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Beverly Sills - ajalugu

Beverly Sills - ajalugu


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Beverly Sills

1929-2007

Ooperilaulja


Beverly Sills sündis Brooklyn New Yorgis Bell Miriam Silvermanina 1929. aastal. Temast sai Ameerika üks populaarsemaid ooperilauljaid. Ameerika Ühendriikides koolitatud Sills tegi oma debüüdi 1947. aastal Philadelphia kodanikuooperis. Ta sai 1955. aastal tihedalt seotud New Yorgi ooperiga, kus tema esinemine Kleopatra rollis Händeli Giulio Ceasre'is tõstis ta ooperi superstaari tasemele.

Sills läks populaarse kultuuri juurde, juhtides oma telesaadet. Sills oli ka Linconi keskuse ja hiljem Metropolitan Opera esinaine. Sills suri 2. juulil 2008 New Yorgis.

Raamatud

Beverly Sillsi võlu (muusika Ameerika elus)


Beverly Sills sündis Belle Miriam Silvermanina New Yorgis Brooklynis 25. mail 1929, Shirley Temple'i (1928 –) ja teiste filmitähtede ajastul. Tema isa oli kindlustusmüüja, kes soovis, et tema tütrest saaks õpetaja. Tema emal olid aga teistsugused plaanid. Sills laulis raadios kolmeaastaselt. Nelja -aastaselt oli ta laste ja#x0027 laupäevahommikuse raadiosaate tavaline töötaja. Kell seitse laulis ta filmis ja oli juba pähe õppinud kakskümmend kaks ooperiaariat (soolot). Ta jätkas esinemist raadiosaadetes ja tegi pesupesemisreklaame, mille tulemusel sai ta hüüdnime ȫubbles.

Pärast gümnaasiumi lõpetamist käis Sills New Yorgis professionaalses lastekoolis. Üheksateistkümneaastaseks saades oli ta viiekümne kuni kuuekümne ooperi meelde jätnud. Ta õppis häält eraelus koos oma elukaaslase Estelle Lieblingiga ja saavutas lõpuks professionaalse pädevuse ka klaveril, õppides Paolo Gallico juures.

Arvestati vangipõlves noorima primadonnana ja Sills liitus Gilberti ja Sullivani ringreisiseltskonnaga 1945. aastal. Kaks aastat hiljem laulis ta oma esimest ooperirolli koos Philadelphia (Pennsylvania) ooperikompaniiga. Ta tuuritas koos mitme erineva väikese ooperifirmaga alates 1948. aastast.

Sills tegi New Yorgi ooperis debüüdi 29. oktoobril 1955, lauldes Rosalinde'i Die Fledermaus. Kriitikud armastasid teda ja ennustasid tema karjäärile suurt edu. Lõpuks käsutas ta laia repertuaari, mis koosneb sajast rollist, esitades aktiivselt kuuskümmend neist igal aastal oma karjääri tipphetkel saja ooperi- või kontsertesinemisena. Tema suurepärane mälu võimaldas tal mitte ainult omandada oma tohutu rollide repertuaari, vaid ka mõista teisi peamisi rolle tema esitatavates ooperites. See võime teenis talle maine mitte ainult laval lauljana, vaid ka näitlejana.


Liebling, Estelle (1880–1970)

Ameerika sopran ja vokaaliõpetaja. Sündinud 1880. aastal, suri 1970. aastal koos õppimisega Mathilde Marchesi ja Selma Nicklass-Kempner.

Estelle Liebling esines koos paljude Euroopa ja Ameerika ooperifirmadega, sealhulgas Metropolitan Operaga (1903–04). Ta tuuritas ka koos John Philip Sousa bändiga, esinedes üle 1600 kontserdi. 1930. aastaks oli ta turneedest loobunud ja hakanud õpetama. Omal ajal Curtise instituudiga seotud ta oli ka kauaaegne ooperi suurepärase lauluõpetaja Beverly Sills .

Sel ajal, kui ta laulis rangelt ooperit, tundus Sillsi unistus diivaks saada sama kaugel kui kunagi varem. Tundus, et tal läks hästi hooaeg San Francisco ooperis 1953. aastal, kus ta debüteeris Boito saates Helen of Troy. Mefistofele ja laulis edasi Mozarti Doña Elvirat Don Giovanni. Kuid hooaeg lõppes järsult, kui Sillsi loomulik üleküllus ajas ta tollase ettevõtte kunstilise juhi Kurt Adleriga hätta, kes oli ta valinud üheks kaheksast Wagneri Valkyryst Die Walküre. Kui ta koos oma õejumalannadega sünget väljapääsu tegi, kukkus Sillsi sarvedega kiiver peast välja ja plaksutas lavale, kuid selle asemel, et säilitada Valküüriale loomulik tundmatu käitumine, jooksis Beverly mahajäetud peakattet korjama ja plaksutas selle tagasi. , publiku rõõmuks ja rõõmuks. Lavataguses suitsuv Adler süüdistas teda purjus olekus, samas kui Sills tõestas seda terava "Drop dead!" et ta pole midagi sellist ja tema töösuhe ettevõttes lõppes kohe. Ta ei laulnud San Franciscos uuesti 18 aastat, mille puhul Adler jättis solvava kiivri oma riietusruumi, täis lilli ja märget „Tere tulemast koju“.

Kogu 1950ndate alguse oli Liebling saatnud Sills'i proovile hädas olevale noorele New Yorgi ooperile (NYCO), seltskonnale, kellel oli esimene hooaeg, kui Beverly 1944. aastal keskkooli lõpetas. Aastaks 1954 oli Sills kuulanud vähemalt seitse korda NYCO direktori dr bel canto rollid Donizetti, Rossini ja Bellini käest. Kui Rosenstock talle kaheksandat korda tagasi helistas, veenis Sills Lieblingit uurima, miks mees teda pidevalt kuulas, kuid ei andnud talle kunagi tööd. Rosenstock, õppis Beverly, armastas oma häält, kuid tundis, et tal pole "isiksust". Sellisest kohtlemisest pettunud ja vihane Sills ilmus oma kaheksandale proovile, mis oli riietatud mustadesse võrgusukadesse, naeltega kontsadesse ja paljastava pluusini, juuksed seljal lahti rippumas. Kuna ta oli praeguseks Rosenstocki jaoks kõik oma repertuaaris laulnud, alustas ta lavastust "La mamma morta" Andrea Chénier, kirjutatud raskehäälsetele, dramaatilistele sopranitele ja koloratuursopranile vaevalt kohane. „Ma teadsin, et mul on vale laulda, aga olin väga vihane ja tahtsin, et ta seda teaks, "mäletab Sills." Usu mind, ta teadis Rosenstock palkas ta ettevõtte 1955. aasta sügishooajaks.

Tollane City Opera asus Manhattani 55. tänaval asuvas vanas Shrinersi templis, mis pole kunagi mõeldud ooperi jaoks. Kuigi linnapea La Guardia lubadust "ooperifirma rahvale" oli rangelt järgitud odavate kohtade pakkumisega (kõige kallimad, mis maksid kaks dollarit), olid tulemuseks ka odavalt paigaldatud lavastused ja lühikesed hooajad - vaid nädal sügisel, ja kolm nädalat kevadel - ja krooniliselt ammendunud riigikassa. Sellegipoolest otsustas ettevõte julgelt Straussi Die Fledermausja Rosenstock valis Rossalinda laulma Sills. Shirley valmistas selle rolli jaoks kõik oma tütre kostüümid, lisades samal ajal viie dollari suuruse valge rebase varast, mis leiti Ritz Thrift Shopist teatri nurga taga. Sillsi esitus, milles ta rõhutas selle osa koomilisi proportsioone, pälvis pärast ligi 15 -aastast professionaalset laulu esmakordselt laialdast tähelepanu. The New York Times kirjutas, et City Opera oli lisanud oma nimekirja "vilunud laulja" ja ütles oma lugejatele, et lavastus tervikuna oli "parim muusikal, mida selles linnas Broadwayl või selle lähedal näha saab". Rosalinda oli algus Sillsi 25-aastasele suhtele City Operaga ja tema kauaoodatud unistusele ooperitähedusest.

