Margarita Zimmermann (born October 3, 1942) is an Argentine mezzo-soprano, particularly associated with the Italian and French repertories.
Margarita Zimmermann (born October 3, 1942) is an Argentine mezzo-soprano, particularly associated with the Italian and French repertories.
Born in Hurlingham, Buenos Aires Province, Argentina, she made her debut as a recitalist at the Teatro Colón of her native city. She then left for Europe, where she studied notably with Gérard Souzay.
She made her European debut at La Monnaie in Brussels, as Cherubino in Le nozze di Figaro , in 1977. During the same season, she sang Idamante in Idomeneo , at the Opéra de Lyon.
In 1981, she settled in Venice, and appeared regularly at La Fenice, notably in Handel's Agrippina , and in Gluck's Orfeo ed Euridice , while pursuing an international career, appearing at the Paris Opéra, the Aix-en-Provence Festival, the Royal Opera House in London, San Francisco, Philadelphia, etc.
Her roles included, Berlioz's Didon, Carmen, Charlotte, Dulcinée, as well as Rossini roles, such as Isabella, Rosina, and most notably Calbo in Maometto II , which she recorded opposite Samuel Ramey, June Anderson, and Ernesto Palacio, under Claudio Scimone.
She also appeared often in oratorio, and in recital of mélodie.
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Mary Garden was a Scottish operatic soprano with a substantial career in France and America in the first third of the 20th century. She spent the latter part of her childhood and youth in the United States and eventually became an American citizen, although she lived in France for many years and eventually retired to Scotland, where she died.
Yvonne Fay Minton CBE is an Australian-born but mostly British-resident opera singer. She is variously billed as a soprano, mezzo-soprano or contralto.
Régine Crespin was a French singer who had a major international career in opera and on the concert stage between 1950 and 1989. She started her career singing roles in the dramatic soprano and spinto soprano repertoire, drawing particular acclaim singing Wagner and Strauss heroines. She went on to sing a wider repertoire that embraced Italian, French, German, and Russian opera from a variety of musical periods. In the early 1970s Crespin began experiencing vocal difficulties for the first time and ultimately began performing roles from the mezzo-soprano repertoire. Throughout her career she was widely admired for the elegance, warmth and subtlety of her singing, especially in the French and German operatic repertories.
Josephine Veasey is a British mezzo-soprano, particularly associated with Wagner and Berlioz roles.
Carmen Melis was an Italian operatic soprano who had a major international career during the first four decades of the 20th century. She was known, above all, as a verismo soprano, and was one of the most interesting singing actresses of the early 20th century. She made her debut in Novara in 1905 and her career rapidly developed in her native country over the next four years. From 1909 to 1916 she performed with important opera companies in the United States; after which she was busy performing at many of Europe's most important opera houses. From 1917 until her retirement from the stage in 1935 she was particularly active at the Teatro Costanzi in Rome and at La Scala in Milan. After her singing career ended, she embarked on a second career as a voice teacher. Her most notable student was soprano Renata Tebaldi.
Catherine Malfitano is an American operatic soprano and opera director. Malfitano was born in New York City, the daughter of a ballet dancer mother, Maria Maslova, and a violinist father, Joseph Malfitano. She attended the High School of Music and Art and studied at the Frank Corsaro Studio and Manhattan School of Music, graduating in 1971. She often mentions that she was rejected from The Juilliard School.
Sylvia Sass is a Hungarian operatic soprano who has sung leading roles both in her native country and internationally.
Nelly Miricioiu is a Romanian-born British operatic soprano singing a large repertoire ranging from bel canto to verismo.
Jennie Tourel was an American operatic mezzo-soprano, known for her work in both opera and recital performances.
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.
María Alejandra Barrientos Llopis was a Spanish opera singer, a light coloratura soprano.
Laura Cinti-Damoreau was a French soprano particularly associated with Rossini roles.
Diana Soviero is an American operatic soprano of international stature, a recipient of the Richard Tucker Award in 1979.
Hélène Bouvier was a French operatic mezzo-soprano, particularly associated with the French repertoire.
Gilda Cruz-Romo is a Mexican operatic soprano, particularly associated with dramatic roles of the Italian repertory, notably Aida and Tosca.
Lucienne Bréval was a Swiss dramatic soprano who had a major international opera career from 1892 to 1918. Although she appeared throughout Europe and in the United States, Bréval spent most of her career performing with the Paris Opera where she became a greatly admired interpreter of French grand opera roles and Wagner heroines. She also specialized in the works of Gluck and Rameau, becoming particularly associated with the title roles in Gluck’s Armide and Rameau's Hippolyte et Aricie. A favorite of the composers of her day, such as Massenet and Dukas, Bréval sang in numerous world premières during her career.
Bessie Abott was an American operatic soprano who had an active international career during the early 20th century. She was particularly associated with the Paris Opera and the Metropolitan Opera, and excelled in performances of Italian and French operas of the Romantic Period.
Maria Capuana was an Italian mezzo-soprano who had a major international opera career during the first half of the 20th century. She possessed a voice with a dark timbre that she used with great expression.
Isabelle Yakovlevna Kremer was a soprano of Russian Jewish descent who at various times of her life held citizenship in Russia, the United States, and Argentina. She first drew notice as a teenager for her revolutionary poetry which was published in an Odessa newspaper. She began her professional singing career as an opera singer in Europe during the second decade of the 20th century. By the time of her relocation to the United States in 1924, she had abandoned her opera career in favor of performing as a concert soloist and recitalist.
