Rosa Ponselle
Encyclopedia
Opera
Opera is an art form in which singers and musicians perform a dramatic work combining text and musical score, usually in a theatrical setting. Opera incorporates many of the elements of spoken theatre, such as acting, scenery, and costumes and sometimes includes dance...
tic soprano
Soprano
A soprano is a voice type with a vocal range from approximately middle C to "high A" in choral music, or to "soprano C" or higher in operatic music. In four-part chorale style harmony, the soprano takes the highest part, which usually encompasses the melody...
with a large, opulent voice. She sang mainly at the New York Metropolitan Opera
Metropolitan Opera
The Metropolitan Opera is an opera company, located in New York City. Originally founded in 1880, the company gave its first performance on October 22, 1883. The company is operated by the non-profit Metropolitan Opera Association, with Peter Gelb as general manager...
and is generally considered by music critics to have been one of the greatest sopranos of the past 100 years.
Early life
She was born Rosa Ponzillo on January 22, 1897, in Meriden, ConnecticutMeriden, Connecticut
Meriden is a city in New Haven County, Connecticut, United States. According to 2005 Census Bureau estimates, the population of the city is 59,653.-History:...
, the youngest of three children. 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 Streets, then on Foster Street, where Ponselle was born, moving when she was three to Springdale Avenue. Her parents were Italian
Italian people
The Italian people are an ethnic group that share a common Italian culture, ancestry and speak the Italian language as a mother tongue. Within Italy, Italians are defined by citizenship, regardless of ancestry or country of residence , and are distinguished from people...
Neapolitan
Naples
Naples is a city in Southern Italy, situated on the country's west coast by the Gulf of Naples. Lying between two notable volcanic regions, Mount Vesuvius and the Phlegraean Fields, it is the capital of the region of Campania and of the province of Naples...
immigrants. Rosa 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. 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. But with the influence and example of her older sister, Carmela, who was then pursuing a career as a cabaret singer, Rosa began to augment her engagements as a silent-movie accompanist in and around Meriden by singing popular ballads to her audiences while the projectionist changed film reels. 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.
Vaudeville
By then, Carmela was already an established singer in vaudevilleVaudeville
Vaudeville was a theatrical genre of variety entertainment in the United States and Canada from the early 1880s until the early 1930s. Each performance was made up of a series of separate, unrelated acts grouped together on a common bill...
after her debut in The Girl from Brighton, a 1912 Broadway musical. Three years later, in 1915, Carmela brought Rosa to audition for her vaudeville agent. 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". 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. The sisters' act consisted of traditional ballads, popular Italian songs, and operatic arias and duets.
In 1918, Carmela and Rosa demanded a substantial fee increase from the Keith Vaudeville Circuit, as a result of which their act was dropped. At the time, Carmela was studying in New York with a well-connected voice teacher/agent named William Thorner. Thorner auditioned Rosa, and agreed to give her lessons. (Rosa later denied that Thorner had ever given her voice lessons, but her statements on the subject are contradictory.) Although initially less impressed with Rosa's future prospects than with Carmela's, Thorner changed his opinion after the legendary baritone Victor Maurel
Victor Maurel
Victor Maurel was a French operatic baritone who enjoyed an international reputation as a great singing-actor.-Biography:...
, whom Giuseppe Verdi
Giuseppe Verdi
Giuseppe Fortunino Francesco Verdi was an Italian Romantic composer, mainly of opera. He was one of the most influential composers of the 19th century...
had chosen to create Iago in Otello
Otello
Otello is an opera in four acts by Giuseppe Verdi to an Italian libretto by Arrigo Boito, based on Shakespeare's play Othello. It was Verdi's penultimate opera, and was first performed at the Teatro alla Scala, Milan, on February 5, 1887....
, auditioned both sisters at his friend Thorner's request. Soon afterward, Thorner persuaded the great tenor
Tenor
The tenor is a type of male singing voice and is the highest male voice within the modal register. The typical tenor voice lies between C3, the C one octave below middle C, to the A above middle C in choral music, and up to high C in solo work. The low extreme for tenors is roughly B2...
