProtti had rebuilt the So Different Jazz Band into one of the finest performing groups of the San Francisco Bay Area. They are said to have been the first band in America to use the new term 'jazz' in its name. His house band consisted of a clarinet, baritone sax, flute, piano, string bass, and drums. LeProtti's grandmother was a famous contralto of San Francisco, and around 1860 she became the first African American woman to sing on a stage in California.
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The work was premiered on 22 May 1836 (having been completed in April of that yearAccording to R. Larry Todd the manuscript's two parts are dated April 8, 1836 and April 18, 1836.) at the Lower Rhenish Music Festival in Düsseldorf. The English premiere was in Liverpool on 3 October 1836 in a translation by Mendelssohn's friend, Karl Klingermann. Contralto Mary Shaw was one of the soloists at the English premiere. The first performance in the United States was in Boston on March 14, 1837.
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Diana Jean Krall (born November 16, 1964) is a Canadian jazz pianist and singer, known for her contralto vocals. She has sold more than 6 million albums in the US and over 15 million albums worldwide. On December 11, 2009, Billboard magazine named her the second Jazz Artist of the Decade (2000–09), establishing her as one of the best-selling artists of her time. Krall is the only jazz singer to have had eight albums debuting at the top of the Billboard Jazz Albums.
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On the other hand, he organized a remarkable concert performance of Parsifal at the Royal Albert Hall in London in 1884. He conducted the Cardiff Festivals of 1892 and 1895. He died in London and, after a special service in St Paul's Cathedral was buried in West Norwood Cemetery. A possibly apocryphal story about him got as far as New Zealand: A young contralto at the end of a Handel solo put in a high note instead of the less effective note usually sung.
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All of these approaches to voice classification use some of the same terminology, which sometimes leads to confusion between the systems. In the operatic systems there are six basic voice types split between men and women, and each type then has several sub- types. These basic types are soprano, mezzo-soprano, and contralto for women, and tenor, baritone, and bass for men. Within choral music the system is collapsed into only four categories for adult singers: soprano and alto for women, and tenor and bass for men.
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She inherited her singing voice from her mother, a former operatic contralto and successful women's clothier who in her younger years was widely considered to have been one of Ireland's most beautiful women. O'Hara noted that whenever her mother left the house, men would leave their houses just so they could catch a glimpse of her in the street. O'Hara's siblings were Peggy, the oldest, and younger Charles, Florrie, Margot, and Jimmy. Peggy dedicated her life to a religious order, becoming a Sister of Charity.
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Collier formed the Ron Collier Jazz Quartet, which performed in the 1950s at the Stratford Festival and on CBC's Tabloid with Portia White."Canadian contralto Portia White's life on the stage". Tabloid, CBC Television, Feb 01, 2019 and in 1963 with the Winnipeg Symphony Orchestra.Winnipeg Tribune, via Newspaper Archives, January 04, 1963 - Page 14"A Question of Terms". Winnipeg Free Press, via Newspaper Archives, January 04, 1963 - Page 11 Duke Ellington performed with the Ron Collier Orchestra on the 1969 album North of the Border in Canada.
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Carlotta (right), published for their performances in Alessandria in 1858 Barbara Marchisio (6 December 1833 – 19 April 1919) was an Italian operatic contralto and one of Rossini's favorite singers. She was known for her excellent technique and a voice which possessed both agility and a very wide extension which allowed her to sing roles in the soprano range. She was born in Turin into a family of musicians. Her younger sister Carlotta Marchisio was a noted soprano and their brother Antonino was a composer.
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McCoy is thought to have died in Albany, New York, about 1956. Author Derrick Stewart-Baxter wrote of McCoy, "She belongs to the great vaudeville tradition, but in all she does there is a strong jazz strain ... Possessing a lovely contralto voice and fine diction, she was able to project herself through even the worst recording ... It would be true to say that in the three years she was recording most prolifically she hardly ever made a bad record".Stewart-Baxter 1970, p. 94.
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Born Annie Kemp, she played the role of Stalacta in that musical. In the original advertisements, she was billed as "Miss Annie Kemp, Prima donna Contralto from Covent Garden, London, her first appearance in America in six years." She later married English tenor Brookhouse Bowler, also performed with the Richings company and other opera companies. She died on August 21, 1876, from injuries sustained from a fall five days earlier, while rehearsing the famed transformation scene of The Black Crook for a performance at Philadelphia's National Theater.
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A London reviewer is quoted to have written, "Her range comprises the soft female loveliness of a soprano and is equally fine in the low tones of a contralto. On each occasion that a peculiarly fine change from one range to another was accomplished by this incomparable singer the effect was as overwhelming as it was unexpected... Deceit, passion, love, fear and despair were expressed in each note."Quoted as from the London Morning Advertiser (of 1856, exact date not given) in Jachmann, trans. Trechman, Wagner and his first Elisabeth, p.
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She would later recall "by the time we did the last song on the first album, my role became more integral... I didn't just want to be a background singer... It was Siobhan's band, this was made perfectly clear. But I was cool with that – that's the way it was." The second Shakespears Sister single, "You're History", gave the project its breakthrough hit. The song displayed the effectiveness of the vocal pairing of Fahey and Detroit, setting the former's sly murmuring contralto against the latter's R&B-influenced; soprano and falsetto parts.
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The bass performed from 1922 and 1937 in 16 concerts, including Bach's St Matthew Passion in 1929, and Paul Hindemith's Das Unaufhörliche in 1932, a year after the premiere. The tenor Ernst Häfliger made his debut as the Evangelist in Bach's St John Passion in the Good Friday concerts of 1943 and sang regularly, in 38 concerts until 1984. Soloists in the 20th century have also included sopranos Ursula Buckel, Lisa della Casa, Edith Mathis, Elisabeth Speiser and Maria Stader, contralto Elsa Cavelti, tenor and Kurt Huber, and basses Heinz Rehfuss and Jakob Stämpfli.
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A hundred Years of Music in America, pp. 572-73 He went to Germany to study in Leipzig in 1893. Porter's published works include a prelude and fugue in E minor, mazourkas, nocturnes, a set of easy pieces for teaching, songs for soprano and tenor, a contralto solo with violin obligato, a Festival March for two pianos, a Serenade for violin and piano, an overture for four hands, an operetta and other compositions.William Smythe Babcock Mathews. A hundred Years of Music in America, pp. 572-73 Porter died in Belmont, Massachusetts in 1941.
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Schnabel moved to Berlin in 1898, making his debut there with a concert at the Bechstein-Saal. Following World War I, Schnabel also toured widely, visiting the United States, Russia and England. He gained initial fame thanks to orchestral concerts he gave under the conductor Arthur Nikisch as well as playing in chamber music and accompanying his future wife, the contralto Therese Behr, in Lieder. In chamber music, he founded the Schnabel Trio with the violinist Alfred Wittenberg and the cellist Anton Hekking; they played together between 1902 and 1904.
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Until her retirement in June 1936, she was the company's principal contralto, playing the roles of Lady Sangazure in The Sorcerer, Little Buttercup in H.M.S. Pinafore, Ruth, Lady Jane, the Fairy Queen, Lady Blanche in Princess Ida, Katisha, Dame Hannah, Dame Carruthers in The Yeomen of the Guard and the Duchess of Plaza Toro. When the company visited New York City in 1934, Gill made a strong impression upon American audiences.Zellnik, Laurie. "Fifty Years Ago – The Birth of a Society", The Palace Peeper, The Gilbert & Sullivan Society of New York, October 1986, pp.
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While in Berlin, Glinka had become enamored with a beautiful and talented singer, for whom he composed Six Studies for Contralto. He contrived a plan to return to her, but when his sister's German maid turned up without the necessary paperwork to cross to the border with him, he abandoned his plan as well as his love and turned north for Saint Petersburg. There he reunited with his mother, and made the acquaintance of Maria Petrovna Ivanova. After he courted her for a brief period, the two married.
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He studied music as a puer (boy chorister) at San Luigi dei Francesi, under the maestro di capella Giovanni Bernardino Nanino, brother of Giovanni Maria Nanino. Being intended for the Church, he obtained a benefice in the cathedral of Fermo. Here he composed a large number of motets and other sacred music, which, being brought to the notice of Pope Urban VIII, obtained for him an appointment in the choir of the Sistine Chapel at Rome as a contralto. He held this from 6 December 1629 until his death.
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Cher has a contralto singing voice, described by author Nicholas E. Tawa as "bold, deep, and with a spacious vibrato". Ann Powers of The New York Times called it "a quintessential rock voice: impure, quirky, a fine vehicle for projecting personality." AllMusic's Bruce Eder wrote that the "tremendous intensity and passion" of Cher's vocals coupled with her "ability to meld that projection with her acting skills" can provide "an incredibly powerful experience for the listener." The Guardian Laura Snapes described her voice as "miraculous ... capable of conveying vulnerability, vengeance and pain all at once".
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Through the years, the club has been assisted by a list of guest artists whose abilities and artistic talents have enhanced the reputation of the Orpheus Club. These have included Maude Powell, violinist, who accompanied and played in no less than seven formal concerts between 1886 and 1897; Victor Herbert, cellist (1896); Pablo Casals, cellist (1904); Marcel Tabuteau, oboist: William Kinkaid, flautist: Louise Homer, operatic contralto; David Bisham, baritone (coincidentally a member of the Orpheus Club and a star of the Metropolitan Opera); Noah Swayne and Wilbur Evans, bassos (also members of the Orpheus Club).
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Horton as Ariel in The Tempest, 1838Priscilla Horton, later Priscilla German Reed (2 January 1818 – 18 March 1895), was a popular English singer and actress, known for her role as Ariel in W. C. Macready's production of The Tempest in 1838 and "fairy" burlesques at Covent Garden Theatre. Later, she was known, along with her husband, Thomas German Reed, for creating the family-friendly German Reed Entertainments. There, she was a mentor to W. S. Gilbert, and her performances inspired Gilbert to create some of his famous contralto roles.
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The New Yorker described Sade's voice as a "grainy contralto full of air that betrays a slight ache but no agony, and values even imperfect dignity over a show of pain", a "deeply English" quality that makes categorising the artist's voice difficult. Her voice was described by the BBC as "husky and restrained" and compared to singer Billie Holiday. BBC called her songwriting "sufficiently soulful and jazzy yet poppy, funky yet easy listening, to appeal to fans of all those genres." Sade has been called a "pop star".
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Bell was born in 1914 in Richmond, Victoria,Great War Index Victoria 1914-1920 CDROM, (1998), The Crown in the State of Victoria: Registry of Births, Deaths and Marriages. Australia, to John Alexander Bell, who had performed musical comedy and music hall on the early Australian Broadcasting Commission (ABC) radio, and Mary Elvina "Elva" (née Rogers) Bell, who had been a contralto recitalist in Dame Nellie Melba's company. His younger brother, Roger Bell (1919-2008), was also a jazz musician."Roger Bell (1919-2008)", Jazz Australia, 30 June 2008.
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Her voice is likely to be classified as contralto with a strong lower register since she possesses a significant vocal agility and endurance. That is why Şehrazat is able to sing the high soprano notes and the low baritone notes as well. Şehrazat was also the producer of superstar Ajda Pekkan, Sibel Tüzün, the former Eurovision Song Contest participant, Yıldız Kaplan, Reyhan Karaca, Zeliha Sunal, and Band AF.Biographies of celebrities. 2009. Sezen Aksu, another Turkish pop music singer, songwriter and producer who sold over 40 million albums worldwide, is the closest colleague of Şehrazat.
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Squire also played in the London Symphony Orchestra. In 1899 he performed the Schubert Quintet in an ensemble led by the violinist Joseph Joachim. Squire played at several other London venues including the London Ballad Concerts which were held at the Royal Albert Hall, Hampstead Popular Concerts, the National Sunday League Concerts held at the London Palladium and at the Aeolian Hall. For nine successive years in the early 20th century Squire made frequent concert tours of the provinces as a soloist with the contralto singer Clara Butt and her husband, the baritone Kennerley Rumford.
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The Marquis de Dangeau wrote in his journal of a performance by La Maupin given at Trianon of Destouches' Omphale in 1701 that hers was "the most beautiful voice in the world". In Paris, and later in Brussels, she performed under the name Mademoiselle de Maupin because singers were addressed as "mademoiselle" whether or not they were married. Until 1705, La Maupin sang in new operas by Pascal Collasse, André Cardinal Destouches, and André Campra. In 1702, André Campra composed the role of Clorinde in Tancrède specifically for her bas-dessus (contralto) range.
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Grilli, a mezzo-soprano or contralto, and became familiar to New York audiences during World War I, when she sang at concerts to benefit causes in the Italian-American community. She gave a professional recital in New York's Aeolian Hall in 1921, accompanied by Albert Wolff. Commenting on coverage of her as a lawyer turned singer, she exclaimed, "I have never been able to discover... whether it is considered strange that a singer should be a lawyer, or that a lawyer should sing!" She was active in the Italian Music League.
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A debut program was presented at 8:00 p.m. on November 22, 1921, which featured contralto Ernestine Schumann-Heink singing "At Parting" and "The Rosary". During this broadcast it was also announced that Oard Radio Laboratories had been renamed the Portable Wireless Telephone Company."Schumann Heink on Ether to Far Audiences" The Music News, May 26, 1922, page 15. (This report misidentifies the radio station as "6F1" instead of "6FI", and "Card" instead of "Oard" Radio Laboratories.) In late 1921 radio stations in the United States were regulated by the Department of Commerce.
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Love, pictured playing a Fender Mustang in 2012, has often played both Fender and Rickenbacker guitars throughout her career Love possesses a contralto vocal range. According to Love, she never wanted to be a singer, but rather aspired to be a skilled guitarist: "I'm such a lazy bastard though that I never did that," she said. "I was always the only person with the nerve to sing, and so I got stuck with it." She has been regularly noted by critics for her husky vocals as well as her "banshee [-like]" screaming abilities.
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Fanny Moran-Olden (28 September 1855 – 12 February 1905) was a German soprano who appeared in leading roles both in her native Germany and in other European opera houses as well as the Metropolitan Opera in New York. She appeared in wide variety of roles but was particularly prominent in the Wagnerian repertoire. Her voice had an unusually wide range which allowed her to sing soprano, mezzo-soprano and contralto roles. She was born in Cloppenburg and died hopelessly insane at the age of 49 in a sanatorium on the outskirts of Berlin.
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Graciela Naranjo was born in Maiquetía, Vargas. Orphaned at seven, she was moved to Caracas to be raised by her aunt. She started to sing Christmas music in a church choral group at age nine, then made her professional debut at Broadcasting Caracas when she was only 15. Largely self- taught, she had a warm contralto voice as her innovative behind-the-beat phrasing and emotional intensity that she put into the words she sang, served to turn novelty tunes and light songs into definitive, bolero-based treatments.
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Mary Allin Travers (November 9, 1936 – September 16, 2009) was an American singer-songwriter and member of the folk music group Peter, Paul and Mary, along with Peter Yarrow and Paul Stookey. Peter, Paul and Mary was one of the most successful folk music groups of the 1960s. Travers, unlike most folk musicians of the early 1960s who were a part of the burgeoning music scene, grew up in New York City's Greenwich Village. A contralto, Travers released five solo albums in addition to her work with Peter, Paul and Mary.
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Anne Collins Anne Collins (29 August 1943 - 15 July 2009) was an English contralto known as versatile operatic singer, praised for her "beautifully warm and wide-ranging timbre, and impeccable diction".Milnes, Rodney. "Obituary – Anne Collins", Opera, October 2009, pp. 1206–07 In a career that spanned nearly 40 years, she sang a wide range of operatic character roles and other classical pieces, including standard opera repertory, premieres, 20th century pieces, art song and other music. Collins began her career at Sadler’s Wells Opera, from 1970 to 1976.
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Seventh Edition. . The term "four-part harmony" refers to music written for four voices, or for some other musical medium—four musical instruments or a single keyboard instrument, for example—for which the various musical parts can give a different note for each chord of the music. The four main voices are typically labelled as soprano (or treble), alto (contralto or countertenor), tenor, and bass. Because the human voice has a limited range, different voice types are usually not able to sing pitches that lie outside of their specific range.