Ärge arvake, et olete nagu iga teine ​​koolitüdruk, sest te pole seda.

- Estelle Liebling Beverly Sillsile, 1936

Sills tuuritas seltskonnaga sügis- ja kevadhooaja vahel ning kohtus Clevelandi pressiklubi peol klubi presidendi Peter Greenough'ga. Greenough oli jõuka Massachusettsi perekonna poeg, kellele kuulus Clevelandi tavaline edasimüüja. Nende kohtumise ajal oli Greenough keset pikka ja teravat lahutusprotsessi. Teda ja Sillsit köideti kohe teineteise vastu, kuigi nende kurameerimist ei saanud kirjeldada kui ooperi mõõtu, kuid mitu vastamata kuupäeva ja vastamata telefonikõned enne suhte tõsiseks muutumist ja abiellumist, 17. septembril Estelle Lieblingi stuudios. , 1956. Need kaks jäid teineteisele pühendunuks, kuid abielu algusaastad ei olnud probleemideta - Greenoughi konservatiivsest Uus -Inglismaa perekonnast, kellele ei meeldinud asjaolu, et ta abiellus juudiga, ja Sillsi perekonnast, kellele see ei meeldinud. tegelikult abiellus ta paganamaga. Murele lisandus pinge Sills'i ja Greenoughi kolme tütre vahel tema esimesest abielust, kes järsku leidsid end koos juudi ooperidiivaga Brooklynist kasuema jaoks. Nii Beverly kui ka tema abikaasa olid oma sõprade ja perekondade poolt aastaid tõrjutud ning see on nende abielu tugevuse tunnistus, et see jäi ellu.

Värskelt oma võidukast debüüthooajast New Yorgi City Operaga, nägi Sills, et tema staatus eakaaslaste seas tõusis taas oma suurepärase esitusega Montemezzi kurikuulsalt keerulises Kolme kuninga armastus, kus ta laulis Fiora rolli. Tema vana sõber Philadelphia kodanikuooperist Bamboscheck oli talle 1. jaanuaril 1956 ehk veidi rohkem kui nädal enne ooperi avamist 9. päeval meeletult helistanud, et tema Fiora haigestunud. "Ma ei teadnud kedagi piisavalt rumalat, et seda proovida," ütles ta hiljem, "ega piisavalt tark, et seda õppida." Kuigi Montemezzi looming on sisuliselt pika tooniga luuletus, millel pole ühtegi tüüpilise ooperi iseloomulikku aariat ega duetti, õppis Sills selle osa ära, kuulates neljapäevase perioodi jooksul peaaegu pidevalt salvestusi, alustades seejärel neli päeva kiireid proove enne lavastust avatud kriitilisele tunnustusele. Kuid just 1958. aasta New York City Opera hooaeg viis Beverly Sills'i lõpuks Ameerika ooperi tippu.

Julius Rudel oli asunud NYCO direktoriks pärast Joseph Rosenstocki pensionile jäämist 1956. aastal, kuigi ettevõtte direktorite nõukogu sulges sel aastal rahapuuduse tõttu ettevõtte peaaegu enne, kui Sills võitis, et nad prooviksid veel ühe aasta, vähendatud palkade ja tootmistöötajatega. Rudel andis Sillsile nimiosa Douglas Moore'i kaasaegses ooperis, Ballaad Baby Doe'st, mis kinnitaks kompanii hooaja "All American Opera" 1958. aastal. See roll oli tema suurim väljakutse nii muusikaliselt kui ka dramaatiliselt. "Beebil on palju laulda," märkis Sills, "ja tema kõige raskem aaria tuleb lõpus. Selle osa laulmiseks peate kogu aeg kõrge energiataseme säilitama." Ka siis on Baby Doe tegelane vaevalt sümpaatne. Ta on Moore'i ooperi "teine ​​naine", kelle pärast 19. sajandi Ameerikas jõukas hõbedakaevur oma naise ja lapsed hülgab. Sills teadis, et publiku enda poole hoidmiseks kulub kogu dramaatiline tehnika, mille ta oli "Õpetajalt" õppinud. Hoidke neid, kuni ta seda tegi, kuni ooperi traagilise järelduseni ja Beebi Doe sureva aaria ees hõbedakaevanduse suu ees, milles tema väljavalitu just hukkus. New Yorgi oma Herald Tribune oli oma esinemisest nii vaimustuses, et pani selle esiküljele ülevaate, mis oli massilise lugejaskonna päevalehe jaoks ebatavaline samm ja ülejäänud ooperi ajakirjandus oli sama vaimustuses. Kullake veensid Beverly, kes oli mõelnud proua Peter Greenoughina rahulikule elule taanduda, et tema 25 -aastane töö on lõpuks vilja kandnud.

Kuid sündmused, nagu see juhtus, tõestasid peaaegu vastupidist. Sills jäi rasedaks varsti pärast seda Kullakeesietendus ja 1959. aasta keskel sunniti ta ajutiselt pensionile, et sünnitada augustis tütar Meredith ja 1961. aasta juunis sündinud poeg Peter, hüüdnimega Bucky. Kuue nädala jooksul sündisid Sills ja tema abikaasale öeldi, et Meredith kannatas täieliku kurtuse all, samas kui Peter oli tõsiselt autistlik ja tal oli vaja veeta ülejäänud elu asutuses. "Olin laste puudustest hämmingus," on Sills öelnud. "Mu käitumine muutus. Ma ei läheks kodust välja. Jäin koju ja sain kohutavalt kodune." Möödus mitu kuud depressiooni, enne kui ta nõustus Peetri ettepanekuga jätkata õpinguid Estelle Lieblingi juures. Alles 1962. aastal tundis ta end avalikkusega silmitsi seistes ja jätkuvalt New Yorgi City Opera jaoks esinemist, ning just ooper lõpetas ta tervenemise.

Aastal 1966 kolis City Opera oma uude koju Lincolni keskuses ja tähistas seda sündmust, avades samal aastal hooaja Händeli lavastusega. Guilio Cesare. Kuigi Rudel oli läinud oma ettevõttest välja oma Kleopatrat otsima, nõudis Sills, et see roll tuleks talle anda - isegi ähvardades ettevõttest lahkuda, kui Rudel ei nõustu. Pärast palju manööverdamist ja läbirääkimisi laulis Sills rolli, mida ta oli instinktiivselt tundnud, et ta alustab oma karjääri uuesti, ning tõstis kogu maja püsti aariaga, mis lõpetab teose teise vaatuse "Se pieta". "See oli minu jaoks rõõmustav, tervendav kogemus," mäletab ta. "Kõik need tunnid ja aastad… proovides ja esinemas käies pääsesin Beverly Sillsist." Nagu kinnituseks kutsuti teda esimest korda laulma maailma suurimatesse ooperimajadesse - La Scalasse 1969. aastal, kus tema esinemine Pamira rollis Le Siège de Corinthe pani Itaalia kriitikud teda 1970. aastal Covent Gardenis ja Berliini Deutsche Ooperis nimetama "uueks Callaks" ning lõpuks 1975. aastal võidukas debüüdiks Metropolitanis oma Pamira korduses. (Ta oli juba laulnud Meti sponsoreeritud välikontserdil Don Giovanni 1966.) Peaaegu ühehäälne kiitus tema jaoks viitas tema "täisvärvilisele, täiuslikult tasakaalustatud, kindlalt tsentreeritud" tehnikale, isegi kui ta asus raskema poole bel canto rollid, sealhulgas kõik kolm "Donizetti kuningannat" - Elizabeth sisse Roberto Devereaux, Anne sisse Anna Bolenaja Maarja sisse Maria Stuarta. Oma ametlikul pensionile jäämisel 1980. aastal oli ta üks maailma tuntumaid ja kättesaadavamaid ooperilauljaid, kelle maine ulatus kogu meelelahutustööstuse ja rahva kultuurielu juurde. Nende hulgas, kes osalesid tema viimasel esinemisel 27. oktoobri 1980. aasta õhtul New Yorgi ooperis Dinah Shore, Mary Martin, Carol Burnett , Burt Reynolds, Walter Cronkite ja mitmed ooperivalgustid nagu Renata Scotto , Placido Domingo, Sherrill Milnes ja Leontyne Hind . Veelgi rahuldavam oli Sillsile see galaüritus, mida ta nüüd juhtinud ooperifirmale kogus üle miljoni dollari.

