123 Sentences With "leading soprano" | Random Sentence Generator

Accompanied by Donald Sulzen, the leading soprano gives a rare, double recital at Carnegie, presented by the New York City Opera.

Egyptian leading soprano Nabila Erian, 2017. Photo by Ola Seif Nabila M. Erian (Arabic: نبيلة عريان, born 1941) is a professor of vocal sciences at the Cairo Conservatoire, Academy of Arts. Her career as a leading soprano opera singer debuted in 1960. She is also an expert on the history of Coptic music.

Olga Sober (Šober) (born in Sarajevo) is an opera singer and leading soprano in the Croatian National Theatre in Rijeka.

Olga Šober graduated from the Zagreb Academy of Music and the University of Music and Performing Arts, Vienna, where she specialized in "Lied und Oratorium". She acquired her MA at the Musical Arts College in Belgrade. She worked as leading soprano of Croatian National Theatre in Osijek and since 1988 has been a leading soprano with the Croatian National Theatre "Ivan pl. Zajc" Rijeka.

Bagley, p. 62. In her last two years there, Scott became the leading soprano for the school's senior chorus. Scott directed a choir at her home church in North Perry Country.Bagley, pp. 65–66.

The Times wrote, in 1887, that Ulmar originated the leading soprano roles of Elsie Maynard in The Yeomen of the Guard (1888), and Gianetta in The Gondoliers (1889) before leaving D'Oyly Carte in 1890.

About 1943, she was hired by Rodgers and Hammerstein in the ensemble of Oklahoma!. She later understudied the leading soprano roles in Oklahoma! and Carousel.Levitt, Hayley. "Prolific Rodgers and Hammerstein Standby Iva Withers Dies at 97", TheaterMania.

Meyerbeer 2004, pp. 41, 94–99. On 4 November 1858 Cabel created the leading soprano role in Eugène Gautier's La bacchante. Despite "the personal success won in it by Mme Cabel" (according to Clément and Larousse), this work received only 3 performances.

Helene Wiet (12 March 1871 – 1939) was an Austrian opera singer who sang leading soprano roles in the theatres of the Austro-Hungarian Empire in the late 19th century. From 1895 to 1899, she was the prima donna of the Deutsches Landestheater in Prague.

She spent the next seven years as Budapest's leading soprano. In 1891 Reichová returned to Prague where she continued to sing and worked as a voice teacher. In 1927 she retired and lived the rest of her life in Bohemia. She died in Prague.

The Times later wrote, "Being strikingly tall and well- built, she was judged to be not quite fitted for the leading soprano parts."The Times, obituary, 12 September 1959, p. 8 Seeing herself sidelined, she left the company at the end of 1938.Rollins and Witts, p.

Drummond-Grant was born in Edinburgh and studied singing in Scotland. She sang for five years as leading soprano in a parish church, played in small opera and musical comedy troupes, and did some concert work and broadcasting.The Times, 18 July 1927, p. 23 and 7 July 1933, p.

In Washington DC on July 10, 1907, Charles was married to Virginia Hazen. Virginia's ancestors included Napoleon Bonaparte. She was also known as a leading soprano soloist in the Washington, DC area and had performed in several musical programs at the White House while occupied by President William McKinley.

Susan Salms-Moss Susan Salms-Moss is an opera singer who made her career singing leading soprano roles throughout Europe. She has appeared in numerous theaters in Germany, as well as in Austria, France, Switzerland, Slovenia and the Czech Republic, and is known for her portrayal of psychologically complex characters.

Norah Amsellem (born 1970) is a French opera singer who has appeared in leading soprano roles in both North America and Europe since her debut in 1995. Her discography of complete opera recordings includes Carmen (as Micaela) for Decca, La traviata (as Violetta) for Opus Arte, and La bohème (as Mimì) for Telarc.

Called the committee to Save Metropolitan Opera, the group was headed by the well- loved leading soprano, Lucrezia Bori. Bori not only led the committee, but also personally carried out much of its work and within a few months her fundraising efforts produced the $300,000 that were needed for the coming season.

Lemoyne spent a long time working on the score. There are references to its composition as early as November 1787.Dratwicki, Antoine Dauvergne, p.387, footnote 156 Antoine Dauvergne, of the Opéra management, complained that Lemoyne and his pupil, the leading soprano Antoinette Saint-Huberty, only liked operas with "plots concerning incest, poison or assassinations".

Sári Petráss Sári Petráss (5 November 1888 – 9 September 1930) was a Hungarian operetta actress and singer. In the 1910s and 1920s, she played leading soprano parts in Budapest, Vienna, London and on Broadway. According to Richard Traubner, Sári Petráss and Sári Fedák remain "the two best-remembered Hungarian female operetta stars of all time."Traubner, Richard (2003).

Caroline Grassari, born Marie-Caroline-Josephine Gérard (baptised 15 June 1795 – after 1832) was a French opera singer active at the Paris Opéra from 1816 to 1828 where she sang leading soprano roles. Amongst the many roles she created were Almazie in Isouard's Aladin ou La lampe merveilleuse and Aurora in Carafa's La belle au bois dormant.

Fricci photographed in Trieste c. 1870 Antonietta Fricci (born Antonie Frietsche) (8 January 1840 – 7 September 1912) was an Austrian-born opera singer known for her performances in leading soprano and mezzo-soprano roles in the opera houses of Europe. She was married to the Italian tenor Pietro Neri-Baraldi from 1863 until his death in 1902.Gautier, Theophile (1991).

Anna Justine Steiger, born February 13, 1960,Slonimsky, Nicolas and Kuhn, Laura (eds.) (2001). "Steiger, Anna", Baker's Biographical Dictionary of Musicians, 10th Edition, Volume 6. Accessed online via Highbeam, 12 July 2012.California Births, 1905 - 1995, Anna J. Steiger is a British and American opera singer who has sung leading soprano and mezzo-soprano roles in British, European and North American opera houses.

She sang her debut in 1893 at the I. Setov operatic troupe in Kiev. In the season 1894–95 she sang in Tiflis, in 1895–96 in the St Petersburg Private opera, and in 1896–97 in Kharkov. During 1897–1904 she was a leading soprano in Savva Mamontov's Private Russian Opera. In 1904–11 she became the soloist of the Mariinsky Theatre in St Petersburg.

Entanglement is a one-act chamber opera by the British composer Charlotte Bray and the librettist Amy Rosenthal. The work was commissioned by the Nova Music Opera and was first performed on 6 July 2015 at the Cheltenham Music Festival, with the conductor George Vass leading soprano Kirsty Hopkins, baritone Howard Croft, tenor Greg Tassell, and the Nova Music Opera Ensemble.Bray, Charlotte (2015). Entanglement: Program Note.

In 1955, he married Galina Vishnevskaya, a leading soprano at the Bolshoi Theatre. Rostropovich had working relationships with Soviet composers of the era. In 1949 Sergei Prokofiev wrote his Cello Sonata in C, Op. 119, for the 22-year-old Rostropovich, who gave the first performance in 1950, with Sviatoslav Richter. Prokofiev also dedicated his Symphony-Concerto to him; this was premiered in 1952.

Gorchakova was born in Novokuznetsk to a musical family. She moved to Novosibirsk in Siberia with her parents who were singers at the opera house there. It was in that city that she attended music school, college and the Conservatoire from which she graduated in 1988. While she was there, she was auditioned for the opera company of Sverdlovsk and transferred there as a leading soprano.

That fall, she played the leading soprano role of Mabel in a burlesque of The Pirates of Penzance at Pastor's theatre. She next played at the Bijou Opera House on Broadway as Djenna in The Great Mogul and with the McCaull Comic Opera Company played Bathilda there in Olivette. She also played the title role in Gilbert and Sullivan's Patience and Aline in The Sorcerer in 1882 at the Bijou.

Pumeza Matshikiza (born 27 February 1979) is a South-African operatic soprano. A graduate of the Royal College of Music and a member of the Royal Opera's Jette Parker Young Artists Programme from 2007 to 2009, she made her début as a flower maiden in Parsifal and has gone on to sing leading soprano roles with Stuttgart Opera. Matshikiza has released two solo albums on the Decca Classics label.