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It was produced in Florence in 1982 in Calisto Bassi's Italian version, starring Katia Ricciarelli and contralto Martine Dupuy, and under the direction of Pier Luigi Pizzi. In 1992 the same production was revived in Genoa starring Luciana Serra, but the original French version was chosen instead. The French version was also staged twice at the Rossini Opera Festival: in 2000 starring Michele Pertusi, Ruth Ann Swenson and Giuseppe Filianoti, and in 2017, following the new critical edition by Damien Colas, in a La Fura dels Baus production.
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According to Michael Talbot in The Vivaldi Compendium, for its time Giusti's libretto "evinces a rare degree of sympathy for the Mexican emperor and his queen Mirena." At the premiere the role of Mirena was sung by Anna Girò, who was a protégée of Vivaldi and whom he considered his "indispensable" prima donna. The title role was sung by the German bass Massimiliano Miler. Unusually for Vivaldi who preferred castrato singers with contralto voices, he wrote two roles for soprano castrati—Fernando (Cortés) and Asperano, the Mexican general.
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Marjane began her career in the early 1930s singing in cabarets in Paris. She was noticed for her warm contralto voice and the clarity of her diction, and in 1936 was signed to a contract with the Pathé-Marconi label. Her early recordings – a mixture of original songs and standards of the era such as "Begin the Beguine" and "Night and Day" – were well received and popular. The peak of Marjane's career came in the early 1940s, when she was regarded as one of France's biggest female singing stars.
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Marietta (Maria Teresa Rebecca) Brambilla (6 June 1807 – 6 November 1875) was an Italian contralto who sang leading roles in the opera houses of Europe from 1827 until her retirement from the stage in 1848. She is best known today for having created the roles of Maffio Orsini in Donizetti's Lucrezia Borgia and Pierotto in his Linda di Chamounix, but she also created several other roles in lesser-known works. She was the elder sister of the opera singers Teresa and Giuseppina Brambilla and the aunt of Teresina Brambilla who was also an opera singer.
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Edwina Eustis Dick (1 September 1908 – 3 March 1997) was an American classical contralto and pioneer in the field of music therapy. Born Edwina Eustis in New York City, she won a scholarship to study at the Juilliard School at the age of 16 where she earned a degree in vocal performance. She went on to have a substantial opera and concert career in North America from the late 1920s through the 1950s. After marrying her husband, attorney Alexander C. Dick, she performed and worked under the name Edwina Eustis Dick.
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Antimo Liberati (3 April 1617 – 24 February 1692) was an Italian music theorist, composer, and contralto singer. Born in Foligno, Liberati began his musical training began in Rome in 1628 when he was admitted to the choir of San Giovanni in Laterano, at the time under the direction of Antonio Maria Abbatini. He also studied law and fine arts and for a time worked as a notary in Foligno. From 1637 to 1643 Liberati was a court musician in the service of Emperor Ferdinand III and Archduke Leopold in Vienna.
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Thereafter she sang in Moscow and at La Scala, Milan where, in 1871-2, she appeared in both La forza del destino and as Amneris in the European premiere of Aida (8 February 1872). Despite Verdi's initial reluctance to engage Waldmann for that premiere, she became his favorite Amneris.Verdi’s Falstaff in Letters and Contemporary Reviews In 1874, he again used her for the mezzo-soprano role in his Requiem, for which he wrote the Liber scriptus with her voice in mind. Verdi particularly valued her for the rich, dark color of her lower, contralto register.
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The bass singing voice has a vocal range that lies around the second E below middle C to the E above middle C (i.e., E2–E4).; The Oxford Dictionary of Music gives E2–E4/F4 As with the contralto singing voice being the rarest female voice type, the bass voice is the rarest for males, and has the lowest vocal range of all voice types. However, the bass voice is determined not only by its vocal range, but also by its timbre, which tends to be darker than that of a baritone voice.
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She was born in Stockholm, Sweden, in 1889 to a German father and a French mother. This renowned contralto first sang professionally under her maiden name, Lilly Hoffmann. After her marriage to Russian pianist and composer Eugene Onégin (1870–1919) (real name Agnes Elisabeth Overbeck), she sang briefly as Lilly Hoffmann-Onégin before settling on Sigrid Onegin, the name by which she became famous. She studied in Frankfurt, Munich, and Milan, and also took lessons from famous singers of an earlier generation in Lilli Lehmann and Margarethe Siems.
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The song appeared on their 2006 album Aeolian. The 1965 film War-Gods of the Deep — alternately titled City in the Sea and The City Under the Sea — is credited as being loosely based on Poe's poem, which is recited at the end of the production. In 1989 Danish composer Poul Ruders wrote a piece "The City in the Sea" (subsequently released on a CD by Bridge Records, New York) for Symphony Orchestra and Contralto, making full use of Poe's text. The composition is also available in a version for 11 instruments(2013).
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In 1942 she was the soprano soloist for the Philadelphia Orchestra's recording of Felix Mendelssohn's A Midsummer Night's Dream with conductor Arturo Toscanini and contralto Edwina Eustis. She also sang under Toscanini's baton in several performances with the New York Philharmonic. On November 29, 1944 she made her debut at the Metropolitan Opera as Donna Anna in Wolfgang Amadeus Mozart's Don Giovanni with Ezio Pinza in the title role, Eleanor Steber as Donna Elvira, and George Szell conducting. She returned to the Met annually through 1948, enjoying particular success in the role of Aida.
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A number of plays were staged by the company in the Pekin Theatre, including several written by Shipp. The Jesse Shipp Stock Company was itself disbanded in 1911, however. In 1913, Shipp produced and directed a performance of Gilbert and Sullivan's Mikado for the Howard Theatre in Washington, D.C. The production featured the well-known contralto, Daisy Tapley singing Katisha and Dr. Charles Sumner Wormley playing the title character. In 1921 Shipp established the second key African-American dramatic club in New York City's Harlem district, the Dressing Room Club.
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The contralto Giuseppina Grassini was a favorite of Napoleon During the reign of Napoléon Bonaparte as First Consul and then Emperor, music in Paris was used to celebrate his victories and glory. Napoleon installed his brother Lucien as chief censor in 1800, and all musical and theater works were examined by the police before being performed. The former Academy of Music became the Académie impériale de musique. The official composer of Napoleon's regime was Jean-François Lesueur, who wrote a heroic opera, Ossian, ou Les bardes to glorify Napoleon.
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Marjory Kennedy was born in Perth to a well-known Scottish singer, David Kennedy and his second wife, Elizabeth Fraser. As a child she used to accompany her father on his tours in Scotland and abroad, playing the piano while he sang. Various of her siblings were also professional musicians, and three of them (Lizzie, Kate and James — soprano, contralto and baritone respectively) died in the fire that burnt down the Théâtre municipal of Nice, France, in 1881. Her youngest sister Jessie married the pianist and teacher Tobias Matthay.
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As a child, Cotogni had merely a weak soprano voice, but it did begin to increase in volume and darken, turning later into a contralto voice. As a teenager, his voice finally began to break into that of a young man, and the head music teacher Scardovelli forbade him to sing; Cotogni grudgingly obeyed and was silent for about six months. After this period of rest, he began to find a few notes, then went on to enrich and strengthen his vocal means continuously until the complete development of a nice baritone voice.
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Portrait by Giovanni Carnovali Rosa Mariani (1799–1864) was an Italian coloratura contralto opera singer who was born and died in Cremona, Italy. She made her stage debut there in 1818.Forbes, Elizabeth, "Mariani, Luciano" and "Mariani, Rosa" in Laura Williams Lacy (ed.), The Grove Book of Opera Singers, Oxford University Press US, 2008, p. 304\. She played Isaura in the 1820 premiere of Giacomo Meyerbeer's Margherita d'Anjou (in La Scala) and in 1823 performed the role of Arsace in the premiere of Rossini's Semiramide at the Teatro La Fenice opera house in Venice.
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In contrast, Mahalia Jackson used her dusky contralto voice to develop her gospel ballads as well as favouring a more joyful approach to singing the gospel. W. Herbert Brewster wrote "Move on Up a Little Higher" Jackson's first hit. At the same time that quartet groups were reaching their zenith in the 1940s and 1950s, a number of women singers were achieving stardom. Some, such as Mahalia Jackson and Bessie Griffin, were primarily soloists, while others, such as Clara Ward, Albertina Walker, The Caravans, The Davis Sisters and Dorothy Love Coates, sang in small groups.
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Essie Ackland toured Australia in 1937, by which time she was considered the most recorded contralto in the world.Canberra Times, 23 March 1937 For her first Sydney concert on 13 March 1937, the demand for seats outstripped the Conservatorium's capacity, so the concert was moved to the Sydney Town Hall. She was accompanied by the violinist Ernest Llewellyn and the pianist Raymond Lambert.Australian Women’s Weekly, 6 March 1937Sydney Morning Herald, 6 March 1937 She toured her native land for four months, and a further two months in New Zealand.
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Alice Cucini in 1903 Alice Cucini (1870–1949) was an Italian contralto who had a prolific opera career in Europe and South America between 1891 and 1915. She was particularly associated with the role of Dalila in Camille Saint-Saëns's Samson et Dalila, which she sang in numerous houses internationally. Among the first generation of musicians to be recorded, her voice is preserved on some of the very first Zonophone records ever made (1900), some Pathé recordings from 1902, and some HMV recordings made in 1906 and 1910.
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Sills' performance in the production, and on the cast recording that followed, made her an international opera star. The first uncut performance of modern times with the voices at correct pitch did not take place until 1977 at the Barber Institute of Fine Arts in Birmingham, England. It has subsequently proven to be by far the most popular of Handel's operas, with more than two hundred productions in many countries. In modern productions, the title role, written for a castrato, is sung by a contralto, mezzo-soprano, or, more frequently in recent years, a countertenor.
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Marie-Nicole Lemieux at the awarding of the National Order of Quebec in June 2013. Marie-Nicole Lemieux, C.M., C.Q. (born June 26, 1975) is a Canadian coloratura contralto. She first came to the world's attention in 2000 when she became the first Canadian to win first prize at the Queen Elisabeth International Music Competition in Belgium. Since then Lemieux has established herself as one of the finest contraltos currently singing on the classical music stage, appearing with some of the world's best orchestras and singing with many great opera companies.
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Lemieux is admired for possessing an unusually flexible and beautiful contralto voice that does not have the heaviness that is often associated with her particular voice type. For this reason, Lemieux has become a favourite among lovers of Baroque opera and she is noted for her portrayal of characters in the operas of Handel and Vivaldi in particular. Her voice is admired for its richness, warmth and resonance and for its expressiveness and use of many different tone colours. Lemieux is also praised by critics for her stage presence and communicative power.
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While a student, Ulanowsky became the official pianist and celesta player for the Vienna Philharmonic in 1927 at the young age of 19. He served in that post for the next eight years, notably playing the celesta solo in Gustav Mahler's Das Lied von der Erde for the orchestra's recording of the work under conductor Bruno Walter. In 1935 he became the accompanist for renowned contralto Enid Szantho. In addition to performing with her in concerts in Europe, he toured with Szantho to the United States several times from 1935 to 1937.
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Lottie Gee was born in Millboro, Virginia, United States. Her career began as a dancer in Aida Overton Walker's shows. She appeared in The Red Moon by Aida Overton Walker in 1904 and later toured the vaudeville circuit in various acts. In 1910, composer Ford Dabney (1883–1958) formed several touring vaudeville groups, among which, he and violinist Willie Carroll (né William Thomas Carroll; 1881–1943) conceived and produced Dabney's Ginger Girls, a duet composed of Gee, as dancer and soprano, and Effie King, as dancer and contralto.
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Theodosia Stirling, born Theodosia Yates (1815 – 19 July 1904), also known as "Mrs Guerin", "Mrs Macintosh", was an Australian stage actor and opera singer (contralto).Anae, Nicole: A Selected and Crowned Band of women, 2005 She was a great-granddaughter of the famous actor and actress Richard Yates and Mary Ann Yates.Richard Fotheringham, Angela Turner: Australian Plays for the Colonial Stage: 1834-1899 She was born as Theodosia Yates, and became known under the names Stirling, Guerin and Stewart during her three marriages. She also used the name Macintosh in some documents.
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Portrait of Benedetta Rosmunda Pisaroni by Giovanni Antonio Sasso Benedetta Rosmunda Pisaroni (born Piacenza, 16 May 1793 – died Piacenza, 6 August 1872) was an Italian soprano who later became a contralto. Active on the operatic stage from 1811 to 1831, she suffered from smallpox in the early years of her career which caused a change (downward) in her extended vocal range. Appearing in Bergamo, Padua, Bologna, Venice, Milan, Rome and eventually Paris in the 1810s and 1820s, she was closely associated with the operas of Gioachino Rossini and Giacomo Meyerbeer.
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Both her grandfather, Charles Young, and her great uncle, Anthony Young were notable organists and composers. She also had three famous aunts who were all notable singers. Her Aunt Cecilia (1712–1789), was one of the greatest English sopranos of the eighteenth century and the wife of composer Thomas Arne. Her Aunt Isabella was also a successful soprano and the wife of composer John Frederick Lampe and her Aunt Esther was a well known contralto and wife to Charles Jones, a successful music publisher in England during the eighteenth century.
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Their son and Charles's grandson, Michael Arne, was a successful composer. His daughter Isabella was also a successful soprano and the wife of composer John Frederick Lampe, and his daughter Esther was a well known contralto and wife to Charles Jones, one of the largest music publishers in England during the eighteenth century. Young's only son, Charles, was a clerk at the Treasury, whose daughters, Isabella, Elizabeth, and Polly followed in the foot steps of their aunts to become successful singers.Olive Baldwin, Thelma Wilson: "Cecilia Young", Grove Music Online ed.
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He also sang in a program of show tunes with the New York Philharmonic under Richard Rodgers in 1954. In 1959 he was the tenor soloist in Handel's Messiah under conductor Eugene Ormandy with the Philadelphia Orchestra, soprano Eileen Farrell, contralto Martha Lipton, baritone William Warfield, and the Mormon Tabernacle Choir at Carnegie Hall. His last public performance was with the Cincinnati Symphony under conductor James Levine in 1973. In the early 1970s Cunningham was a member of the voice faculty at the University of Utah in Salt Lake City.
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Katarina Karnéus as Serse in a 2009 production of Serse at the Royal Swedish Opera. Sarah Bernhardt as Prince Hamlet in June 1899. A travesti is a theatrical term referring to the portrayal of a character in an opera, play, or ballet by a performer of the opposite sex. More specifically, a theatrical or operatic role in which an actress appears in male clothing is called a "breeches role" ("pants role" or "trouser role"), and roles once performed by a male soprano castrato may instead be performed by a female mezzo-soprano or contralto.
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Caroline Unger, who sang the contralto part at the first performance and is credited with turning Beethoven to face the applauding audience Although the performance was officially directed by Michael Umlauf, the theatre's Kapellmeister, Beethoven shared the stage with him. However, two years earlier, Umlauf had watched as the composer's attempt to conduct a dress rehearsal of his opera Fidelio ended in disaster. So this time, he instructed the singers and musicians to ignore the almost completely deaf Beethoven. At the beginning of every part, Beethoven, who sat by the stage, gave the tempos.
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Elgar's sole work of note during his first spell in London in 1889–91, the overture Froissart, was a romantic- bravura piece, influenced by Mendelssohn and Wagner, but also showing further Elgarian characteristics. Orchestral works composed during the subsequent years in Worcestershire include the Serenade for Strings and Three Bavarian Dances. In this period and later, Elgar wrote songs and partsongs. W. H. Reed expressed reservations about these pieces, but praised the partsong The Snow, for female voices, and Sea Pictures, a cycle of five songs for contralto and orchestra which remains in the repertory.
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In 1979 she appeared as Monteverdi's Nero (L'incoronazione di Poppea) with De Nederlandse Opera in Amsterdam. Also in 1979 she was featured as the contralto soloist in Christopher Hogwood's landmark recording of Handel's Messiah, with the Academy of Ancient Music. In 1981 Watkinson made her La Scala debut in the title role of Ariodante and sang Rossini's Rosina (Il barbiere di Siviglia) in Stuttgart. She appeared as Gluck's Orfeo (Orfeo ed Euridice) with the Glyndebourne Touring Opera in 1982, and made her formal debut at Glyndebourne as Cherubino (Mozart's Le Nozze di Figaro) in 1984.
