Grace Angelau

Last updated
Grace Angelau as Leonor de Guzman in Gaetano Donizetti's La favorite (c. 1930) Grace Angelau (c. 1930).jpg
Grace Angelau as Léonor de Guzman in Gaetano Donizetti's La favorite (c. 1930)

Grace Angelau (1899, Philadelphia, Pennsylvania - October 1958, Melbourne, Australia) was an American opera singer who had an active international career in operas and operettas in the 1920s, 1930s, and early 1940s. At various times in her career she was billed as a contralto and a soprano, but a 1942 article summarizing her career in Pix magazine labeled her as a mezzo-soprano. [1] In the United States she appeared in operas in several theatres on Broadway, and was active with the touring San Carlo Opera Company, the Chicago Opera Company, and the New York Hippodrome Opera. She also appeared at European opera houses like La Scala, and at theaters in Australia, and Central and South America. She was particularly admired for her performances of Amneris in Giuseppe Verdi's Aida and Azucena in Verdi's Il trovatore . She owned and operated the Coonara Springs Restaurant & Gardens, now listed on the Victoria Heritage Database of historical sights, in Olinda, Victoria, Australia during the 1940s. Many of her costumes, jewelry, photographs, and other personal artifacts are part of the Australian Performing Arts Collection at the Arts Centre Melbourne.

Contents

Early life and career

Born Grace A. Strasburger in Philadelphia, Pennsylvania in 1899, Angelau was the daughter of Emmanuel Strasburger and Maud Strasburger (née Hay, born 1871 - died January 17, 1954, Oriskany, New York). [1] [2] [3] She was educated at Desborough Academy in her youth before beginning her vocal studies with Louis Aschenfelder at the Pittsburgh Musical Institute where she gave a recital in 1917 as a soprano. [1] [4] She pursued further studies with baritone Dr. Fery Lulek at the Chicago Musical College which she attended on a vocal scholarship; giving a recital in 1922 as a contralto. [5] [1] She pursued further vocal studies in New York City with Estelle Liebling, the voice teacher of Beverly Sills, in the 1920s and 1930s. [6]

Angelau made her Broadway debut in 1922 at the Broadhurst Theatre in the ensemble of Hugo Felix's operetta Marjolaine. In 1925 she was a Court Lady in the original production of Rudolf Friml's The Vagabond King at the Casino Theatre on Broadway. [7] That same year she was a featured singer in concerts given in the Grand Ballroom of the Hotel Astor in New York City by The Drama-Comedy Club. [8] In 1925 she was the Vice Chairman of the Professional Women's League in New York City; an organization which gave her a platform for her New York recital debut in 1926. [9] [10] She became a singer on radio in New York City in 1926, at which time she was billed as a contralto. [11]

Performances in the 1930s

In 1930 Angelau had a critical triumph at the Teatro Dal Verme in Milan, Italy as Azucena in Giuseppe Verdi's Il trovatore . [12] She was a leading mezzo-soprano internationally during the 1930s, performing roles at La Scala and other European opera houses as well as theaters in South America, Central America, Canada, England, and the United States. [1] Some of the roles she performed internationally included Leonora in Donizetti's La favorite , Adalgisa in Vincenzo Bellini's Norma , the title role in Georges Bizet's Carmen , and numerous roles in operas by Verdi. [1] [13] In 1932 she toured Australia with the Imperial Grand Opera Company, and she made several appearances with the National Theatre, Melbourne in the late 1930s and early 1940s. [1] [13] Many of her costumes, jewelry, photographs, and other personal artifacts are part of the Australian Performing Arts Collection at the Arts Centre Melbourne. [13]

In 1933 Angelau portrayed the role of Amneris in Verdi's Aida at the Broadway Theatre with Della Samoiloff as the title heroine. [14] She returned to Broadway later that year as Azucena at the Forrest Theatre with Marguerite Ringo as Leonora and Pasquale Ferrara as Manrico, and Rocco Pandiscio as Count di Luna. [15] [16] In July 1933 she performed the role of Siébel in Charles Gounod's Faust to a crowd of 1,800 people at Atlantic City's Steel Pier. [17] She was heard again at that location the following September as Pitti-Sing in Gilbert and Sullivan's The Mikado . [18]