Enrico Caruso, star of the Metropolitan Opera
Metropolitan Opera
The Metropolitan Opera is an opera company, located in New York City. Originally founded in 1880, the company gave its first performance on October 22, 1883. The company is operated by the non-profit Metropolitan Opera Association, with Peter Gelb as general manager...
, to his studio to hear Carmela and Rosa sing. Caruso was deeply impressed with Rosa's voice and arranged for an audition with the Met, as a result of which the Met's general manager, Giulio Gatti-Casazza, offered Rosa a contract for the 1918-19 season.
Metropolitan Opera debut and early operatic career
Rosa Ponselle made her Metropolitan Opera debut on November 15, 1918, as LeonoraLeonora
-People:*Leonora , a feminine given name*Leonora of Castile *Leonora of England*John Leonora, research scientist, Loma Linda University-Arts and entertainment:...
in Verdi
Giuseppe Verdi
Giuseppe Fortunino Francesco Verdi was an Italian Romantic composer, mainly of opera. He was one of the most influential composers of the 19th century...
's La forza del destino
La forza del destino
La forza del destino is an Italian opera by Giuseppe Verdi. The libretto was written by Francesco Maria Piave based on a Spanish drama, Don Álvaro o la fuerza del sino , by Ángel de Saavedra, Duke of Rivas, with a scene adapted from Friedrich Schiller's Wallensteins Lager. It was first performed...
, opposite Caruso. It was her first performance on any opera stage. In spite of an almost paralyzing case of nerves (which she suffered from throughout her operatic career), she scored a tremendous success, both with the public and with the critics. New York Times critic James Huneker
James Huneker
James Gibbons Huneker was an American music writer and critic.Huneker was born in Philadelphia, Pennsylvania. He studied piano in Europe under Leopold Doutreleau and audited the Paris piano class of Frédéric Chopin's pupil Georges Mathias. He came to New York City in 1885 and remained there...
wrote:
What a promising debut! Added to her personal attraciveness, she possesses a voice of natural beauty that may prove a gold mine. It is vocal gold, anyhow, with its luscious lower and middle tones, dark, rich and ductile, brilliant in the upper register.
In addition to Leonora, Ponselle's roles in the 1918-19 season included Santuzza in Cavalleria rusticana
Cavalleria rusticana
Cavalleria rusticana is an opera in one act by Pietro Mascagni to an Italian libretto by Giovanni Targioni-Tozzetti and Guido Menasci, adapted from a play written by Giovanni Verga based on his short story. Considered one of the classic verismo operas, it premiered on May 17, 1890 at the Teatro...
, Rezia in Weber
Carl Maria von Weber
Carl Maria Friedrich Ernst von Weber was a German composer, conductor, pianist, guitarist and critic, one of the first significant composers of the Romantic school....
's Oberon
Oberon (opera)
Oberon, or The Elf King's Oath is a 3-act romantic opera in English with spoken dialogue and music by Carl Maria von Weber. The libretto by James Robinson Planche was based on a German poem, Oberon, by Christoph Martin Wieland, which itself was based on the epic romance Huon de Bordeaux, a French...
, and Carmelita in the (unsuccessful) world premiere of Joseph Carl Breil
Joseph Carl Breil
Joseph Carl Breil was an American lyric tenor, stage director, composer and conductor. He was one of the earliest American composers to compose specific music for motion pictures. His first film was Les amours de la reine Élisabeth starring Sarah Bernhardt...
's The Legend
The Legend (opera)
The Legend is a one-act tragic opera composed by Joseph Breil to an English libretto by Jacques Byrne. It premiered at the Metropolitan Opera in New York City on March 12, 1919 in a triple bill with two other one-act operas, John Hugo's The Temple Dancer and Charles Cadman's Shanewis...
(a role and opera that Ponselle loathed so much that she later burned the score and said the opera "would stink up a cat box").
In the following Met seasons, Ponselle's roles included the lead soprano roles in La Juive
La Juive
La Juive is a grand opera in five acts by Fromental Halévy to an original French libretto by Eugène Scribe; it was first performed at the Opéra, Paris, on February 23, 1835.-Composition history:...