Sills, kes määrati 1979. aastal New Yorgi ooperi peadirektoriks, asus ametisse täiskohaga järgmisel hommikul pärast hüvastijätu, laskudes lilledega lavalt Lincolni keskuse väljaku all asuvatesse maa-alustesse haldusasutustesse. Tema üleminek diivast režissööriks ei olnud skeptikuteta, kuid Sills tundis end uueks rolliks hästi ette valmistatuks. "Ma olin teatris olnud viiskümmend aastat," ütleb ta, "ja kell seda teater algusest peale. Mida ma ei teadnud, õppisin. "Kuid isegi Beverly tunnistas, et tõenäoliselt poleks ta seda tööd võtnud, kui oleks teadnud NYCO võla suurust 1980. aastal - monumentaalset 5 miljonit dollarit." Ma ei olnud selleks valmis. finantsseisundi keerukust, "tunnistab ta nüüd." Ja ma ei saanud avaldada tegelikku finantspilti, sest keegi ei pane raha pankrotistunud organisatsiooni. Ma pidin säilitama muigava ja kihiseva välimuse, mida kõik minult ootasid. "Sills teadis paremini kui keegi teine, et ainult ühe lavastuse paigaldamine Lincolni keskuses 1980. aastal maksis tublisti üle 100 000 dollari, rääkimata sellest, et tuntumad ja paremini varustatud Metropolitan, kellega tema ettevõte jagas Lincolni keskust. Kuid ta tegeles selle tööga kogu keskendumise ja distsipliiniga, millega ta oli valmistunud oma kõige raskemateks rollideks, otsustades seada eesmärgiks ooperi populariseerimine, minnes massipublikule ja traditsioonilise, kuid väiksema pühendunud publiku asemel suuremat piletikassa, kes eelistas Metit tõsise ooperi jaoks. Kuna reklaamiagentuuri palkamiseks polnud raha, kujundas ta ise ettevõtte reklaamid (üks neist Faust, kandes joont: "Kas tunned end põrgu? Tule vaata Fausti!"). Ta mõtles isiklikult välja kõigi ettevõtte toodangu kulude jaotused ja hoolitses selle eest, et neid rangelt järgitaks, tutvustas heliloojate uusi teoseid, mis olid rohkem tuntud oma Broadway kaebuse poolest, näiteks Stephen Sondheimi Sweeney Todd ja ooperisõprade õuduseks igal pool paigaldas "supertiitrid", mis võimaldasid publikul lugeda rida-realt ingliskeelseid tõlkeid teose sõnadest, mis olid prokseniumi kohale projitseeritud. Ta reisis väsimatult mööda riiki raha kogumise ekspeditsioonidel ja kutsus appi oma abikaasa rikkaid ärisõpru. Ainuüksi 1983. aastal kogus Sills üle 9 miljoni dollari. Kui ladu, kus ettevõtte komplekte ja kostüüme hoiti, 1985. aastal maani maha põles, õnnestus tal nelja kuuga koguda 5 miljonit dollarit, et taastada 1986. aasta hooaeg graafiku alusel. 1988. aastal, kui ta otsustas tagasi astuda, oli New Yorgi ooper rahaliselt terve ja hinnati riigi üheks parimaks repertuaarifirmaks.

Teel oli ka teisi autasusid - Harvardi ja New Yorgi ülikooli audoktorid - presidendi vabadusmedal, mille andis välja 1980. aastal Jimmy Carter ja tema juhatus Dimesi märtsi emade marsil sünnidefektide teemal, mille eest ta on kogunud miljoneid dollarit. 1994. aastal nimetati Sills raha kogumise ja poliitika kujundamise eest vastutavaks Lincolni keskuse juhatajaks, tuues uusi väljakutseid, mille ta 66-aastaselt kõhklemata vastu võttis. "Ma tean ainult seda, et olen alati püüdnud astuda sammukese mööda kõikjalt, kus inimesed ootasid, et ma lõpetan," ütles Beverly Sills toona. "Ma ei kavatsegi praegu muutuda."


Beverly Sills

Kangelane, kellel õnnestub kõik võimalused, on ameeriklaste mitmeaastane lemmik. Ooperilaulja ja mänedžer Beverly Sills sobib sellele kirjeldusele. Varajane laulja alates kolmandast eluaastast, debüteeris ta Metropolitani ooperimajas alles pea neljakümne kuueaastaselt, olles kaugelt üle oma parimate aastate ooperilauljana. Ometi on tema karjäär eeskujuks võitlejale, kes lõi ooperimaailmas oma niši ja laulis ebatavalist repertuaari vähem tuntud ja vähem hinnatud majades, enne kui Metropolitan Opera ametlik maailm teda tunnustas. Sills trotsis koefitsiente ja nagu Ameerika parimate traditsioonide kohaselt, see ka õnnestus. Lisaks oli ta New Yorgi ooperikompanii (NYCO) direktori rollis murranguline, seda ametit polnud naine ega laulja kunagi varem pidanud.

Sillsi suurepärased võimed ja võluv isiksus näitasid end juba oma elu alguses. Sündinud Belle Miriam Silvermanina 25. mail 1929 Brooklynis Shirley (Bahn) ja Morris Silvermani juurde, näitas ta beebina huvi muusika vastu. Ta kuulas oma ema vanu lindistusi legendaarse soprani Amelita Galli-Curci kohta ja oli seitsmeaastaseks saanud kahekümne kaks aariat. Tema itaalia keel toodeti mehaaniliselt, kuid tema lavaline olek ja mullitav käitumine võitsid tema varase publiku. Üks peretuttav pani talle nimeks Beverly Sills, sest ta arvas, et sellel on parem telkiväärtus kui Belle Silvermanil. Küüned esinesid perele, sõpradele ja kõigile, kes kuulaksid. Näitleja ja esineja olid juba asitõendites.

Nelja- ja viieaastasena laulis ta Onu Bobi vikerkaar Tund raadiosaade. Enesekindel ja sõnastatud viis, mis oleks täiskasvanud Beverly Sillsis nii ilmne, avaldus juba lapsesinejas. Seitsmeaastaselt sai temast tuntud ja kogenud lauluõpetaja Estelle Lieblingi õpilane. Liebling jäi Sillsi ainsaks õpetajaks kuni Lieblingi surmani aastal 1970. Üheksa kuni kaheteistkümneaastaselt oli Sills Lieblingi juhendamisel tavaline esineja Major Bowesi amatöör Tund. Igal pühapäeval sõitis ta koos emaga Brooklynist Manhattanile ja Capitol Theatre Buildingisse, et koos major Bowesiga esineda. Kolme aasta pärast läks ta pensionile, et elada Brooklynis normaalsemat elu. Kuid esinemissoov jäi aktiivseks ambitsiooniks, ehkki see ajutiselt maha suruti.

Sillsi teises autobiograafias Beverly, ta kirjeldas oma suurt ja laiendatud juudi perekonda, eriti isa perekonnaosa. Morris Silvermanil oli kaheksa venda ja kolm õde, Shirley Silvermanil aga üks vend ja neli õde. Pühapäevad olid sageli külastuspäevad, mil Silvermani klann kogunes. Beverly ja tema kaks vanemat venda Stanley ja Sydney külastasid koos nõbude, tädide ja onudega. Tema naabruses, mida nimetatakse Mereväravaks, olid juudi pered enamuses ning pere ja naabrite sagedane suhtlemine oli tavaline. Sills tunnistab kergesti oma juudi pärandit, kuigi tal oli vähe ametlikku juudi haridust. Kui Sillsi isa 1949. aastal viiekümne kolmeaastasena suri, nõrgenes side tema perekonnaga. Tema sõnul ei käitunud ei Silvermani perekond ega rabi lohutavalt ega toetavalt. Tema ema pöördus lohutuseks kristliku teaduse poole ega näinud konflikti tema juudi pärandi ja tema uue filosoofia vahel.

