), American coloratura soprano of great breadth of range and expressive ability, who is probably best known for her performance in the title role of Vincenzo Bellini’s Norma. New York Times critic James Huneker wrote: "...what a promising debut! Rosa Melba Ponzillo, dite Rosa Ponselle, née le 22 janvier 1897 à Meriden (Connecticut) et morte le 25 mai 1981 à Baltimore (Maryland), est une soprano américaine d'origine italienne. Thorner auditioned Rosa, and agreed to give her lessons. Among her electrical Victor records, Ponselle's most admired titles include "Pace, pace mio Dio", "Suicidio! Although she never again appeared on the concert or opera stage, Ponselle continued to sing at home for friends, who reported that her voice was as magnificent as ever. Born Rosa Ponzillo, the daughter of Italian immigrants, she spent her childhood in Meriden, Connecticut where her family owned a bakery and grocery. Elle ne chante qu'une seule fois avec sa sœur Rosa dans La Gioconda d'Amilcare Ponchielli. As in London, the audiences were wildly enthusiastic. The centennial of the great American soprano's birth brings a gossipy yet affectionate biography. [citation needed]. Ponselle sang two roles at Covent Garden in 1929: Norma and Gioconda. In 1918, Carmela and Rosa demanded a substantial fee increase from the Keith Vaudeville Circuit, as a result of which their act was dropped. In 1954 she made a few private song recordings, later released commercially, revealing a still opulent voice of darkened timbre and more limited range.[3]. Romani, a young composer whose opera Fedra had earned favorable attention in Italy, was conducting recording sessions for Columbia at the time. Additionally, there are numerous "private" recordings made by Ponselle herself and others at the Villa Pace, from 1949 through the late 1970s. Three years later, in 1915, Carmela brought Rosa to audition for her vaudeville agent. Noté /5. Between 1915 and 1918, the Ponzillo Sisters (also known as "Those Tailored Italian Girls") became a headlining act on the Keith Vaudeville Circuit, appearing in all the major Keith theaters and earning a substantial income in the process. She returned to London in 1930 in Norma, L'amore dei tre re, and La traviata (her first performances as Violetta). Rosa Ponselle, original name Rosa Melba Ponzillo, (born Jan. 22, 1897, Meriden, Conn., U.S.—died May 25, 1981, Baltimore, Md. In 1930 she sang her first New York appearances in 1931 as Violetta, a role she had sung with such success in London, received a more mixed reception from the New York critics, some of whom found her interpretation too forceful and dramatic. La dernière modification de cette page a été faite le 1 novembre 2020 à 23:21. Elle suit les cours de Romano Romani, un protégé de Giacomo Puccini et de Pietro Mascagni. Up until that time, her career had been concentrated entirely in America. The Traviata and Carmen performances are in good sound (for a mid-30s radio broadcast transcription); the Don Giovanni is in very poor sound. Of particular interest among the Columbia discs are three duets she made with Carmela of some of their vaudeville hits, including a version of "Comin' Thro' the Rye" that features an elaborate coloratura cadenza that would not be out of place in Bellini's Norma but sounds a bit strange in the Scottish Highlands. In 1933 Ponselle sang her only performances in Italy, as Giulia in La vestale, with the Maggio Musicale in Florence. Rosa Ponselle discography and songs: Music profile for Rosa Ponselle, born 22 January 1897. The April 1937 Carmen is the Cleveland tour performance that was Ponselle's farewell to the operatic stage. Ponselle, with piano accompaniment by conductor Igor Chichagov, recorded alternate versions of 53 songs, many of which were released on two LP discs, Rosa Ponselle Sings Today and Rosa Ponselle in Song. Free delivery on qualified orders. Her 1923 Columbia recording of "Selva opaca" from William Tell was her personal favorite among all her acoustic recordings, because she felt that it was the most accurate representation of her voice and style at the time. Rosa Ponselle: A Centenary Biography (Amadeus) Drake, James A. There is a particularly moving and very freely rendered performance of the aria "Senza Mamma" from Suor Angelica. … Amer. Rosa Ponselle discography and songs: Music profile for Rosa Ponselle, born 22 January 1897. Comments by associates paint Rosa Ponselle as a classic diva, capricious in business dealings (most notably when she abruptly retired in 1937), capable of responding with fury to perceived disloyalty, bitingly honest in her assessment of her own and others' work. 