In 1934 Angelau appeared regularly on WMCA (AM) radio in New York City, at which time she was billed as a soprano. [19] [20] [21] [22] In March 1934 she appeared at the Cosmopolitan Theatre in New York City as Amneris, and she returned to the Broadway Theatre as Laura Adorno in Amilcare Ponchielli's La Gioconda in April 1934. [23] [24] She became a member of Fortune Gallo's touring San Carlo Opera Company that same year, starring in performances of Verdi's Rigoletto as Maddalena and Azucena in Il trovatore in New York and San Francisco under conductor Carlo Peroni. [25] [26] With that company she performed with singers Josephine Lucchese, Anna Leskaya Asch, Sydney Rayner, Aroldo Lindi, Mostyn Thomas, Natale Cervi, and Mario Valle among others. [25] [26] She also performed the role of Azucena with the Chicago Opera Company in 1934 with Caterina Jarboro in the title role and Bernardo De Muro as Radames at the New York Hippodrome. [27] [28] On November 25, 1934 she starred in the world premiere of Jacob Weinberg's opera The Pioneers at the Mecca Temple. [29]

In 1935 Angelau toured the United States with the New York Opera Comique, performing at the Chicago Auditorium, The Bushnell Center for the Performing Arts in Hartford, Connecticut, and on Broadway among other venues in performances of The Tales of Hoffmann (as Antonia), La Vie parisienne and Die Fledermaus . [30] In 1936 she performed with Alfredo Salmaggi's opera company at the New York Hippodrome and Ebbets Field in Brooklynn in performances of the title heroine in Carmen and Amneris in Aida. [31] [32] In 1937 she appeared as Suzuki in Giacomo Puccini's Madama Butterfly with the San Carlo Opera Company at the Philharmonic Auditorium in Los Angeles. [33] That same year she spent a month performing at the Teatro Municipal of Caracas in a tour organized by opera impresario Giorgio D'Andria at the invitation of President Eleazar López Contreras. [34]

In 1938 Angelau was a member of the New York Grand Opera Company, performing Suzuki to Rose Tentoni's Cio-Cio-San, Armand Tokatyan's Pinkerton, and Joseph Royer's Sharpless at the DAR Constitution Hall in Washington D.C. as well as in New York City. [35] She also performed the role of Azucena to Rose Bampton's Leonora that season. [36] In December 1938 she starred in Rigoletto at The Mosque Theater in Newark, New Jersey with Robert Weede and Jan Peerce. [37] She returned to the New York Hippodrome as Azucena in 1939. [38] She performed at the 20th Anniversary Concert Program of the Catholic Writers Guild at the Waldorf Astoria New York on April 21, 1939. [39]

Later life

In 1938 Angelau married Guy Hutchison who was a former football coach at Amherst College and Yale University, and was Vice President of the Hoffman Specialty Company in New York City at the time of their wedding. [40] In the late 1930s she taught singing at The Alviene School of Dance Arts; an institution which trained Fred Astaire, Una Merkel, and Peggy Shannon. [41] In 1939 she moved with her husband, and their two sons, Guy Jr and Jay Benjamin, to Melbourne, Australia. [40] [1] [42] She retired from the stage in 1941 after purchasing the Coonara Springs Restaurant & Gardens at 129 Olinda-Monbulk Rd in Olinda, Victoria, Australia in the Dandenong Ranges which she operated as a tea room in the 1940s. [42] [1] It is now part of the Victorian Heritage Database of historic sights. [42] Her husband died on December 9, 1941 in Melbourne. [43] His obituary states he had two surviving daughters from a previous marriage, Carra H. Matthews and Marjorie H. Young. [43]

She died in Melbourne, Australia in October 1958. [40]

Related Research Articles

<span class="mw-page-title-main">Nell Rankin</span> American opera singer (1924–2005)

Nell Rankin was an American operatic mezzo-soprano. Though a successful opera singer internationally, she spent most of her career at the Metropolitan Opera, where she worked from 1951 to 1976. She was particularly admired for her portrayals of Amneris in Verdi's Aida and the title role in Bizet's Carmen. Opera News said, "Her full, generous tone and bold phrasing, especially in the Italian repertory, were unique among American mezzos of her generation.

Ebe Stignani was an Italian opera singer, who was pre-eminent in the dramatic mezzo-soprano roles of the Italian repertoire during a stage career of more than thirty years.