Sillsi isa mängis tema käitumise kujundamisel domineerivat rolli. Ta soovis, et naine lõpetaks oma haridustee, sealhulgas kolledži, enne kui ta lauljakarjääri juurde naaseb. Sills oli väga hea õpilane, kelle IQ oli 155, ja ta näitas üles andeid nii matemaatika kui ka muusika jaoks, mis pole haruldane oskuste kombinatsioon. Aastal lõpetas ta P.S. Kui ta jätkas laulmistunde prantsuse ja itaalia keeles, õppis ta Brooklynis 91, õppis ta Erasmus Halli keskkoolis Brooklynis ja professionaalses lastekoolis Manhattanil. Viieteistkümneaastaseks saades oli ta õppinud paarkümmend ooperirolli ja oma mõtetes oma tulevase kursi seadnud.

Kui isa soovis, et tal oleks kõrgharidus, oli Sills otsustanud alustada oma professionaalset lauljakarjääri. Ta veenis isa laskma tal laulda ning 1945. aasta sügisel, kuueteistkümneaastasena, läks ta tööle produtsendi J. J. Shuberti juurde, tuuritades koos tema repertuaarifirmaga Gilbert ja Sullivan. Veebruaris 1947 debüteeris ta suurooperis koos Philadelphia Kodanikuooperiga Hispaania mustlase Frasquita rollis Bizeti filmis. Carmen. Kuigi Sills oli lauljakarjääri alustanud varem kui paljud teised sopranid, ei õnnestunud tal suure ettevõtte nimekirja sattuda. Selleks ajaks oli tema repertuaaris üle viiekümne rolli, kuid vähe võimalusi oma ande demonstreerimiseks.

Kui isa suri 1949. aastal kopsuvähki, oli ta nii isiklikult kaotusest laastatud kui ka ametialaselt pettunud karjääri edusammude puudumise pärast. Ta jätkas varuosade otsimist ja avastas end sageli tuuritamast teise klassi ettevõtetes. Aastal 1952 veetis ta suve Catskillsi hotellis Concord, lauldes publikule, keda ta nimetas „tänuväärseteks juutideks”. Aastatel 1952–1955 käis ta NYCO direktori Joseph Rosenstocki proovis ja lõpuks, 1955. aastal, nõustus ta lubama tal seltskonnaga liituda. Sellest ühendusest sai õnnelik liit nii Sillsi karjääri kui ka ettevõtte jaoks. NYCO -d peeti linna "teiseks" ooperiteatriks ning sellel ei olnud Metropolitan'i eelarvet ega prestiiži. Kuid Sillsi kohalolek muudaks seda olukorda. Oktoobris 1955 debüteeris ta Straussi filmis Die Fledermaus, roll, mis näitas tema võlu, näitlejavõimet ja virtuoosset laulu. Tema osav koloratuurhääl, mis oli nii palju aastaid koolitustel käinud, oli nüüd avalikult teada.

1956. aastal Clevelandis ringreisil käies kohtus ta ajakirja kaastoimetajaga Clevelandi tavaline edasimüüja, Peter Greenough ja armus temasse. Romantikal, kurameerimisel ja abiellumisel oli aga palju takistusi, mida ületada. Greenough oli sel ajal abielus, kolme tütre isa, piiskoplik, ja kolmteist aastat vanem kui kahekümne kuueaastane Sills. Kui Sills rääkis oma emale Peterist, siis proua Silverman nuttis ja imestas, miks tema laps ei saa täielikku õnne ja edu nautida. Greenough kurameeris Beverly peksmise ajal proua Silvermaniga ja paar abiellus 17. novembril 1956. Nad asutasid Clevelandis elukoha ja Sills sõitis esinema New Yorki. Clevelandi kõrgema klassi WASP ühiskond ei avanud Sillsile käsi, see üllatas teda. Tema mugav New Yorgi juudi maailm polnud teda Clevelandi ülemise maakoore kohati avalikult antisemiitlikuks maailmaks ette valmistanud. Tema äia teine ​​naine oli tema vastu avalikult vaenulik ja Sills märkis oma autobiograafias, et ta lihtsalt ei mõista antisemitismi, mis hindas inimesi etteantud siltide, mitte üksikisikute järgi. 1959. aastal kolis paar Bostonisse, kus 1959. aastal sündis tal tütar Meredith (Muffy) Greenough. Mõni aasta hiljem kolisid nad New Yorki.

Greenoughs sai teada, et Muffy oli kurt, see oli tõsine löök ooperilauljale, kes oli lootnud oma tütrele laulda. 1961. aastal sündis Sillsil poeg Peter Jr (Bucky). Kahjuks oli laps tõsiselt alaarenenud ja vajas institutsionaliseerimist. Tema enda sõnul oli see Sillsile väga raske periood. Ta lõpetas professionaalselt laulmise ja keskendus tütre eest hoolitsemisele. Just dirigent Julius Rudeli, tema hea sõbra ja kolleegi püsivuse kaudu veenis ta 1962. aastal oma karjääri jätkama. 1965. aastaks oli kolmekümne kuueaastasest Sillsist saanud New Yorgi ooperi primadonna. Järgmisel aastal, kui ettevõte kolis oma uude majja Lincolni keskuses, esines Sills selles, mida ta hiljem pidas oma parimaks rolliks: Kleopatra Händeli filmis Julius Caesa, ja tema kostüümiks oli Norman Treigle.

1960ndate lõpus saavutas ta kuulsuse ja esiletõstmise rollides, mida polnud aastaid mängitud. Ta oli Pamira Rossinis Korintose piiramine, Elvira Bellinis Mina Puritani, ja kolm kuningannat Donizetti's Roberto Devereux, Maria Stuarda, ja Anna Bolena. Sillsi suurepärast näitlejaoskust ja tema sädelevat isiksust illustreerisid need ebatavalised ja rasked rollid hästi. Kriitik Winthrop Sargeant nimetas teda üheks New Yorgi imest. Hiljem teatas ta, et tema kuninganna Elizabeth aastal Roberto Devereux oli tema uhkeim saavutus.

8. aprillil 1975, neljakümne viieaastasena, debüteeris ta Metropolitan Opera Company'is kui Pamira Korintose piiramine. Järgmisel aastal laulis ta Lucia Kohtumisel 1978, Thais. Aga Sillsi laulupäevad olid peagi läbi. Viiekümneaastaseks saades kaalus ta muid karjäärikäike. Tema pikaajaline koostöö NYCO -ga jäi huviliseks ning 1979. aastal sai temast esimene naine ja esimene laulja, kes seda ooperikompaniid juhtis. Nii liitus ta väikese naissoost ooperijuhtide rühmaga: Carol Fox Chicago Lyric Ooperis ja Sarah Caldwell Bostonis. Sills teatas laulmisest loobumisest 1979. aastal ja tema hüvastijätugalat, 27. oktoobril 1980, näidati telesaates PBS. Sellest päevast möödus kakskümmend viis aastat, kui ta esmakordselt NYCO-s laulis. Kaks tuhat fänni tuli Lincolni keskusesse tema austust avaldama ja ettevõte kogus miljon dollarit.

