In spite of being markedly overweight (a stark contrast to the fashion-model physique of her older sister), Rosa impressed with her voice, and she was hired to perform with Carmela as a "sister act". Ponselle continued in the 1930s to add roles to her repertoire at the Metropolitan Opera. Her success was such that she considered an engagement at Milan's La Scala, but after witnessing a Florence audience's brutal treatment of a famous tenor, Giacomo Lauri-Volpi, who cracked on a high note, she decided not to press her luck further with the notoriously difficult Italian opera-going public. Ponselle made no studio recordings after 1939. There is a particularly moving and very freely rendered performance of the aria "Senza Mamma" from Suor Angelica. Furieuse, elle démissionne et fait ses adieux au public dans Carmen en 1937. PHOTOGRAPH de Ponselle, Rosa et d'autres livres, articles d'art et de collection similaires disponibles sur AbeBooks.fr. Rosa Ponselle (January 22, 1897 – May 25, 1981) was an American operatic soprano. Ponselle, a singer's life by Rosa Ponselle, 1982, Doubleday edition, in English - 1st ed. Rosa Ponselle dans Le Roi d'Ys d'Édouard Lalo. In 1954 RCA Victor, unable to persuade Ponselle to return to the recording studio, took its recording equipment to the Villa Pace and set up a microphone in the foyer. Other than her appearances in London and Florence, Ponselle never sang outside the United States. 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. Wait Till You Hear Her! 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. 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]. 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. In 1929, Ponselle made her European debut in London, at the Royal Opera House at Covent Garden. Les sœurs Ponzillo connaissent un certain succès et interprètent, même, des airs tirés de comédies musicales à Broadway. Au début de l'année 1918, elle rencontre fortuitement Caruso qui, impressionné par sa voix, la présente à Gatti-Casazza, le directeur du Metropolitan Opera (Met) qui l'engage à l'essai pour une saison dans le rôle de Léonore pour la première de La forza del destino de Verdi en lui disant : « C'est la première fois que j'engage une artiste américaine sans qu'elle ait fait au préalable ses preuves en Europe, si vous réussissez, vous ouvrirez les portes à d'autres chanteurs américains. Her marriage to Jackson was rocky and they divorced in 1949. Elle suit les cours de Romano Romani, un protégé de Giacomo Puccini et de Pietro Mascagni. Shortly before her Metropolitan Opera debut in 1918, Ponselle signed a 5-year contract with the Columbia Graphophone Company. "[2] Hughes quotes Harold C. Schonberg who wrote in 1972, "That big, pure colorful golden voice would rise effortlessly, hitting the stunned listener in the face, rolling over the body, sliding down the shoulder-blades, making one wiggle with sheer physiological pleasure."[2]. 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 Ponselle later said that she never missed performing after she retired. 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. Rosa Ponselle A Centenary Biography (Opera Biography Series, No. Hola, Identifícate. Après La forza del destino, elle chante Ernani, Luisa Miller, Don Carlos, Aida, Il trovatore, La traviata, qui lui valent des acclamations au Covent Garden à Londres en 1930. Thorner auditioned Rosa, and agreed to give her lessons. By then, Carmela was already an established singer in vaudeville after her debut in The Girl from Brighton, a 1912 Broadway musical. American soprano vocalist (Meriden, Connecticut, January 22, 1897 – Villa Pace, near Baltimore, Maryland, May 25, 1981). By 1914, her reputation as a singer led to a long-term engagement at the San Carlino theater, one of the largest movie houses in New Haven, near the Yale campus. the Doubleday biography of the Great Ponselle . The Traviata and Carmen performances are in good sound (for a mid-30s radio broadcast transcription); the Don Giovanni is in very poor sound. 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). Rosa Ponselle discography and songs: Music profile for Rosa Ponselle, born 22 January 1897. In the annals of the Metropolitan Opera, the second week of November 1918 has more than a passing significance. Her parents were Italian immigrants from Caiazzo, near Caserta. Caruso was usually wary when asked to listen to amateur singers, but was deeply impressed with Rosa's voice. Martin Bernheimer, writing in The New Grove Dictionary of Opera, had this to say about Ponselle's voice and recordings: Ponselle's voice is generally regarded as one of the most beautiful of the century. These are supplemented by live recordings from the 1930s, which include three complete operas and numerous songs and arias from her appearances on radio. soprano. Ensuite, elle étudie à New York avec William Thorner, un professeur à la mode. "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. Rosa Ponselle. Read Rosa Ponselle: A Centenary Biography (Amadeus) book reviews & author details and more at Amazon.in. The April 1937 Carmen is the Cleveland tour performance that was Ponselle's farewell to the operatic stage. Noté /5. Po In 1931 she sang in another unsuccessful world premiere, Montemezzi's La notte di Zoraima, which sank without a trace. Puis elle travaille notamment les œuvres de Giuseppe Verdi, son auteur préféré. Ponselle died at her estate, Villa Pace near Baltimore, on May 25, 1981, aged 84, after a long battle with bone marrow cancer. 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. La dernière modification de cette page a été faite le 1 novembre 2020 à 23:21. Son répertoire s'enrichit avec Cavalleria rusticana de Mascagni, Andrea Chénier d'Umberto Giordano, La Gioconda d'Amilcare Ponchielli, L'Amore dei tre re de Montemezzi et La Vestale de Gaspare Spontini représenté au Mai Musical Florentin en 1933. The centennial of the great American soprano's birth brings a gossipy yet affectionate biography. 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. ». She was born Rosa Ponzillo on January 22, 1897, in Meriden, Connecticut, the youngest of three children. [citation needed], Metropolitan Opera debut and early operatic career, Appearances abroad and later operatic career, Bernheimer, Martin (1992). First sang in cinemas and in vaudeville act with her sister Carmella. They show that Ponselle's voice was in magnificent condition even at age 57, with extraordinary richness and depth (including a low D in Der Tod und das Mädchen). In her final London season in 1931, she sang in La forza del destino, Fedra (an opera by her coach and long-time friend, Romano Romani), and a reprise of La traviata. Ponselle did not consciously or purposely retire after that Cleveland Carmen in 1937; she just let her career slip away. Born Rosa Ponzillo, the daughter of Italian immigrants, she spent her childhood in Meriden, Connecticut where her family owned a bakery and grocery. She also recorded several ensembles, including the complete Tomb Scene from Aida with Giovanni Martinelli, "Mira, o Norma" with Marion Telva, the Adalgisa of her first Normas in 1927, and a trio from La forza del destino with Martinelli and Ezio Pinza. 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