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. If you can improve it, please do. Ponselle did not consciously or purposely retire after that Cleveland Carmen in 1937; she just let her career slip away. Drake , who DID Not know Ponselle , having only visited her less than five times during the last few years of her life in Baltimore , relied on Elayne Duke and Hugh Johns to shepherd him through the first biography and arrange for his very few and unannounced visits to her home . Amazon.in - Buy Rosa Ponselle: A Centenary Biography (Amadeus) book online at best prices in India on Amazon.in. Ponselle's recording career began with the acoustic horn, continued with electric recording, and ended on magnetic tape. Elle est issue d'une famille d'émigrés italiens. At Caruso's suggestion, although she had never sung in opera, was engaged for Leonora in La forza del destino, NY Met 1918. Publisher: Amadeus, 2003. American soprano vocalist (Meriden, Connecticut, January 22, 1897 – Villa Pace, near Baltimore, Maryland, May 25, 1981). Sang at Met 1918–37, CG 1929–31. Ponselle died at her estate, Villa Pace near Baltimore, on May 25, 1981, aged 84, after a long battle with bone marrow cancer. A tour of the West coast included an appearance at the Lobero Theatre in Santa Barbara on March 14, 1927 in the Artist Series of the Community Arts Association's Music Branch, accompanied by pianist Stuart Ross. Rosa Ponselle's place as one of the century's great singers was destined from the moment of her 1918 debut, opposite Enrico Caruso, in the Metropolitan Opera premiere of La forza del destino. Rosa Ponselle: A Centenary Biography by James A. Drake 534 pages, $54.95 Amadeus Press 1-57467-019-0 James A. Drake's new homage to America's greatest soprano - Rosa Ponselle: A Centenary Biography - is published on the 100th anniversary of Rosa Ponselle's birth. Her parents were Italian immigrants from Caiazzo, near Caserta. Rosa Ponselle (January 22, 1897 – May 25, 1981) was an American operatic soprano.. She sang mainly at the New York Metropolitan Opera and is generally considered to have been one of the greatest sopranos of the 20th Century The breakup was traumatic for Ponselle, and she suffered a nervous breakdown. There are five complete opera performances from the Metropolitan Opera radio broadcasts: Don Giovanni (1934), La traviata (1935), and three performances of Carmen (28 March 1936 Boston, 9 January 1937 New York and 17 April 1937 Cleveland). She was universally lauded for opulence of tone, evenness of scale, breadth of range, perfection of technique and communicative warmth. Hello Select your address Best Sellers Today's Deals Electronics Customer Service Books New Releases Home Gift Ideas Computers Gift Cards Sell Rosa Ponselle. Furieuse, elle démissionne et fait ses adieux au public dans Carmen en 1937. Other than her appearances in London and Florence, Ponselle never sang outside the United States. For the next two decades, her voice of unparalleled beauty and power continued to mesmerize audiences. He arranged an audition for the Met's general manager, Giulio Gatti-Casazza, who offered Rosa a contract for the 1918/1919 season. Ponselle [Ponzillo], Rosa (b Meriden, Conn., 1897; d Green Valley, Baltimore, 1981). Shortly before her Metropolitan Opera debut in 1918, Ponselle signed a 5-year contract with the Columbia Graphophone Company. Many of these have been released since on LP and CD. Caruso was usually wary when asked to listen to amateur singers, but was deeply impressed with Rosa's voice. Rosa Ponselle (January 22, 1897 – May 25, 1981) was an American operatic soprano. In the late 1940s, Ponselle became the guiding force of the fledgling Baltimore Civic Opera Company, providing coaching and voice lessons for the young singers who appeared with the 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. Please release the FIRST biography ! 1, 2, 3, 4; Naxos Historical, Rosa Ponselle American Recordings 1939, 1954; Naxos Historical, Rosa Ponselle Sings Verdi 1918–1928; Naxos Historical, Rosa Ponselle On the Air Volume 1 1934–36; Marston, Rosa Ponselle On the Air Volume 2; Marston, Rosa Ponselle: When I Have Sung My Songs 1922–1957; Biographies in Music, Cantabile, Jackson, Paul, "Saturday Afternoons at the Old Met: The Metropolitan Opera Matinee Broadcasts, 1931–1950" (Amadeus Press: Portland 1992), This page was last edited on 1 November 2020, at 21:12. Amazon Price New from Used from Hardcover "Please retry" CDN$ 24.08 . Soon afterward, Thorner persuaded the great tenor Enrico Caruso, star of the Metropolitan Opera, to his studio to hear Carmela and Rosa sing. It was a dramatic soprano that seemed to move seamlessly from the low notes of a contralto to a dazzling high C. She had coloratura flexibility, a splendid trill, powerful fortes, delicate pianissimos and precise intonation. Les sœurs Ponzillo connaissent un certain succès et interprètent, même, des airs tirés de comédies musicales à Broadway. This article has been rated as C-Class. Ponselle made no studio recordings after 1939. She and Jackson built a luxurious home near Baltimore, Maryland, the Villa Pace, where she lived the rest of her life. Genres: Opera, Operetta. Artist Biography by Richard LeSueur The mother of American soprano Rosa Ponselle (born Ponzillo) was her first voice teacher; later she studied with Anna Ryan. Her recordings from 1923 until mid-1925 are all