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She is a lyric contralto with a wide vocal range that spanned about three octaves. Astor sang all of the Carpenters' songs during her concert in 2013 using the same key as Karen Carpenter which are rare in female artists in Asia. Among all other record singers in Hong Kong, Astor has recorded a lot of Broadway musical songs that has highly acclaimed in 2011. As Astor has a good track record in both English and Chinese albums, she was dubbed "Audiophile Diva" by leading audiophile magazine in 2015.
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Ellis was born in Manhattan, New York City, to German parents, Herman Elsas and Caroline Elsas (née Reinhardt), who was a pianist. She first became interested in performing around 1910, and under a vocational course trained her lyric soprano under the tutelage of Belgian contralto Freida de Goebele and Italian operatic coach Fernando.Tanara. She made her debut with the Metropolitan Opera on December 14, 1918, in the world premiere of Puccini's Il trittico, creating the role of Genovieffa in Suor Angelica, the second of the evening's three one-act operas.Webb, Paul.
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She developed a reputation throughout the US as a teacher and lecturer in Young Ladies' Schools ("Illustrated Musical Lectures"). She diligently pursued her vocal studies with Adelina Murio-Celli d‘Elpeux, and became the solo contralto at the noted Church of St. Mary the Virgin. One summer was passed in London, where she began her operatic studies, gave many recitals, and became a social favorite. At the beginning of her great career, she was severely injured by a fall on a defective sidewalk, while visiting at Auburn, New York.
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It was again intended for the couple, but this time to help their troubled marriage. Brahms announced to his publisher Simrock in a letter from August 1884 that he would send "einige Kleinigkeiten für Gesang" (a few small pieces to be sung) to be published, Opp. 91–95. The first public performance was on 30 January 1885 in Kammermusiksoirée (Evening of chamber music) in Krefeld, on the occasion of the Stiftungsfeier of the Singverein. The singer was contralto Auguste Hohenschild, the violist Alwin von Beckerath, and the composer played the piano.
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In 1968 Jewish-Canadian composer Srul Irving Glick wrote the Holocaust-themed song cycle I Never Saw Another Butterfly for mezzosoprano (contralto) and orchestra or piano. The songs are based on children's poems from the concentration camp at Theresienstadt (1942–44).Evelyn, Jr., George E., WORDS, MUSIC, AND ETHNIC ELEMENTS IN SRUL-IRVING GLICK'S i never saw another butterfly, A LECTURE RECITAL TOGETHER WITH THREE RECITALS OF SELECTED WORKS OF J.S. BACH, S. BARBER, J. ERAHMS. A VIVALDI, G. FAURE, G. FINZI, H. DUPARC, M. MUSSORGSKY AND OTHERS.
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Betty Natalie Boije af Gennäs (14 February 1822 - 14 November 1854), was a Finnish (originally Swedish) opera and concert singer (contralto) and composer. She was the daughter of the Swedish noble Clas Otto Boye and Marianna Horn af Rantzien and the sister of the pianist Wilhelmina Boije, and married in 1853 to the Swedish composer Isidor Dannström. She was raised in Finland, were her father had a position, and debuted as a concert singer in Åbo in 1847. She toured in Finland, Estonia and Russia, before she debuted in Stockholm in 1849.
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She performed in two musical films released in 1933: Flying Down to Rio (singing "The Carioca") and a more substantial role as a war widow in the Busby Berkeley musical Gold Diggers of 1933 (singing the emotive "My Forgotten Man" with Joan Blondell). Also in 1933 dubbed the singing of Theresa Harris in Professional Sweetheart. Gershwin discussed her singing the part of "Bess" in his new work Porgy and Bess, which he had written with her in mind. She was concerned about trying a role above her natural range of contralto.
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Michael Kelly's father Thomas, a Roman Catholic wine merchant and dancing-master, held an important social position as Master of Ceremonies at Dublin Castle, the seat of British government in Ireland.Kelly, ed. Thal 1972, 19. Michael was given a serious musical education (mainly voice and keyboard) from a young age, his first teachers being the Italians, Passerini (of Bologna) and Niccolò Peretti, a male contralto, who sang at Covent Garden in the original productions of Thomas Arne's opera (on a Metastasio text) Artaxerxes (title role).van Thal 1972 (Biographical index), 329.
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DePreist was born in Philadelphia in 1936. He was the nephew of contralto Marian Anderson. DePreist studied composition with Vincent Persichetti at the Philadelphia Conservatory while earning a bachelor's degree at the Wharton School of the University of Pennsylvania and a master's degree from the Annenberg School for Communication at the University of Pennsylvania in 1958. On the side, he played percussion in a jazz Quintet, which performed on “The Tonight Show” with Steve Allen in 1956, and did enough composing to win a commission from the Philadelphia Dance Academy.
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During her playing career, she was one of the leading ladies in the sport and transformed the way that the game was played by women. Kathleen Ferrier Kathleen Ferrier, a contralto singer, shot to fame while living in Silloth and performing in Cumberland. She died in 1953 at the age of 41 and Granta magazine wrote at the time that she "may well have been the most celebrated woman in Britain after the Queen". There is now a café known as 'Mrs Willson's' named in honour of this talented woman.
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Handel joined her there, and she performed in several concerts with him conducting including performances of Acis and Galatea, Esther, and Alexander's Feast. She also joined the premiere performance of Handel's Messiah on 13 April 1742, singing the contralto solos. Legend has it that Dr Patrick Delany, the chancellor of St Patrick's Cathedral, upon hearing her sing "He was despised", proclaimed "Woman, for this be all thy sins forgiven thee!" On 21 and 28 July she sang a duo recital with her sister-in-law, the soprano Cecilia Arne (née Young).
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Maria Duchêne in 1916 1912 Metropolitan Opera premiere of Boris Gudonov with Anna Case, Marie Duchène, Adamo Didur as Boris Godunov, and Leonora Sparkes Maria Duchêne-Billiard (1884 – April 2, 1947) was a French contralto of the Metropolitan Opera from 1912 to 1916. She portrayed such roles as Amneris in Aida, Giulietta in The Tales of Hoffmann, Lola in Cavalleria rusticana, Maddalena in Rigoletto. She sang the role of the Old Woman in L'amore dei tre re, Rosette in Manon, Schwertleite in Die Walküre, and the Solo Madrigalist in Manon Lescaut among others.
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Lucia Elizabeth Vestris (née Elizabetta Lucia Bartolozzi; 3 March 1797 – 8 August 1856) was an English actress and a contralto opera singer, appearing in works by, among others, Mozart and Rossini. While popular in her time, she was more notable as a theatre producer and manager. After accumulating a fortune from her performances, she leased the Olympic Theatre in London and produced a series of burlesques and extravaganzas, especially popular works by James Planché, for which the house became famous. She also produced his work at other theatres she managed.
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Born in Endicott, New York in 1929, Bonazzi earned a Bachelor of Music in vocal performance from the Eastman School of Music in 1951. She then pursued graduate music studies at Hunter College and the Juilliard School, and studied privately with Elda Ercole in New York City. In 1955 she was the contralto soloist in Johann Sebastian Bach's Mass in B minor with the Oratorio Society of New York at Hunter College Auditorium. In 1956 she portrayed Lady Pamela in Daniel Auber's Fra Diavolo with the Hunter College Opera.
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By 1860 most theaters in Paris had lowered concert pitch to diapason normal. This was not as low as in Gluck's time: "a Commission had lately recommended that the pitch in France should be lowered from an A of 896 to 870 vibrations." Still this was apparently enough that later in the 19th century the role of Orpheus came to be sung almost as frequently by a tenor as by a contralto. Berlioz's version is one of many which combine the Italian and French scores, although it is the most influential and well regarded.
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Lisa Gerrard (; born 12 April 1961) is an Australian musician, singer and composer who rose to prominence as part of the music group Dead Can Dance with music partner Brendan Perry. Gerrard is one of Australia's most renowned musicians with a career spanning almost four decades. She is known for her unique singing style technique, influenced by her childhood spent alongside communities from around the world (Greece, Turkey, Asia), and sings within both the ranges of the dramatic contralto and the mezzo-soprano. Gerrard was born and grew up in Melbourne, Victoria.
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Produced by David Foster, "Un-Break My Heart" is a four minute-25 second pop and R&B; power ballad. The song's theme alludes to a "blistering heartbreak" in which Braxton begs a former lover to return and undo the pain he has caused. David Willoughby, author of The World of Music (2009), said a few phrases such as "Don't leave me in all this pain" are sufficient to reveal the "sadness and the longing" in the song. Warren showcased Braxon's contralto vocals with a low vocal range.
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Not one of the fruity, contralto-like mezzo-sopranos usually assigned to Mahler's vocal output, von Stade performed his songs with a lightness of tone, downplaying the high emotions of Lieder eines fahrenden Gesellen and conveying the innocent naïveté of the ditties from Des Knaben Wunderhorn.Jellinek, George: Stereo Review, October 1980, pp. 114-119 Her words were "clearly articulated and sensitively ccloured for expression", and she revealed the minutiae of Mahler's scores "with the accuracy of a master instrumentalist". There were times, indeed, when her interpretations could seem more carefully prepared than was desirable.
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Tahita Rotardier Bulmer (born 29 April 1981) is an English singer-songwriter. She is known for her true contralto voice. She is currently the lead vocalist for the English electropop band, NYPC (formerly New Young Pony Club) and has previously been a member of Alphawave and Blue States. Tahita is the daughter of Rowan Bulmer, previously one of the Richmond "Faces", along with his "almost flatmate", Brian Jones of the Rolling Stones, and photographer for Ready Steady Go/The Marquee Club, now retired, and Valewska Rotardier (1939–1999).
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If You Wait received generally positive reviews from music critics. At Metacritic, which assigns a normalised rating out of 100 to reviews from mainstream publications, the album received an average score of 75, based on 19 reviews. Andy Gill of The Independent summarised the album's production and instrumentation as "all beautifully sketched to evoke the crepuscular intimacies of the songs." A large quantity of praise went to the vocal ability of Reid, whose husky contralto vocals have been described as "defining and soulful" by Clash magazine and "emotive" and "folky" by Drowned in Sound.
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Michel Poizat 1992, The Angel's Cry. Beyond the Pleasure Principle in Opera Contemporary London comment associated Flower's voice with that of Marietta Brambilla (1807–1875) as possessing a 'contralto voice of [...] delicious voluptuous quality'.Musical World 22 February 1844 Six years later in Australia, Flower's voice was described as being > like one of those boy-voices that one meets with once in one's life and > remembers for ever after, so clear, so full, and nervous, and of such volume > and compass.Sydney Morning Herald (SMH), 'Parramatta Concert', 8 July 1850, > p. 3a.
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James Victor Scott (July 17, 1925 - June 12, 2014), known professionally as Little Jimmy Scott or Jimmy Scott, was an American jazz vocalist known for his high natural contralto voice and his sensitivity on ballads and love songs. After success in the 1940s and 1950s, Scott's career faltered in the early 1960s. He slid into obscurity before a comeback in the 1990s. His unusual singing voice was due to Kallmann syndrome, a rare genetic disorder that limited his height to until the age of 37, when he grew by .
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As a mezzo-soprano she sang leading roles throughout Italy and the rest of Europe. She was a guest artist at the Bolshoi Theatre in Moscow in 1878-1879, and in 1879 she sang Leonor de Guzmán in La favorita at both the Royal Opera House in London and the Bavarian State Opera. She was also very popular in Spain and Portugal where she sang many times. She was the prima donna contralto at the Gran Teatre del Liceu in Barcelona for the 1881-1882, 1884-1885, and 1886-1887 seasons.
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His father, Henry Harmon Gamble, was a foreman on the same plantation, and of Scotch-Irish and Native-American descent. Anne's mother was a high school music teacher and a member of Frederick J. Loudin's Jubilee Singers, and witnessed and photographed the coronation of King Edward VII in 1902 while on tour with the group in London. Kennedy and famed contralto Marian Anderson were dear friends and colleagues. The two met when Anderson stayed in Dr. Gamble's home while in Charleston because, as an African American, she was not allowed to stay in hotels.
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Stevens' figures from this period are scattered all over the American Southwest. One of his largest commissions was for the Centennial Fairgrounds and Esplanade for the 1936 Texas Centennial Exposition in Dallas. He created three monumental allegorical figures, "Tenor", "Contralto", and "Texas", along with a representation of the chimera-like nonsense creature of Texan folklore, the "Woofus". The bronze sculptures were melted down to help the war effort during World War II, but the figures were reconstructed in stainless steel in 2009 and have been restored to their original positions.
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Lithographic portrait of Fanny Eckerlin, c. 1820 Fanny Eckerlin (1802–1842) was an Italian mezzo-soprano who also sang contralto roles. During her career she was highly regarded, drawing favorable comparisons to Benedetta Rosmunda Pisaroni, but today she is remembered, if at all, for her association with the early career of Gaetano Donizetti, including creating the title role in his first publicly-performed opera, Enrico di Borgogna. Eckerlin's father was a Napoleonic official of Polish origin; her mother, an Italian, was a sister of the actress , whose husband was the poet Vincenzo Monti.
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Wilson, on June 12, 1907, married actress Effie King, the stage name of Anna Green (maiden; 1888–1944). They married in Manhattan at St. Mark's Methodist Episcopal Church on West 53rd Street, a block that was a cultural center for artistic and intellectual African Americans. Effie King, at the time, was a dancer and contralto who performed as a duet with Lottie Gee (née Charlotte O. Gee; 1886–1973), a dancer and soprano in African-American vaudeville circuits. From about 1911 through 1913, King and Gee were known as Ford Dabney's Ginger Girls.
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As early as the 1930s the music of Nova Scotia was entertaining the world. Hank Snow, born and raised in Brooklyn, Queen's County, Nova Scotia, was signed to RCA Records in 1936, but became famous in 1950 when he was invited to appear at the Grand Ole Opry. That was also the year he released "I'm Movin' On," his first massive hit single. Portia White of Truro, Nova Scotia, one of the greatest contralto voices in the history of Canadian classical music, made her stage debut in 1941.
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Above both sides of the vocal cord is the vestibular fold or false vocal cord, which has a small sac between its two folds. The difference in vocal folds size between men and women means that they have differently pitched voices. Additionally, genetics also causes variances amongst the same sex, with men's and women's singing voices being categorized into types. For example, among men, there are bass, baritone, tenor and countertenor (ranging from E2 to C#7 and higher), and among women, contralto, mezzo-soprano and soprano (ranging from F3 to C6 and higher).
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Today, Beaton's reputation rests largely on her appearances as Turandot (recorded in live performance and now on compact disc), and her performance as Cathy on the complete recording of Bernard Herrmann's only full-length opera Wuthering Heights.Unicorn – Kanchana, 1972"Dream role launched diva Morag Beaton on world stage", The Australian (1 April 2010)"Morag Beaton: operatic soprano", obituary in The Times Beaton's operatic career is also notable because she is the only singer in history successfully to have alternated the exacting soprano role of Turandot with the contralto role of Maddalena (Rigoletto) in one season, and, in later seasons, sung the contralto role of Ulrica (A Masked Ball) followed by more Turandots and another difficult soprano role – Abigaille in Nabucco. After Beaton's final recital at the Sydney Opera House in 1983, she occasionally sang for special events such as the 80th birthday gala for Sylvia Fisher, and mentored many aspiring singers. The warm reception for Beaton at the Sydney Opera House in 1996, when she attended the gala to mark the fiftieth anniversary of the Australian Opera Company, was as much an acknowledgement of her past performances as it was a reminder of how much audiences had missed her on stage in the intervening years.
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Ohlsson has performed in North America with symphony orchestras of Atlanta, Charlotte, Cleveland, Philadelphia, Boston, St. Louis, Cincinnati, Minneapolis, Milwaukee, Indianapolis, Houston, Detroit, Baltimore, Pittsburgh, Los Angeles, Seattle, Denver, Washington D.C. and Berkeley, among others, at the National Arts Center, with the St. Paul Chamber Orchestra and with the London Philharmonic at Lincoln Center in New York. He has also accompanied violinist Hilary Hahn and contralto Ewa Podles. Ohlsson is an avid chamber musician, having collaborated with the Cleveland, Emerson, Takács and Tokyo string quartets, in addition to other ensembles. In 2005-2006, he toured with the Takács Quartet.