Järgmise kümne aasta jooksul juhtis Beverly Sills NYCO -d. Kui ta alustas, oli ettevõttel viie miljoni dollari suurune puudujääk. 1987. aastaks oli ta võla kustutanud, näidates oma suurepärast võimet raha koguja ja ooperi avalike suhete eestkõnelejana. Tõepoolest, 1980. aastatel sai Beverly Sillsist tänu televisioonis esinemisele riiklik kunsti eestkõneleja. Ta demonstreeris oma kerget naeru ja võluvat olemust ka erilisel koos Carol Burnettiga ning sagedastel esinemistel Tonight Show, peaosas Johnny Carson. Sills laulis president Ronald Reaganile ja temast sai sageli tsiteeritud kuulsus kunstiga seotud küsimustes.

Kuigi ta omandas uues mänedžeri rollis nii kriitikuid kui ka fänne, oli Sills paljudes valdkondades uuenduslik. 1983. aastal võttis ta kasutusele ingliskeelsed subtiitrid, muutes ooperi kättesaadavamaks rohkematele inimestele. Ta tutvustas ka viipekeelt. Osa Sillsi filosoofiast oli julgustada Ameerika lauljaid ja pakkuda võimalusi Ameerika ooperitele. 1950ndate keskel oli ta laulnud Douglas Moore’is Ballaad Baby Doe'ist, New Yorgi ooperi direktorina töötas ta Stephen Sondheimi, Dominick Argento ja Anthony Davise teoste lavastustes. Ooperipublik nägi esimest korda ooperit Malcolm X -ist (Davise oma) X), samuti Casanova (Argento’s) kaasaegne käsitlus Casanova). Nad kuulsid uusi Ameerika lauljaid nagu Jerry Hadley, Samuel Ramey ja Carol Van Ness, kellel kõigil oli suur rahvusvaheline karjäär. Sillsi juhtkond demonstreeris ooperimaailmale, et Ameerika Ühendriikides koolitatud Ameerika lauljad võivad seal teha olulist karjääri ilma Euroopas õpipoisita - see on uus nähtus.

1984. aastal, kui Christopher Keenest sai ettevõtte muusikajuht, keskendus Sills uute lauljate värbamisele ja raha kogumisele. 1989. aastal lahkus ta ametist, kuid jätkas Ameerikas kunstidest rääkimist ja kirjutamist. 1994. aastal sai temast esimene Lincoln Centeri juhatuse esimees, kuna ükski naine ega esineja ei olnud kunagi varem seda ametit pidanud. Sills ütles, et kavatseb teismelistele välja töötada rohkem programme, et noortele oleks võimalik tutvustada ooperit, klassikalist muusikat ja teatrit. Ta oli sellel ametikohal kuni 2002. aastani, mil temast sai Metropolitan Opera vabatahtlik esinaine. Jaanuaris 2005 loobus ta sellest ametist, mida ta nimetas „kuuekümneaastase karjääri viimaseks teoks kunstimaailmas”. Ta selgitas seda sammu, tuues nii enda nõrkust (ta oli aasta jooksul kogenud kolm luumurdu) kui ka abikaasa halba tervist, kelle eest ta oli kaheksa aastat hoolitsenud.

Sills pälvis linna kultuurielusse panustamise eest palju auhindu, sealhulgas presidendi vabadusmedal (1980), riigi kõrgeim tsiviilelanike auhind ja New Yorgi Händeli medal. Ta võitis 1976. aastal Grammy auhinna ja on võitnud neli Emmy auhinda (1975, 1977, 1980, 1981).

Aastal 1987 oli Sills üks neljast töötava naise kuulsuste saali ja 1998. aastal riiklikku naiste kuulsuste saali. Sills töötab presidendi kunstide töörühmas, on riikliku kunstide sihtkapitali liige ja omab neliteist aukraadi.

Ta oli seotud mitme heategevusorganisatsiooniga, eriti nendega, mis kajastasid tema kogemust kahe puudega lapse emana. Dimesi märtsi sihtasutuse endine riiklik esimees - mille eest ta aitas koguda rohkem kui kaheksakümmend miljonit dollarit - oli ta ka sclerosis multiplex Society esimees.

Beverly Sillsi panus ooperi- ja kaunite kunstide maailma on olnud muljetavaldav. Tema murranguline roll ooperirežissöörina ja karjäär lauljana on olnud tähelepanuväärne. Tema heli- ja videosalvestised, eriti 1950. aastate etendustest sellistes delikaatsetes rollides nagu Lucia, Manon, Thaïs ja kolm kuningannat, säilitavad alati tema pärandi. Sillsi laul oli tuntud oma delikaatsuse ja peene tõlgenduse poolest. Tema koloratuurhäälel ei olnud lüüriliste sopranite ulatust ega vastupidavust. Tema hääle ilu tabasid alles varased salvestused. Tema videoetendused La Traviata ja Manon tagab tulevastele põlvedele võimaluse näha oma tõhusat näitlejatehnikat. Tema demokraatlik huvi teha ooper suurele hulgale inimestele kättesaadavaks peegeldab tema egalitaarset filosoofiat ja pühendumust igas vanuses, rassist ja päritoluga ameeriklastele.

In her autobiographical discussions of her beliefs, Sills talked about her cultural connection to Judaism and America. While she views herself as a religious person, she does not practice any ritual (other than to light a memorial candle on the anniversaries of her parents’ deaths). She does not attend prayer services at a synagogue or temple and stated in her autobiography that her daughter, Muffy, could choose any religion she wished. In 1970 she visited Israel and was enormously impressed. She performed with Julius Rudel and the Israel Philharmonic Orchestra and found the experience to be exuberant, stimulating and exciting. But her connection to Israel and Judaism, she wrote, is historical and temperamental, not philosophical or spiritual. She believes that one can believe in God and be religious without membership in a particular religion.

As a Jewish American, Sills shared the very American commitment to equal opportunity for all and to respect for and tolerance of religious and cultural differences. She enjoyed the diversity of peoples in the United States and considers the artistic freedoms and protections that America offers critical to creative success. As a self-confident woman, educated in both a Jewish and American environment that encouraged and rewarded achievement, Beverly Sills serves as a role model for American women. As someone who overcame many obstacles in her career, she exemplifies the enduring American image of the underdog succeeding against all odds. As an articulate advocate for the arts, Beverly Sills is among the most widely recognized faces from the world of American opera.

Sills passed away on July 2, 2007 at the age of 78.

Current Biography. “Beverly Sills.” (1982): 392–396 Davis, Peter G. “Devil’s Disciple.” New York 21 (October 8, 1988): 64ff. Heymont, George. “Bravo NYCO!” Horizon 29 (April 1986): 33–34 McNally, Terence. “Patience Is a Virtue.” Horizon 28 (July/August, 1985): 58 Rich, Alan. “High Notes at the City Opera.” Newsweek 104 (October 8, 1984): 80ff. Sills, Beverly. Bubbles: A Self Portrait (1976) Idem. Beverly: An Autobiography, with Lawrence Linderman (1987) Idem. “Make Ours a World of Love, Not Hate and War.” McCall’s 118 (May 1991): 68ff Wakin, Daniel. “Beverly Sills …” NYTimes, Jan. 26, 2005.


Beverly Sills - History

Source: July 1981 Volume 19 Number 3, Pages 85&ndash90

When Beverly Sills Sang in Berwyn

On July 7, 1947 an eighteen year old Beverly Sills, just beginning her illustrious career, appeared on the stage of the old Berwyn Theater as "The Merry Widow".

Early that summer the Main Line Civic Opera Company was formed to give stage performances of operettas and musical comedies in the Berwyn Theater.

The owners of the company were Albert F. Bryan, the manager of the theater, Alice Wellman and Harry Harris, of Philadelphia, and Nat Burns, who was also director of productions for the company. (Burns, a nephew of the famous Nat Goodwin, was himself a veteran trooper who had made his stage debut at the age of four. A versatile character and comedy actor, he had played with virtually every well-known star of the theater in his more than fifty years of connection with the stage and movies. One release described him as "one of the best-loved figures of the American stage" who had "been known to direct a play, act the most difficult comedy role in the play, teach a young electrician to light a stage for the first time, assist a willing but inexperienced stage designer in the fundamentals of his trade, change a wistful debutante into a polished performer &mdash and in his odd moments type the business letters by the hunt and peck system".)