Following his divorce from Joan, he married Margaret Mitchell, who had been a leading soprano in the D'Oyly Carte Opera Company. They lived in Maida Vale. In 1986, whilst writing for a new Keith Harris BBC series, he suffered a massive stroke which robbed him of his speech and left him paralysed on his right side. He spent his last years in The Royal Star and Garter Home in Richmond, Surrey.

Edytha Fleischer (sometimes spelled Editha, Edyta, or Edita Fleischer-Engel) (5 April 1898, Falkenstein - c. 1957, Zürich) was a German soprano and voice teacher. She began her career as a principal artist at the Berlin State Opera and the Salzburg Festival. She was a leading soprano at the Metropolitan Opera from 1926-1936, and at the Teatro Colón in Buenos Aires from 1934 until her retirement from the stage in 1949.

Camellia Johnson (September 15, 1953 - August 26, 2015) was an American concert and opera singer. She began her career performing works from the mezzo-soprano repertoire, but after encouragement from the staff at the Metropolitan Opera retrained her voice as a soprano. She successfully made that transition after winning the Young Concert Artists competition in 1993. She went on to perform as a leading soprano with orchestras and opera companies internationally.

In 1993, Lattimore performed with the Chicago Opera Theater. She appeared in their production of composer Virgil Thomson and librettist Gertrude Stein's Four Saints in Three Acts. She also performed as the leading soprano in the Goodman Theater's August 1993 adaptation of Alan Paton's Cry, the Beloved Country. In 1994, Lattimore began performing with the Houston Grand Opera Studio, a young artist training program at the Houston Grand Opera (HGO).

Stephanie Zimbalist official web site Zimbalist's paternal grandfather, Efrem Zimbalist, born in Rostov-on-Don, Russia, was a world-famous concert violinist, music teacher at the Curtis Institute in Philadelphia, and composer. Her paternal grandmother, Alma Gluck, born in Romania, was a leading soprano of her day.Efrem Zimbalist Jr., My Dinner of Herbs, Limelight Editions, 2004. Zimbalist's aunt, Marcia Davenport, was a prominent author, music journalist and historian.

The Student Prince and Mlle. Modiste became showcases for Georgia McEver, LOOM's leading soprano for several seasons. Alice Hammerstein Mathias was then asked to prepare a new book and lyrics for Victor Herbert's Babes In Toyland, which had not been given a professional New York production in many years. Her original story centered on two unhappy children who run away to Toyland but are eventually reconciled with their parents.

Iolanda Mărculescu was born on 2 April 1923 in Bucharest, Romania to a family of Wallachian boyars. She studied at the Conservatory of Bucharest under the direction of the tenor Constantin Stroescu. When she was twenty years old, she joined the Romanian State Radio Chorus Ensemble. At the end of World War II, she joined the Romanian National Opera in Bucharest and by 1948 was the leading soprano.

Marie-Thérèse Gauley (15 February 1903 – 23 January 1992) was a French opera and concert singer who sang leading soprano and mezzo-soprano roles at the Opéra-Comique in Paris as well as in other French cities and abroad. She was also heard in early broadcasts on French radio and made several recordings for Disques Odéon. Amongst the roles she created were The Child in Ravel's opera L'enfant et les sortilèges.

Michael at Stylenite July 2010 Nadja Michael (born 1969) is a German opera singer with an active international career singing leading soprano roles. Her mother's great-aunt was the soprano Erna Sack. She was born near Leipzig in Wurzen, then East Germany, and studied in Stuttgart and at the Jacobs School of Music (Indiana University). She began her career as a mezzo-soprano but became a soprano in April 2005.

Positive press reviews and public reactions adumbrated her future as the leading soprano of Vienna's Imperial Court Opera-Theatre ("K. K. Hof-Operntheater"). During this time she came to the notice of the Archduke Franz Karl who instructed that she should be invited to join the Court Opera. She was enrolled into the company in 1 January 1857. In 1858 she married Adalbert Dustmann, a Vienna book seller.

Davis was succeeded as director of the Théâtre d'Orléans by his son Pierre in 1837. In the 1837-38 season Mademoiselle Julie Calvé joined the company and was the leading soprano throughout the next decade. She sang Henriette in the American premiere of Halevy's L'éclair and was New Orleans' first Lucie and Anne de Boulen, its first Louise (Norina) in Don Pasquale, and Valentine in Les Huguenots. She also sang Pauline in Donizetti's Les martyrs.

Victoria Baker Victoria Baker is a French singer-songwriter, actress, composer, lyricist, writer, producer and director. She began her career as a child actress with supporting and lead roles on British Television for the BBC and Thames Television. She subsequently began her vocal training at some of the finest institutions in London, Paris and New York. She has performed various leading soprano roles in operas as well as at Carnegie Hall in New York City.

During the second year in Dresden, Howe sang in concerts in that city and several smaller German cities. In May, 1888, came the opportunity for a first trial in Grand Opera, at Kroll Opera House in Berlin. Her first role was that of “Amina” in La Sonnambula. Having pleased the public and the critics, she was given a three months’ engagement, and sang also the leading soprano part in Lucia and Il Barbier di Sesiglia.

Lipkowska agreed that her voice was that of a soprano and trained her in that repertoire. After World War II ended she emigrated to Italy and continued her vocal studies in Milan. By then she knew the leading soprano roles in four operas by heart—the title role in Manon, Marguerite in Faust, Violetta in La traviata and Mimì in La bohème. In Milan she had extensive coaching with the conductor Antonio Narducci.

From 1934 until her retirement in 1949, Fleischer was a leading soprano at the Teatro Colón in Buenos Aires where her husband, conductor Erich Engel, was the director. She also appeared regularly in concert halls in Denmark, Germany, and New York during her career. She began teaching singing while living in Argentina where her pupils included soprano Nilda Hofmann and bass Carlos Feller. In 1949 she joined the voice faculty of the Vienna Conservatory.

In 1950 Germaine Lubin had returned to Paris and sought to resume her career with a recital. Although she met with some sympathy and gave a few further performances, it was a difficult transition, and when in 1953 her son committed suicide she abandoned public performance entirely. For the remainder of her life she became a voice teacher, giving lessons at her home on the Quai Voltaire in Paris. Among her notable pupils was the leading soprano Régine Crespin.

With Professor Graziani and some of its advanced students, the School began to show its accomplishments by presenting operas at the National Theatre a year later. Neira de Calvo participated as a leading soprano in two of the earlier performances. As Directress of the Normal School for Women, 1927–38, she established the Youth Red Cross. In addition, she promoted and organized school health programs, sports for women in secondary schools and school canteens in primary schools.

Margherita Zenoni (c.1827 – 31 March 1878) was an Italian opera singer who sang leading soprano roles in the opera houses of Italy and abroad from the early 1850s. She left Europe in 1867, first to sing with Annibale Biacchi's Italian opera company in Cuba and then to tour with Augusto Cagli's Italian opera company in Australasia. She remained with Cagli's company in its various incarnations until 1877, singing in India, Australia, New Zealand and South Africa.

Hannah Barker accepted a position as leading soprano in the First Baptist Church of Hartford, teaching music meanwhile. During all those years, she was writing poems, but it was only towards the end of the 19th century that any of her compositions were published. Hannah Taylor was an active member of the Woman's Christian Temperance Union; she was corresponding secretary of the Pasadena branch of the Women's National Indian Association, and was the recording secretary of the State Association.

Rosina Penco sang in operas by Rossini, Bellini and Donizetti in various German theatres in 1850. She was praised for her fiery stage temperament and her virtuosic singing, in particular for an excellent trill. In Italy she appeared in the title role of Verdi's "Luisa Miller" in Naples in 1851 and created roles in operas by Errico Petrella and Giovanni Bottesini. In 1853 she created the leading soprano role of Leonora in Giuseppe Verdi's hugely successful opera "Il trovatore".

A total of 26 people were killed in the collision section there, mostly Italian immigrant families. Among those killed in the collision on C Deck was Opera singer Agnes Baratta, who at the time was a leading soprano of Milan's La Scala Opera House. She and her elderly mother Margherita Baratta had been en route to Redwood City, California, to visit her sister, after which Agnes had intended to audition for the San Francisco Opera House.