(opposite Caruso's Eléazar, his last new role before he died), William Tell
William Tell (opera)
Guillaume Tell is an opera in four acts by Gioachino Rossini to a French libretto by Etienne de Jouy and Hippolyte Bis, based on Friedrich Schiller's play Wilhelm Tell. Based on the legend of William Tell, this opera was Rossini's last, even though the composer lived for nearly forty more years...
, Ernani
Ernani
Ernani is an operatic dramma lirico in four acts by Giuseppe Verdi to an Italian libretto by Francesco Maria Piave, based on the play Hernani by Victor Hugo. The first production took place at La Fenice Theatre, Venice on 9 March 1844...
, Il trovatore
Il trovatore
Il trovatore is an opera in four acts by Giuseppe Verdi to an Italian libretto by Salvadore Cammarano, based on the play El Trovador by Antonio García Gutiérrez. Cammarano died in mid-1852 before completing the libretto...
, Aida
Aida
Aida sometimes spelled Aïda, is an opera in four acts by Giuseppe Verdi to an Italian libretto by Antonio Ghislanzoni, based on a scenario written by French Egyptologist Auguste Mariette...
, La Gioconda
La Gioconda (opera)
La Gioconda is an opera in four acts by Amilcare Ponchielli set to an Italian libretto by Arrigo Boito, based on Angelo, tyran de Padoue, a play in prose by Victor Hugo, dating from 1835...
, Don Carlos
Don Carlos
Don Carlos is a five-act grand opera composed by Giuseppe Verdi to a French language libretto by Camille du Locle and Joseph Méry, based on the dramatic play Don Carlos, Infant von Spanien by Friedrich Schiller...
, L'Africaine
L'Africaine
L'africaine is a grand opera, the last work of the composer Giacomo Meyerbeer. The French libretto was written by Eugène Scribe. The opera is about fictitious events in the life of the real historical person Vasco da Gama...
, L'amore dei tre re
L'amore dei tre re
L'amore dei tre re is an opera in three acts by Italo Montemezzi. Its Italian-language libretto was written by playwright Sem Benelli who based it on his own play of the same title.-Performance history:...
, Andrea Chénier
Andrea Chénier
Andrea Chénier is a verismo opera in four acts by the composer Umberto Giordano, set to an Italian libretto by Luigi Illica. It is based loosely on the life of the French poet, André Chénier , who was executed during the French Revolution....
, La vestale
La vestale
La vestale is an opera composed by Gaspare Spontini to a French libretto by Etienne de Jouy. It was first performed at the Paris Opéra in Paris on December 15, 1807 and is regarded as Spontini's masterpiece...
, and in 1927 the role that many considered her greatest achievement, the title role in Bellini
Vincenzo Bellini
Vincenzo Salvatore Carmelo Francesco Bellini was an Italian opera composer. His greatest works are I Capuleti ed i Montecchi , La sonnambula , Norma , Beatrice di Tenda , and I puritani...
's Norma
Norma (opera)
Norma is a tragedia lirica or opera in two acts by Vincenzo Bellini with libretto by Felice Romani after Norma, ossia L'infanticidio by Alexandre Soumet. First produced at La Scala on December 26, 1831, it is generally regarded as an example of the supreme height of the bel canto tradition...
. In addition to her operatic activities, which were centered at the Met, Ponselle had a lucrative concert career. 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.
Appearances abroad and later operatic career
Outside the USA, Ponselle sang only at Covent GardenRoyal Opera House
The Royal Opera House is an opera house and major performing arts venue in Covent Garden, central London. The large building is often referred to as simply "Covent Garden", after a previous use of the site of the opera house's original construction in 1732. It is the home of The Royal Opera, The...
in London (for three seasons) and in Italy (in order, so she said, to honor a promise she had made to her mother that she would one day sing in Italy). In 1929, Ponselle made her European debut in London, at the Royal Opera House
Royal Opera House
The Royal Opera House is an opera house and major performing arts venue in Covent Garden, central London. The large building is often referred to as simply "Covent Garden", after a previous use of the site of the opera house's original construction in 1732. It is the home of The Royal Opera, The...
at Covent Garden
Covent Garden
Covent Garden is a district in London on the eastern fringes of the West End, between St. Martin's Lane and Drury Lane. It is associated with the former fruit and vegetable market in the central square, now a popular shopping and tourist site, and the Royal Opera House, which is also known as...