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The recording of the shortened version by Radio Vienna in 1951 featured sopranos Hilde Ceska (Silvia), Rosl Schwaiger (Luise), Liane Synek, mezzo-soprano Tonja Sontis, contralto Hansi Schenk (Probierdamen), baritone (Caretto), the actors Fred Liewehr (Andrea Cocle), Egon von Jordan (Benedetto), Franz Böheim (Borzalino), Susi Witt (Geschäftsführerin), Felix Dombrowsky (Carlo Marcellini), Herbert Hauk (Pater); conducted by the composer. Issued 2011 by Line Music (cantus classics, CACD 5.01371). The first full-length recording was made in 2009 with Sarah Wegener, Birger Radde, Frank Buchwald, Werner Klockow, Young Opera Company, Holst-Sinfonietta, Klaus Simon recorded 2009, released by CPO 2011.
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Gooding went to New York to arrange with the musical managers for the attractions offered. Out of a long list she selected those who represent the highest in their own special field, and which she felt sure St. Louisans would enjoy. The list began with Madame Louise Homer prima donna contralto of the Metropolitan Grand Opera Co., followed by Josef Hoffman, pianist, and Anna Pavlova and the Russian ballet. For the last the expenses were $5,500.00 ($ in dollars) for two nights, and the receipts $7,500.00 ($ in dollars), netting a clear gain of $2,000.00 ($ in dollars); her other evenings were proportionately successful financially.
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By then, Hall and Hemingway's friendship had grown into a romantic relationship. In the fall of 1895, Hall went to New York City to study with Luiza Cappiani—a well-known opera coach—and, in 1896, she debuted as a talented contralto with the Apollo-Club in Madison Square Garden. She was later offered a contract by the Metropolitan Opera but turned it down for two reasons: her eyes, weakened from a childhood illness, could not tolerate the bright stage lighting, and she was also greatly influenced by Hemingway's many letters, imploring her to return to Oak Park.
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In October 2016 Studer sang the Overseer/Confidant (Die Vertraute/Die Aufseherin) in the late Patrice Chéreau's production of Richard Strauss' Elektra at the Staatsoper Berlin, conducted by Daniel Barenboim. In December 2016, she sang the role of Nettie Fowler in Rodgers and Hammerstein's musical Carousel at Theater Basel in Switzerland, in a run of performances through April 2017. In September 2018, Studer sang the contralto role of Mamma Lucia in a new production of Pietro Mascagni's opera Cavalleria rusticana at Oper Graz in Austria. The performances were recorded and released by the Oehms Classics label.
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Lili Chookasian (August 1, 1921April 9, 2012) was an American contralto of Armenian ethnicity, who appeared with many of the world's major symphony orchestras and opera houses. She began her career in the 1940s as a concert singer but did not draw wider acclaim until she began singing opera in her late thirties. She arose as one of the world's leading contraltos during the 1960s and 1970s, and notably had a long and celebrated career at the Metropolitan Opera in New York City from 1962 through 1986. She was admired for her sonorous, focused tone as well as her excellent musicianship.
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In 1875 Fibich married Růžena's sister, the operatic contralto Betty Fibichová (née Hanušová), but left her in 1895 for his former student and lover Anežka Schulzová. The relationship between Schulzová and Fibich was important to him artistically, since she wrote the libretti for all his later operas including Šárka, but also served as the inspiration for his Moods, Impressions, and Reminiscences. Birthplace of Zdeněk Fibich Fibich was given a bi-cultural education, living during his formative early years in Germany, France and Austria in addition to his native Bohemia. He was fluent in German as well as Czech.
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Initially the two men were on cordial terms (Busoni offered to give Grainger lessons free of charge) and, as a result, Grainger spent part of the 1903 summer in Berlin as Busoni's pupil. However, the visit was not a success; as Bird notes, Busoni had expected "a willing slave and adoring disciple", a role Grainger was not willing to fulfil.Bird, p. 81 Grainger returned to London in July 1903; almost immediately he departed with Rose on a 10-month tour of Australia, New Zealand and South Africa, as a member of a party organised by the Australian contralto Ada Crossley.
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Lourdes Pérez (born Bernardita de Lourdes Pérez Cruz on February 12, 1961) is a prolific Puerto Rican contemporary recording artist, songwriter, composer, arranger, poet, contralto vocalist, oral historian and guitarist. She is also one of few female decimistas (writer of décima, a specialized form of Spanish poetry). Often conjuring comparisons to the soulful world music genres of cante jonde, morna and fado, Pérez' body of music has been characterized as folk opera ("opera of the people") that honors her jíbara (Puerto Rican mountain) roots and the legacy of Spanish/pan-Latin American nueva trova or nueva cancion.
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Mae West (born Mary Jane West; August 17, 1893 p 20 re: 1900 U.S. census – November 22, 1980) was an American actress, singer, playwright, screenwriter, comedian, and sex symbol whose entertainment career spanned seven decades. She was known for her lighthearted, bawdy double entendres and breezy sexual independence, and often used a husky contralto voice. She was active in vaudeville and on stage in New York City before moving to Los Angeles to pursue a career in the film industry. West was one of the most controversial movie stars of her day; she encountered many problems, especially censorship.
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145–46 May married bass-baritone Louis W. Raymond, another actor with Ford's Opera Company, in 1884. May toured in America for several years in light opera. She now played the contralto character roles, including Little Buttercup in H.M.S. Pinafore, Ruth in The Pirates of Penzance, Lady Jane in Patience, Jelly in Gilbert and Clay's Princess Toto, and Katisha in the first authorised American production of The Mikado at Uhrig's Cave in St. Louis, in July 1885. Although May achieved popularity as a touring performer in America, she continued to struggle with alcoholism and continued to miss performances.
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A castrato (Italian, plural: castrati) is a type of classical male singing voice equivalent to that of a soprano, mezzo-soprano, or contralto. The voice is produced by castration of the singer before puberty, or it occurs in one who, due to an endocrinological condition, never reaches sexual maturity. Castration before puberty (or in its early stages) prevents a boy's larynx from being transformed by the normal physiological events of puberty. As a result, the vocal range of prepubescence (shared by both sexes) is largely retained, and the voice develops into adulthood in a unique way.
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Gibson was born in Peekskill, New York, the sixth of eleven children, and the second son of Hutton Gibson, a writer, and Irish-born Anne Patricia (née Reilly, died 1990). Gibson's paternal grandmother was opera contralto Eva Mylott (1875–1920), who was born in Australia, to Irish parents, while his paternal grandfather, John Hutton Gibson, was a millionaire tobacco businessman from the American South. One of Gibson's younger brothers, Donal, is also an actor. Gibson stated his first name is derived from St Mel's Cathedral, the fifth-century Irish saint, and founder of Gibson's mother's local native diocese, Ardagh.
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Olive Sarah Gilbert (22 November 1898 – 19 February 1981) was a British singer and actress, who, in a career spanning seven decades, performed first in opera and then in many of Ivor Novello's musicals in London's West End. After the First World War, Gilbert sang contralto and mezzo-soprano roles with the Carl Rosa Opera Company for more than a decade. She moved into musical theatre in 1935, appearing in Novello's Glamorous Night. She also had roles in his Careless Rapture (1936), Crest of the Wave (1937), The Dancing Years (1939), Arc de Triomphe (1943), Perchance to Dream (1945) and King's Rhapsody (1949).
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In December 1900, she was invited by the people of Hartford to perform at a grand concert given by the Boston Symphony Orchestra. She studied for several years under masters in Europe before making her professional debut in Florence. She made her American debut as a contralto concert singer on the evening of September 22, 1906 at the Norfolk Gymnasium in Norfolk, Connecticut, assisted by violinist Marie Nichols. She rented Edgewood there in 1905, and she used the proceeds from the concert to purchase a memorial window for her mother in the Norfolk Church of the Transfiguration.
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Inside there is a music compound with a music conservatory with its own auditorium, and a music park. Cagliari is and was home to opera singers such as the tenors Giovanni Matteo Mario (Giovanni Matteo De Candia, 1810–1883) and Piero Schiavazzi (1875–1949), the baritone Angelo Romero (born 1940), the contralto Bernadette Manca di Nissa, born 1954 and the soprano Giusy Devinu (1960–2007). The Italian pop singer Marco Carta was also born in Cagliari, in 1985. The old Teatro Massimo was only recently renovated and is now the seat of the Teatro Stabile of Sardinia.
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Among the operatic excerpts on her recorded output are music by Wagner and, as we have seen, Verdi, Ponchielli, Gluck, Mozart and Wolf-Ferrari. The acoustic recording process of the day was not particularly kind to Kirkby-Lunn's "warm rich notes of true contralto quality" (as critic Herman Klein spoke of her voice),Herman Klein, Thirty Years of Musical Life in London, 1870–1900 (Century Co., New York, 1903), p. 467 although in some pieces such as the Gounod 'Entreat me not to leave thee', or the Arthur Goring Thomas 'A Summer night',HMV 03395 (1915) and HMV 03259 (1911); Bennett 1955.
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She then switched labels and began exploring more jazz-influenced melodic ideas, by way of lush pop textures, on 1974's Court and Spark, which featured the radio hits "Help Me" and "Free Man in Paris"[ Ankeny, Jason. All Music Guide] and became her best-selling album. Around 1975, Mitchell's vocal range began to shift from mezzo-soprano to more of a wide-ranging contralto. Her distinctive piano and open-tuned guitar compositions also grew more harmonically and rhythmically complex as she explored jazz, melding it with influences of rock and roll, R&B;, classical music and non-western beats.
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Cher's friend moved out, and Cher accepted Sonny's offer to be his housekeeper. Sonny introduced Cher to Spector, who used her as a backup singer on many recordings, including the Ronettes' "Be My Baby" and the Righteous Brothers' "You've Lost That Lovin' Feelin'". Spector produced her first single, "Ringo, I Love You", which Cher recorded under the name Bonnie Jo Mason. The song was rejected by many radio stations programmers as they thought Cher's deep contralto vocals were a man's vocals; therefore, they believed it was a male homosexual singing a love song dedicated to the Beatles drummer Ringo Starr.
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Her father was the cellist and composer Frederick Nicholls Crouch, who married her mother, the contralto Lydia (née Pearson), at St Paul's Church, Covent Garden in 1832. By April 1841, Crouch had returned to London, leaving his wife and daughters in Plymouth. In 1843, he went through a Roman Catholic marriage ceremony with Elizabeth 'Bessie' George and had two more children. He left for the United States in 1849, leaving both wives and families behind. With several young children to care for, Crouch's mother Lydia brought Richard William Littley into the household, who was to be considered a “stepfather” by her children.
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Siobhan Máire Deirdre Fahey ( ; born 10 September 1958) is an Irish singer and musician, whose vocal range is a light contralto. She was a founding member of the 1980s British girl group Bananarama, who had several top 10 hits including the US number one hit single "Venus". She later formed the Brit Award and Ivor Novello Award-winning musical act Shakespears Sister, who had a UK number one hit with the 1992 single "Stay". Fahey joined the other original members of Bananarama for a 2017 UK Tour, and later in 2018, a North America and European Tour.
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In a concert form, the work's UK premiere took place on 30 January 1823 at the Theatre Royal Drury Lane in London.Gossett and Brauner 2001, p. 768 The quasi-opera premiered in the United States on 7 July 2012 at the Caramoor Center for Music and the Arts as part of the Festival, starring contralto Ewa Podleś in the title role, tenor Michael Spyres as Baldassare (Belshazzar), and soprano Jessica Pratt as Amira, with Will Crutchfield conducting. Performances with the same principal singers opened in a more elaborate staging on 10 August 2012 at the Rossini Festival in Pesaro.
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Collins was born in Meadowfield, near Durham, the daughter of "a musical family"."Anne Collins: operatic contralto", The Times, 3 August 2009, accessed 13 October 2014 From 1961 to 1963 she trained at Bretton Hall College, Yorkshire, intending to become a music teacher.Lingard, Judith. "Obituary, Anne Collins", The Guardian, 13 August 2009 She then studied at the Royal College of Music, London, first the cello and then vocal studies; her teachers included Meriel St Clair and Oda Slobodskaya. Collins made her debut for Sadler’s Wells Opera as the Governess in The Queen of Spades in 1970.
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Marian Anderson celebrated contralto and Mary McLeod Bethune, Director of Negro Affairs in the National Youth Administration at the launching of the SS Booker T. Washington with unidentified workers who helped construct the first Liberty ship named for an African American at the California Shipbuilding Corporation's yards by Alfred T. Palmer. The rigorous curriculum had the girls rise at 5:30 a.m. for Bible study. The classes in home economics and industrial skills such as dressmaking, millinery, cooking, and other crafts emphasized a life of self-sufficiency for them as women. Students' days ended at 9 pm.
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Claude Torres On 19 September 1924, at the 7th Berkshire Festival of Chamber Music, the Lenox Quartet took part in the first performance of La Belle Dame sans Merci, Wallingford Riegger's setting of John Keats' poem, for two sopranos, contralto, tenor, violin, viola, cello, double bass, oboe (English horn), clarinet and French horn.Berkshire Festival of Chamber Music 1919-1938 From October 1925 until 1929, when he retired due to illness, Sandor Harmati was music director of the Omaha Symphony Orchestra.Omaha Community Playhouse In 1927 he was invited to conduct several concerts at the International Festival in Frankfurt, Germany.
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Ann Drummond-Grant as the Fairy Queen in Iolanthe Ann Drummond-Grant (1905 - 11 September 1959) was a British singer and actress, best known for her performances in contralto roles of the Gilbert and Sullivan operas with the D'Oyly Carte Opera Company. Drummond-Grant began her career as a soprano. She joined D'Oyly Carte in 1933, but was considered by the company's management as too tall to be an ideal performer of the Savoy Operas' young soprano heroines, and left the company in 1938. During World War II she toured in a variety of theatrical shows.
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"Love in the Hot Afternoon" is a song written by Vince Matthews and Kent Westbury, and recorded by American country music artist Gene Watson. It was released in May 1975 as the second single and title track from the album Love in the Hot Afternoon. The song reached No. 3 on the Billboard Hot Country Singles chart, becoming his first top 40 and first top 10 hit on that chart. Two years later, American contralto pop music singer Vicki Lawrence released her female version of this song with the gender reversed as a promotional single on Private Stock Records.
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Dame Cleo Laine (born Clementine Dinah Bullock; 28 October 1927) is an English jazz and pop singer and an actress, known for her scat singing and for her vocal range. Though her natural range is that of a contralto, she is able to produce a G above high C, giving her an overall compass of well over three octaves.Pleasants, H. (1985) The Great American Popular Singers, Simon and Schuster Laine is the only female performer to have received Grammy nominations in the jazz, popular and classical music categories. She is the widow of jazz composer and musician Sir John Dankworth.
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Gänzl, Kurt. "A Bit of Jessie Bondage", Kurt of Gerolstein, June 12, 2018 She soon became the leading contralto soloist at the Seel Street Benedictine Church (now known as St. Peter's Catholic Church) in the same city.Ernill, p. 308 Her father's enquiries revealed that Schottländer was a "bad lot", and he forbade any engagement until Bond was older.Bond, Chapter 2, accessed 10 March 2008 On 8 March 1870, Schottländer abducted the 17-year-old Bond on her way to sing at a church service, took her to a friend's house and forced her to stay the night with him.
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Portia May White (June 24, 1911February 13, 1968) was a Canadian contralto, known for becoming the first Black Canadian concert singer to achieve international fame. Growing up as part of her father's church choir in Halifax, Nova Scotia, White competed in local singing competitions as a teenager and later trained at the Halifax Conservatory of Music. In 1941 and 1944, she made her national and international debuts as a singer, receiving critical acclaim for her performances of both classical European music and African-American spirituals. White later completed tours throughout Europe, the Caribbean, and Central and South America.