Upon her graduation three years later she joined the Bolshoi Theatre, rapidly becoming its leading soprano. She often sang, too, at the Mariinsky Theatre in St Petersburg and also in Kiev and Odessa. Paris heard her in 1912, when she appeared opposite the great tenor Enrico Caruso and Caruso's baritone equivalent, Titta Ruffo. Antonina Nezhdanova Nezhdanova was the dedicatee of Sergei Rachmaninoff's Vocalise, and she was the first performer of the arrangement for soprano and orchestra, with Serge Koussevitzky conducting.

She was the daughter of the "free mulatto" Jean-Joseph Lavit, the son of a French nobleman of the colony (Pierre Bardin, Joseph Sieur de Saint-Georges : Le Chevalier Noir, Paris, Guénégaud, 2006, p. 193, ). A gifted vocalist, for the better part of the first quarter of the 19th century, she was a leading soprano at the Paris Opéra. Branchu was one of the first students at the Paris Conservatoire after it opened in 1795, and studied singing under Pierre Garat.

Augustine Albert, also known as Augustine Albert-Himm (28 August 1791 – after 1846) was a French opera singer who sang leading soprano roles at the Paris Opéra from 1806 to 1823. Amongst the many roles she created in their world premieres was the title role of Spontini's Olimpie. Born in Paris and trained at the Conservatoire de Paris, she was also a principal singer of the Chapelle royale until 1830. She was married to Albert, danseur noble of the Paris Opéra.

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.

Zinka Milanov (; May 17, 1906 – May 30, 1989) was an American operatic dramatic soprano who had a major career centered on the Metropolitan Opera in New York City. After finishing her education in Zagreb, Milanov made her debut in 1927 in Ljubljana as Leonora in Giuseppe Verdi's Il Trovatore. From 1928 to 1936, she was the leading soprano of the Croatian National Theatre. In 1937, Milanov performed at the Metropolitan Opera for the first time, where she continued to sing until 1966.

There was to be one other problem. The leading soprano role, that of Vielka, was composed for the big soprano "icon" of the period: Jenny Lind, who was already on the threshold of becoming world-famous. Meyerbeer had heard her in Paris, been very favorably impressed, and decided to engage her for Berlin. But she was in Stockholm during some of the rehearsals, and Leopoldine Tuczek, the company's regular coloratura, and Lind's understudy as Vielka, had been singing the part.

Ms. Sigutė Stonytė graduated from the Lithuanian Academy of Music in 1982 - here she studied singing with Prof. Z. Paulauskas. In 1982-1984 she also studied with vocal teacher Joana Kepenienė. In 1984 the soloist won the International Competition for Singers in Riga and a year later made her debut at the Lithuanian National Opera and Ballet Theatre as Tatyana in P. Tchaikovsky‘s opera “Eugene Onegin” - since then she has been performing leading soprano parts in most performances produced by the LNOBT and other companies.

Her operatic repertoire included the title role in Puccini's Manon Lescaut, Liu in Puccini's Turandot, Nedda in Pagliacci, and Rosalinda in Die Fledermaus among several other leading soprano roles. She also appeared in concert and recitals throughout the United States, Europe, Israel and South America. In addition to her work on the stage, Pavek sang on a number of television programs, including The Bell Telephone Hour, The Tonight Show and The Ed Sullivan Show. After she retired from performing she taught singing out of a private studio.

Pia Ravenna had her debut in 1913 at the age of eighteen, and she gave her farewell concert in 1951. According to her own books, the coloratura soprano gave more than 800 performances in the span of 38 years, including 400 concerts and as many stage performances. She never became internationally recognized but in Finland she was a leading soprano of the National Opera for more than a decade. She became famous for her technical agility and pearly light coloratura voice combined excellent stage presence.

Following its premiere at the Teatro Comunale on Ferrara in 1812, he went on to compose three more operas featuring her in the leading soprano role, Tancredi (1813), Sigismondo (1814), and Adelaide di Borgogna (1817). Adelaide had only a modest success when it premiered at the Teatro Argentina in Rome. The Gazzetta di Bologna reported that the music was not well-suited to her and that her voice had been affected by the fumes of the oil lamps used to light the theatre.Migliorini (2007) p.

She had appeared in Trieste the previous year as Azucena in "Il trovatore" by Francesco Cortesi, based on the same Spanish play as Verdi's opera. Verdi prized her for her combination of vocal agility with fervid dramatic commitment. The composer recommended her for the leading soprano roles of his subsequent operas "La traviata" and "Un ballo in maschera", saying that Penco had much spirit and a good stage presence. She subsequently appeared as Amelia in "Un ballo in maschera" at Covent Garden and the Théâtre Italien, Paris.

Described as "the Sarah Bernhardt of opera", Garden was an exceptional actress as well as a talented singer. She was particularly admired for her nuanced performances which employed interesting uses of vocal color. Possessing a beautiful lyric voice that had a wide vocal range and considerable amount of flexibility, Garden first arose to success in Paris during the first decade of the 20th century. She became the leading soprano at the Opéra-Comique; notably portraying roles in several world premieres, including Mélisande in Claude Debussy's Pelléas et Mélisande (1902).

Gabrielle Krauss Gabrielle Krauss in the title role in Gounod's Sapho (revised version) - Paris Marie-Gabrielle Krauss (24 March 18426 January 1906) was an important 19th century Austrian-born French operatic soprano. She created major roles in operas by Anton Rubinstein, Charles Gounod, Camille Saint- Saëns, Auguste Mermet, Clémence de Grandval, Errico Petrella, Antônio Carlos Gomes and Émile Paladilhe. She also created roles in local premieres of Verdi and Wagner operas. Krauss was a leading soprano at the Paris Opera for 13 years, and also sang with great success in Italy and Russia.

Costumes were designed by Percy Anderson.Programme for The Rose of Persia at The Gilbert and Sullivan Archive, accessed 19 July 2018 Cover of the vocal score The casting of the soprano to play the leading role of the Sultana Zubedyah was problematic. Sullivan had been much impressed by the American high soprano Ellen Beach Yaw, and he prevailed upon the D'Oyly Carte Opera Company to cast her in the role. Leading soprano Ruth Vincent quit the company when she was passed over for the role (although she later played the Sultana in New York).

Roberta Alexander (1976) Roberta Alexander (born 3 March 1949) is an American operatic soprano. She began her career as a leading soprano in 1975 and spent the next three decades performing principal roles with opera houses internationally. More recently she has performed secondary character roles on stage, including performances at the in 2013, La Scala in 2014, and La Monnaie in 2015. She performed the 5th maid in Strauss's Elektra at the Metropolitan Opera in 2016 and Curra in Verdi's La forza del destino at the Royal Opera House, Covent Garden, in 2019.

Růžena Maturová Růžena Maturová (2 September 186925 February 1938) was a Czech operatic soprano whose international career began in the late 1880s and continued through the first decade of the 20th century. Born in Prague, Bohemia, she was the leading soprano at the National Theatre there and created roles in several operas including three by Antonín Dvořák: the Princess in The Devil and Kate (1898), and the title roles in Rusalka (1901) and Armida (1904).Růžena Biography at operissimo.com (in German) After her retirement from the stage in 1910, she taught singing in Prague.

The piece, with Maggie Teyte in the leading soprano role and Eugene Goossens conducting, was enthusiastically received at its premiere in the Royal Opera House. At a concert in Reading in 1923, Holst slipped and fell, suffering concussion. He seemed to make a good recovery, and he felt up to accepting an invitation to the US, lecturing and conducting at the University of Michigan. After he returned he found himself more and more in demand, to conduct, prepare his earlier works for publication, and, as before, to teach.

For more, see Price et al. (1995) Chapter 3, Part II, "Recruitment and Salaries". Teatro La Fenice in Venice where Manfredini-Guarmani sang in the world premieres of Rossini's Sigismondo and Tancredi, Pavesi's Teodoro, and Coccia's Euristea In her later career, she no longer created new roles, but continued to sing leading soprano roles in operas already in the repertory. In addition to her appearances in revivals of Rossini's operas, she sang the title role in Mayr's Medea in Corinto several times as well as Clotilde in his La rosa bianca e la rosa rossa.