acoustics; Victor began electrical recording in March, 1925. PHOTOGRAPH de Ponselle, Rosa et d'autres livres, articles d'art et de collection similaires disponibles sur AbeBooks.fr. Buy Rosa Ponselle: A Centenary Biography by Drake, James A. online on Amazon.ae at best prices. The sisters' act consisted of traditional ballads, popular Italian songs, and operatic arias and duets. At the second performance, Ponselle had to encore the aria, "O nume tutelar". Over her career, she made 166 commercial recordings (not including alternate takes), either in the studio or at Villa Pace. Discography of American Historical Recordings, Temple de la renommée des femmes du Connecticut, https://fr.wikipedia.org/w/index.php?title=Rosa_Ponselle&oldid=176148962, Catégorie Commons avec lien local différent sur Wikidata, Article de Wikipédia avec notice d'autorité, Page pointant vers des bases relatives à la musique, Article contenant un appel à traduction en anglais, licence Creative Commons attribution, partage dans les mêmes conditions, comment citer les auteurs et mentionner la licence. By then, Carmela was already an established singer in vaudeville after her debut in The Girl from Brighton, a 1912 Broadway musical. Read the Review . of cent. "Ponselle [Ponzillo], Rosa (Melba)" in, personal reflection, personal essay, or argumentative essay, Learn how and when to remove this template message, The New York Public Library for the Performing Arts, https://en.wikipedia.org/w/index.php?title=Rosa_Ponselle&oldid=986598931, Articles with unsourced statements from September 2017, Wikipedia articles with style issues from July 2018, Wikipedia articles with MusicBrainz identifiers, Wikipedia articles with PLWABN identifiers, Wikipedia articles with SELIBR identifiers, Wikipedia articles with SNAC-ID identifiers, Wikipedia articles with Trove identifiers, Wikipedia articles with WORLDCATID identifiers, Creative Commons Attribution-ShareAlike License, Rosa Ponselle Sings Verdi; Columbia-Odyssey, Rosa Ponselle as Norma and Other Famous Heroines; RCA Victrola, Rosa Ponselle: The Columbia Acoustic Recordings; Pearl, Rosa Ponselle: The Victor Recordings 1923–25; Romophone, Rosa Ponselle: The Victor Recordings 1925–29; Romophone, Rosa Ponselle: The 1939 Victor and 1954 "Villa Pace" Recordings; Romophone, Rosa Ponselle American Recordings Vols. In spite of a great popular success with the role, for which she had prepared meticulously, Ponselle received a drubbing from most of the New York critics, especially Olin Downes in the New York Times, whose savagely caustic review hurt Ponselle deeply. Instead, her early prowess as a piano student (which was cultivated by a local music teacher, Anna Ryan, the organist of a nearby Catholic church), seemed to incline Rosa to instrumental rather than vocal music. At the time, Carmela was studying in New York with a well-connected voice teacher/agent named William Thorner. In addition to Leonora, Ponselle's roles in the 1918/19 season included Santuzza in Cavalleria rusticana, Rezia in Weber's Oberon, and Carmelita in the (unsuccessful) world premiere of Joseph Carl Breil's The Legend. Rosa Ponselle A Centenary Biography (Opera Biography Series, No. She sang mainly at the New York Metropolitan Opera and is generally considered to have been one of the greatest sopranos of the 20th Century. CDN$ 89.35: CDN$ 15.61 : Hardcover CDN$ 24.08 16 Used from CDN$ 15.61 8 New from CDN$ 89.35 Customers who bought … Wait Till You Hear Her! Sa voix, d'une exceptionnelle richesse, en fait l'une des plus grandes cantatrices de l'histoire du chant. [citation needed], Ponselle sang often on the radio in the early 30s, and she generally had her broadcasts recorded on 78 rpm Acetate discs. Ponselle had an exceptionally mature voice at an early age and, at least in her early years, sang on natural endowment with little, if any, vocal training. Parmi ses élèves se trouve le baryton-basse James Morris. In addition to her operatic activities, which were centered at the Met, Ponselle had a lucrative concert career. Differences with the Met management regarding repertoire led her not to renew her contract with the company for the 1937/38 season. Among those who coached with her during their Baltimore Civic Opera appearances at the start of their careers were Beverly Sills, Sherrill Milnes, Plácido Domingo, James Morris, Lili Chookasian, and Joshua Hecht. She was quite intimidated for being in the presence of Caruso, and in spite of an almost paralyzing case of nervousness (which she suffered from throughout her operatic career), she scored a tremendous success, both with the public and with the critics. The family lived on the city's west side in a neighborhood chiefly populated by immigrants from the south of Italy, first at the corner of Lewis Avenue and Bartlett Street, then on Foster Street, where Ponselle was born, moving when she was three to Springdale Avenue. Retrouvez [(Rosa Ponselle: A Centenary Biography )] [Author: James A. 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