Marcella Pobbe (13 July 1921 - 17 June 2003) was an Italian operatic soprano who sang a wide range of roles in both the lyric and spinto repertory. [1]
Pobbe was born in Montegalda near Vicenza, where she studied with Elena Fava, and later entered the Rossini Conservatory in Pesaro, where she studied with Rinalda Pavoni. She also studied at the Accademia Chigiana in Siena with Giorgio Favaretto. She made her stage debut in Spoleto, as Gounod's Marguerite, in 1949, and the same year, first appeared at the Teatro San Carlo in Naples, where she was to appear regularly until 1973.
She made her debut at the Rome Opera in 1954, in the title role of Gluck's Iphigénie en Tauride , and at La Scala in 1955, as Bathseba in the premiere of Darius Milhaud's David. She appeared at the Baths of Caracalla in 1957, as Mathilde in Guglielmo Tell , and in 1959 as Elsa in Lohengrin . She also sang at most major opera houses in Italy, Venice, Parma, Bologna, Florence, Mantua, Palermo, etc., as well as on Italian radio and television.
On the international scene, she made guest appearances at the Monte Carlo Opera, the Zurich Opera, the Vienna State Opera, the Royal Opera House in London, the Liceo in Barcelona. In North America, she sang at the Philadelphia Opera and at the Metropolitan Opera in New York, for a few performances of Marguerite and Mimi during the 1958-59 season.
Her repertory also included; Agathe, Eva, Countess Almaviva, Micaela, Leonora, Maria, Amelia, Desdemona, Maddalena, Tosca, Adriana, Francesca, etc. She can be heard on record as Margherita in Boito's Mefistofele , opposite Ferruccio Tagliavini and Giulio Neri, and in two recitals of arias, which reveal a singer with a voice of considerable beauty and refinement. For Italian television in the 1950s, she appeared in several productions, notably Le nozze di Figaro , Un ballo in maschera and Adriana Lecouvreur , one of her most celebrated roles.
Pobbe went on performing until the late 1970s, and then became a music critic for Vicenza Gazzettino. In 2000, she published a series of interviews she had made with conductors. She died in Milan.
Franco Corelli was an Italian tenor who had a major international opera career between 1951 and 1976. Associated in particular with the spinto and dramatic tenor roles of the Italian repertory, he was celebrated universally for his powerhouse voice, electrifying top notes, clear timbre, passionate singing and remarkable performances. Dubbed the "prince of tenors", audiences were enchanted by his handsome features and charismatic stage presence. He had a long and fruitful partnership with the Metropolitan Opera in New York City between 1961 and 1975. He also appeared on the stages of most of the major opera houses in Europe and with opera companies throughout North America.
Renata Tebaldi was an Italian lirico-spinto soprano popular in the post-war period, and especially prominent as one of the stars of La Scala, San Carlo and, especially, the Metropolitan Opera. Often considered among the great opera singers of the 20th century, she focused primarily on the verismo roles of the lyric and dramatic repertoires. Italian conductor Arturo Toscanini called her voice "la voce d'angelo", and La Scala music director Riccardo Muti called her "one of the greatest performers with one of the most extraordinary voices in the field of opera."
María de Montserrat Bibiana Concepción Caballé i Folch or Folc, known simply as Montserrat Caballé, was a Spanish operatic soprano from Catalonia. Widely considered to be one of the best sopranos of the 20th century, she won a variety of musical awards thoroughout her six-decade career, including three Grammy Awards.
Hariclea Darclée was a celebrated Romanian operatic spinto soprano of Greek descent who had a three-decade-long career.
Maria Antonietta Stella was an Italian operatic soprano, and one of the most prominent Italian spinto sopranos of the 1950s and 1960s. She made her debut in Spoleto in 1950, as Leonora in Verdi's Il trovatore, a year later at Rome Opera, as Leonora in La forza del destino, in 1954 at La Scala in Milan, as Desdemona in Otello, in 1955 at the Royal Opera House in London as Aida, and in 1956 at the Metropolitan Opera in New York City, in the same role.
Radmila Bakočević, is a Serbian operatic soprano who had a major international opera career that began in 1955 and ended upon her retirement from the stage in 2004. During her career, she sang at most of the world's important opera houses, including performances throughout Europe, North and South America. She forged important long-term artistic partnerships with two opera houses during her career: the National Theatre in Belgrade and the Vienna State Opera.
Miriam Gauci is a Maltese operatic soprano, particularly associated with lyric Italian roles.
Maria Caniglia was one of the leading Italian spinto sopranos of the 1930s and 1940s.
Lucia Valentini Terrani was an Italian coloratura mezzo-soprano, particularly associated with Rossini roles.
Clara Petrella was an Italian operatic soprano, particularly associated with the Italian repertory, an outstanding singing-actress nicknamed the "Duse of Singers".
Giacinto Prandelli was an Italian operatic tenor, particularly associated with the Italian and French repertoires.
Solange Michel was a French classical mezzo-soprano who sang in concerts, recitals, and operas from the 1930s to the 1970s. She was particularly associated with the French opera repertory and was one of the most popular interpreters of the title heroine in Georges Bizet's Carmen in post World War II France.
Carla Gavazzi was an Italian operatic soprano, largely based in Italy, and particularly associated with the verismo repertory.
Rosetta Pampanini was an Italian lyric soprano, particularly associated with Puccini roles, especially Madama Butterfly.
Nicola Filacuridi was an Egyptian-born operatic tenor of Greek origin, who had an illustrious career in Italy in the 1950s.
Mary Virginia Curtis Verna was an American operatic soprano, particularly associated with the Italian repertory.
Gilda Cruz-Romo is a Mexican operatic soprano, particularly associated with dramatic roles of the Italian repertory, notably Aida and Tosca.
Marcella Lotti della Santa was an Italian opera singer who had an active international career during the 1850s and 1860s. One of her nation's leading sopranos, she drew particular acclaim for her portrayal of Verdi heroines. She was married to baritone Luigi della Santa.
Ada Sari was a Polish opera singer, actress, and educator. One of the leading dramatic coloratura sopranos of her generation, she possessed a large, resonant voice with a clear timbre. Her career took her to the stages of the best opera houses and concert halls in Europe during the first half of the 20th century. Her signature roles included Gilda in Rigoletto, Mimi in La bohème, Rosina in The Barber of Seville, Violetta in La traviata, and the title roles in Lakmé and Lucia di Lammermoor. She also gave lauded concert tours in North and South America.
Alice Zeppilli was a French operatic soprano of Italian heritage who had an active international singing career from 1901 to 1930. The pinnacle of her career was in the United States where she enjoyed great popularity between 1906 and 1914; particularly in the cities of Chicago, New York, and Philadelphia. She was popular in Monte Carlo where she performed frequently from 1904–19 and later worked as a singing teacher after her retirement from the stage. She made only one recording, a phonograph cylinder for Columbia Records consisting of the Gavotte from Jules Massenet's Manon and Olympia's Doll Aria from Jacques Offenbach's The Tales of Hoffmann.