The company's first production, directed by Miss Wellman, was Rudolph Friml's "The Firefly". Opening on June 24, it ran for two weeks, and received only lukewarm reviews.

Beverly Sills at the time of her appearance in the Berwyn Theater

With the second production, however, critical acclaim began. It was "The Merry Widow", by Franz Lehar. Directed by Nat Burns, it featured Beverly Sills as the widow and Frank Melton as Danilo.

"The performance," the Upper Main Line News reported, "left little to be desired. If fault must be found, it is with the failure of the cast to respond as fully as they might have done to calls for encore. . The whole performance is so swell it left a feeling of sincere regret when the final curtain rang down."

Concerning the two principal stars, the paper observed, "Beverly Sills was utterly devastating as the widow. Red-haired Beverly met every situation with consummate skill and her rendition of 'Villa' had the audience on the ropes. Melton's whimsical grin and light hearted debauchery were completely charming and his dancing and singing were superb. It is easy to understand why these two young people are so highly regarded in the theatrical world."

The Review in The Suburban and Wayne Times was equally complimentary, "Miss Sills, as the Merry Widow," it was observed, "has a voice of superb quality and would win the hearts of anyone even if she didn't have a sou. The younger generation were carried away by her charm, grace and beauty. . She is bound to score as one of America's leading prima donnas in the near future."

At the time of this production, Beverly Sills had just turned 18 and was at the start of her career. At the end of that summer, she resumed her study of opera, and by the next year had a repertoire of sixty or seventy operas. Her operatic career began in 1951 as a member of Charles Wagner's touring opera company, In 1953 ahe sang with the San Francisco Opera, after which she sang with the New York City Opera, LaScala in Milan, the Berlin Opera, and the Royal Opera in Covent Garden in London.

In 1975 ahe joined the Metropolitan Opera Company in New York, and she has also given concerts in many of the leading concert halls throughout the world.

Miss Sills was not the only performer of star magnitude to appear in Berwyn during that summer season, however. In late August, the Company changed its name to Main Line Productions, and the following month it "inaugurated a policy of big-name casts". For its first production under this new policy, it brought in Leatrice Joy, a former star of silent movie days, "who had retired at the height of her popularity to be a real mother to her daughter, Leatrice Joy Gilbert, child of the late screen idol, John Gilbert", and who was making a return to the footlights. The next production featured Fritzi Scheff, the former Metropolitan Opera prima donna who had given up grand opera for a career in light opera, and for whom Victor Herbert had composed three operettas, as the lead in "Ladies in Retirement". She, in turn, was followed by Clare Booth Luce, who appeared in a version of "Camille" which she herself had translated, and whose performance was given a "spontaneous tribute" that is "seldom accorded" an actress.

Altogether, eleven shows were produced during the summer season. The first three were light operas &mdash Friml's "The Firefly" Lehar!s "The Merry Widow" and the comic opera "The Chimes of Normandy" by Robert Planquette &mdash after which the company switched from the more elaborate and costly musicals to dramatic offerings, lowering the prices for seats at the same time, (Tickets for "The Merry Widow" with Beverly Sills and Frank Melton had been priced at $1.00 to $3.00 for the performances on Mondays through Fridays, with reserved seats at $1.20 to $3.60 on Friday and Saturday evenings, tax included.)

Among the other plays presented were the comedies "Angels Don!t Marry" and "Dear Ruth" "Rain" (with Ella Playwin imported from Broadway to play the role of Sadie Thompson, and Nat Burns portraying Joe Horn) Agatha Christie's "Love from a Stranger" and "Peg O' My Heart" (featuring another Broadway actress, Louise Snyder, as Peg), in addition to "Yes, My Darling Daughter" with Miss Joy "Ladies in Retirement" and "Camille".

The members of the regular company, in addition to Alice Wellman and Nat Burns, included Howard K. Smith, Betty Luster, Charles Julian, Charles Gray, Claire Louise Evans, William Valentine, and Ruth Carroll, with David Titlow, Virginia Brown, and Paul French also joining the group in the latter part of the season.

While the productions, beginning with "The Merry Widow", all received most enthusiastic reviews and drew audiences to Berwyn from a wide area, the season was far from financially satisfying to the company's owners. Two additional plays, "The Little Foxes" with Ruth Chatterton, and "Dream Girl" with Jean Parker, had been planned. But instead, the season was suddenly closed with the last performance of "Camille" on September 21st. In announcing the closing, on the day before the last day of the play's run, Miss Wellman said that after further renovation of the theater a new season would begin on November 1st.

Denying rumors that the company would be dissolved, she added that the project would be "refurnished, refinanced and restaffed", and that with the help of a newly-formed volunteer group, the "Friends of the Theater", operations would be resumed following the "tempo rary shutdown".

But it was not to be. By late fall, the director, Nat Burns, was in Hollywood, working in motion pictures again, and Main Line Pro ductions, together with its predecessor, the Main Line Civic Light Opera Company, was already a part of local theatrical history.

But because of it, Beverly Gills once sang in Berwyn, from the stage of the old Berwyn Theater!

The Berwyn Theater (from the program)

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Inimesed

Beverly Sills, considered one of the best-known opera singers of the 1960s and 1970s, was called “America’s Queen of Opera” by Time Magazine and known as “Bubbles” to her fans singing career of more than four decades. She was renowned for her roles in operas worldwide and more popular with the American public than any opera singer since Enrico Caruso, even among people who never set foot in an opera house.

Cleveland may have played a small role in Beverly Sill’s life, but it was crucial. The city gave the redheaded soprano from Brooklyn, New York, the chance to try out for the role that would serve as her debut with the New York City Opera in 1955 - Rosalinda in Johann Strauss II’s “Die Fledermaus.”

Early in 1955, she auditioned for John Price , founder of Musicarnival, a summer tent theater, singing the Csardas from the Strauss operetta four or five times. Price not only hired Sills but also introduced her to Peter Greenough, then associate editor for The Plain Dealer.

Beverly married Peter Bulkley Greenough , a grandchild of Liberty and Delia Holden, on November 17, 1956. Greenough and Sills had two children: Meredith Holden “Muffy” born on August 4, 1959, virtually deaf, and had multiple sclerosis. A son, Peter, Jr., Bucky, born in 1961, was deaf, autistic, intellectually disabled, and epileptic. Beverly restricted her schedule so she could care for her children.

While living in Bratenahl, Cleveland, audiences had many opportunities to experience the Sills magic. A year after her Rosalinda at Musicarnival, she portrayed Carmen, which she sang nowhere else. She performed Puccini’s Tosca in 1957 and one of her signature parts, the title role in Douglas Moore’s “The Ballad of Baby Doe,” in 1958.

In 1960, Greenough and Sills moved to Milton, Massachusetts, where he worked for the Boston Herald and later the Boston Globe. Beverly sang for the Opera Company of Boston, the first of many roles.

Sills association with the Cleveland Orchestra began in 1962 with a pop concert led by Louis Lane. David Bamberger, founding director of Cleveland Opera, began working with Sills at New York City Opera in 1966 when she triumphed as Cleopatra in Handel’s “Julius Caesar.”

Ironically, the Metropolitan Opera did not hire Sills until 1975, past her vocal prime, to sing Palmira in Rossini’s “The Siege of Corinth.” She won new fans and performed with the Met until her retirement.

Sills made her last appearance with the Cleveland Orchestra in December 1978, when she took part in the ensemble’s 60th-anniversary concert with music director Lorin Maazel and violinist Issac Stern. Her final performance with the Met in Cleveland were Massenet’ “Thais” in 1978 and Donizetti’s “Don Pasquale” in 1979.

With an effervescent personality, a bold stage presence, and a voice that could scale the most challenging music, Beverly Sills became America’s beloved soprano. Her ability to schmooze made her the ideal guest, and often host, on late-night talk shows. Her self-deprecating humor led her to team with her friend, Carol Burnett, to perform “Pigoletto” on “The Muppet Show” and demystify the seemingly highfalutin world of opera.