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Howson, the niece of diva Emma Albertazzi (also born Emma Howson), was born in Hobart Town, Tasmania, and performed as a child in concerts with her father, Frank (a baritone and conductor) and her brothers. Her father, with his tenor brother, John, moved to Sydney in 1845 and remained based there until the mid-1860s when, at the suggestion of American actor Joseph Jefferson, the family travelled to America. Emma's early musical education and training therefore took place in Sydney, where one of her early mentors and teachers was the renowned English contralto Sara Flower.Orchard, W. Arundel.
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At the age of 16 Purdy studied voice in Paris, rooming with future opera diva and film actress Geraldine Farrar, before embarking on a career as a contralto singer, lecturer, and translator of traditional Russian songs. Her friend and personal representative Mabel F. Hammond, often accompanied her on piano. Purdy did not enter into film acting until 1934, with her first appearance, uncredited, being in the film Pursued starring Rosemary Ames. The 1930s saw her in four film appearances, only one of which was credited, that being in the 1935 film Thunder in the Night starring Edmund Lowe and Karen Morley.
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George Bernard Shaw, however, though an admirer of Maurel, claimed that his genius was not Mozartian, and commented that "the problem of how to receive a call from a public statue does not seem to have struck him as worth solving".Review in The World, 13 May 1891, reprinted in Laurence, D. (ed) (1981), Shaw's Music, Vol. 2. The Bodley Head After retiring from opera, Maurel taught singing in Paris and New York City, where he died at the age of 75. His pupils included the contralto Frances Ingram and the baritones Herbert Heyner and Thomas Quinlan (impresario).
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Tamara Semyonovna Tsereteli (, , 14 August 1900, in Sveri, Kutais Governorate, Georgia, Russian Empire - 3 April 1968, in Moscow, USSR) was a Georgian Russian singer, contralto, who specialized in the Russian romance and was the first to record in 1925 Boris Fomin's "Dorogoi dlinnoyu". In the 1920s the singer's repertoire consisted largely of the songs written for, and dedicated to her by her mentor and partner Boris Prozorovsky, a prominent romance author, arrested in 1933 and executed in 1937 during the Great Purge. Tsereteli who gave more than 5500 concerts in her lifetime, retired in 1960.Ebralidze, Malkhaz.
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She moved to New York City in her teens, where she sang in an ensemble led by her brother, saxophonist Nick Jerret.[ Frances Wayne] at Allmusic A 1942 review in Billboard magazine described her as "a striking brunette with a true contralto, perfect rhythm, and, most interesting, a brand-new style...of deep understanding and feeling for the spirit of what she sings." Early in the 1940s, she recorded with Charlie Barnet's big band, and in 1943 sang with Woody Herman's band. After her husband, Neal Hefti, formed his own big band in 1947,Simon, George T. (1981).
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Barnett appeared with Lillian Russell in Pocahontas, by Sydney Grundy and Edward Solomon, at the Empire Theatre in London before travelling to America with Russell in 1885. In New York, and on tour, she performed in Solomon's shows Billee Taylor, Claude Duval and Polly."The Drama in America", The Era, 16 May 1885, p. 7 She then moved to Australia, where she spent three years, from 1885 to 1888, playing the Gilbert and Sullivan contralto roles (Lady Sangazure in The Sorcerer, Buttercup, Ruth, Jane, the Fairy Queen, Lady Blanche in Princess Ida and Katisha in The Mikado) with J. C. Williamson's opera company.
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The American Quartette was a mixed vocal quartet of the chatauqua circuit in the 1920s, consisting of coloratura soprano Helen Bickerton, contralto Esther Muenstermann, lyric tenor B. Fred Wise, and baritone Raymund Koch under the direction of Edwin Stanley Seder.The American Quartette (192?) Muenstermann had previously performed with the Redpath Grand Opera Company, singing the role of Donna Angelica in their 1913 production of Parelli's A Lovers' Quarrel. Koch went on to a solo career, including an appearance at the Ann Arbor, Michigan May Festival in 1928. Bickerton and Koch toured together, each recording for the Majestic Records label in February 1930.
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She returned to Vienna in 1890, working as a singing teacher and in concert performances. She died in 1921, aged 78, in Vienna and was buried in the Hadersdorf-Weidlingau cemetery in Penzing. Gifted with a rich contralto/mezzo- soprano voice of extraordinary compass and possessing exceptional histrionicMet Performance CID:5490 Lohengrin (15 December 1886) gifts, Brandt was regarded, in her prime, as being one of the greatest German operatic vocalists of the 19th century. As an admirable interpreter of Wagnerian rôles, she contributed largely to the success of the Bayreuth music festivals in 1876 and 1882.
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He was born in Pest, Hungary, the son of the actor, singer and theatre director Nikolaus Alois Hölzel (1785–1848) who managed the Landestheater in Linz from 1819 until 1924.Oberösterreichische Heimatblätter – Heinrich Wimmer: Das Linzer Landestheater 1803–1958 His mother Elisabeth Hölzel (née Umlauf) was an operatic contralto, daughter of composer Ignaz Umlauf, and sister of composer Michael Umlauf.Gustav Hölzel biography at operissimo.com (in German) At the age of sixteen, Gustav made his operatic debut in Sopron, and his career continued in Graz (1830–1832), the Theater in der Josefstadt in Vienna (1833–1837), and the Königsstädtisches Theater in Berlin (1837–1838).
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At the time of her husband's death, in 1881, Lemmens-Sherrington was appointed professor of singing at the Brussels Conservatory, and in 1891 at the Royal Academy of Music. From that time onwards she frequently resided in England.Eaglefield-Hull 1924, 293. She also taught at the Royal Manchester College of Music, where one of her pupils was the contralto Edna Thornton.M. Scott, The Record of Singing Volume II (Duckworth, London 1979), 157. In early 1889, just short of the 33rd anniversary of her first appearance in London, she appeared at the Royal Albert Hall in a performance of Peter Benoit's Flemish oratorio Lucifer.
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Domenico Salvatori (27 September 1855 – 11 December 1909) along with Alessandro Moreschi, Domenico Mustafà and Giovanni Cesari, was one of the famous castrati singers of the late 19th century. Born in Anagni, he first started as a contralto at the Cappella Giulia which he later abandoned in order to enter as a now soprano or mezzo to the Sistine Chapel Choir. He later became secretary of the choir for some years, holding his position as a secretary also under the direction of Lorenzo Perosi. A good friend of Alessandro Moreschi, together they often used to visit their contemporary Domenico Mustafà in his retirement.
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The Best of the Davis Sisters is a double LP/single CD album by the famous Philadelphia gospel group, released in 1978 on LP (see 1978 in music) and in 2001 on CD (see 2001 in music). It collects 24 of their recordings made for Savoy Records between 1955 and 1968. Popular tracks are “Twelve Gates to the City”, “Sinner Man Where You Gonna Run To”, “Blessed Quietness”, “We Need Power”, “He’ll Understand and Say Well Done”. The lead vocals are shared between contralto Ruth “Baby Sis” Davis, mezzo-soprano Jackie Verdell, and occasionally pianist Curtis Dublin.
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Both her grandfather, Charles Young, and her great-uncle, Anthony Young, were notable organists and composers. She also had three famous aunts who were all notable singers. Her aunt Cecilia (1712–1789) was one of the greatest English sopranos of the 18th century and the wife of composer Thomas Arne. Their son, Michael Arne, was also a successful composer. Her aunt Isabella was a successful soprano and the wife of composer John Frederick Lampe, while her aunt Esther was a well-known contralto and wife to Charles Jones, a successful music publisher in England during the 18th century.
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Bob and Alf Pearson were both born in Sunderland, then part of County Durham, in the north-east of England, where they also grew up. Their father Arthur was a plasterer, but their mother, Emily Smiles – performing under her maiden name – was a contralto singer, to whom Alf attributed the brothers' musical talent. Bob, the older of the two, was born on 15 August 1907, whilst three years later, on 15 June 1910, Alf was born; they also had two younger sisters. The duo started as choir boys in Sunderland's Christ Church choir, in which the principal treble soloist was Bob.
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Here she met Marietta von LeClair, a retired opera singer, who agreed to give her voice lessons. In 1876, Ernestine gave her first professional performance (age 15) as alto soloist in Beethoven's Ninth Symphony in Graz. Her operatic debut was on 15 October 1878 at Dresden's Royal Opera House, where for four seasons she played the role of Azucena in Il trovatore Shawe-Taylor, Desmond, Schumann-Heink, Ernestine, in Sadie, Stanley (editor), The New Grove Dictionary of Opera, New York, Grove (Oxford University Press), 1997, Volume Four, p. 255, ，and served as principal contralto when she was 17.
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Because of that, the contralto Caroline Unger walked over and turned Beethoven around to accept the audience's cheers and applause. According to the critic for the Theater-Zeitung, "the public received the musical hero with the utmost respect and sympathy, listened to his wonderful, gigantic creations with the most absorbed attention and broke out in jubilant applause, often during sections, and repeatedly at the end of them." The audience acclaimed him through standing ovations five times; there were handkerchiefs in the air, hats, and raised hands, so that Beethoven, who could not hear the applause, could at least see the ovations.
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He was born in Arques-la-Bataille, in Seine-Maritime, France, grandson to violinist Prosper Sainton and contralto Charlotte Helen Sainton-Dolby. He started his music studies learning the violin. At some point he entered the Royal Academy of Music in London, where he studied composition under Frederick Corder and viola under Lionel Tertis. Shortly after World War I, he joined the Queen's Hall orchestra, and in 1925 he was also appointed principal viola of the Royal Philharmonic Society's orchestra. These positions were relinquished in 1929 when he was asked to replace Harry Waldo Warner in the London Quartet.
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Anastasia Kostyantynivna Prikhodko (; born 21 April 1987) is a Ukrainian activist, politician, and former singer-songwriter. Known for her deep contralto singing voice and blend of folk rock and pop music, Prikhodko announced that she would be ending her music career in order to enter politics in October 2018. Prikhodko had previously made herself a major figure during Euromaidan and the 2014 pro-Russian unrest in Ukraine, expressing support for Ukrainian forces and vowing to never perform in Russia again. Prikhodko first received mainstream attention in 2007, after winning series seven of the Russian music competition Fabrika Zvyozd.
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It makes use of the Lombard rhythm or "Scotch snap", and may owe something to Scottish folk-song. It seems first to have been used about 1850 and was associated with the contralto and composer Charlotte Dolby, later Sainton-Dolby (1821–85). The sheet music of Bonnie Dundee was published by Boosey & Sons as "sung by Miss Dolby" and (after 1860) "sung by Madame Sainton-Dolby", but Boosey credits her only with performing the song and arranging the accompaniment; no composer is named, and Boosey lists the piece as a Scotch Air. However, Bonnie Dundee has been included among Dolby's works.
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The Viennese Singing Sisters (AKA Edmund Fritz's Singing Babies, Singing Babies, Viennese Seven (sometimes, Six) Singing Sisters, and The Seven Singing Sisters) was a close harmony female singing group which originated in Austria in the late 1920s or in 1930, and which was active there, elsewhere in Europe, and in the Americas until the late 1930s. It made recordings, and appeared on radio and television and in film. It consisted of singers with vocal ranges from high soprano to contralto, one of whom would also play piano accompaniment. At various times, it had six or seven members.
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According to one source, Ríos was discovered by Agustín Lara when the songwriter heard her singing in a nightclub in Mexico City. After hearing the great imitation she was able to make of him (with her deep contralto voice), he invited her to his house and promised to make her a great star. However, another source says that she became one of the main performers of the XEW station after she auditioned for Emilio Azcárraga Vidaurreta, who immediately signed her for three daily 15-minute spots;Liner notes from the album Tropic Nights, released by Decca Records. this happened in 1936.
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It's a Man's World found Cher singing 'unconventional' songs in a style more associated with the Deep South, rather than her more familiar pop and rock roots. The album also stands out for Cher stretching her vocals to head register for such songs as "One by One" and "The Gunman", getting out of her comfort zone of her trademark husky contralto. Cher signed with Warner Music UK in 1994 and recorded It's a Man's World in London in 1995. That same year the album was released all over Europe with "Walking in Memphis" as its lead off single.
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Gloria Estefan (; born Gloria María Milagrosa Fajardo García; September 1, 1957) is a Cuban-American singer, songwriter, actress and businesswoman. A contralto, she started her career as the lead singer in the group Miami Latin Boys, which later became known as Miami Sound Machine. She experienced worldwide success with "Conga" in 1985; this became Estefan's signature song and led to the Miami Sound Machine winning the grand prix in the 15th annual Tokyo Music Festival in 1986. In the middle of 1988, she and the band got their first number-one hit with the song "Anything for You".
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In 1931, Smith began to accept invitations to sing in other cities, turning into a 20-year run of touring churches and revivals throughout the U.S. Initially these engagements were meant to augment her husband's income, though it turned into a personal crusade. Smith's voice had developed into a booming contralto by this time. Accompanying her was an adopted daughter named Bertha, the two of them sharing a musical connection that was evident in their charismatic performances. Smith furthermore started her tenure running the Education Department of the National Baptist Convention; a role that lasted 17 years.
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Rosa Borosini [née d'Ambreville] (c1693 - died after 1740) was an Italian soprano and the wife of tenor Francesco Borosini (married 1722). In 1716 she created the role of Getilde in the world premiere of Antonio Vivaldi's La costanza trionfante degl'amori e de gl'odii.italianopera.org Born in Modena, Rosa's father was the second maestro di cappella in the court of Francesco II d'Este, Duke of Modena, and her sister was the contralto Anna Ambreville who was married to cellist and composer Giovanni Perroni. She began her career at the Teatro Ducale di Piazza in Modena where she was committed in 1713-1714, 1717, and 1720.
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The group ceased to perform in 1999, following the death from cancer of John Fleagle. The Basel-based Ferrara Ensemble was founded almost simultaneously with Ensemble P.A.N., in 1983. Since the ensemble includes students at the Schola Cantorum, membership is fluid. Members have included: Randall Cook (viola d’arco, vielle), Lena Susanne Norin (contralto), Kathleen Dineen (soprano), Debra Gomez (harp), Stephen Grant (baritone), Norihisa Sugawara (lute), Marion Fourquier (harp), Miriam Andersen (mezzo-soprano, harp), Masako Art (harp), Raitis Grigalis (baritone), Els Janssens (mezzo- soprano), Eve Kopli (soprano), Jessica Marshall (viola d’arco), Eric Mentzel (tenor), Karl-Heinz Schickhaus (dulce melos).
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Her only operatic role was the Countess in Mozart's Le nozze di Figaro, performed in 1939 in Scheveningen. In London, she appeared at The Proms several times between 1939 and 1948,Jo Vincent BBC then performed in Queen's Hall, conducted by Henry Wood. On 14 July 1949, she took part in the world premiere of Benjamin Britten's Spring Symphony at the Concertgebouw as part of the Holland Festival, with contralto Kathleen Ferrier, tenor Peter Pears, and conducted by Eduard van Beinum. A review in New Statesman and Nation dated 23 July 1949 stated that Vincent "excelled herself" in bird songs.
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The airs and choruses both were criticized and praised equally: the choruses were a disappointment in comparison to the great force of those in Handel's works, but were still thought of as deserving praise among the hierarchy of choral composing. The airs were thought of as pleasing and noteworthy by some, but thought to be overly hymn-like by other musical critics at the time. Thomas Arne's sister, Susannah Maria Arne, was a famous contralto that Arne often employed in his musical works. When she left Drury Lane for Covent Garden in 1750, Arne followed her.
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It is not uncommon for men with higher voices to sing the alto line or women with lower voices to sing the tenor line. It is, however, improper for a man to call himself an alto or a soprano, or a woman a tenor or bass. A woman who sings the tenor line is really a contralto when applied to the classical vocal type system, and a man who sings alto or soprano a countertenor or sopranist. That being said, non-classical singers can adopt some of the terms from both systems, but not all of them, when classifying their voices.
