#luisa tetrazzini

[opera-ghosts]

Italian coloratura soprano Luisa Tetrazzini (1871-1940) / Una voce poco fa / Il Barbiere di Siviglia (Rossini) / Recorded: August 8, 1904.

Rossini’s Il barbiere di Siviglia was premiered in Rome on this day in 1816.

[vintagestagehotties]

Hot Vintage Stage Actress Round 1

Luisa Tetrazzini: Lucia in Lucia di Lammermoor (1903 Mexico); Gilda in Rigoletto (1905 San Francisco); Violetta in La traviata (1907 ROH)

Mary Garden: Mélisande in Pelléas et Mélisande (1902 Paris); Chérubin in Chérubin (1905 Monte Carlo); Thaïs in Thaïs (1907 Manhattan Opera)

Propaganda under the cut

Luisa Tetrazzini:

Mary Garden:

hair goals

[dolenteimmagine]

Giuseppe Verdi, Il Trovatore: Tacea la notte placida... Di tale amor che dirsi

Luisa Tetrazzini, Soprano 1912

[widevibratobitch]

me when im obsessed with dead singers from 50 (well... mostly 70-120) years ago and im heartbroken to know i'll never see them on stage... never hear them breathe, never see them sweat, never even touch the hem of their garment...

it really is enough to drive a person mad...

[talesofpassingtime]

"In the eyebrows alone you can depict mockery, every stage of anxiety or pain, astonishment, ecstasy, terror, suffering, fury and admiration, besides all the subtle tones between."

—

Luisa Tetrazzini, Caruso and Tetrazzini on the Art of Singin

[soprano-sfogato]

You mentioned in a few posts that opera singing in the 19th century is different to opera singing now. Are there any recordings you know of that can give us an idea of what a 19th century soprano would sound like?

There are a bunch of old recordings of sopranos trained in the old-school bel canto technique. I’ll link just a few of them, but I’ll try to show you different types of sopranos. If you want more, you’ll need to dig deeper into YouTube (there are entire channels dedicated to this!).

Adelina Patti – Casta Diva (Patti was 63 when she recorded it!)

Luisa Tetrazzini – Caro nome

Frieda Hempel – Der Hölle Rache

Eugenia Burzio – Suicidio

Marcella Sembrich-Kochańska – Ah, fors’è lui…Sempre libera

Nellie Melba – Jewel song

Amelita Galli-Curci - Un bel di vedremo

Emmy Destinn – Vissi d’arte

[njmauthor]

Tuna Tetrazzini

Tuna Tetrazzini is one of those retro dishes that I believe deserves a new life. It’s inexpensive, easy to make, and is very satisfying comfort food. The history of the dish is uncertain. It is said to have been created for early 1900s opera singer, Luisa Tetrazzini, by Ernest Arbogast, the chef at the Palace Hotel in San Francisco, the city where the soprano made her American debut. Others…

[wordofmouthsouth]

Your reminder that the baked pasta dish Tetrazzini was named after Luisa Tetrazzini a dramatic coloratura soprano of great international fame.

How yum.

The original dish is named after the Italian opera star Luisa Tetrazzini. It is widely believed to have been invented circa 1908–1910 by Ernest Arbogast, the chef at the Palace Hotel in San Francisco, where Tetrazzini made her American debut at the Tivoli as Gilda in Rigoletto on January 11, 1905.

[soprano-sfogato]

I agree that Christine in the novel was 20-21 years old, but I just have to add something from the perspective of an opera singer.

In the 19th century it was normal to debut on the operatic scene at a very young age. Adelina Patti was only 16 when she made her debut as Lucia in Donizetti’s Lucia di Lammermoor. Eugenia Burzio was 17, and Emmy Destinn was 20 (they both debuted as Santuzza in Mascagni's Cavalleria rusticana). Luisa Tetrazzini was 19 (Inez in Meyerbeer's L'Africaine).

Christine Nilsson made her debut at the age of 21 in the role of Violetta in La Traviata, and I believe Leroux had this in mind when he was creating the character of Christine. He incorporated many facts from Nilsson’s life into Christine Daaé’s, and I think her debut age was one of them. Christine Daaé sang smaller roles before, but the role of Marguerite was her debut in a major role.

PS. Christine in Leroux’s novel never sang any of Wagner’s music.

No, Christine Daaé is not 15-19 years old. No voice that young can sing the works of Gounod or Wagner. Heck, even some 20 somethings damage their voices by singing Wagner too soon. And Faust is a very intense opera for a singer, let alone the role of Marguerite. Much stamina is needed to perform it. She is likely 20-23, given Raoul’s age and the fact that they’re said to be around the same.

In my opinion, I think people put her in the 15-19 age bracket because they don’t want to believe that a young woman can be just as naive as a teenage girl (in the novel it says “she has the heart of a 15-year-old”, not that she’s actually 15). Hate to break it to ya, but some of us adults are also gullible/naive. It makes her a well-rounded, believable character and it’s not her fault that Erik played into the lie. After all, if a voice like his, described as angelic or otherworldly, started speaking to you in your dressing room (I would likely faint cuz wtf, but if I didn’t, I would ask what’s going on) you would likely err on the side of the supernatural too.

[opera-ghosts]

"Tetrazzini weds. 26 year old M. Vernati weds 56 year old Italian 'Queen of Song'." Florence, Italy. M/S of ageing Italian soprano opera singer, Luisa Tetrazzini. A man leads her by the arm past crowd of fans to chauffeur driven car. Top shots of crowds surrounding Tetrazzini in courtyard where car waits, they have gathered to watch celebrity wedding.

[gungieblog]

CENTRAL PRESS/GETTY IMAGES

Luisa Tetrazzini

Tetrazzini was an internationally famous Italian coloratura soprano. She made several acclaimed recordings, as shown in this historical photo. Tetrazzini was known for her amazing vocal technique and ability to hit an F note above high C. She is also immortalized in a popular pasta dish from her favorite city, San Francisco.

[dolenteimmagine]

Vincenzo Bellini, La Sonnambula: Ah! Non credea mirarti

Luisa Tetrazzini, Soprano 1911

[radondoran]

San Francisco, Cal. Jan 27, 1911

Stood in this crowd and heard Tetrazzini sing. This corner is the junction of 4 streets and is very wide crowds extended two blocks up and down each street and all the windows in the different buildings were packed.

Helen

[talesofpassingtime]

In the eyebrows alone you can depict mockery, every stage of anxiety or pain, astonishment, ecstasy, terror, suffering, fury and admiration, besides all the subtle tones between.

— Luisa Tetrazzini, Caruso and Tetrazzini on the Art of Singing