After retiring from the stage in 1980 at age 51, Beverly became one of the best arts advocate and fund-raiser. She began a new life as an executive and leader of New York’s performing arts community. First, she became the New York City opera’s general director during one of its most troubled eras, taking it out of debt and into an adventurous repertoire.

In 1994, Sills became chairwoman of the Lincoln Center for the Performing Arts. She was the first woman and first former artist in that position. In 2002, she became chairwoman of the Metropolitan Opera.

She used her celebrity status to further charity work for the prevention and treatment of congenital disabilities. In 1981, Barnard College awarded her its highest honor, the Barnard Medal of Distinction. The Long Island Music Hall of Fame inducted her in 2007.

Opera lovers everywhere maintained a love affair with Beverly Sills to the end. Although Beverly overcame cancer in 1974, she died of lung cancer in New York City on July 2, 2007. She left the bulk of her estate for the care of her disabled adult children. Beverly was buried alongside Peter at Sharon Gardens Cemetery, in Westchester County, New York.


'Three Queens': The Jewel In the Crown Of Beverly Sills

The path to loving Beverly Sills is so fraught with prejudice.

Sills, who did for the soprano voice what Edward Villella did for male dancing--made it respectable in a very safe, very American, very unthreatening way--has always been a specialized taste for serious vocal lovers. As the reigning diva in the 1970s at the "people's" opera, the New York City Opera, she helped popularize bel canto singing and she went on to be one of America's most recognized advocates of the performing arts.

But she's always been a little suspect. She stayed on the stage just a bit too long and the voice went icy. Her recordings--the ones that are still available--sit next to those of Joan Sutherland and Maria Callas there isn't really any choice if you can only afford one version (get the Callas), or two (add the Sutherland). Her public persona, so affable and articulate, also seemed too polished. There were rumors that, behind the scenes, she was not what she seemed, not quite so nice, not, as she was affectionately known, just "Bubbles." This champagne was dry, not sweet. Even Marilyn Horne, the beloved mezzo-soprano, wrote a few choice words about Sills in her autobiography.

But then, perhaps at a party, or perhaps on the radio, you'd hear Sills from her glory days and the singing, though never effortless, had grit and fire. It was always a surprise to hear Sills from the early 1970s: You'd think, somebody should make a fuss over this voice. But, of course, plenty of people had made a fuss over it, and it was precisely that fuss that catapulted Sills to her stellar career both as a vocalist and, later, as the head of the New York City Opera.

Sills had loyal fans and she still does. Now, 30 years after one of the crowning achievements of her careers, three of her most impressive recordings have been packaged together and released. They are, by the pathetically meager standards of the classical music business, selling like hot cakes.

Thirty years ago, when the New York City Opera was blessed with the musical taste and guidance of impresario and conductor Julius Rudel, Sills undertook three of Donizetti's greatest soprano roles. All three--the title characters in "Anna Bolena" and "Maria Stuarda" and the role of Elizabeth in "Roberto Devereux"--were based on majestically tragic women from the Tudor age. In a coup of intelligent programming, the company packaged the operas, economized by sharing some of the staging elements among them, and presented "The Three Queens," a trio of operas that gave one a very flimsy history lesson but a remarkable tour of great bel canto opera.

This was Sills's finest moment, and a certifiable "event" in the New York opera world. She recorded all three roles, though not with the New York City Opera, and, unfortunately, not with Placido Domingo, who was by all accounts a very exciting young Devereux in the original stage version. Sills's recordings, however, were never reissued on compact disc, an astonishing historical oversight, until earlier this month, when Universal Classics, which acquired the rights to them, brought them out as a single seven-disc package on the Deutsche Grammophon label.

They don't disappoint and despite the lack of Domingo (who wasn't available to record with Sills) they don't lack star power. The magnificently talented Eileen Farrell sang the Elizabeth role in "Maria Stuarda" and Shirley Verrett sang the role of Jane Seymour in "Anna Bolena." Verrett never sounded better on recording, and though Farrell's voice isn't ideal for this repertoire, the intensity is astounding. Filling out other roles with distinction are stalwarts such as Paul Plishka, Robert Lloyd and Louis Quilico.

But Sills is the star, not just by virtue of top billing but also because the music Donizetti wrote for his prima donna is pungent, gutsy and thrillingly imperious. Sills was just slightly out of her range in these parts, but she was a hard-working artist and she rose heroically to the occasion. She sang on the edge, at that point where the voice is just gripping the road. There's no sense of overt struggle, but one can hear the concentration and focus in every note. Armchair vocal experts speculated that it was the challenge of these three roles that eventually undid the beauty of her voice if so, it was a spectacular act of self-sacrifice.

Bel canto opera is a success story: Once considered either endangered or dead, it has reestablished itself. Bel canto singing is a more problematic affair. In the half-century since Callas took it in one direction--toward the feral and theatrical--and Sutherland took it another--to an ideal of smoothness and perfection--there has been little agreement on exactly what it should sound like. Without exceptional stage direction, bel canto operas are DOA in the opera house. Without exceptional singing, their melodic energy sags into a monotonous stream of banalities.

These three recordings capture an approach to bel canto that is both dramatic and smoothly sung. The vocal production is natural and fluid, but never vapid. Sills knows not only how to phrase musically but how to capture the commas and periods of her poetic lines as well. One always senses that she is singing this music to someone, not just to a microphone. That may be the legacy of having done the roles onstage immediately before recording. Or it may be that Sills knew something instinctive about communication and was capable of translating that instinct when recording.

Donizetti deserves some of the credit here. Of the three great bel canto composers before Verdi--Rossini, Donizetti and Bellini--Donizetti has gone down in history as a lightweight among lightweights. That isn't fair to any of the three, and it certainly doesn't apply to Donizetti's dramatic accomplishment in these three operas. The composer's ensembles have an almost percussive muscularity his sense of the soprano voice is demanding but never unflattering and his orchestral writing rises well above the mechanical hand-cranked music machine that one so often hears in the operas from this period. The death scene of Maria in "Maria Stuarda"--stunningly sung by Sills--looks forward to a new era in opera, to the dramatic assault on the listener's position as mere polite observer that Verdi would initiate. Few scenes have more dramatic possibility than this one and few recordings measure up to Sills at her finest, which in this music, she is.


Sisu

Role [1] Voice type [1] Premiere Cast, [2] 7 July 1956
(Conductor: Emerson Buckley)
Elizabeth "Baby" Doe soprano Dolores Wilson (later Leyna Gabriele)
Horace Tabor baritone Walter Cassel (later Clifford Harvuot)
Augusta Tabor mezzo-soprano Martha Lipton (later Frances Bible)
Mama McCourt contralto Beatrice Krebs
Samantha soprano Joyce Maiselsen
Silver Dollar soprano Patricia Kavan
William Jennings Bryan bass-baritone Lawrence Davidson (later Norman Treigle)
President Chester Arthur tenor Alan Smith (later Joseph Folmer]
Father Chapelle tenor Howard Fried
Old Silver Miner Clerk at the Claredon Hotel Mayor of Leadville Stage Doorman Sam Bushy Two Washington Dandies tenors
Sarah, Mary, and Kate sopranos
Elizabeth child soprano
Adult Silver Dollar Emily Effie and Samantha mezzo-sopranos
Bouncer Albert Hotel Footman Denver Politician Barney Jacob Two Washington Dandies baritones
Child Silver Dollar silent role

Based on the lives of historical figures Horace Tabor, a wealthy mine owner his wife Augusta Tabor, and Elizabeth "Baby" Doe Tabor. The opera explores their lives from Horace and Baby Doe's meeting to the death of Horace. "Always Through the Changing" is a postscript ending foretelling Baby's death.