Among the material added or lengthened were the early scene between Venus and Cupid, and Jupiter's blessing from heaven at the end of the opera. In March 1608, well into the rehearsal period, the opera's scheduled performance was jeopardised by the death, from smallpox, of the leading soprano Caterina Martinelli. Fortunately a replacement was to hand, a renowned actress and singer, Virginia Ramponi-Andreini, known professionally as "La Florinda", who was performing in Mantua. A courtier, Antonio Costantini, later reported that she learned the part of Arianna in six days.

"The Suppressed Saga of Two Savoy Sultanas", The Gilbert and Sullivan Archive, 15 July 2007, accessed 29 August 2016 in The White Chrysanthemum Now the company's leading soprano, Jay played Mabel in Pirates (1900), again earning good notices, and the title role in the first London revival of Patience (1901). During the run, she was made an Associate of the Royal Academy of Music. She then created the roles of Lady Rose Pippin in The Emerald Isle (1901) and the Gipsy Woman in Ib and Little Christina (1901). She played Phyllis in the first London revival of Iolanthe (1901-1902).

Marie Cabel starred in the title role, and a new tenor, Jules Monjauze, who had previously been an actor at the French Theatre in Saint Petersburg and at the Théâtre de l'Odéon in Paris, sang Maurice.Walsh 1981, pp. 60, 306. Other notable premieres included Adolphe Adam's three-act opéra comique Le muletier de Tolède with Marie Cabel in the leading soprano role of Elvire (14 December 1854; 54 performances); Adam's one-act opéra comique À Clichy (24 December 1854; 89 performances); and a one-act opéra comique by Ferdinand Poise called Les charmeurs (7 March 1855; 66 performances).

On his return trip, he appeared in Barcelona and Madrid where he sang Figaro in Rossini's comic masterpiece Il Barbiere di Siviglia. His success in this was enormous and it marked the beginning of his ascent to major operatic stardom. In 1883, he undertook his first visit to the Royal Opera House at London's Covent Garden, where he appeared as Riccardo in Vincenzo Bellini's I Puritani in a stellar cast containing Marcella Sembrich, Francesco Marconi and Edouard de Reszke. He also sang opposite Adelina Patti, the leading soprano of her era, in other Covent Garden productions.

Marguerite Bériza Marguerite Bériza (1880 – 1970) was a French opera singer who had an active international career during the first half of the 20th century. She began her career as a mezzo-soprano at the Opéra-Comique in 1900; ultimately transitioning into the leading soprano repertoire at that theatre in 1912. She performed extensively in the United States from 1914–1917 and was also heard as a guest artist at theatres in the French provinces, Monaco, Portugal, and Switzerland during her career. In 1924 she founded her own opera company in Paris with whom she actively performed up until 1930.

In 1912, Bériza began performing leading soprano roles at the Opéra- Comique. There she had major success in roles like Musetta in Puccini's La bohème, Santuzza in Pietro Mascagni's Cavalleria rusticana, Violetta in Giuseppe Verdi's La traviata, and the title roles in Ambroise Thomas's Mignon and Puccini's Tosca. She also continued to perform roles traditionally sung by mezzo-sopranos like Anita in Jules Massenet's La Navarraise and Mallika in Léo Delibes's Lakmé. She sang leading roles as a guest artist at the Grand Théâtre de Genève, the Opéra de Marseille, the Opéra de Nice, and the Opéra National de Lyon.

Wiet was born in Vienna where her father was a civil servant. She studied at the conservatory there and then trained as a singer in Heidelberg with her aunt, Helene Wiet who had been a prominent opera singer in Prague and Vienna until her retirement from the stage in 1899. She made her debut at the in Heidelberg as Fiametta in Franz von Suppé's operetta Boccaccio. She was then engaged by the Neuen Operetten-Theater in Leipzig where she sang leading soprano roles in numerous operettas, including the title role in the first Leipzig performance of Emmerich Kálmán's Die Csárdásfürstin.

There he opened a famous singing school, conducted concerts, and continued his reputation as a prolific and popular composer of art songs.Sanvitale (2002) p. 153 The first of his "Grand Matinee Musicale" concerts took place in 1854 under the patronage of Lord Ward, and featured his latest compositions. The 1860s saw the premieres of his last two operas. Almina premiered in London at Her Majesty's Theatre on 26 April 1860 conducted by Luigi Arditi with Marietta Piccolomini in the title role.Born in Siena, Marietta Piccolomini (1834–1899) was a leading soprano of her day and later a well-known voice teacher.

Unhappy to be passed over for the leading soprano role in The Rose of Persia, Vincent left the company near the end of 1899. After this, Vincent went on to a substantial career in Edwardian musical comedies, opera and concert singing. She created leading West End roles in Véronique (1904–05), Tom Jones (1907), The Belle of Brittany (1909) and several others, and she also performed on Broadway. From 1910, she began a grand opera career at Covent Garden and Drury Lane and then toured in oratorio and concerts and also in variety shows, performing until 1930.

However, her official debut there came in 1806 when she sang Antigone in Sacchini's Œdipe à Colone. She went on to sing in the world premieres of multiple operas and also appeared in the leading soprano roles of many others, including Julia in La Vestale, Amazily in Fernand Cortez, and Eurydice in Orphée et Eurydice. After her marriage in 1811 to the dancer Albert, she performed under the name Augustine Albert. The couple had two children, a son Alexander, and a daughter Elisa, both of whom became dancers of some note but never achieved the fame of their father.

Ania Gigiel as Carlotta Carlotta is a fictional character from Gaston Leroux's 1910 novel The Phantom of the Opera. She is the leading soprano at the Paris Opera House who is criticised by the narrator and the Phantom for the lack of emotion in her performances.litcharts.com/lit/the-phantom-of-the- opera/characters/carlotta In the novel, she is a minor character hailing from Spain. The first time that she is mentioned in the novel is during the chapter "The New Marguerite", where it is revealed that she could not perform at the ceremony for the former managers.

Kathryn Day (née Bouleyn) is an American opera singer who has had an active international career spanning five decades. She began her career as a leading soprano under the name Kathryn Bouleyn in the 1970s and 1980s with companies like the New York City Opera, the San Francisco Opera, and the Opera Theater of Saint Louis. With the latter institution she created the role of Cora in the world premiere of Stephen Paulus' The Postman Always Rings Twice (1982). In the 1990s Day transitioned to leading mezzo-soprano roles with the aid of companies like the Seattle Opera and the Opéra de Montréal.

Joseph-Théodore-Désiré Barbot was praised for his vocal range, his ability to spin beautiful high notes softly, his charm onstage, and his musical tastefulness. Successful in Italian operas as well as French, he and his wife Caroline enjoyed international careers, sometimes appearing together, at leading opera houses in France, England, Italy and Russia (where Caroline created the leading soprano role of Leonora in Verdi's La Forza del Destino in 1862). When Pauline Viardot retired as professor of singing at the Paris Conservatoire in 1875, he replaced her, and continued to teach singing there until his death.

"Il dolce suono" ("The Sweet Sound") is the incipit of the recitativo of a scena ed aria taken from Act III scene 2, Lucia di Lammermoor by Gaetano Donizetti. It is also commonly known as the "mad scene" sung by the leading soprano, Lucia. Lucia descends into madness, and on her wedding night, while the festivities are still being held in the Great Hall, she stabs her new husband, Arturo, in the bridal chamber. Disheveled, unaware of what she has done, she wanders in the Great Hall, recalling her meetings with Edgardo and imagining herself married to him.

She made her debut as Philine in Mignon in June 1881 two months after Colonel James Henry Mapleson engaged her to sing leading soprano roles in Her Majesty's Grand Italian Opera in London, England. She made her United States debut in October of the same year at the Academy of Music in New York City. She subsequently appeared as Violetta in Verdi's La traviata, as Queen of Night in Mozart'sThe Magic Flute, as Martha in Flotow's Martha, as Marguerite in Gounod's Faust, as the Queen in Meyerbeer's Les Huguenots, and as Isabella in Meyerbeer's Robert le Diable. She sang during three seasons under Colonel Mapleson's management.