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591, which describes her as an "excellent contralto". She joined the D'Oyly Carte Opera Company in October 1914 after Rupert D'Oyly Carte saw her performance at the Haymarket and "was much struck by her vivacity".Taylor, Roy. "Nellie Briercliffe", Memories of the D'Oyly Carte website, accessed 1 January 2010 She was cast immediately in the principal soubrette roles of the Gilbert and Sullivan operas as follows: Hebe in H.M.S. Pinafore, Edith in The Pirates of Penzance, Angela in Patience, Iolanthe in Iolanthe, Melissa in Princess Ida, Pitti-Sing in The Mikado, Phoebe in The Yeomen of the Guard and Tessa in The Gondoliers.
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Apart from Flosshilde's implied seniority, demonstrated by occasional light rebukes and illustrated musically by awarding the role to a deeper-voiced contralto or mezzo, their characters are undifferentiated. In The Perfect Wagnerite, his 1886 analysis of the Ring drama as political allegory, George Bernard Shaw describes the Rhinemaidens as "thoughtless, elemental, only half-real things, very much like modern young ladies".Shaw, p. 11 The attributes most apparent initially are charm and playfulness, combined with a natural innocence; their joy in the gold they guard derives from its beauty alone, even though they know its latent power.
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In 1965 she sang the contralto arias in the two famous Bach's Passions with Eugen Jochum and the Concertgebouw Orchestra. She appeared in Bach cantata recordings in the series of Kurt Thomas, Fritz Werner and Helmuth Rilling. In 1966, she took part in a distinguished Henry Wood Proms performance of Beethoven's Missa solemnis under Antal DorátiBBC website and the BBC Symphony Orchestra, which has been issued by the Doráti Society. She recorded the role of Third Lady in Otto Klemperer's recording of The Magic Flute (starring Nicolai Gedda and Gundula Janowitz), which has been available since the vinyl days.
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At the late stages of composition, the authors decided to add songs, and Edward Elgar provided the music. The music that Elgar wrote for the play forms his Opus 42, which he published under the anglicised title Grania and Diarmid. It consists of only two pieces: an Introduction and Funeral March for orchestra, and a song for contralto soloist "There are seven that pull the thread". Moore had initially asked Henry Wood if he could write music for the play, but Wood then recommended Elgar to him; though Moore had in any case been considering Elgar for the job.
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The second part of the Lincoln Memorial Rededication Series, the ALBC and NPS combined efforts to produce the Marian Anderson Tribute and Naturalization Ceremony. On Easter Sunday 1939, contralto Marian Anderson famously performed on the steps of the Lincoln Memorial after the Daughters of the American Revolution barred her from singing at Constitution Hall due to the color of her skin. Marian Anderson, who was born in 1897, was described as having "a voice heard once in a hundred years." Yet in 1939, she was denied the right to perform in Washington, DC's Constitution Hall due to the color of her skin.
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Irra Petina photo taken by Carl Van Vechten, 1948 Irra Petina (April 18, 1908 - January 19, 2000) was an actress and singer as well as a leading contralto with the Metropolitan Opera in New York City. She was called the "floperetta queen" by critic Ken Mandelbaum. Born in St. Petersburg, Russia, Petina was the daughter of General Stephen Petin, Czar Nicholas II's personal escort, and a goddaughter of the Dowager Empress Marie Feodorovna. Her debut role with the Met was as Schwertleite in Richard Wagner's Die Walküre (the second part of the acclaimed Ring Cycle) on December 29, 1933.
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Instead, the concert singer George Baker was brought in to substitute. Other performers from this period include the mezzo-soprano Nellie Briercliffe, bass-baritone Darrell Fancourt, who is estimated to have portrayed the Mikado of Japan more than 3,000 times, contralto Bertha Lewis, tenor Derek Oldham, soprano Elsie Griffin and baritones Leo Sheffield and Sydney Granville.Wilson and Lloyd, pp. 90–112 Henry Lytton, 1901 Lytton was succeeded in 1934 by Martyn Green, who played the principal comic parts until 1951, except for a gap from the end of 1939 to 1946, when Grahame Clifford replaced him.
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Jane Barbier (will proved 9 December 1757) was an English contralto of the 18th century, best known for her performances in the operas of George Frideric Handel. She created the roles of Dorinda and Arcano (Il pastor fido and Teseo, respectively), and also sang in Rinaldo. After leaving Italian opera she performed in the masques of Johann Pepusch, and worked for John Rich in various pantomimes and English-language operas. Thomas Arne's Rosamond (1733), where she took the role of King Henry, marked the end of her successful career, and after this she largely disappears from the historical record.
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Anna Girò (also Girrò or Giraud), also known as l'Annina del Prete Rosso, la Nina del Prete Rosso, or l'Annina della Pietà, was the stage name of Anna Maria(?) Maddalena Tessieri (or Tesieri, Teseire or Testeiré), an Italian mezzo-soprano/contralto of the 18th century. She is best remembered for her numerous collaborations with composer Antonio Vivaldi who wrote operatic roles for her. She is the singer who performed the greatest number of Vivaldi's operas, the one who kept them in her repertoire the longest time and who made them known across the largest geographical area.
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Puggioni The opera was staged with the revisions and the new cast, probably in the second half of January 1732 and only enjoyed a short run before it was replaced by Francesco Mancini's Alessandro nell'Indie, scheduled for 2 February.Toscani After that it was almost completely forgotten, although the opera's documents were preserved in the archives in the expectation of a revival: they have allowed a precise reconstruction of both the original, unstaged version with the role of Marziano for the contralto range, and the second version with this role transposed for a tenor and that of Claudio transposed for soprano.Cotticelli, p. 9; Zepponi.
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Pat Leonard as Little Buttercup, 1979 Patricia Leonard (9 March 1936 – 28 January 2010) was an English opera singer, best known for her performances in mezzo-soprano and contralto roles of the Savoy Operas with the D'Oyly Carte Opera Company. After working as a secretary, Leonard turned to singing in concerts and on the radio. She began to sing opera, first with Sadler's Wells Opera, and joined the D'Oyly Carte in 1972. There she moved up from chorister to small-role player, understudying larger roles, taking on the major mezzo- soprano role of Mad Margaret in Ruddigore in 1975.
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Shirley Valerie Horn (May 1, 1934 – October 20, 2005) was an American jazz singer and pianist.[ "Shirley Horn"] at AllMusic. She collaborated with many jazz greats including Miles Davis, Dizzy Gillespie, Toots Thielemans, Ron Carter, Carmen McRae, Wynton Marsalis and others. She was most noted for her ability to accompany herself with nearly incomparable independence and ability on the piano while singing, something described by arranger Johnny Mandel as "like having two heads", and for her rich, lush voice, a smoky contralto, which was described by noted producer and arranger Quincy Jones as "like clothing, as she seduces you with her voice".
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Elisabetta Gafforini (1777 – 10 November 1847) was an Italian opera singer who performed leading contralto and mezzo-soprano roles, primarily in the theatres of Venice and at La Scala in Milan but also in Spain, Portugal, and other Italian cities. During the course of her 25-year career she appeared in numerous world premieres. She possessed a limpid, flexible, and resonant voice with an exceptionally wide range, and according to Stendhal was a consummate and enchanting comic actress. Gafforini was born in Milan and lived there after her definitive retirement from the stage in 1818 until her death at the age of 70.
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88–91 Gilbert had paired the title character with contralto Rosina Brandram, causing Sullivan to suggest some different pairings of the characters, but Gilbert and the Cartes disagreed; Mrs. Carte went so far as to caution Sullivan that his ideas would upset the casting.Shepherd, pp. xviii–xx Unhappily for Gilbert, three of his usual principal players, George Grossmith, Richard Temple and Jessie Bond, who he had originally thought would play the title character, the prince and the princess, all left the company before rehearsals began for The Grand Duke, and so he reduced the size of these roles, further changing his original conception.
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Gordon possesses a contralto vocal range. A 2016 review from Pitchfork noted her voice as "one of the great instruments in post-punk history, though she doesn't always get credit for the variety of her technique." Despite her prolific career in music, Gordon told journalist Evan Smith in a 2015 interview that she never considered herself a musician, explaining that she had been "drawn into the world" of the music scenes happening in the 1980s, and that she "felt like an outsider" once part of it. Gordon's instrumental work as a guitarist has been described as "free-form" and experimental.
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Margarita Gonzalez Ontiveros, 1952 Margarita González Ontiveros (1 September 1918, (561 pages) Chihuahua - 29 May 2006, Cuernavaca) was a Mexican-born mezzo-soprano and contralto. She combined a bel canto technique with interpretation in French, Russian Spanish, Italian, German and Nahuatl. An extremely versatile singer, her repertoire ranged from classical opera seria to the bel canto music of Salvador Moreno Manzano, and Carlos Jiménez Mabarak; further, to the works of Blas Galindo, Manuel Ponce and Tata Nacho. In her career she took challenges as to sing many Mexican pieces of Sonido 13 (thirteenth sound), a microtonal system invented by Julián Carrillo in 1925.
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Maria Friderike Radner (; 1 January 1981 – 24 March 2015) was a German contralto who performed internationally in opera and in concerts. Radner studied at the Robert Schumann Hochschule in Düsseldorf, Germany. Both Stern magazine and Munich's Abendzeitung described her as an "extremely talented interpreter of Wagner's music". Possessing the "rare pitch of a true alto", she frequently appeared as Erda in Wagner's Der Ring des Nibelungen at the Leipzig Opera, Schwertleite in Die Walküre at the Teatro Comunale di Firenze with Zubin Mehta, and in Mahler's Symphony No. 2 (the Resurrection) conducted by Antonio Pappano in Rome and Milan.
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The key is F-sharp minor with the dominant chords inflections being largely based on an Aeolian mode. The tempo gives the feeling of a romantic dance piece. The alto-soloist is singing about how they would "rather stay warm in bed while everyone else is out enjoying May-time celebrations" while the other three voices mimic the percussion sound of a tambourin. The speaker in the poem is presumably male, so there is a mystery in the differences of the published edition assigning the solo to a contralto, whereas the manuscript designates it for tenor.
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Jenny Twitchell Kempton came to notice at a very young age as her untrained vocal range extended from a low C to high C without strain. She came to Boston from Bath, Maine, for a voice education at the age of 14 and soon thereafter sang contralto performances for the Handel and Haydn Society in Boston. Her first notice came from her lead in the first performance in the United States"Famous Singer of Olden Days was San Francisco Discovery". The San Francisco Chronicle, March 20, 1921, p. 4."Mrs. Jenny Kempton, 85, Ex-Opera Singer Dies". The New York Tribune, March 14, 1921. p. 9.
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Phoebe Snow (born Phoebe Ann Laub; July 17, 1950 – April 26, 2011) was an American singer-songwriter and guitarist, known for her hit 1975 songs "Poetry Man" and "Harpo's Blues" and her credited guest vocals backing Paul Simon on "Gone at Last". She was described by The New York Times as a "contralto grounded in a bluesy growl and capable of sweeping over four octaves." Snow also sang numerous commercial jingles for many U.S. products during 1980s and 1990s including General Foods International Coffees, Salon Selectives, and Stouffer's. Snow experienced success in Australia in the late 1970s and early 1980s with five top 100 albums in that territory.
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Britta Schwarz (born 1964) is a German contralto from Neubrandenburg, Mecklenburg-Vorpommern. Between 1980 and 1983 she studied vocals at the Hochschule für Musik "Hanns Eisler" under Christa Niko, and then studied at the Hochschule für Musik Carl Maria von Weber with Christian Elßner and Hartmut Zabel. She has performed with notable orchestras such as the Dresden Staatskapelle, Dresdner Philharmonie, Berliner Philharmoniker, Concertgebouw Orchestra Amsterdam and Academy of St Martin-in-the-Fields, and conductors such as Kent Nagano, Marek Janowski, Milan Horvat, Michel Plasson, Jörg-Peter Weigle and Philippe Herreweghe. Her singing is mainly centred on Baroque music, and is an interpreter of J. S. Bach.
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Louis In 1914, Pavlova performed in St. Louis, Missouri, after being engaged at the last minute by Hattie B. Gooding, responsible for a series of worthy musical attractions presented to the St. Louis public during the season of 1913–14. Gooding went to New York to arrange with the musical managers for the attractions offered. Out of a long list, she selected those who represent the highest in their own special field, and which she felt sure St. Louisans would enjoy. The list began with Madame Louise Homer, prima donna contralto of the Metropolitan Grand Opera Co., followed by Josef Hoffman, pianist, and Anna Pavlova and the Russian ballet.
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157-178 () When the terms soprano, mezzo-soprano, contralto, tenor, baritone, and bass are used as descriptors of non-classical voices, they are applied more loosely than they would be to those of classical singers and generally refer only to the singer's perceived vocal range. The following is a list of singers in country, popular music, jazz, classical crossover, and musical theatreFor a detailed description of the differences between the operatic and musical theatre voice see Björkner, Eva, Why so different? Aspects of voice characteristics in operatic and musical theatre singing, KTH School of Computer Science and Communication, 2006 () who have been described as sopranos.
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Jean Madeira, 1966 Jean Madeira, née Jean Browning (born November 14, 1918, in Centralia, Illinois; died on July 10, 1972, in Providence, Rhode Island) was an American contralto, particularly known for her work in late-romantic German repertoire such as the operas of Richard Wagner and Richard Strauss. When she was a child her family moved to East St. Louis, Illinois, where she attended the high school, and she later studied at the Juilliard School in New York City. She made her debut in opera in Chatauqua, as Nancy in Martha, by Flotow. In 1955, the singer and actress successfully sang the title role in Carmen with the Vienna State Opera.
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Froman was known for her contralto vocals.Jane Froman: Missouri's first lady of song There are three biographies about Froman, the first two written by Ilene Stone: One Little Candle: Remembering Jane Froman and Jane Froman, Missouri's First Lady of Song. In addition, a newer, in-depth biography, Say It With Music – The Life and Legacy of Jane Froman, by Barbara Seuling, was published on November 10, 2007, to coincide with the centennial of Froman's birth. In honor of what would have been Froman's 100th birthday, a gala, The Jane Froman Centennial Celebration was held in Columbia, Missouri, the weekend of November 9–11, 2007.
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According to the poet Giovanni Mario Crescimbeni, who presumably knew the composer well, Corelli initially studied music under a priest in the nearby town of Faenza, and then in Lugo, before moving in 1666 to Bologna. A major centre of musical culture of the time, Bologna had a flourishing school of violinists associated with Ercole Gaibara and his pupils, Giovanni Benvenuti and Leonardo Brugnoli. Reports by later sources link Corelli's musical studies with several master violinists, including Benvenuti, Brugnoli, Bartolomeo Laurenti and Giovanni Battista Bassani. Although historically plausible, these accounts remain largely unconfirmed, as does the claim that the papal contralto Matteo Simonelli first taught him composition.
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With the encouragement and assistance of friends, including a loan from contralto Jessie Bartlett Davis, in 1901 she published a sheet music collection of her compositions called Seven Songs as Unpretentious as the Wild Rose, one of which was "I Love You Truly". She published it again as a separate song in 1906, at the same time correcting an oversight and filing for copyright. It sold over a million copies, one of the earliest songs composed by a woman to achieve that distinction. Jacobs-Bond was invited to sing at the White House by three presidents, and each time sang "I Love You Truly".
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Overall, 1976 is not considered a vintage year by music critics, with its overwhelming dominance by pop and MOR acts. Certainly, many consider 1976 to be the nadir of British music and hold the year's charts up to be the very reason why Punk and New Wave music emerged with such force the following year. Britain's foremost classical composers of the late 20th century, including Sir William Walton, Benjamin Britten and Sir Michael Tippett, were still active. Sir Charles Groves conducted the Last Night of the Proms, and the soloist for "Rule Britannia" was contralto Anne Collins; the programme included Walton's Portsmouth Point overture.
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Cher (; born Cherilyn Sarkisian; May 20, 1946) is an American singer, actress and television personality. Commonly referred to by the media as the "Goddess of Pop", she has been described as embodying female autonomy in a male- dominated industry. Cher is known for her distinctive contralto singing voice and for having worked in numerous areas of entertainment, as well as adopting a variety of styles and appearances throughout her six-decade-long career. Cher gained popularity in 1965 as one-half of the folk rock husband-wife duo Sonny & Cher after their song "I Got You Babe" peaked at number one on the US and UK charts.