. Up until that time, her career had been concentrated entirely in America. Ponselle sang two roles at Covent Garden in 1929: Norma and Gioconda. She had great success and was tumultuously acclaimed by the normally staid London audiences. She returned to London in 1930 in Norma, L'amore dei tre re, and La traviata (her first performances as Violetta). 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.
In 1933 Ponselle sang her only performances in Italy, as Giulia in La vestale, with the Maggio Musicale
Maggio Musicale Fiorentino
Maggio Musicale Fiorentino is an annual opera festival which was founded in April 1933 by conductor Vittorio Gui with the aim of presenting contemporary and forgotten operas in visually dramatic productions. It was the first music festival in Italy. The first opera presented was Verdi's early...
in Florence
Florence
Florence is the capital city of the Italian region of Tuscany and of the province of Florence. It is the most populous city in Tuscany, with approximately 370,000 inhabitants, expanding to over 1.5 million in the metropolitan area....
. As in London, the audiences were wildly enthusiastic. At the second performance, Ponselle had to encore the aria, "O nume tutelar". Her success was such that she considered an engagement at Milan
Milan
Milan is the second-largest city in Italy and the capital city of the region of Lombardy and of the province of Milan. The city proper has a population of about 1.3 million, while its urban area, roughly coinciding with its administrative province and the bordering Province of Monza and Brianza ,...
's La Scala
La Scala
La Scala , is a world renowned opera house in Milan, Italy. The theatre was inaugurated on 3 August 1778 and was originally known as the New Royal-Ducal Theatre at La Scala...
, but after witnessing a Florence audience's brutal treatment of a famous tenor, Giacomo Lauri-Volpi
Giacomo Lauri-Volpi
Giacomo Lauri-Volpi was an Italian tenor with a lyric-dramatic voice of exceptional range and technical facility. He performed throughout Europe and the Americas in a top-class career that spanned 40 years....
, who cracked on a high note, she decided not to press her luck further with the notoriously difficult Italian operagoing public. Other than her appearances in London and Florence, Ponselle never sang outside the United States.
Ponselle continued in the 1930s to add roles to her repertoire at the Metropolitan Opera. In 1930 she sang Donna Anna in Don Giovanni
Don Giovanni
Don Giovanni is an opera in two acts with music by Wolfgang Amadeus Mozart and with an Italian libretto by Lorenzo Da Ponte. It was premiered by the Prague Italian opera at the Teatro di Praga on October 29, 1787...
to great acclaim, but 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. (W.J. Henderson complained of her "assaults" on the vocal line.) In 1931 she sang in another unsuccessful world premiere, Montemezzi
Italo Montemezzi
Italo Montemezzi was an Italian composer. He is best known for his opera L'amore dei tre re , once part of the standard repertoire....
's La notte di Zoraima, which sank without a trace. Like many other opera singers of that time, she made a brief trip to Hollywood and made screen tests for M-G-M and Paramount, but nothing came of them.
In 1935, Ponselle sang her first Carmen at the Met. 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
Olin Downes
Olin Downes was an American music critic.He studied piano, music theory, and music criticism in New York and Boston, and it was in those two cities that he made his career as a music critic—first with the Boston Post and then with the New York Times...
in the New York Times, whose savagely caustic review hurt Ponselle deeply. The only roles Ponselle sang during her last two seasons at the Met were Santuzza and Carmen, roles that did not tax her upper register. Differences with the Met management regarding repertoire led her not to renew her contract with the company for the 1937-38 season. Her last operatic performance was as Carmen on April 22, 1937, in a Met tour performance in Cleveland.