She sang the part of Milada in Smetana's Dalibor and the title role in Rusalka at Edinburgh Festival in 1964. But she sang mainly at the Prague National Theatre, where she enjoyed exceptional popularity and the affection of her audiences. She married Czech conductor Jan Hus Tichý and sang under his conducting frequently. Thanks to her all-round abilities she was the leading soprano there for more than 20 years. In 1954 she was awarded the Emmy Destinn and Karel Burian prize at the singing competition of the International Prague Spring Festival at which she performed arias including "Depuis le jour" from Charpentier’s Louise.

D'Angeri in St Petersburg, 1874 Anna D'Angeri (Angermayer de Redenburg) (14 April 1853 – 14 December 1907) was an Austrian-born opera singer, who made Italy her adopted country and Italianized her surname. She had a brief (1873–1881) but eminent career singing leading soprano roles at the Vienna Hofoper and La Scala, Milan. Particularly admired by Verdi, she sang the role of Amelia in the premiere of the revised version of his Simon Boccanegra. She also sang the roles of Ortrud and Venus in the London premiere of Wagner's Lohengrin and Tannhäuser and created the roles of Jefte in Ponchielli's Il figliuol prodigo and Maria in Gomes's Maria Tudor.

Salemka Residence Weyburn.ca. Retrieved 3 May 2018. She further studied singing with Hans Löwlein in Germany. From 1956 to 1964 she was a leading soprano with Frankfurt State Opera, where she appeared in operas including Madama Butterfly, Pelléas et Mélisande (as Mélisande), Gianni Schicchi (Lauretta), Der Rosenkavalier (Sophie) and The Magic Flute (Pamina). Salemka appeared with other opera companies: with the Canadian Opera Company in The Marriage of Figaro as Susanna in 1960, and as Hanna Glawari in The Merry Widow in 1973; in 1961 she made her debut at the Royal Opera House, Covent Garden in Britten's A Midsummer Night's Dream (as Helena).

In the United States, Sheila was leading soprano soloist for the University of Chicago's Rockefeller Chapel Choir, and concurrently taught voice and headed the Voice Department at the Music Center of the North Shore in Chicago. In 1979, Sheila and Werner Harms were invited to assist with the summer program of the American Institute of Musical Studies (AIMS) in Graz, Austria, providing opportunities and contacts for American opera singers in Europe. To further their work with AIMS, Sheila and Werner moved from Chicago to Dallas to help oversee the American operations of AIMS. Sheila Jones Harms strongly believed in helping promising future opera singers and musicians to achieve their career goals.

Her first husband, Army Captain H. de Wolfe Carvelle, died in Peru in 1865, sixteen months after their wedding. She travelled to the United States in 1865 with cornetist Jules Levy and violinist Carl Rosa, the latter of whom she married in New York City in 1867. Together they quickly established the Parepa-Rosa English Opera Company there, featuring her as the leading soprano, which became popular, and which introduced opera to places in America that had never staged it before. They opened at the French Theatre on Fourteenth Street, New York City, in September 1869 with a performance of Balfe's opera The Puritan's Daughter, with Parepa singing the title role.

Preparations for the opera's performance were disrupted when, in March 1608, the leading soprano Caterina Martinelli died of smallpox. A replacement had to be found rapidly, and the title role fell to Virginia Andreidi, a renowned actress-singer who used the stage name "La Florinda"; she reportedly learned the part in only six days. In his analysis of Monteverdi's theatrical works, Carter suggests that the lament may have been added to the work to make the most of Andreini's acting and vocal abilities. The premiere, on 28 May 1608, was staged in a specially erected temporary theatre, which according to contemporary reports could hold an audience of several thousands.

Born in Wellfleet, Massachusetts to Captain Simeon and Martha Burtee Atwood, Atwood was part of a family with a long association with Seafaring and the Cape Cod community. She attended Lasell Seminary for Young Women (now Lasell College) before pursuing studies in Italy, France, and Belgium. She later became a pupil of Arthur Wilson in Boston. Atwood made her professional opera debut in Siena and was actively performing in opera houses in the Italian provinces prior to World War I. With the outbreak of World War I, she returned to the United States and began a career as a leading soprano in Boston, making her first appearance in that city at the Boston City Club.

In Paris in the 1880s, the Palais Garnier Opera House is believed to be haunted by an entity known as the Phantom of the Opera, or simply the Opera Ghost. A stagehand named Joseph Buquet is found hanged and the noose around his neck goes missing. At a gala performance for the retirement of the opera house's two managers, a young little-known Swedish soprano, Christine Daaé (based on singer Christina Nilsson), is called upon to sing in place of the Opera's leading soprano, Carlotta, who is ill, and her performance is an astonishing success. The Vicomte Raoul de Chagny, who was present at the performance, recognizes her as his childhood playmate and recalls his love for her.

Salms-Moss made her professional opera debut only a few months later, as the leading soprano at the Städtische Bühnen in Münster, Germany, singing the role of Amelia in Verdi's Un ballo in maschera. Her career took her to numerous theaters in Germany in the following years, during which she amassed an extensive repertoire. Early roles included Violetta in La Traviata, Mimi and Musetta in La Bohème, Marguerite in Faust, and Mozart roles such as the Countess in The Marriage of Figaro, Fiordiligi in Cosi fan tutte, and Donna Elvira in Don Giovanni. Her voice combines a dark timbre with an extended range and flexibility, making it ideal for Bellini's Norma and Abigaille in Verdi's Nabucco.

Florence St. John, c. 1880 Margaret Florence Greig (8 March 1855 – 30 January 1912), known by her stage name Florence St. John, was an English singer and actress of the late Victorian and Edwardian eras famous for her roles in operetta, musical burlesque, music hall, opera and, later, comic plays. St. John began her career while still a teenager. By 1879, St. John was starring in new London productions, often creating roles, beginning with the title role in an English version of Madame Favart, which earned her critical praise. Despite occasional illnesses, she created the leading soprano roles in the light operas Olivette (1880), Barbe-bleue (1883), Nell Gwynne (1884) and Erminie (1885), among several others.

While there she secured some of the excellent talent that supported her during the following season, commencing in Richmond, Virginia, going directly South and to Mexico. During 1884/85 the Abbie Carrington Grand Opera Company proved to be one of the most successful of the organizations on the road. During 1885/86 Carrington reappeared in Italian opera with Her Majesty's Grand Opera Company. In 1887, after six consecutive seasons in grand opera, having sung the leading soprano roles in twenty different operas, Carrington took a much-needed rest, which resulted in opening a new sphere of work, and since that time she traveled only with her own company in concert and oratorio.

Leona Mitchell has collaborated with many great conductors, including Zubin Mehta, Lorin Maazel, James Levine, and Seiji Ozawa. She has had a long and illustrious career having sung at most of the world's best-known opera houses, including those in Paris, Sydney, Buenos Aires, London (Covent Garden), Vienna, Verona, Parma, Geneva, Bordeaux, Madrid, Marseilles, Toronto, Rio, San Francisco, Berlin, Hamburg, Chile, Barcelona, Los Angeles, Melbourne, Stuttgart, Chicago, Winnipeg, Rome (the Caracalla Baths), Giza in Egypt and at the Orange Festival in France. While singing in Paris, she was referred to by critics as "The Toast of Paris." Mitchell was a leading soprano with the Metropolitan Opera of New York for 18 seasons.

1901 publicity photo for The Emerald Isle Isabel Emily Jay (17 October 1879 – 26 February 1927) was an English opera singer and actress, best known for her performances in soprano roles of the Savoy Operas with the D'Oyly Carte Opera Company and in Edwardian musical comedies. During Jay's career, picture postcards were immensely popular, and Jay was photographed for over 400 different postcards. After studying at the Royal Academy of Music, Jay joined the D'Oyly Carte Opera Company in 1897, with whom she began singing principal roles immediately, becoming the company's leading soprano in 1899, where she played leading roles in comic operas including The Rose of Persia, The Pirates of Penzance, Patience, The Emerald Isle and Iolanthe. She married and left the company in 1902.