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After her death, music critic Antonio Fernández- Cid praised her "warm and sweet 'spinto' soprano voice with contralto-like qualities." Embil (woman to the right) recording four Basque songs with Eresoinka members in Paris on February 3, 1938 In 1993, her son created the Pepita Embil Domingo Prize of Zarzuela in her honor, as part of his worldwide Operalia singing competition. Each year since then, a female singer has received the $10,000 prize for the quality of her performance during the zarzuela section of the competition.Operalia: Prizes In 2002, the city of Pueblo, Mexico named one of its plazas, the Plaza Pepita Embil de Domingo, after her.
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One of the most important musical events of the Restoration was the opening of The Barber of Seville, by Gioachino Rossini, at the Théâtre-Italien in 1818, two years after its premiere in Rome. Rossini made modifications for the French audience, changing it from two to four acts and changing Rosina's part from a contralto to a soprano. This new version premiered at the Odeon Theatre on 6 May 1824, with Rossini present, and remains today the version most used in opera houses around the world. At the beginning of the Restoration, the Paris Opera was located in the Salle Montansier on rue Richelieu, where the square Louvois is today.
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During the 1880s she produced five novels in quick succession - Granny's Hero (1885); The Fortunes of Riverside or Waiting and Winning (1885); Norah Lang (1886); Jacky (1887) and Chronicles of a Quiet Family (1888). She taught at the village school in nearby Coombe, was involved with the United Methodist church at St Stephen-in-Brannel as an organist and choir leader, and also sang contralto in a chapel quartet which travelled around Cornwall. Hocking lived at Terras until her mother's death in 1891. For the following three years she lived alternately with her brother Joseph at Thornton Heath, Surrey and her brother Silas at Southport.
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Add to this the fact that the contrabass clarinet in Eb, though pitched below the bass clarinet, is sometimes referred to as a "contralto clarinet", there is ample ground for confusion in clarinet nomenclature. Considering the wide range of the clarinet (more than three octaves) and focussing on the first two octaves, this would compare better with the classifications given, for example, to the saxophone family. The "soprano" clarinets in B and A share their lowest octaves with the alto saxophone (minus a semitone in the case of the B clarinet). In the case of the E alto, the range usually extends to a tone below that of the tenor saxophone.
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In the winter of 1933, she was hired by the theater operator Fotis Samartzis of the Kentrikon theater for the revue "Parrot 1933". She then began to record romantic songs for the Columbia company, achieving fame because of her distinctly sonorous contralto voice. Her reputation, however, skyrocketed after the Italian attack on Greece on 28 October 1940, when her performance of patriotic and satirical songs became a major inspiration for the fighting soldiers as well as the people at large for whom she quickly became a folk heroine. At the same time, she offered 2,000 gold pounds from her own fortune to the Hellenic Navy.
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German Reed and W. S. Gilbert's A Sensation Novel, 1871 In 1838, Reed was appointed chapel-master at the Royal Bavarian Chapel and also became musical director at his father's former employer, the Haymarket Theatre, where he continued to work until 1851 with the exception of a temporary closure in 1843, during which he produced Pacini's opera Sappho at the Theatre Royal, Drury Lane. During these years, he met Priscilla Horton, a successful and popular contralto and actress who had been performing on the stage in London since the age of ten. They married in 1844. By that year he had dropped his first name.
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It was commissioned to celebrate the coronation of French King Charles X in Reims in 1825 and has been acclaimed as one of Rossini's finest compositions. A demanding work, it requires 14 soloists (three sopranos, one contralto, two tenors, four baritones, and four basses). At its premiere, it was sung by the greatest voices of the day. Since the opera was written for a specific occasion, with a plot about European aristocrats, officers – and one poetess – en route to join in the French coronation festivities that the opera itself was composed for, Rossini never intended it to have a life beyond a few performances in Paris.
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He was engaged for the season of 1740 in London. He seems to have had an artificial low soprano or contralto voice, for his name appears to the song "Let Hymen oft appear" in Handel's L'Allegro, il Penseroso ed il Moderato, to which the composer added in his manuscript the words "", meaning that it must be transposed for him. The song was probably sung by him in Italian, as a translation, beginning "", is added, as also to the song "And ever against eating cares" (""), which is given to the same singer. He had arrived too recently to be able to learn the language in time for the performance.
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Elisabeth Lutyens: Cascando, for contralto, solo violin and strings, 1977 Charles Dodge: Cascando, 1978 (Dodge used electronic sounds for Voice and Music, while retaining a human voice for the part of Opener).Cascando (1978) by Charles Dodge is one of the first uses of synthetic speech in music. A synthetic voice plays one of the parts with an artificial, almost sung intonation made possible through synthesis-from-analysis paradigm. "The part was read into the computer in the musical rhythm and, after computer analysis, resynthesized with an artificial ('composed') pitch line in place of the natural pitch contour of the voice" - Dodge, C., & Jerse, T., Computer Music: Synthesis, Composition and Performance.
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In October 1845 she sang at the Gewandhaus, Leipzig, through the influence of Mendelssohn, who had been delighted by her singing in his oratorio St. Paul. The contralto music in his Elijah was written for her voice, but she did not appear in that work until the performance at Exeter Hall on 16 April 1847. She was a principal soloist in the first English performance of Bach's St Matthew Passion, directed by William Sterndale Bennett at the Hanover Square Rooms London on 6 April 1854 and again for the premiere of his Sacred Cantata The Woman of Samaria at the Birmingham Musical Festival in 1867.
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In the early organizations for chamber music which culminated in the establishment of the popular concerts, Sainton bore an important part; and when the Royal Italian Opera was started at Covent Garden, he led the orchestra under Michael Costa, with whom he migrated to Her Majesty's Theatre in 1871. From 1848 to 1855 he was leader of the Queen's Band, and in 1862 he conducted the music at the opening of the International Exhibition. In 1860, he married the famous contralto singer, Miss Charlotte Dolby. He was leader of the principal provincial festivals for many years, and gave a farewell concert at the Royal Albert Hall in 1883.
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She was a principal singer at the Royal Opera House from 6 December 1776 in Arne's opera Caractacus. Her performances were praised by The Morning Post, particularly a duet with Leoni. Her contralto pitch and relatively heavy build suited her for breeches roles, and she played the title role in Arne's Artaxerxes on 25 January 1777, Belford in Thomas Hull's Love Finds the Way, Colin in Charles Dibdin's Rose and Colin, and most notably Captain Macheath in John Gay's The Beggar's Opera where in 1777 she was the first person to sing "A-Hunting We Will Go", a song written by Arne for that performance.Boucé, Paul-Gabriel (ed.) (1982).
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Virginia Healey was born in Chicago to Irish Catholic parents, who however, did not seem to mind their daughter attending services at Moody Church, then pastored by R. A. Torrey, an associate of evangelist Dwight L. Moody. Healey was converted to evangelical Christianity at the age of eleven and shortly thereafter became involved in the church’s Sunday School ministry. Healey had a fine contralto voice and apparently received some professional training from George F. Root. In the service of Moody Church she met her future husband, William Asher, who had been converted at the same evangelistic meeting as Healey, and they were married on December 14, 1887.
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Cher: The Unauthorized Rusical debuted May 2018 with seven contestants portraying the decades-long gay icon Cher in different phases of her career and life “from ’60s Cher to Comeback Cher” who uses Auto-Tune. This production was noteworthy for having the contestants act, dance, and sing live (as Cher); choreographer Todrick Hall coached them through rehearsal. Chester Lockhart appeared uncredited as Sonny Bono, performing alongside Kameron Michaels during the '60s Cher segment. Singing live is challenging but Cher’s contralto vocal range is easier for the queens than higher ones. Slant Magazine noted the “many layers of talent required for this week’s challenge ensure that everyone gets their weakness exposed”.
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The Vandellas' sound was unique because of the difference in sounds between the three women: with Reeves' brassy alto leading the group, Rosalind Ashford Holmes provided the high vocals in her soprano voice while Beard provided the lower vocals in her contralto delivery making for an interesting and commercial sound. But Beard's rise to fame was overshadowed by a romance. Within a few months, Beard announced she was engaged and pregnant with her first child. Coming to grasp with wanting to stay in the group but also wanting to have a life of a married woman and mother, Beard opted to leave the group in June, 1964.
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She said of that time, "It was impossible to go out walking of an afternoon without it being imputed that I was going to see the young men come in on the train, where the chief subject of conversation was garments, and the most extravagant excitement sandwich parties." Her family did not support her interest in music and as a result she was discouraged from seeking a formal education in the subject. Frances Allitsen at the time of her American tour She began her musical career as a singer and appeared as contralto soloist in Louis Spohr's The Last Judgement at a recital in Kilburn.The Musical Standard (1879) p.
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Herman Klein, describing the London musical scene circa 1900, noted the absence of leading English-born contralto singers, apart from the three notable exceptions of Clara Butt, Marie Brema and Kirkby Lunn. Of Marie Brema he wrote that she was more correctly a mezzo-soprano, distinguished by 'her admirable command of tone-colour, her faultless diction, and her infinitely varied shades of impassioned poetic expression.'Klein, Thirty Years of Musical Life, p. 467. Brema appeared opposite David Bispham again in the premiere of Stanford's opera Much Ado About Nothing, as Beatrice to his Benedick, in a cast also including John Coates, Suzanne Adams and Pol Plançon.
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Although untrained musically, William was an enthusiastic member of the local operatic society and of several choirs, and his wife Alice (née Murray), whom he married in 1900, was a competent singer with a strong contralto voice.Ferrier, pp. 14–16 Kathleen was the third and youngest of the couple's children, following a sister and a brother; when she was two the family moved to Blackburn, after William was appointed headmaster of St Paul's School in the town. From an early age Kathleen showed promise as a pianist, and had lessons with Frances Walker, a noted North of England piano teacher who had been a pupil of Tobias Matthay.
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The following night, Anderson's replacement Grace Slick made her first appearance. Slick was already well known to the band—she had attended the Airplane's debut gig at the Matrix in 1965 and her previous group, the Great Society, had often supported the Airplane in concert. Slick's recruitment proved pivotal to the Airplane's commercial breakthrough—she possessed a powerful and supple contralto voice that complemented Balin's and was well-suited to the group's amplified psychedelic music, and, a former model, her good looks and stage presence greatly enhanced the group's live impact. "White Rabbit" was written by Grace Slick while she was still with The Great Society.
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Gianoli was only 19 years old when she made her professional debut, in Saint- Saëns' Samson et Dalila in Geneva."Mme. Gianoli is Dead" The New York Times (May 14, 1912): 11. She was also principal contralto at La Scala, in 1908."Bressler-Gianoli to Sing in Milan" The New York Times (July 2, 1908): 9. Bressler-Gianoli starred in the title role of Bizet's Carmen in Brussels (1895) and Paris (1900). Her most successful appearance in the role was at the Manhattan Opera House in New York City in 1906 and 1907,"Dippel Gets New Singers" The New York Times (August 24, 1910): 9.
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Patience Alice Barnett (17 May 1846 - 14 April 1901) was an English singer and actress, best known for her performances in contralto roles of the Gilbert and Sullivan operas with the D'Oyly Carte Opera Company. Barnett began her career by 1873 in oratorio and other concert work. Using her imposing physical stature to her advantage, she originated several of the early Gilbert and Sullivan "formidable middle-aged ladies", namely Ruth in The Pirates of Penzance (1879), Lady Jane in Patience (1881) and the Fairy Queen in Iolanthe (1882). She then performed in various comic operas in Britain, America, Australia and New Zealand until 1889, earning strong critical praise.
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Asmahan Asmahan's noted wide vocal range included contralto and dramatic mezzo-soprano (as one can hear in her rendition of "Ya Tuyur" where she reaches a high A with ease and brio). Asmahan's voice has been compared to Fairuz and Sabah. However, as she began her career more than two decades earlier, she had not in fact, adopted the Italian singing technique known as bel canto, but rather learned singing from many admirable models of her own period and in Egypt where a much more diverse group of singers performed, and at a time when Arabic singing utilized both nasal and chest resonance. Asmahan's voice was powerful, but also agile.
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Gunn became a close friend of Carte and later became a business partner of Carte's. In 1879 Carte left for a tour in the United States, and Gunn took over management of his opera business in England during his absence. He sent two companies to play Gilbert and Sullivan's H.M.S. Pinafore in theaters around the British provinces, one with Richard Mansfield as Sir Joseph Porter and the other with W. S. Penley as Sir Joseph and the contralto Alice Barnett as Little Buttercup. During Carte's absence Gunn stood in for Carte in legal fights with the Comedy Opera Company in London, which had originally financed Pinafore.
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Double Vulgar is the second album by Thighpaulsandra. The album is notable for its packaging: the artwork consists of sexually explicit, homoerotic imagery featuring bondage and edgeplay, and was initially refused by several printers. The lyrical content was also controversial: "His Royal Highness the Prince of Wales Breaches Reality" was written as a dedication to Charles, Prince of Wales, if he were to ever have sexual relations with one of his sons, while most of the other lyrics describe several equally explicit situations. "The Bush Administration Project" notably contains the line "And I am splashed with semen", sung by Thighpaulsandra's mother, contralto Dorothy Lewis.
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L. Macy (Accessed January 09, 2009), (subscription access) Several of Young's nieces also had successful music careers. His niece Cecilia Young (1712–1789) was one of the greatest English sopranos of the 18th century and the wife of composer Thomas Arne. His other niece Isabella was also a successful soprano and the wife of composer John Frederick Lampe, and his niece Esther was a well known contralto and wife to Charles Jones, one of the largest music publishers in England during the 18th century. Young's nephew, Charles, was a clerk at the Treasury, whose daughters, Isabella, Elizabeth, and Polly followed in the foot steps of their aunts to become successful singers.
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"Blood for Poppies" has been described by Billboard as "a mix of crunchy and funky guitars during the verse" and an "infectious, sing-along chorus"; while KROQ's Nadia Noir claimed it was "a song which conjures up some of the shimmering distortion, guitar tremolo, and the sensual shoegaze" of My Bloody Valentine's "Only Shallow", "albeit with the funkier, harder edge and Manson's sultry contralto vocals that make Garbage wholly unique". Rick Martin, of NME, described the song as "some righteous noise and a proper poptastic chorus to boot," and remarked; "If only all seven-year itches came with as much squalling feedback and eardrum-bursting goodness".
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Gabriele Schreckenbach (born in Berlin) is a German contralto singer in opera and concert and an academic voice teacher. She recorded Bach cantatas with the Gächinger Kantorei and Helmuth Rilling. She recorded choral works of Mozart, his Waisenhausmesse K. 139 and rarely performed pieces, with the RIAS Kammerchor and the Berlin Radio Symphony Orchestra, conducted by Marcus Creed.Mozart. Choral Works on the Gramophone Archive She recorded the part of Ursula in the opera Feuersnot of Richard Strauss with Erich Leinsdorf and parts in three operas of Paul Hindemith with Gerd Albrecht, who also conducted recordings of Die Gezeichneten of Franz Schreker and Der Corregidor of Hugo Wolf.
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Erhard Eduard Wechselmann (1895–1943) was a German baritone who was murdered in Auschwitz concentration camp.F. C. DeCoste, Bernard Schwartz The Holocaust's ghost: writings on art, politics, law, and education p80 2000 "One was baritone Erhard E. Wechselmann, who had also fled Germany for Amsterdam, where for awhile he served as cantor for the Jewish congregation. Others who died in Auschwitz, often via Holland and Terezin, were Alfred Kropf, a conductor from Stettin; Magda Spiegel, a Frankfurt contralto; and composer James Simon, a student of Max Bruch." According to Peter Hugh Reed writing in American Record Guide, 1949, he also sang with the Metropolitan Opera in 1890.
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She was introduced to works such as Elgar's The Dream of Gerontius and Handel's Messiah by Sir John Barbirolli, and later recorded music by Mahler, Bach and Haydn.The Irish Times, "A remarkable voice of remarkable longevity", 30 September 2008 A 1966 review by Howard Klein in The New York Times of Greevy's recording of Handel arias stated: "The voice has the firm, compact resonance of a true contralto. She has endless breath and can move her voice with agility and precision."The New York Times, "Gwyneth Jones is a Comer", 18 December 1966, page X27 Greevy had a special affinity with Mahler, in particular his orchestral song cycles.