Retirement
Ponselle did not consciously or purposely retire after that Cleveland Carmen in 1937; she just let her career slip away. A variety of factors contributed to this: her receding upper register, which made singing her signature roles increasingly nerve-wracking; her bitterness over the Met management's refusal to accede to her requests regarding repertoire (she wanted to sing CileaFrancesco Cilea
Francesco Cilea was an Italian composer. Today he is particularly known for his operas L'arlesiana and Adriana Lecouvreur.-Biography:...
's Adriana Lecouvreur
Adriana Lecouvreur
Adriana Lecouvreur is an opera in four acts by Francesco Cilea to an Italian libretto by Arturo Colautti, based on the play by Eugène Scribe and Ernest Legouvé...
, another part with a congenial low tessitura
Tessitura
In music, the term tessitura generally describes the most musically acceptable and comfortable range for a given singer or, less frequently, musical instrument; the range in which a given type of voice presents its best-sounding texture or timbre...
, and general manager Edward Johnson
Edward Johnson (tenor)
Edward Patrick Johnson CBE was a Canadian operatic tenor who was billed outside North America as Edoardo Di Giovanni, and became director of the Metropolitan Opera in New York City.- Early life :...
said no); mental and physical exhaustion, after a non-stop, intense 21-year career with continual bouts of performance nerves; her marriage in 1936 to Baltimore socialite Carle Jackson; and her enjoyment of the relaxed life she now had without the demands of performing. Ponselle later said that she never missed performing after she retired. She and Jackson built a luxurious home near Baltimore, Maryland, the Villa Pace, where she lived the rest of her life.
Her marriage to Jackson was rocky and they divorced in 1949. The breakup was traumatic for Ponselle, and she suffered a nervous breakdown. 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. This was confirmed in 1954, when RCA Victor came to Villa Pace and recorded Ponselle singing a wide variety of songs. 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. Among those who coached with her during their Baltimore Civic Opera appearances at the start of their careers were Beverly Sills
Beverly Sills
Beverly Sills was an American operatic soprano whose peak career was between the 1950s and 1970s. In her prime she was the only real rival to Joan Sutherland as the leading bel canto stylist...
, Sherrill Milnes
Sherrill Milnes
Sherrill Milnes is an American operatic baritone most famous for his Verdi roles. From 1965 until 1997 he was associated with the Metropolitan Opera....
, Plácido Domingo
Plácido Domingo
Plácido Domingo KBE , born José Plácido Domingo Embil, is a Spanish tenor and conductor known for his versatile and strong voice, possessing a ringing and dramatic tone throughout its range...
and James Morris.
Death
Ponselle died at her estate, Villa Pace, near Baltimore, Maryland on May 25, 1981, aged 84, after a long battle with bone marrow cancer. She is buried in nearby Druid Ridge CemeteryDruid Ridge Cemetery
Druid Ridge Cemetery is located just outside the city of Baltimore in Pikesville, Maryland at 7900 Park Heights Avenue, Baltimore Co., MD 21208. Among its monuments and graves are several noted sculptures by Hans Schuler and the final resting places of:...
.
Quotations
- "When discussing singers, there are two you must first set aside: Rosa Ponselle and Enrico Caruso. Then you may begin." - Geraldine FarrarGeraldine FarrarGeraldine Farrar was an American soprano opera singer and film actress, noted for her beauty, acting ability, and "the intimate timbre of her voice." She had a large following among young women, who were nicknamed "Gerry-flappers".- Early life and opera career :Farrar was born in Melrose,...
, soprano. - "In my lifetime, there have been three vocal miracles: Caruso, Ruffo and Ponselle. Apart from these there have been several wonderful singers." - Tullio SerafinTullio Serafin-Biography:Tullio Serafin was a leading Italian opera conductor with a long career and a very broad repertoire who revived many 19th century bel canto operas by Bellini, Rossini and Donizetti to become staples of 20th century repertoire...
, conductor. - "When you hear the voice of Rosa Ponselle, you hear a fountain of melody blessed by the Lord." - Mary GardenMary GardenMary Garden , was a Scottish operatic soprano with a substantial career in France and America in the first third of the 20th century...