<span class="mw-page-title-main">Herva Nelli</span> Operatic soprano

Herva Nelli was an Italian-American operatic soprano.

Dolora Zajick is an American mezzo-soprano opera singer who specializes in the Verdian repertoire. Zajick has been described as having "one of the greatest voices in the history of opera".

<span class="mw-page-title-main">Biserka Cvejić</span> Serbian operatic singer and academic (1923–2021)

Biserka Cvejić was a Serbian operatic mezzo-soprano and contralto, and a university professor of Croatian descent. Her career began at the Belgrade Opera in 1954. She was a member of the Vienna State Opera from 1959 to 1979, performing internationally. She first appeared at the Metropolitan Opera in 1961 as Amneris in Verdi's Aida, returning in many more leading roles of the Italian and French repertoire.

<span class="mw-page-title-main">Irina Bogacheva (mezzo-soprano)</span> Russian mezzo-soprano (1939–2019)

Irina Petrovna Bogacheva was a Russian mezzo-soprano at the Mariinsky Theatre and a professor of voice at the Saint Petersburg Conservatory. Trained in Leningrad and at La Scala in Milan, she performed leading roles of the Russian and Italian repertoire at major international opera houses. Dmitry Shostakovich composed a song cycle to poems of Marina Tsvetaeva for her.

Ivanka Ninova is a Bulgarian mezzo-soprano opera singer born in Vidin.

<span class="mw-page-title-main">Eleonora de Cisneros</span> American opera singer (1878–1934)

Eleonora de Cisneros was an American opera singer. She was a singer for the Metropolitan Opera company and became one of their principal singers. She was the first American-trained opera singer hired by the Metropolitan Opera company. During the early twentieth century, she performed at major opera houses in the United States, Cuba, Europe, Australia, New Zealand, South America and Russia.

Lauris Margaret Elms is an Australian retired contralto, renowned for her roles in opera and lieder and as a recording artist.

<span class="mw-page-title-main">Giulia Novelli</span> Italian operatic mezzo-soprano

Giulia Novelli was an Italian operatic mezzo-soprano.

<span class="mw-page-title-main">Milijana Nikolic</span> Operatic mezzo-soprano

Milijana Nikolic is an operatic mezzo-soprano.

Bernadette Eileen Cullen is an Australian dramatic mezzo-soprano who has performed in Australia, Europe, and Asia.

<span class="mw-page-title-main">Dragana Radakovic</span>

Dragana Radakovic is an operatic soprano, conductor and academic. With a flexible voice, she is able to sing bel canto as well as dramatic soprano roles. She has appeared at major opera houses in title and leading roles, including Bellini's Norma, Verdi's Aida, and Puccini's Turandot.

Grace Hoffman was an American operatic mezzo-soprano and academic teacher. Based at the Staatsoper Stuttgart from 1955 to 1992, she performed roles such as Verdi's Azucena and Eboli at leading opera houses in Europe and the Americas. Her signature role was Wagner's Brangäne, performed at the Bayreuth Festival, among others.

Ekaterina Semenchuk, is a Belarusian operatic mezzo-soprano.

<span class="mw-page-title-main">Tichina Vaughn</span> American operatic mezzo-soprano

Tichina Vaughn is an American operatic dramatic mezzo-soprano active internationally in opera, concert halls and recitals. Starting at the Lindemann Young Artist Development Program at the Metropolitan Opera, her American career expanded into Europe, as member of the permanent ensembles of the Semperoper in Dresden and the Stuttgart Opera, where she was awarded the title of Kammersängerin in 2006. She has been a regular at the Arena di Verona and other major theaters worldwide, singing a wide repertoire span, with a "voluminous and dark mezzo" voice the dramatic Verdi roles such as Amneris in Aida, Eboli in Don Carlo, Azucena in Il trovatore and Ulrica in Un ballo in maschera, Wagner's Ortrud Lohengrin, Venus Tannhäuser, Fricka Die Walküre, Waltraute in Götterdämmerung and Strauss, Herodias in Salome and Klytemnestra in Elektra. According to Opernglas, Vaughn has a natural "great intensity" on stage, with an ample "voice, which flows richly, even in the low registers." The Neue Zürcher Zeitung describes her voice as an "enchanting satisfyingly rich mezzosoprano". Bernard Holland of The New York Times called hers "A voice of quality", which had "the presence and personality that might well fit the Met... a mezzo-soprano whose strong upper register gave hints of a dramatic soprano to come".