Spente le Stelle: Opera Trance & Emma Shapplin The Remixes Part One is a mini remix album by Opera Trance of the Emma Shapplin songs, Spente le Stelle and Cuor Senza Sangue. Both songs are from Shapplin's debut album, Carmine Meo. The Cuor Senza Sangue remix is sung by Chiara Zeffirelli, who featured as the leading soprano of Atylantos. #Spente le Stelle [Yomanda Radio Edit] - Emma Shapplin #Spente le Stelle [Yomanda Remix] - Emma Shapplin #Cuor Senza Sangue [Odji de C. Mix] - Chiara Zeffirelli #Spente le Stelle [Yomanda Dub] - Emma Shapplin #Cuor Senza Sangue [Odji de C. Instrumental] - Chiara Zeffirelli The Spanish version of Cuor Senza Sangue remix (Cuerpo sin Alma), performed by Emma Shapplin, is found in her single Discovering Yourself.

Anni Frind (3 February 1900 – 8 April 1987) was one of the most highly recorded lyric sopranos in Germany during the 1920s and 30s. Anni Frind was born into a German family in Nixdorf, a small town in Bohemia (now Czech Republic). She made her debut in 1922 at the Volksoper Berlin and went on to sing leading soprano roles in both opera and operetta at the Munich State Opera, the Dresden State Opera, the German Opera House in Berlin and other major European cities.The New York Times obituary: Anni FrindOrlando Sentinel obituary: Anni Frind After the successful premiere of Ralph Benatzky's operetta Casanova in 1928,Gramophone, 1948 her energies were devoted mainly to operetta; and the ever-popular HMV recording of "The Nuns' Chorus" (comp.

Virginia Zeani (born Virginia Zehan; 21 October 1925), Commendatore OMRI is a Romanian-born opera singer who sang leading soprano roles in the opera houses of Europe and North America. As a singer, she was known for her dramatic intensity and the beauty, wide range, and suppleness of her voice which allowed her to sing a repertoire of 69 roles ranging from the heroines in belcanto operas by Rossini and Donizetti to those of Wagner, Puccini and Verdi. She also created roles in several 20th-century operas, including Blanche in Poulenc's Dialogues of the Carmelites. Zeani made her professional debut in 1948 as Violetta in La traviata, which would become one of her signature roles; she has since sung the opera over 640 times.

Garrett created the role of Cathy in the London studio recording of Bernard J. Taylor's operatic version of Wuthering Heights, which also featured Dave Willetts, Bonnie Langford and other leading British musical theatre performers. Her rendition of "I Belong to the Earth" was included on two of her solo albums. Other recordings include complete audio operas: Mozart's The Magic Flute (Papagena) conducted by Sir Charles Mackerras, Mozart's Così fan tutte (Despina), also conducted by Mackerras and Yum-Yum in the audio and video recordings of the Jonathan Miller production of The Mikado from ENO, in which she played the leading soprano role, Yum-Yum. She appears on two other DVDs of complete works from English National Opera, Handel's Ariodante (Dalinda) and Xerxes (Atalanta).

After arriving they contacted one of Vera's former pupils, Thalia Sabanieeva, then a leading soprano at the Metropolitan Opera. She helped Cehanovsky get auditions with several companies, and he soon obtained work touring with Fortune Gallo's San Carlo Opera Company, mainly in small to midsized roles, from 1923 to 1926. In 1926 Cehanovsky auditioned for Artur Bodanzky, chief conductor of the German wing of the Metropolitan Opera, and was hired as a comprimario baritone after he heard him sing only two measures. He made his debut with the company on November 13, 1926 as Kothner in Richard Wagner's Die Meistersinger von Nürnberg notably sharing the stage that evening with his future wife, soprano Elisabeth Rethberg, whom he would marry nearly 30 years later.

Shortly before her Metropolitan Opera debut in 1918, Ponselle signed a 5-year contract with the Columbia Graphophone Company. Although Victor was the much more prestigious label, and the one for which Caruso recorded, Ponselle was advised by William Thorner and his assistant and accompanist, Romano Romani, to sign a contract with Columbia because she would become the company's leading soprano and not just one in a stable of great singers at Victor. Romani, a young composer whose opera Fedra had earned favorable attention in Italy, was conducting recording sessions for Columbia at the time. Under his baton, Ponselle made 44 discs for Columbia, including arias from many operas in which she never sang, such as Lohengrin, Tosca, La bohème, Madama Butterfly, and I vespri siciliani.

Like his predecessors, Rudel had an eye for young American talent and was responsible for helping to cultivate a couple of generations of American singers. Among the singers whose careers he furthered were bass-baritone Samuel Ramey and lirico-spinto soprano Carol Vaness. One of his most apt decisions was in forming an artistic partnership with Beverly Sills, making her the NYCO's leading soprano from 1956 until her retirement from the stage in 1979, although Joseph Rosenstock deserves the credit for hiring her in 1955 for her first performances with the company. With the NYCO Sills had her first major critical success in the first Handel opera staged by the company, the role of Cleopatra in Giulio Cesare opposite Norman Treigle in 1966.

New York City Opera After 1944, he began a 35-year career with that company which continued until 1979. After rising to Principal Conductor and General Director in 1957, he brought the company international acclaim with his innovative programming (including three seasons of all-American operas in 1958, 1959, and 1960), and formed a partnership with Beverly Sills, who became the leading soprano of the NYCO. He led the company to its new home at the New York State Theater in Lincoln Center, where it opened in February 1966 with Alberto Ginastera's Don Rodrigo, in which he cast an unknown 25-year-old tenor, Plácido Domingo. Buffalo Philharmonic Orchestra In 1979, he accepted the position of Music Director of the Buffalo Philharmonic Orchestra, succeeding Michael Tilson Thomas, and led that orchestra through the 1985 season.

It would be no surprise if Orlando had contributed to the break with Senesino. The many unusual and innovative features of the opera could have made a singer who had for 25 years enjoyed the fame of the opera stage, steeped in the conventions of opera seria, confused or even insecure. Overall, there were only three full da capo arias provided for him, none in the last act; his only duet with the leading soprano was short and formally somewhat unusual; and he was not allowed to participate in the main ensemble number, the trio at the end of the first act. Although he had in the great "mad scene" at the end of the second act nearly ten minutes with the stage to himself, the music offered him little opportunity for vocal ornamentation.

She subsequently appeared with the Opera Orchestra of New York, New York City Opera, Opera Theatre of Saint Louis, the Minnesota Opera, the Minnesota Orchestra, Opéra de Montréal, Orlando Opera, Kentucky Opera, Syracuse Opera, Eugene Opera, San Francisco Opera's Merola Program, and Wolf Trap Opera in a variety of leading soprano roles including Mozart's Fiordiligi (Così fan tutte), Donna Anna and Donna Elvira (Don Giovanni), Konstanze (Die Entführung aus dem Serail), Countess Almaviva (The Marriage of Figaro), Violetta (La traviata), Desdemona (Otello), Musetta (La bohème), Marguerite (Faust), Rosalinda (Die Fledermaus), Euridice (Orfeo ed Euridice), Laurie (The Tender Land), and the title role in Susannah. Miller completed several residencies with the Marilyn Horne Foundation, the Steans Institute at the Ravinia Festival and the Wolf Trap Foundation, which combined performing and outreach,Jett. Cathy (3 May 2002).

The Mikado was frequently produced by the Savoyards Raedler planned to take the company on tour in 1952. She traveled to England in June 1952 with her leading comic baritone and leading soprano, Rue and Sally Knapp,"Sally A. Knapp; Singer and Actress, 68", The New York Times, November 4, 1994, accessed March 10, 2012 to research W.S. Gilbert's staging, choreography, costumes, properties and other aspects of the original Gilbert and Sullivan productions. She intended her productions to follow the performance "traditions" of the D'Oyly Carte Opera Company, and she replicated "authentic" costumes as closely as possible. Raedler's intentions, as stated in the company's program notes, were to avoid "pork pie" gags or cheap laughs, to stay true to Gilbert's stylistic intentions and to give each member of her company intensive training in the art.