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Published as a set by F & B Goodwin,'Unaccompanied Song' in Musical News and Herald, Vol 62-63 (1923) p 501 these were laid out with each phrase on its own single line (regardless of length), to make the musical form clearer.Bedford, Herbert. 'Song in a single line', in Music and Letters V (1924) p 109-120 Some, including Yeats settings by Bedford, were performed during the Goossens Chamber Concert series at the Aeolian Hall in 1923 by contralto Esther Coleman. Bedford's interest in unaccompanied song was less akin to German expressionist Sprechstimme techniques (as some have suggested) and closer in spirit to monodic folksong and oriental melody.
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A tour of the United States was undertaken, accompanied by her friend, Miss Marie Louise Gumaer, contralto. Biggart's literary productions were numerous, including a volume of miscellaneous poems and "Songs from the Rockies," short stories and sketches of western life, a book on "Educational Men and Women and Educational Institutions of the West," "Sketches of Popular Living American Authors," a series of "Supplementary Reading Leaflets", and a work of fiction. Some of her poems were set to music. In 1905, while resting in Atlantic City, New Jersey, she gave addresses in the Presbyterian and Methodist churches in order to arouse interest in the Hopis and Navajos.
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Bliss, Arthur, "A musical embassy to the USSR – Russia through English eyes", The Times, 1 June 1956, p. 11 Bliss returned to Moscow in 1958, as a member of the jury of the International Tchaikovsky Competition, with fellow jurors including Emil Gilels and Sviatoslav Richter."The Jury – 1958" International Tchaikovsky Competition, accessed 22 March 2011 Coventry Cathedral for which Bliss composed The Beatitudes In addition to his official functions, Bliss continued to compose steadily throughout the 1950s. His works from that decade include his Second String Quartet (1950); a scena, The Enchantress(1951), for the contralto Kathleen Ferrier; a Piano Sonata (1952); and a Violin Concerto (1955), for Campoli.
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Apple was introduced to the music industry in 1994, when she gave a demo tape containing the songs "Never Is a Promise", "Not One of Those Times", and "He Takes a Taxi" to her friend who was the babysitter for music publicist Kathryn Schenker. Schenker then passed the tape along to Sony Music executive Andy Slater. Apple's abilities captured his attention, and Slater signed her to a record deal. Though most of her lyrics are sung in a straightforward pop contralto, she judiciously adds vibrato, sudden jumps into her head voice, and rapid reiterations of the same pitch (what academics in the classical music field call a "Monteverdi vibrato").
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The final movement of the mass begins with an introduction that is similar to that to the "Crucifixus". The piano then begins another ostinato pattern as the base for expressive melodies by the contralto soloist, repeating many times "Agnus Dei, qui tollis peccata mundi, miserere nobis" (Lamb of God, you take away the sins of the world, have mercy). After an extended cadence the choir sings a capella, twice and very simply: "Dona nobis pacem" (Give us peace). This process is repeated in different harmony, and once more in a major mode, leading to an intense request for peace of the soloist and the choir together.
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Since 2004 the label has undertaken projects on its own imprint, including reissues. The historiques collection includes historical recordings by Walloon singers such as sopranos Huberte Vecray (1923 2009), Clara Clairbert, contralto Lucienne Delvaux (1916–2015) tenors René Maison, Marcel Claudel and Fernand Faniard baritones Jean Noté, Ernest Tilkin Servais (1888–1961), Louis Richard and Hector Dufranne, and bass Lucien Van Obbergh (1887–1959). Aside from strictly "classical" music the label has also undertaken projects related to the history of popular music, such as recordings by the salon ensemble the Tivoli Band under Éric Mathot, Magritte’s Blues, Bruxelles kermesse – Exposition universelle de 1910 and Café Liégeois, Musiques de salon (1910–1940).
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This is particularly a problem when trying to apply the choral music system to the non-classical singer. The choral system was developed to delineate polyphonic structure and was not really intended to designate a vocal type to individual singers. In other words, choral music was designed to be broken down into four vocal sections and it is the sections themselves that are labeled soprano, alto, tenor, and bass, not the individual singers. For example, most women that sing the alto line in choirs would be considered mezzo-sopranos in opera due to their vocal timbre and their particular range resting somewhere in the middle between a soprano and contralto.
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The New York Symphony Society performed concerts in both Aeolian Hall and Carnegie Hall, but moved in 1924 to the new Mecca Auditorium on 55th Street. In 1923 American contralto Edna Indermaur made her singing debut at Aeolian Hall. Aeolian Hall also featured concerts by leading musical figures such as Sergei Rachmaninoff, Josef Hofmann, Sergei Prokofiev, Ferruccio Busoni, Guiomar Novaes, Rebecca Clarke, May Mukle, Ignacy Jan Paderewski and Vladimir Rosing, as well as Paul Whiteman and his Orchestra; upon its return to the United States after several years in Europe, the Zoellner Quartet gave its first New York performance there on January 7, 1914.”Zoellner Quartet Plays”.
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Madame Vestris as Don Giovanni in W.T. Moncrieff's Giovanni in London, Hand-coloured etching, In 1815, at age 18, her contralto voice and attractive appearance gained Madame Vestris her first leading role in Italian opera in the title-role of Peter Winter's II ratto di Proserpina at the King's Theatre. She also sang in 1816 in Martín y Soler's Una cosa rara and performed the roles of Dorabella and Susanna in Mozart's operas Così fan tutte, and The Marriage of Figaro.Raoul Meloncelli, Bartolozzi, Lucia Elisabeth, in Dizionario Biografico degli Italiani, volume 6, 1964 (accessible for free online in Treccani.it) She had immediate success in both London and Paris.
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Newman compared writing for a singing voice like McLachlan's as opposed to himself to "writing for a different instrument", explaining, "I have a blues-oriented voice ... She has a different kind of contralto, or whatever the hell she has. Soprano. It's a voice that can hold notes, so I can write with that in mind." Still a relatively new artist at the time, McLachlan claims that, when she was first sent the song, her management warned her that she might not like it. However, she ultimately began crying almost immediately upon hearing "When She Loved Me" for the first time, describing herself as "a sucker" for sad, melancholy songs.
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From 1969 he was the church musician at St. Lukas. He initiated there in 1970 an annual festival "Musiktage am Hochfeld" (Music days at the Hochfeld, the location of the church), also another regular festival "Musik um die Osterzeit" (Music for Eastertide). For these concerts, he was able to attract musicians who would not normally play at a small church, such as the Bamberger Streichquartett (Bamberg String Quartet), the violinist Wolfgang Forchert, soloists at the beginning of their career such as soprano Barbara Schlick, contralto Waltraud Meier, tenor Christoph Prégardien, and the guitarist Michael Tröster. He grouped the music around themes, such as anniversaries of composers.
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With its pastoral setting and story, La sonnambula was an immediate success and is still regularly performed. The title role of Amina (the sleepwalker) with its high tessitura is renowned for its difficulty, requiring a complete command of trills and florid technique,Eaton, p. 135 but it fitted Pasta's vocal capabilities, her soprano also having been described as a soprano sfogato, one which designates a contralto who is capable—by sheer industry or natural talent—of extending her upper range and being able to encompass the coloratura soprano tessitura. The opera's premiere performance took place on 6 March 1831, a little later than the original date.
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In 1977, she took over as the company's principal contralto, playing ten of these leading roles with the company until its closure in 1982. She married Michael Buchan (né Michael Fox), who joined D'Oyly Carte with her and performed frequently with her in later years. In later years, she continued to perform in Gilbert and Sullivan operas with various opera companies and with the group Gilbert and Sullivan for All. She also returned to singing in concerts, including oratorios, opera pieces and other classical works, including in a series of The Proms evenings with the National Concert Orchestra, as well as operetta, musical theatre and music hall.
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They wrote to Poussard and Douay in Melbourne requesting their assistance in forming another company. Poussard sailed to Ceylon to meet them with his own 'wife' contralto and serio-comic vocalist Florence Calzado but Douay had suffered a breakdown and been returned to France. The new group toured India from 1864 until late 1866 taking a route that included Ceylon, Bombay, Delhi, Simla, Agra, Udaipur, Umballa, Pondicherry, Madras and all major towns that held British populations or garrisons, even going as far as Peshawur. In 1867 they arrived at the Cape from Mauritius with the intent of merely stopping over on their way to England.
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In 1873, newly arrived pianist Arabella Goddard found navigating the press difficult and engaged Smythe later that year. Smythe managed her letters to the press and rearranged public perception. 1874 saw the tour of the Arabella Goddard Company extend to India and eventually, New Zealand. Goddard's inability to cope with the tropics led to many cancelled concerts in India and forced Smythe to return to Australia to form once again, the Exhibition Concert Company now consisting of Miss Mary Ellen Christian, a gifted contralto, who trained in the Royal Academy of Music, London (whose interests he never ceased to promote for eighteen years) Solange Navarro and Edward Farley.
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Greta Williams was a celebrated English operatic soprano and contralto, and occasional pianist of the Victorian era. Born in London, she studied piano under Edwin Holland and Alberto Randegger at the Royal Academy of Music, and made numerous appearances, both as an instrumentalist and a singer, at the Hallé Concerts, Royal Albert Hall, Queen's Hall and other venues. She is also remembered as a heroine of the 1899 wreck of the SS Stella, in which 77 people perished. During the 14 hours she and other survivors waited in open boats for their rescuers, she quelled the fears of the passengers and crew by singing "O, Rest in the Lord".
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His father and a few prominent West Indian businessmen in Panama formed a committee that brought to Panama world-class Black American artists in the performing arts. As a child, Carlos recalls listening from the bedroom to conversations and laughter from guests, including celebrated artists Paul Robeson (baritone), Marian Anderson (contralto), Hazel Scott–Powell (wife of Adam Clayton Powell Jr., of Abyssinia Baptist Church of Harlem) as they came to late dinners after recitals at a local theatre. Carlos's father taught him to play the trombone. He also recognised Carlos's natural gift for creating and arranging music and supported his son's desire to pursue an education in the arts.
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Although a contralto, Thorborg's upper register was so secure that she sang numerous mezzo-soprano roles, including Venus, Kundry, Fricka, Waltraute, and Magdalena. She was especially known for her searingly beautiful Brangäne, which was preserved on record. She also appears to wonderful advantage in the live recording of Mahler's Das Lied von der Erde, with Charles Kullmann (1903–1983) under Bruno Walter, at the Vienna Musikverein in 1936 and the even more famous one with the Royal Concertgebouw Orchestra under Carl Schuricht (1880–1967) in 1939. In 1938, to escape the Nazis, she made her home in the United States, singing various roles at the Metropolitan Opera.
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Following a successful performance while performing at the Motortown Revue, the Vandellas scored a hit with their second single, "Come and Get These Memories". The song, one of the first major compositions by the team of Holland-Dozier-Holland, charted at the top ten of the American R&B; singles chart. Their second hit, "(Love Is Like a) Heat Wave", helped the group to distinguish themselves from the other girl groups in the label including the pop-oriented Marvelettes and the doo-wop-influenced Supremes with a rougher, brassier gospel-influenced sound. Reeves was a brassy alto while Annette was a deep contralto, and Rosalind was a high soprano.
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The Eternity Man is a chamber opera in one act and seven scenes by the Australian composer Jonathan Mills to a libretto by Dorothy Porter. It deals with the life of Arthur Stace who was known as "The Eternity Man" because he chalked the word "Eternity" about 500,000 times in over 35 years on Sydney's walls and footpaths. The opera is written for four voices. These include the voice of Stace himself (baritone) and three female characters (soprano, mezzo- soprano, contralto) who represent alternatively Stace's sister, Myrtle; a Darlinghurst brothel keeper; and an assortment of female choruses – female freaks at the Sydney Royal Easter Show and also ghosts of female convicts and a gaggle of Kings Cross drag queens.
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Stone, David. "Christene Palmer", Who Was Who in the D'Oyly Carte Opera Company, 25 March 2003, accessed 23 July 2014 She was with D'Oyly Carte for six years, singing the contralto roles in all nine of the Gilbert and Sullivan operas performed by the company during her tenure (The Sorcerer was not performed by the company until just before she left in 1971). These roles were: Little Buttercup in H.M.S. Pinafore, Ruth in The Pirates of Penzance, Lady Jane in Patience, the Queen of the Fairies in Iolanthe, Lady Blanche in Princess Ida, Katisha in The Mikado, Dame Hannah in Ruddigore, Dame Carruthers in The Yeomen of the Guard, and the Duchess of Plaza-Toro in The Gondoliers.
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Historic postcard advertising motel, "only three miles from Tanglewood Music Festival", where Alberts gave her concert debut in 1946. Alberts career started at the Tanglewood Music Festival in August 1946, where she, aged 19, gave her concert debut with the Boston Symphony Orchestra (BSO) as the contralto soloist in Beethoven's Symphony No. 9. Shortly thereafter she joined a madrigal group led by Nadia Boulanger with which she toured North America and Europe for two years. She made several more appearances with the BSO during the late 1940s and early 1950s in annual appearances at Tanglewood, singing as a soloist in works like Bach's Mass in B Minor (1950) and Beethoven's Missa Solemnis (1951).
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Just after completing her studies at the Milan Conservatory, she made her debut in 1822 at La Scala, as Emerico in the première of Mercadante's Adele ed Emerico. The opera obtained a good success and this facilitated the career of Isabella Fabbrica, which in the same year interpreted other premières of operas of Donizetti (Chiara e Serafina) and Mercadante (Amleto). After a few years spent mainly between Milan and Turin, she married, after dropping a possible union with Mercadante,Regli, Dizionario biografico the tenor Giovanni Battista Montresor, son of the contralto Adelaide Malanotte. After her debut in Rome in 1830, she spent some years in Portugal, where she obtained an extraordinary success.
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Ayre, p. 94 She joined one of the touring casts of the D'Oyly Carte Opera Company in December 1925 and one month later was promoted to principal contralto. Her roles included Ruth in The Pirates of Penzance, Lady Jane in Patience, The Fairy Queen in Iolanthe, Katisha in The Mikado, Dame Hannah in Ruddigore and the Duchess of Plaza-Toro in The Gondoliers. In June 1927, that touring company closed. Gill next appeared in London in a musical adaptation of The Rose and the Ring at the Apollo Theatre and the Playhouse Theatre from November 1928 to February 1929, and again, at the Lyric Theatre, Hammersmith, from December 1929 to January 1930.
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Boulez's first recordings date from his time with the Domaine musical in the late 1950s and early 1960s and were made for the French Vega label. They document his first thoughts on works which he would subsequently re-record (such as Varèse's Intégrales and Schoenberg's Chamber Symphony No.1), as well as pieces to which he did not return in the studio (such as Stravinsky's Renard and Stockhausen's Zeitmaße). They also include the first of his five recordings of Le Marteau sans maître (with contralto Marie-Thérèse Cahn). In 2015 Universal Music brought together the recordings from this period in a 10-CD set.CD set: Pierre Boulez, Le Domaine Musical, 1956–1967. 2015.
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She is known to have been a contralto soloist, violinist, and composer during the tenures of Giovanni Porta, Nicola Porpora, and Andrea Bernasconi as heads of the school. She is also known to have studied violin with Anna Maria della Pietà (also named ″Anna Maria dal violin″) and to have succeeded her as director of the school orchestra around 1740; at this time she performed at least six of the concertos written by Antonio Vivaldi for Anna Maria. One piece by Santa, a setting of the Vespers Psalm 113 in D, survives. Along with Agata and Michielina della Pietà, della Pietà was one of three foundlings resident at the Ospedale to become a composer later in life.
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Although Conrad did not take up Belafonte's offer to change schools, expenses paid, she benefited from his patronage after graduation, when he introduced her to his circles in New York. Her expenses were paid by Eleanor Roosevelt, who had also learned of Conrad through the controversy surrounding the mixed-racial pairing of her role. It began a long career for Conrad, who performed leading roles with many opera companies internationally, including among others the Metropolitan Opera, the Vienna State Opera, Teatro Nacional in Venezuela, Houston Grand Opera, New York City Opera, and Pittsburgh Opera. She played a featured role in the 1977 ABC movie Eleanor and Franklin: The White House Years as American contralto Marian Anderson.
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