Marianne Cornetti is an American opera singer, known for her rendition of mezzo-soprano roles in operas by Giuseppe Verdi, such as Azucena in Il trovatore, Amneris in Aida, and Eboli in Don Carlo.

<span class="mw-page-title-main">Agnieszka Rehlis</span> Polish operatic soprano

Agnieszka Rehlis is a Polish operatic mezzo-soprano who has made an international career. She is known for portraying Verdi characters including Amneris and Azucena. She participated in music by Krzysztof Penderecki, including the world premiere of his Eighth Sinfonie and the Grammy Award–winning collection Penderecki Conducts Penderecki.

<span class="mw-page-title-main">Agnes Janson</span> Swedish opera singer

Agnes Sofia Charlotta Janson, married name Fischer, (1861–1947) was a Swedish mezzo-soprano opera singer and recitalist who later moved to Australia. After making her debut in April 1883 at the Royal Swedish Opera as Azucena in Verdi's Il trovatore, she remained with the company until 1885. Thereafter she sang mainly in recitals, principally in the United Kingdom but also in the major concert halls of Europe. In 1906, she settled in Australia, where she taught voice at the Melbourne Conservatory until her retirement in 1927.

Elena Manistina is a Russian operatic mezzo-soprano. She is a member of the Bolshoi Theatre and has appeared in many operas internationally. She also appeared as Verdi's Azucena at the Metropolitan Opera, the Deutsche Oper Berlin and Opéra Bastille, and as Amneris at the Arena di Verona.