She also sang regularly at the San Francisco Opera; Chicago Lyric Opera; Dallas Opera; Royal Opera, London; Liceo, Barcelona; La Fenice, Venice; and Teatro Colón, Buenos Aires. In addition she appeared in Madrid, Genoa, Florence, Bologna, Trieste, Palermo, Roma, Berlin, Paris, Miami, Tokyo, Pittsburgh, and Osaka among others. For more than 40 years, Scotto performed in operas written by 18 composers and her repertoire included some forty-five roles. She is best known for her performances as Violetta in La traviata, Gilda in Rigoletto, Cio-Cio- San in Madama Butterfly, Mimì (and occasionally Musetta) in La bohème, Lucia in Lucia di Lammermoor, Adina in L'elisir d'amore, Liù in Turandot, Nedda in Pagliacci, all three leading soprano roles in Puccini's Il trittico, Adriana Lecouvreur, and Francesca in Zandonai's Francesca da Rimini.

Elisabetta Manfredini-Guarmani Elisabetta Manfredini-Guarmani (2 June 1780 – after 1828) was an Italian opera singer best known for having created the leading soprano roles in four of Rossini's operas, roles which he wrote specifically for her voice.Forbes (1992/2008) p. 300. Her first name is sometimes given as "Elisa", while her husband's surname has been variously spelled as "Guarmani", "Guarmanni", and "Guermani" She was born Antonia Elisabetta Manfredini in Bologna and was the daughter of the composer and music theorist Vincenzo Manfredini. After her stage debut in 1810 when she sang in the premiere of Stefano Pavesi's Il trionfo di Gedeone at Bologna's Teatro del Corso, she went on to perform at La Fenice, La Scala, Teatro Regio di Torino, Rome's Teatro Argentina and several other opera houses, primarily in Northern Italy.

Considered one of the major stars of the lyric stage of her day, Prévost was esteemed for her unaffected stage presence, her charm of person and manner, her skills as a comic actress, and her excellent singing technique. She created the leading soprano roles in two opéras comiques still performed today, Zerlina in "Fra Diavolo" by Auber in 1830 and Madeleine in "Le postillon de Lonjumeau" by Adam in 1836, the most successful works of those two composers. In the latter work, as in others, she appeared opposite her husband, leading tenor Jean-Baptiste Chollet, by whom she had one daughter, Caroline, who also achieved success as a singer under the stage name Mademoiselle Monrose. Geneviève-Aimé-Zoë Prévost also appeared in other French and Belgian opera houses.

Rollins and Witts, p. 157 In 1936 she began to play the small parts of Celia in Iolanthe, Zorah in Ruddigore, and Fiametta in The Gondoliers. She soon moved up to the larger roles of Plaintiff in Trial by Jury and Lady Psyche in Princess Ida, and she also made occasional appearances in the leading soprano roles of Josephine in H.M.S. Pinafore, the title roles in Patience and Princess Ida, and Gianetta in The Gondoliers.Rollins and Witts, p. 160 In 1937, Drummond-Grant became one of D'Oyly Carte's principal sopranos. She began the season as the Plaintiff, Josephine, Patience, Phyllis in Iolanthe (sharing the role), the title role in Princess Ida and Elsie Maynard in The Yeomen of the Guard. She was selected to play Aline when The Sorcerer was revived in 1938.Rollins and Witts, p. 162.

14 Dow became a professional oratorio and concert singer, appearing, for example, in a promenade concert at the Crystal Palace in 1905.The Times, 29 November 1905, p. 1 She joined the chorus of the D'Oyly Carte Opera Company for its first London repertory season in December 1906.Rollins and Witts, pp 21–22, 124–26, 128, 130–31 Dow was soon promoted to small roles, playing Giulia in The Gondoliers and Kate in The Yeomen of the Guard in January 1907, also understudying and occasionally appearing in some of the leading roles. Dow (left) with C. H. Workman and Louie René in Patience, 1907 In April 1907, she was promoted to the title role in Patience, and by June 1907 she was also playing the leading soprano parts of Phyllis in Iolanthe and Elsie in Yeomen.

58; Matera (1971) Like her sisters, Teresa Brambilla studied at the Milan Conservatory, where she first became acquainted with Giuseppina Strepponi, a fellow student and the future wife of Giuseppe Verdi. After her professional debut in 1831, Brambilla initially sang in several smaller opera houses in northern Italy but in 1833 scored a considerable success at Milan's Teatro Carcano singing Agnese in Bellini's Beatrice di Tenda and the leading soprano role in Fioravanti's Le cantatrici villane. She then appeared on Russia at the Odessa Opera House, which at the time specialised in Italian opera. Upon her return to Milan in 1837, she sang with her sister Marietta at La Scala in the world premiere of In morte di Maria Malibran de Bériot, a cantata in memory of Maria Malibran composed by Gaetano Donizetti, Giovanni Pacini, Saverio Mercadante, Nicola Vaccai and Pietro Antonio Coppola.

She was Peep-Bo again in 1896, and she played the female role, "She" in the curtain raiser, Weather or No. In August she filled in briefly in the leading role of Yum-Yum in The Mikado. Owen left the D'Oyly Carte Opera Company to appear as Suzanne in the musical comedy Monte Carlo in the fall of 1896, but she re-joined the D'Oyly Carte to tour South Africa from December 1896 to June 1897, appearing in the leading soprano roles, including the title role in Patience, Phyllis in Iolanthe, Yum-Yum, Elsie Maynard in The Yeomen of the Guard, Gianetta and Nekaya. She returned to the Savoy in July and August 1897 to play Elsie during the first London revival of Yeomen, then left the company again to play Anita in a revival of La Périchole in late 1897.

Like many successful operatic performers, Wilson also maintains a successful concert career wherein she has performed: Richard Strauss: Four Last Songs, Beethoven: 9th Symphony, Verdi: Requiem, Mahler: 8th Symphony together with works by Duruflé, Haydn, Saint-Saëns and Vaughan Williams. Wilson's European orchestral solo debut took place in 2005, singing the four leading soprano roles in Erwin Schulhoff's opera Flammen, in a live broadcast from Amsterdam's Concertgebouw, with the Netherlands Radio Philharmonic Orchestra under Edo de Waart. In 2009 she made her debut in another Wagnerian role as Elisabeth in the Montreal Symphony Orchestra's concert performance of Tannhäuser conducted by Kent Nagano Wilson returned to the Montreal Symphony Orchestra in 2009 for Mahler's 8th Symphony and in 2010 for Beethoven's 9th Symphony. She has performed the soprano solo role in the Verdi Requiem with Master Chorale of Washington and with the New Orleans Opera.

In 1789 Banti returned to Venice's Teatro San Benedetto where she was the first protagonist of Anfossi's Zenobia in Palmira, which became one of her favourite roles, as well as Semiramide, a character she created in Bianchi's La vendetta di Nino, at the end of the following year. In June 1792 she took part in the inauguration of the new theatre La Fenice in Venice, opposite the castrato Gaspare Pacchierotti (who exerted a strong artistic influence upon her throughout her career), in the first performance of Paisiello's I giuochi d'Agrigento. After a brief season in Madrid in 1793, from 1794 to 1802 she was engaged, as the leading soprano, at London's King's Theatre, where she made her début as Semiramide in La vendetta di Nino. There she met Lorenzo Da Ponte, who later reported she had been vulgar, impudent, dissolute and even a drunkard.

In 1879, she made her professional debut in the role of Josephine in Gilbert and Sullivan's H.M.S. Pinafore, aboard a ship in a lake in Boston's Oakland Garden. She soon joined the Boston Ideal Opera Company and remained with the company as leading soprano for the next six years, singing roles in The Marriage of Figaro, The Bohemian Girl, Fra Diavolo, Giralda ou La nouvelle psyché by Adolphe Adam, The Chimes of Normandy, Fatinitza, Giroflé-Girofla, Czar and Carpenter, and in Gilbert and Sullivan operas."Our Omnibus-Box: Geraldine Ulmar", The Theatre, 1 August 1887 as Rose in Ruddigore Ulmar next was hired to play Yum-Yum in the D'Oyly Carte Opera Company's first American production of The Mikado, at the Fifth Avenue Theatre in New York, from 1885 to 1886, in a cast that included George Thorne (Ko-Ko), Courtice Pounds (Nanki-Poo), and Fred Billington (Pooh-Bah).Gänzl, p.