, soprano. - "The most glorious voice that ever came from any woman's throat." - Walter LeggeWalter LeggeHarry Walter Legge was an influential English classical record producer, most notably for EMI. His recordings include many sets later regarded as classics and reissued by EMI as "Great Recordings of the Century". He worked in the recording industry from 1927, combining this with the post of junior...
, record producer. - "The greatest singer of us all." - Maria CallasMaria CallasMaria Callas was an American-born Greek soprano and one of the most renowned opera singers of the 20th century. She combined an impressive bel canto technique, a wide-ranging voice and great dramatic gifts...
, soprano. - "The Queen of Queens in all of singing." - Luciano PavarottiLuciano Pavarottiright|thumb|Luciano Pavarotti performing at the opening of the Constantine Palace in [[Strelna]], 31 May 2003. The concert was part of the celebrations for the 300th anniversary of [[St...
, tenor.
The voice
Rosa Ponselle's voice was one of extraordinary beauty and voluptuousness. In its richness and depth, it has been compared by commentators at various times to port wine, maroon velvet and dark chocolate. Luciano Pavarotti, who visited Villa Pace and vocalized with Ponselle when she was nearly 80 years old, likened her still-intact voice to "the color of amber." The voice was absolutely even in its scale, from top to bottom, with all vocal registers seamlessly integrated and no audible changes of gear. Her legato singing was exemplary. She could sing at all dynamic levels, from a powerful forte to a gossamer pianissimo that carried to all corners of the opera house, and she could execute a perfect messa di voce in all parts of her range. In her early years, she had a three-octave range from low C to high C. She possessed an exceptionally rich and mellow middle and lower register.In weight and caliber Ponselle's voice was a true dramatic coloratura soprano, capable of encompassing all the demands of roles like La Gioconda and Norma. Although not a coloratura soprano in the mould of Tetrazzini or Galli-Curci, she had unusual flexibility for such a large and powerful voice and could negotiate fast scale passages with ease and accuracy, the proverbial "string of pearls". She possessed a fine trill that she could sustain seemingly forever: when she sang the trill in the cabaletta "Tutto sprezzo" in Act I of Verdi's Ernani, the story was that the conductor would simply fold his arms and wait for her to finish, picking up his baton only when she indicated that she was ready to come out of the trill.
The principal flaw in Ponselle's voice, past the earliest years of her operatic career, was a problematic top register. Even in her earliest days, she had a phobia of the high C. In an interview in 1955, Ponselle said that the first thing she did when looking over a prospective role was flip through the score and count the high Cs. (The exposed high C in "O patria mia" in Aida terrified Ponselle and was the reason she did not sing more often a role that otherwise fitted her, vocally, like a glove.) Throughout her career Ponselle availed herself freely of transpositions. Apparently, she never sang any of the high Cs in Norma but transposed them all down to a B. Her "Sempre libera" in the live recording of La traviata is taken down a whole tone.
In the later years of her career, but while she was still relatively young, her top register receded, and she was increasingly drawn to roles like Santuzza, Carmen and Adriana that did not tax her upper register. Some have speculated that Ponselle was by nature a mezzo-soprano. This theory is bolstered by the dark richness and solidity of her lower register. Ponselle herself once told mezzo-soprano Marilyn Horne
Marilyn Horne
Marilyn Horne is an American mezzo-soprano opera singer. She specialized in roles requiring a large sound, beauty of tone, excellent breath support, and the ability to execute difficult coloratura passages....
that she might have studied as a mezzo had she not begun singing so young. More likely, however, Ponselle, like Horne and Regina Resnik
Regina Resnik
Regina Resnik is an American operatic singer.Regina Resnik, the American mezzo-soprano, started a dramatic career ten months after earning her B.A. in Music at Hunter College. The role was Lady Macbeth under Fritz Busch in December, 1942 with the New Opera Company. A few months later, she sang...
, started out as a true soprano, but as her voice matured it darkened and settled into a lower placement. Had Ponselle continued to sing into the 1940s, she would probably have done so as a mezzo-soprano.