The story begins by commenting on the riches of the Matchless Mine and Horace Tabor's ownership and control over the whole town of Leadville, Colorado. Horace sings "It's a Bang Up Job" to the townspeople, praising his new opera house, and sharing his disenchantment with his wife Augusta. During intermission at a performance at the opera house, Augusta chides Horace for not acting according to his upper-class station in life. Horace pleads with her not to insult the common people, equating the prostitutes' and bar girls' work to the work her committee did in helping build the opera house. Near the end of intermission, a woman arrives, introduces herself to Horace, and asks if he could direct her to her hotel. He obliges her, and returns to the opera with Augusta.

Augusta retires for the evening, while Horace steps outside to smoke a cigar. He overhears two women speaking about the woman he helped and learns that her name is Baby Doe, and that she has a husband in Central City. Horace hears Baby singing "The Willow Song" and applauds her. She is surprised as she did not know he was listening. He sings "Warm as the Autumn Light" to her. Augusta's comments from upstairs stop the scene.

Several months later, Augusta goes through Horace's study and finds gloves and a love letter. She thinks they are for her until she realizes that they are for Baby Doe. The rumors have been true. Horace comes in, they fight, and Horace says he never meant to hurt her.

Baby Doe, at the hotel, realizes she must end her relationship with Horace. She asks the hotel workers to find out when the next train leaves for Denver. They go to find Horace so he can head her off. She sings of her love for Horace in a letter to her mother (the "Letter Aria"). Augusta comes in and tells Baby to leave. She agrees, but pleads that she and Horace have done nothing they should be ashamed of ("I Knew It Was Wrong"). After Augusta leaves, Baby decides against leaving when Horace arrives. They sing of their love.

A year later, Horace has left Augusta and is living with Baby Doe. Her friends tell Augusta, now living in Denver, that Horace plans to divorce her. She swears to ruin him.

Horace and Baby Doe's wedding party is set in Washington DC. Baby's mother praises the couple's riches, but society wives deride Baby Doe. When the couple enter, they are formally well received. The debate turns to the silver standard, and Baby Doe sings "The Silver Aria". Horace presents Baby with the Spanish Queen Isabella's historic diamond necklace. Baby Doe's mother tells the Roman Catholic priest about Baby and Horace's divorces—which he didn't know of. Scandal rocks the party, but simmers down when President of the United States Chester Arthur comes in and toasts the couple.

Act II chronicles the disintegration of Baby and Horace's riches. Augusta warns of the gold standard, but Horace doesn't listen. Horace politically backs William Jennings Bryan for president. When Bryan loses, Horace is abandoned by his party.

In the final scenes, Horace asks to see the opera house he built so long ago, although he no longer owns it. On the stage, he hallucinates and sees people from his past. Augusta both taunts and pleads with him. He is told that one of his daughters will decry the name Tabor and the other will become a prostitute. Distraught, he collapses. Baby Doe enters. After he is convinced that she is not a hallucination, he tells her nothing will come between them, and begs her to remember him. He dies in her arms.

In the last scene, which takes place 30 years later at the Matchless Mine, she finishes the opera with "Always Through the Changing."


Beverly Sills

Soprano Beverly Sills is America`s best-known opera singer, based on her performances during the 1960s and the 1970s. She also is known for her involvement in the March of Dimes, along with myriad other charities and organizations. An early talent Beverly Sills was born Belle Miriam Silverman in Brooklyn, New York, on May 25, 1929, to Jewish-Russian emigrants. As a child, she spoke Russian, Romanian, and English. Beverly won the “Miss Beautiful Baby” contest when she was three years old. Her mother enrolled her in voice, dance, and elocution lessons. In the 1930s, Beverly performed on radio, and in 1936 she appeared in the short film, “Uncle Sol Solves It.” She was encouraged by her vocal coach, Estelle Leibling, to audition for the radio show, “Major Bowes’ Amateur Hour.” She was taken on as a regular and was heard across America on Sundays. Career and marriage Sills made her stage debut with Gilbert and Sullivan in 1945, and sang operetta for several years. In 1947 she made her operatic stage debut in Bizet’s “Carmen,” with the Philadephia Civic Opera. She appeared with the San Francisco Opera in 1953, as Helen of Troy in Boito’s “Mefistofele.” Then in 1955 she appeared in the New York City Opera in Strauss’s “Die Fledermaus.” Sills` reputation was established in her title role in the New York premiere of Douglas Stuart Moore’s “The Ballad of Baby Doe.” Sills married Peter Greenough in 1956. He was the publisher of the Cleveland, Ohio, newspaper, “Plain Dealer.” They had two children both of them were afflicted with disabilities. Their son, Peter, was diagnosed with mental retardation, and daughter, Muffy, exhibited a severe hearing loss. Beverly Sills resumed her career in January 1964, when she returned to the Opera Company of Boston and sang the “Queen of the Night” in Mozart`s “The Magic Flute.” Sills became an international opera star in 1966 when she performed the masterpiece, “Giulio Cesare,” as Cleopatra at the New York City Opera. Retirement with a green light Sills continued to perform in numerous operas until her retirement in 1980. She then served as general director of the New York City Opera until 1991, and was chairman of the Lincoln Center from 1994 to 2000. She has also devoted herself to various art causes and such charities as the March of Dimes, in which she had helped to raise more than $80 million. In 2002, Sills returned to the work force to serve as chairman of the Metropolian Opera until January 2005. Sills disclosed that she had to place her husband in a nursing home she had been caring for him at home for more than eight years. Sills received a Kennedy Center honor in 1985, was inducted into the National Women’s Hall of Fame in 1998, and received a National Medal of Honor for Art in 1990. During her illustrious career, she recorded 18 full-length operas, and starred in eight opera productions for PBS television. She also won an Emmy Award for her “Profile in Music.” In 1976 Sills published a memoir, Bubbles: A Self-Portrait, and in 1987, she wrote Beverly: An Autobiography. Beverly also held honorary degrees from 14 leading academic institutions. Sills died in New York City on July 2, 2007.


Beverly Sills - History

Belle Miriam Silverman, best known as gifted operatic performer Beverly Sills, was born May 25, 1929. She grew up in Brooklyn, New York. While her insurance salesman father would have preferred she become a teacher, her mother encouraged Sills’ voice career. Sills won a radio contest at the age of three and began her world renowned singing career.

By four years old she was singing as a regular on a Saturday morning radio program. Her job doing laundry soap commercials earned the nickname “Bubbles Silverman” and by seven years old she sang in a movie. She continued to work on radio until she was twelve when she decided to pursue her interest in opera.

Sills studied voice with Estelle Liebling and piano with Paolo Gallico. She joined Gilbert and Sullivan touring company at age seventeen. By the time she was nineteen she had memorized over fifty operas and by the age of twenty she was touring with several small opera companies.

In 1955 Sills played the role of Rosalinde in “Die Fledermaus” with the New York City Opera. Critics loved her and predicted a successful career.

Sills married Peter B. Greenough in 1956. They had two children a daughter born hearing impaired and a son born developmentally disabled. Sills took time out of her career and focused on the needs of her family. Her son required so much care that he was institutionalized at the age of six. Sills began wearing two watches one to keep track of her son’s life and the other to follow her life and whatever time zone she might be travelling in.

In 1966 Sills returned to the stage in the New York City Opera production of Handel’s “Julius Caesar”. Her career skyrocketed as she became one of the most famous sopranos in the world.

Sills debuted at the Metropolitan Opera in New York City was in 1975. Her voice began to decline a few years later, and on October 27, 1980 she gave her last performance.

The day after retiring from singing Sills took over general directorship of the New York City Opera. She proved to be skilled handling the institution’s finances as well as increasing attendance. She was also longtime chairwoman on the Board of Trustees for the March of Dimes and continued to promote philanthropic causes.

Beverly Sills died after battling lung cancer on July 2, 2007 at the age of 78.

Content copyright © 2021 by Carol Taller. Kõik õigused kaitstud.
This content was written by Carol Taller. If you wish to use this content in any manner, you need written permission. Contact Lane Graciano for details.


Vaata videot: Dame Joan Sutherland So Easily sings above all in her Flawless Gilda Gedda, Gobbi (Juuni 2022).


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