According to a contemporary Italian source, Cherubini might have retained the post of inspector even within the new institution (article: Luigi Carlo Zenobio Cherubini, in Serie di vite e ritratti de' famosi personaggi degli ultimi tempi, Milan, Batelli & Fanfani, 1818, article n. 51; accessible online at Google Books). He immediately intervened on Lays's behalf, but all he could obtain from Ferté was the advice that the singer should go on a tour of the provinces as a way of supplementing his income.Having obtained leave of absence, Lays appeared in Nancy (where performances were interrupted by the death of the leading soprano) and Strasbourg, where Lays himself was obliged to interrupt them with disastrous effects on his finances: he had been unexpectedly summoned back to Paris on the pretext he was urgently needed for rehearsals of a new opera, Les jeux floraux; in reality, the rehearsals only took place two months later.

"Julia Goss talks to David and Elaine Stevenson", Memories of the D'Oyly Carte Opera Company, accessed 22 November 2009 During her last year of music school, in the spring of 1967, Goss joined the D'Oyly Carte Opera Company as a chorister. She was stopped in the middle of her audition piece and feared that she had failed the audition, but the audition panel had heard enough to hire her on the spot. In the autumn of 1968, she began to play smaller principal roles in the Gilbert and Sullivan operas with the company, including Isabel in The Pirates of Penzance, Sacharissa in Princess Ida, Kate in The Yeomen of the Guard (also understudying and occasionally performing the leading role of Elsie Maynard), and Giulia in The Gondoliers. When Valerie Masterson left the company at the beginning of 1969, Goss took over the leading soprano roles.

The Théâtre Lyrique's production was a landmark revival in the history of the opera, with the music adapted by Hector Berlioz for the mezzo-soprano Pauline Viardot as Orphée. Eurydice was sung by Marie Sax, who later became a leading soprano at the Paris Opera.Walsh 1981, pp. 308–313. Caroline Carvalho as Fanchonnette This period was also distinguished by many successful productions of new French works, including Louis Clapisson's three-act opéra comique La fanchonnette (1 March 1856; 192 performances), Aimé Maillart's three-act opéra comique Les dragons de Villars (19 September 1856; 156 performances), Victor Massé's three-act opéra comique La reine topaze (19 September 1856; 170 performances), Léo Delibes' one-act opéra comique Maître Griffard (3 October 1857; 64 performances), and Charles Gounod's three-act opéra comique Le médecin malgré lui (15 January 1858; 142 performances). The most significant premiere under Carvalho, however, was Gounod's opera Faust (19 March 1859; 306 performances) in which Carvalho's wife Caroline Miolan-Carvalho sang the role of Marguerite.

Vanderbank was a frequent concert goer, drawing a caricature of Senesino, Cuzzoni and Berenstadt in a scene from Handel's Flavio in 1723, which was anonymously etched and engraved, and in the same year painting the portrait of the leading soprano, and later contralto, Anastasia Robinson, Countess of Peterborough, of which Faber produced a popular mezzotint in 1727. Vanderbank's extravagant habits saw him repeatedly in financial difficulties between 1724 and 1729, when his debts were cleared by his brother Moses. From 1729 John Vanderbank occupied a house in Holles Street, Cavendish Square, rent-free thanks to the generous patronage of Lord Carteret who, however, appropriated the contents of his studio after his death. According to Vertue, there Vanderbank lived ‘galantly or freely according to the custom of the Age’ Vertue, Note books, 3.97 and so in the 1730s Vanderbank's career returned to the ascendant, Vertue noting that he had 'a great run of business painting persons of quality and distinction'.

Eventually the peri is admitted after bringing a tear from the cheek of a repentant old sinner who has seen a child praying. Peter Ostwald in his biography Schumann: The Inner Voices of a Musical Genius records that Schumann "confided to a friend that 'while writing Paradise and the Peri a voice occasionally whispered to me "what you are doing is not done completely in vain,"'" and that even Richard Wagner praised this work. The cantata is generally held to be a significant achievement by Schumann, and it perhaps appeals less than it might otherwise to modern audiences due to the flowery, Eastern-inspired verbiage of the libretto, which represents a vogue for orientalism that was in full swing in the 19th century but has receded considerably today. The first English performance took place under difficult conditions at the Hanover Square Rooms in London at the invitation of the Philharmonic Society conducted by William Sterndale Bennett with Jenny Lind taking the leading soprano part.

Jeritza was born in Brno in 1887 as Mitzi Jedlicka or Marie Jedličková. In 1910, she made her debut as Elsa, in Wagner's Lohengrin, at Olomouc. The Emperor Franz Josef heard her and immediately ordered that she be offered a contract at the Imperial Hofoper, Vienna. She created the roles of Blanchefleur in Kienzl's opera Der Kuhreigen (1911), Ariadne in Strauss's Ariadne auf Naxos (1912), the Empress in his Die Frau ohne Schatten (1919), and Hariette/Juliette in Korngold's Die tote Stadt (Hamburg, 1920), though later became famous for her leading role of Marietta/Marie in the same opera in its January 1921 Vienna premiere, which was also the role in which she debuted at the Metropolitan Opera on 19 November 1921. On 16 November 1926, she starred in the title role of Puccini's Turandot in its North American premiere at the Metropolitan, where she also created the title or leading soprano roles in Janáček's Jenůfa (1924), Wolf-Ferrari's I gioielli della Madonna (1925), Korngold's Violanta (1927), Richard Strauss's Die Ägyptische Helena (1928), and Suppé's Boccaccio (1931) and Donna Juanita (1932).

She sang the role of Kate in the first revival of The Yeomen of the Guard beginning in 1897, filling in briefly in the leading role of Elsie in July of that year, then was given the part in August when Ilka Pálmay left the company."Ruth Vincent" at the Memories of the D'Oyly Carte website, accessed 3 August 2010 For the next two years, Vincent was the company's principal soprano, playing the leading roles of Iza in The Grand Duchess of Gerolstein (1897–98) and Casilda in The Gondoliers (1898), creating the role of Laine in The Beauty Stone (1898), singing Aline in The Sorcerer (1898), creating the part of Princess Laoula in The Lucky Star (early 1899), and playing Josephine in H.M.S. Pinafore (later in 1899).Stone, David. Ruth Vincent at Who Was Who in the D'Oyly Carte Opera Company, 9 October 2001 When she was passed over for the leading soprano part of Sultana Zubedyah in The Rose of Persia, Vincent rejected the part that she was offered ("Scent-of-Lilies") and left the D'Oyly Carte Opera Company in November 1899.

In 1975 at the age of 20, he also founded his own orchestra, The Pendleton Festival Symphony, and upon securing grants from the Indiana Arts Commission and the National Endowment for the Arts, the ensemble became a professional summer festival orchestra in 1976, and continued for the next 10 years. He made his professional conducting debut with that orchestra in 1976, at the age of 21, conducting for Metropolitan Opera leading soprano Roberta Peters, who would become a mentor and good friend of the young conductor. Despite his very young age, he was able to bring an impressive array of international talent to appear under his baton at the Pendleton Festival, including violinist Eugene Fodor, Metropolitan Opera leading mezzo-soprano Rosalind Elias, international soprano Nancy Shade, the Harvard Glee Club, and ensembles of principal dancers from American Ballet Theatre, the New York City Ballet, the Royal Ballet, the National Ballet of Canada, and the Joffrey Ballet. One of his major Pendleton Festival productions, a tribute on the 100th birthday of the legendary Russian ballerina Anna Pavlova, went on to appear at New York's Lincoln Center Festival, and became a Canadian Broadcasting Company television special starring Leslie Caron and an international cast of dancers.