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Lawrence Winters(néLawrence Lafayette Whisonant; 15 November 1915 King's Creek, South Carolina – 24 September 1965 Hamburg, Germany), bass-baritone, was an American opera singer who had an active international career from the mid-1940s through the mid-1960s. He was part of the first generation of black opera singers to achieve wide success and is viewed as part of an instrumental group of performers who helped break down the barriers of racial prejudice in the opera world. He began his opera career at the New York City Opera in 1946 during a time when the NYCO was one of the few American opera companies hiring black artists. He sang a varied repertoire there through 1955, after which his career was largely based in Europe until his death at the age of fifty.
Ara Berberian was an American bass and actor who had an active international career in operas, concerts, and musicals from the early 1960s until his retirement from the stage in 1997. He notably had an 18-year association with the Metropolitan Opera in New York City, where he gave a total of 334 performances between 1979 and 1997. He sang over 100 roles during his career, including those of Osmin in Mozart's Abduction from the Seraglio and Sparafucile in Verdi's Rigoletto.
Frances Yeend was an American classical soprano who had an active international career as a concert and opera singer during the 1940s through the 1960s. She had a long and fruitful association with the New York City Opera (NYCO) between 1948 and 1958, after which she joined the roster of principal sopranos at the Metropolitan Opera where she sang between 1961 and 1963. She also had an extensive concert career, particularly in the United States. By 1963 she had sung in more than 200 orchestral concerts in North American with major symphonies like the New York Philharmonic, the Boston Symphony Orchestra, the Philadelphia Orchestra, the Cleveland Orchestra, and the Chicago Symphony Orchestra among others.
Richard Cassilly was an American operatic tenor who had a major international opera career between 1954–90. Cassilly "was a mainstay in the heldentenor repertory in opera houses around the world for 30 years", and particularly excelled in Wagnerian roles like Tristan, Siegmund and Tannhäuser, and in dramatic parts that required both stamina and vocal weight, such as Giuseppe Verdi's Otello and Camille Saint-Saëns's Samson.
Clamma Churita Dale is an American operatic soprano. She portrayed "Bess" in the highly successful 1976 Houston Grand Opera production of Porgy and Bess. The show was transferred from Houston to Broadway and Dale was awarded a 1977 Drama Desk Award for Best Actress in a musical and received a Tony Award nomination. She won a Grammy award in 1978 for Best Opera Recording of the Porgy & Bess soundtrack.
Richard Cross is an American bass-baritone who had an active international opera career from the late 1950s through the 1990s. Possessing a rich and warm voice, Cross sang a broad repertoire that encompassed works from a wide variety of musical periods and styles. He currently teaches on the voice faculties of the Yale School of Music, the Juilliard School, and the State University of New York at Stony Brook.
Norman Kelley was an American operatic tenor who had an active international career during the 1940s through the 1970s. He was notably a regular performer at the Metropolitan Opera between 1957 and 1961, and he sang in several world premieres with the New York City Opera. He also notably translated Engelbert Humperdinck's Hänsel und Gretel into English, a version first performed in 1967 and used by opera companies to this present day.
Arthur Newman was an American operatic baritone and actor. He began his career as a stage actor in St. Louis in the early 1930s and in 1939 began an opera career. He was notably a member of the New York City Opera between 1945 and 1959 during which time he performed in more than 1,300 performances with the company in over 50 roles.
Frances Lillian Bible was an American operatic mezzo-soprano who had a thirty-year career at the New York City Opera between 1948 and 1978. She also made a number of opera appearances with other companies throughout the United States, but only made a limited number of appearances abroad. Martin Bernheimer wrote in Opera News that, "Frances Bible was cheated by destiny. She never quite achieved the international recognition she deserved. Bible had it all—a mellow, wide-ranging mezzo-soprano, an attractive stage presence, genuine theatrical flair, a probing mind and a technique that allowed her to sing bel-canto filigree one night, Verdian drama the next. She was one of the rare American singers who savor the English language. She understood the value of economy, never stooping to easy effects. Perhaps she was too versatile, too tasteful and — dare one say it? — too intelligent for her own good."
Adelaide Bishop was an American operatic soprano, musical theatre actress, opera director, stage director, and voice teacher. She began her career appearing in Broadway musicals as a teenager during the early 1940s. She became a principal soprano with the New York City Opera (NYCO) in 1948, where she performed through 1960 in a broad repertoire encompassing German, French, Italian, and English operas from a variety of musical periods. In the late 1950s, she started working actively as a stage director and as a voice teacher, working with many opera companies throughout the United States and serving on the music faculties of several different American universities. She also served as the artistic director of the Wolf Trap Opera for many years.