The following recordings best demonstrate the various aspects of Ponselle's voice discussed above:
- Range, timbre, pianissimo: "Suicidio!"
- Trill and coloratura: "Ernani, involami" and "Mercè, diletti amiche" ("Bolero")
- Legato: "Tu che invoco" and "O nume tutelar"
- Dynamic control and messa di voce: "Pace, pace, mio Dio"
Recordings
Martin BernheimerMartin Bernheimer
Martin Bernheimer is an American music critic. He studied at Brown University and the Hochschule für Musik in Munich, along with the famous musicologist Gustave Reese at New York University....
, 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. She was universally lauded for opulence of tone, evenness of scale, breadth of range, perfection of technique and communicative warmth. Many of these attributes are convincingly documented on recordings. In 1954 she made a few private song recordings, later released commercially, revealing a still opulent voice of darkened timbre and more limited range.
Rosa Ponselle's recording career began with the acoustic horn, continued with electric recording, and ended on magnetic tape
Magnetic tape
Magnetic tape is a medium for magnetic recording, made of a thin magnetizable coating on a long, narrow strip of plastic. It was developed in Germany, based on magnetic wire recording. Devices that record and play back audio and video using magnetic tape are tape recorders and video tape recorders...
. Over her career, she made 166 commercial recordings (not including alternate takes), either in the studio or at Villa Pace. These are supplemented by live recordings from the 1930s, which include three complete operas and numerous songs and arias from her appearances on radio. Additionally, there are numerous "private" recordings made by Ponselle herself and others at the Villa Pace, from 1949 through the late 1970s. The Italian critics however found and find her voice "una voce fissata" lacking vibrancy and life with an almost supernatural dullness in interpretation.
Columbia Recordings. Shortly before her Metropolitan Opera debut in 1918, Ponselle signed a 5-year contract with the Columbia Graphophone Company
Columbia Graphophone Company
The Columbia Graphophone Company was one of the earliest gramophone companies in the United Kingdom. Under EMI, as Columbia Records, it became a very successful label in the 1950s and 1960s...
. Although at that time Victor
Victor Talking Machine Company
The Victor Talking Machine Company was an American corporation, the leading American producer of phonographs and phonograph records and one of the leading phonograph companies in the world at the time. It was headquartered in Camden, New Jersey....
was the 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. 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
Lohengrin (opera)
Lohengrin is a romantic opera in three acts composed and written by Richard Wagner, first performed in 1850. The story of the eponymous character is taken from medieval German romance, notably the Parzival of Wolfram von Eschenbach and its sequel, Lohengrin, written by a different author, itself...
, Tosca
Tosca
Tosca is an opera in three acts by Giacomo Puccini to an Italian libretto by Luigi Illica and Giuseppe Giacosa. It premiered at the Teatro Costanzi in Rome on 14 January 1900...
, La bohème
La bohème
La bohème is an opera in four acts,Puccini called the divisions quadro, a tableau or "image", rather than atto . by Giacomo Puccini to an Italian libretto by Luigi Illica and Giuseppe Giacosa, based on Scènes de la vie de bohème by Henri Murger...
, Madama Butterfly
Madama Butterfly
Madama Butterfly is an opera in three acts by Giacomo Puccini, with an Italian libretto by Luigi Illica and Giuseppe Giacosa. Puccini based his opera in part on the short story "Madame Butterfly" by John Luther Long, which was dramatized by David Belasco...
, and I vespri siciliani
Les vêpres siciliennes
Les vêpres siciliennes is an opéra in five acts by the Italian romantic composer Giuseppe Verdi set to a French libretto by Charles Duveyrier and Eugène Scribe from their work Le duc d'Albe, which was written in 1838 and offered to Halevy and Donizetti before Verdi...
. All her Columbia discs were acoustical recordings. Her 1923 Columbia recording of "Selva opaca" from William Tell
William Tell (opera)
Guillaume Tell is an opera in four acts by Gioachino Rossini to a French libretto by Etienne de Jouy and Hippolyte Bis, based on Friedrich Schiller's play Wilhelm Tell. Based on the legend of William Tell, this opera was Rossini's last, even though the composer lived for nearly forty more years...