References

  1. 1 2 3 4 5 6 7 8 9 "Grace Angelou: Opera Star Now Runs A Tea Garden". Pix . 9 (25). June 20, 1942.
  2. ↑ "Obituary: Maud Strasburger". The New York Times : 25. January 19, 1954.
  3. ↑ "Emanuel Strasburger (1867 - 1941)". ancestry.com.
  4. ↑ "Aschenfelder Students In Recital". Musical Courier . 75. December 27, 1917.
  5. ↑ "Chicago Musical College Presents Young Artists". Musical Courier . October 26, 1922.
  6. ↑ Dean Fowler, Alandra (1994). Estelle Liebling: An exploration of her pedagogical principles as an extension and elaboration of the Marchesi method, including a survey of her music and editing for coloratura soprano and other voices (PhD). University of Arizona.
  7. ↑ Don Carle Gillette (October 3, 1925). "THE NEW PLAYS ON BROADWAY: THE VAGABOND KING". Billboard . Vol. 37, no. 40. p. 41.
  8. ↑ "DRAMA COMEDY CLUB'S ENJOYABLE PROGRAM". Billboard . Vol. 37, no. 49. December 5, 1925. p. 29.
  9. ↑ "ACTORS' EQUITY ASSOCIATION: P. W. L. Bazaar Set For December 10, 11, 12". Billboard . Vol. 37, no. 49. December 5, 1925. p. 36.
  10. ↑ "DRAMATIC CLUB NEWS". Billboard . 38 (7): 9. February 13, 1926.
  11. ↑ "Today's Radio Program". The New York Times : 15. March 22, 1926.
  12. ↑ "Milan Acclaims New Yorker". The New York Times : 3. January 12, 1930.
  13. 1 2 3 "Grace Angelou Collection". Australian Performing Arts Collection, Arts Centre Melbourne. Retrieved May 26, 2021.
  14. ↑ "General News: Associated Artists Open Opera Season With "Aida"". Billboard . Vol. 45, no. 9. March 4, 1933. p. 5.
  15. ↑ "General Indoor News: Co-Op Opera Starts For Summer Try". Billboard . Vol. 45, no. 21. May 27, 1933. p. 21.
  16. ↑ "'TROVATORE' IS GIVEN ON COOPERATIVE BASIS: Large Audience Enthusiastically Greets New Enterprise at the Forrest Theatre". The New York Times : 15. May 16, 1933.
  17. ↑ "OPERA AT ATLANTIC CITY: 1,800 Hear 'Faust' at Season's Opening on Steel Pier". The New York Times : 14. July 3, 1933.
  18. ↑ "ACTIVITIES OF MUSICIANS HERE AND AFIELD: Bills at Hippodrome and Mecca Auditorium -- Whiteman at Garden -- Other Items". New York Times : X5. September 10, 1933.
  19. ↑ "RADIO PROGRAMS SCHEDULED FOR BROADCAST THIS WEEK". The New York Times : X10. April 1, 1934.
  20. ↑ "TODAY ON THE RADIO". The New York Times : 17. January 18, 1934.
  21. ↑ "TODAY ON THE RADIO". The New York Times : 36. February 15, 1934.
  22. ↑ "TODAY ON THE RADIO". The New York Times : 16. March 1, 1934.
  23. ↑ "CAPTURE OF A TENOR SPURS 'OPERA WAR': Radaelli, Singing at the Broadway, Is Announced to Join Rivals at Hippodrome". The New York Times : 24. April 5, 1934.
  24. ↑ "OPERA AT MOVIE COST TO OPEN HERE FRIDAY: Associated Artists Season to Begin With 'Aida' at the Cosmopolitan Theatre". The New York Times : 31. March 4, 1934.
  25. 1 2 W.B.C. (March 5, 1934). "GALLO'S TROUPE TO LEAVE: San Carlo Group's 'Il Trovatore' Ends Engagement Here". The New York Times : 18.
  26. 1 2 "SAN CARLO GROUP SINGS: Company Presents 'Rigoletto' Before Receptive Audience". The New York Times : 18. February 24, 1934.
  27. ↑ "CHANGES IN OPERA DATES.: New Arrivals Cause Shifts in Chicago Company's Schedule". The New York Times : N6. April 8, 1934.
  28. ↑ "AIDA' SATURDAY NIGHT.: Salmaggi's Opera Company Will Return to Hippodrome". The New York Times : 28. June 21, 1934.
  29. ↑ Howard Taubman (November 26, 1934). "PALESTINIAN OPERA IN PREMIERE HERE: Weinberg's 'The Pioneers' Sung in Hebrew -- Libretto Is Work of the Composer. BASED ON FOLK SOURCES Lola Monti-Gorsey and Lucien Rutman in Leading Roles -Heard by Big Audience". The New York Times : 13.
  30. ↑ "OPERA COMIQUE TOUR TO BEGIN THURSDAY: New York Company Will Open at Hartford -- Broadway Stay in Late Spring". The New York Times : 19. March 9, 1935.
  31. ↑ I.S. (August 22, 1936). "CARMEN' OFFERED AT HIPPODROME: Salmaggi's Company Opens Its Popular-Price Season Before Large Audience. GRACE ANGELAU IS CARMEN Charles Hart and Angelo Pilotto Among Those Having the Principal Roles". The New York Times : 6.
  32. ↑ "Salmaggi to Give Operas In Brooklynn". The New York Amsterdam News : 3. July 27, 1935.
  33. ↑ Kendall Read (February 12, 1937). "Around and About in Hollywood: 'Butterfly' Will Open Opera Season". Los Angeles Times : 22.
  34. ↑ "OPERA SINGERS'SAIL TODAY FOR CARACAS: Company of 89 to Offer Season of Three Weeks--Invited by Venezuelan". The New York Times : 23. August 27, 1937.
  35. ↑ Ray C. B. Brown (April 28, 1938). "Postlude". The Washington Post . p. X4.
  36. ↑ "Rose Bampton Has D.C. Debut In Verdi Opera". The Washington Post . April 29, 1938. p. X6.
  37. ↑ "MUSIC NOTES". The New York Times : 10. Dec 3, 1938.
  38. ↑ "MUSIC NOTES". The New York Times : 24. January 18, 1939.
  39. ↑ "CATHOLIC WRITERS MARK ANNIVERSARY: 600 Attend Musical Program Ending Twentieth Year". The New York Times : 9. April 22, 1939.
  40. 1 2 3 "Guy Hutchinson 1884-1941" . Retrieved May 26, 2021.{{cite journal}}: Cite journal requires |journal= (help)
  41. ↑ "Schools of Drama and Speech". The New York Times : X2. August 6, 1939.
  42. 1 2 3 Mikaela Day (February 2, 2020). "Dandenong Ranges restaurant with rich history served up to the market". Herald Sun .
  43. 1 2 "Obituary: Hutchison, Guy". The New York Times : 25. December 12, 1941.
This page is based on this Wikipedia article
Text is available under the CC BY-SA 4.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.