Paul Ukena was an American operatic baritone and musical theatre actor who had an active career from the 1940s through the 1970s. After beginning his career entertaining American troops as a part of the Special Services during World War II, his first critical success was as the baritone soloist in the American premiere of Frederick Delius's Requiem in 1950. He was one of the founding members of the NBC Opera Theatre, a company he performed with throughout the 1950s in such productions as Benjamin Britten's Billy Budd and the world premiere of Norman Dello Joio's The Trial at Rouen.
Arnold Voketaitis is an American bass-baritone of Lithuanian descent who had an active singing career performing in operas, concerts, and recitals from the late 1950s through the 1990s. He enjoyed a particularly successful partnership with the New York City Opera and has performed with most of the major opera companies in North America. A strong actor, he has a powerful voice with a wide range and fine timbre.
Walter Cassel was an American operatic baritone and actor. He began his career singing on the radio during the mid-1930s and appeared in a couple of Hollywood musical films in the late 1930s. He made his first stage appearances in a handful of Broadway productions during the late 1930s and early 1940s. He began his opera career at the Metropolitan Opera in 1942, and went on to have a long and fruitful association with that house that lasted until his retirement from the stage in 1974. In addition to working with the Met, Cassel was also a regular performer with the New York City Opera between 1948 and 1954 and worked frequently as a freelance artist with important opera companies on the international stage as well as in the United States.
William Chapman was an American operatic baritone and stage actor. He appeared in several Broadway productions and was notably a leading performer at the New York City Opera from 1957 through 1979.
Eva Likova was an American operatic soprano of Czech descent. She was notably one of the major sopranos at the New York City Opera during the company's early years. She also made guest appearances with a number of opera houses in North America and Europe, enjoying a particularly fruitful partnership with the Philadelphia Grand Opera Company. After retiring from the opera stage in 1966, she embarked on a second career as a voice teacher.
Stephen Dickson was an American baritone who had an active career in operas and concerts from 1972 through 1990. He was active with the United States's most important opera companies during the 1980s, sharing the stage with many notable singers like Luciano Pavarotti, Jessye Norman, and Renata Scotto. He was particularly admired for his portrayal of Papageno in The Magic Flute, a role he sang throughout Europe and the United States. At the time of his premature death, Dickson had just reached the pinnacle of his career, having only recently gained a more substantial role at the Metropolitan Opera in New York City and with major European opera houses like the Royal Opera, London and the Bavarian State Opera among others.
Robert Mosley was an American operatic bass-baritone. Part of the first generation of African-American opera singers to achieve wide success, he performed in numerous opera productions, recitals, and in concerts from the 1950s through the 1990s. In 1957 he won the Metropolitan Opera National Council Auditions. He drew particular acclaim for his portrayal of Porgy in George Gershwin's Porgy and Bess, a role which he portrayed in the landmark 1976 Houston Grand Opera production, on Broadway, and at the Metropolitan Opera among other opera companies both in the United States and in Europe.
Leon Lishner was an American operatic bass-baritone. He was particularly associated with the works of Gian Carlo Menotti, having created parts in the world premieres of four of his operas. He performed in many productions with the New York City Opera and the NBC Opera Theatre during the 1950s and early 1960s.
Jack Harrold was an American operatic tenor and voice teacher. Admired for his comedic skills, he specialized in the tenor buffo repertoire. He had a particularly long association with the New York City Opera from the 1940s through the 1980s. He also appeared in several Broadway musicals. Danny Newman of the Lyric Opera of Chicago stated that, "Jack Harrold was one of American musical theater's most beloved and most versatile performers, possessing a clarion tenor voice that practically bounced off the back walls of the biggest theaters."
Brenda Lewis was an American operatic soprano, musical theatre actress, opera director, and music educator. She enjoyed a 20-year-long collaboration with the New York City Opera (NYCO) with whom she notably created roles in several world premieres by American composers; including the title role in Jack Beeson's Lizzie Borden in 1965. She also performed with frequency at the Metropolitan Opera from 1952 to 1965, and was active as a guest artist with notable opera companies both nationally and internationally. Although she is mainly remembered as an exponent of American operas and musicals, she performed a broad repertoire of works and was particularly celebrated for her portrayals of Marie in Wozzeck, Rosalinde in Die Fledermaus, and the title roles of Carmen and Salome; the latter of which she performed for the inauguration of the Houston Grand Opera in 1956.
References
- 1 2 "Biography of Emile Renan at operissimo.com". Archived from the original on 2016-03-04. Retrieved 2009-07-01.
- 1 2 Wolfgang Saxon (January 7, 2002). "Emile Renan, 88, Bass-Baritone With Spot in City Opera History". The New York Times . Retrieved June 28, 2009.