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. 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. One of Ponselle's regrets about signing with Columbia was that it deprived her of the opportunity to record with Caruso, who was an exclusive Victor artist.
Victor Recordings. When her Columbia contract expired in 1923, Ponselle immediately signed with Victor. Her recordings from 1923 until mid-1925 are all acoustics; from 1925 on, they are electrical recordings. Among the latter, Ponselle's most admired Victor recordings include "Pace, pace mio Dio", "Suicidio!", "Casta Diva", and the two arias from La vestale. She also recorded several ensembles, including the complete Tomb Scene from Aida with Giovanni Martinelli
Giovanni Martinelli
Giovanni Martinelli was a celebrated Italian operatic tenor. He was particularly associated with the Italian lyric-dramatic repertory, although he performed French operatic roles to great acclaim as well...
, "Mira, o Norma" with Marion Telva, the Adalgisa of her first Normas in 1927, and a trio from La forza del destino
La forza del destino
La forza del destino is an Italian opera by Giuseppe Verdi. The libretto was written by Francesco Maria Piave based on a Spanish drama, Don Álvaro o la fuerza del sino , by Ángel de Saavedra, Duke of Rivas, with a scene adapted from Friedrich Schiller's Wallensteins Lager. It was first performed...
with Martinelli and Ezio Pinza. Ponselle made no studio recordings after 1939. 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. 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. 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).
Live Recordings. Ponselle sang often on the radio in the early 30s, and she generally had her broadcasts recorded on 78 rpm acetate
Acetate
An acetate is a derivative of acetic acid. This term includes salts and esters, as well as the anion found in solution. Most of the approximately 5 billion kilograms of acetic acid produced annually in industry are used in the production of acetates, which usually take the form of polymers. In...
disks. Many of these have been released since on LP and CD. There are five complete opera performances from the Metropolitan Opera radio broadcasts
Metropolitan Opera radio broadcasts
The Metropolitan Opera radio broadcasts are a regular series of weekly broadcasts on network radio of full-length opera performances. They are transmitted live from the stage of the Metropolitan Opera in New York City...
: Don Giovanni (1934), La traviata (1935), and three performances of Carmen (03.28.1936 Boston, 01.09.1937 New York and 04.17.1937 Cleveland). The April 1937 Carmen is the Cleveland tour performance that was Ponselle's farewell to the operatic stage. The Traviata and Carmen performances are in good sound (for a mid-30s radio broadcast transcription); the Don Giovanni is in very poor sound. Ponselle's live recordings also include many songs and arias from her radio concerts. Finally, there are private recordings made at the Villa Pace of Ponselle singing various songs and arias accompanying herself on the piano, some of which are items she never recorded elsewhere. There is a particularly moving and very freely-rendered performance of the aria "Senza Mamma" from Suor Angelica
Suor Angelica
Suor Angelica is an opera in one act by Giacomo Puccini to an original Italian libretto by Giovacchino Forzano. It is the second opera of the trio of operas known as Il trittico...
.
For an example of Rosa Ponselle's voice as she sings "A Perfect Day
A Perfect Day (song)
"A Perfect Day" is a parlor song written by Carrie Jacobs-Bond in 1909 at the Mission Inn, Riverside, California. Jacobs-Bond wrote the lyrics after watching the sun set over Mount Rubidoux from her 4th-floor room. She came up with the tune three months later while touring the Mojave Desert...
" by Carrie Jacobs-Bond
Carrie Jacobs-Bond
Carrie Minetta Jacobs-Bond was an American singer, pianist, and songwriter who composed some 175 pieces of popular sheet music from the 1890s through the early 1940s....
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Compact discs
- Rosa Ponselle RCA Victor Vocal Series.
- 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 in Opera and Song; Nimbus Prima Voce (available separately on 3 *CDs - Rosa Ponselle vv. 1, 2 & 3; Nimbus).
- 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.