Margherita Chabran (born 1780?) was an Italian operatic soprano. Her last name is sometimes given as Chabrand or Chambrend, and later as Chabrand-Albani.
Chabran was a pupil of Felice Pellegrini. She passed her career largely in Naples between 1802 and 1820; [1] a principal soprano at the Teatro dei Fiorentini until 1816, in that year she became a principal soprano at the Teatro di San Carlo, where she remained until 1818. [2] On 24 April 1816 she sang Teti in the world premiere of Gioacchino Rossini's cantata Teti e Peleo ; on 26 September that year she was the first Lisetta in his La gazzetta . [1]
Margherita Carosio was a leading Italian operatic coloratura soprano and actress, starring in Spanish films during the 1930s.
Hariclea Darclée was a celebrated Romanian operatic spinto soprano of Greek descent who had a three-decade-long career.
Margherita Rinaldi was an Italian lyric soprano, primarily active in the 1960s and 1970s, after she made her debut as Donizetti's Lucia di Lammermoor in 1958, prompting her career at La Scala in Milan. She also appeared internationally, performing a wide repertoire including, besides Italian belcanto roles, Baroque and French opera. She recorded the roles of Gilda in Verdi's Rigoletto and Ilia in Mozart's Idomeneo. From 1981, she worked as a voice teacher.
Margherita Grandi was an Australian-born Italian dramatic soprano.
Camilla Pasini was an Italian operatic soprano. Her sister Lina Pasini-Vitale was a well known Wagnerian soprano and her other sister, Enrica Pasini, had a short career as an operatic mezzo-soprano. Pasini studied at the Accademia Nazionale di Santa Cecilia in Rome and made her professional opera debut in that city at the Teatro Quirino as Inez in Meyerbeer's L'Africaine. She most notably originated the role of Musetta in the original 1896 production of Puccini's La bohème at the Teatro Regio in Turin. She also sang that role at numerous other theaters including La Scala, the Teatro Costanzi in Rome, and in Brescia, Genoa, Trieste, and Asti among others. In 1904, Pasini traveled to South America where she performed on tour in many countries and cities. In 1905, Pasini married a lawyer with the surname of Muzi and promptly gave up her career for the next six years. She returned to the stage in 1911 in the premiere of the opera La Vigilia di Notte by Teofilo De Angelis at the Teatro Costanzi. She retired from the operatic stage somewhere around 1920.
Emma Carelli was an Italian operatic soprano who was particularly associated with the dramatic soprano roles of the verismo repertoire and the works of Richard Wagner. After a singing career which lasted almost two decades, she managed the Teatro Costanzi in Rome for almost fifteen years. After studying with her father, Beniamino Carelli, at the Conservatorio San Pietro a Majella, she made her professional debut in 1895 in the title role of Mercadante's La vestale during the centenary celebrations at Altamura and went on to appear in the opera houses of many Italian cities. In 1898 she married the left-wing politician, self-made millionaire, and later impresario, Walter Mocchi.
Romilda Pantaleoni was an Italian dramatic soprano who had a prolific opera career in Italy during the 1870s and 1880s. She sang a wide repertoire that encompassed bel canto roles, Italian and French grand opera, verismo operas, and the German operas of Richard Wagner. She became particularly associated with the roles of Margherita in Boito's Mefistofele and the title role in Ponchielli's La Gioconda; two roles which she performed in opera houses throughout Italy. She is best remembered today for originating the roles of Desdemona in Giuseppe Verdi's Otello (1887) and Tigrana in Giacomo Puccini's Edgar (1889). Universally admired for her acting skills as well as her singing abilities, Pantaleoni was compared by several critics to the great Italian stage actress Eleonora Duse.
Margherita Roberti was an American operatic soprano who had an active international career that spanned from 1948 to 1988. Although she performed throughout the world, Roberti achieved her greatest success and popularity in Italy. A dramatic soprano, Roberti drew particular acclaim for her portrayals of Verdi heroines. Among her signature roles are Amelia in Un ballo in maschera, Elisabetta in Don Carlos, Elena in I vespri siciliani, Odabella in Attila, and the title role in Luisa Miller. In 1970 she was awarded Order of knight by the Italian government president Giuseppe Saragat (Commendatore della repubblica italiana).
Fanny Corri-Paltoni was a celebrated British operatic soprano active in Europe between 1818 and 1835. It was said that she possessed a voice of remarkable beauty and that she had a fine singing technique. She particularly excelled in the operas of Wolfgang Amadeus Mozart and Gioachino Rossini.
Luigia Boccabadati was an Italian operatic soprano.
Adelaide Borghi-Mamo was an Italian operatic mezzo-soprano who had an active international career from the 1840s through the 1880s. She was married to tenor Michele Mamo and their daughter, soprano Erminia Borghi-Mamo, also had a successful singing career.
Tutti in maschera is an opera by Carlo Pedrotti. The libretto is by Marco Marcelliano Marcello, based on the 1759 comedy L'impresario delle Smirne by Carlo Goldoni. It was premiered at the Teatro Nuovo, Verona, on 4 November 1856.
Elisabetta Manfredini-Guarmani was an Italian opera singer best known for having created the leading soprano roles in four of Rossini's operas, roles which he wrote specifically for her voice. She was born Antonia Elisabetta Manfredini in Bologna and was the daughter of the composer and music theorist Vincenzo Manfredini. After her stage debut in 1810 when she sang in the premiere of Stefano Pavesi's Il trionfo di Gedeone at Bologna's Teatro del Corso, she went on to perform at La Fenice, La Scala, Teatro Regio di Torino, Rome's Teatro Argentina and several other opera houses, primarily in Northern Italy. In addition to the roles she created in Rossini's operas, she also sang in the world premieres of operas by several composers who are lesser known today, including Pietro Raimondi, Simon Mayr, and Ferdinando Paër. Her last known appearance was in 1828 after which there is no further trace of her. The date and place of her death are unknown.
Constance Nantier-Didiée was a French mezzo-soprano. According to commentators of her time, she was described as a true mezzo-soprano rather than a contralto. She had a wide range of comic, dramatic and travesty roles in her theatrical career developed in Paris, London, Moscow and Madrid.
Margherita Bevignani was an Italian operatic soprano, best known for being the first singer to record the entire role of Violetta in Giuseppe Verdi's opera La traviata in 1915.
Concepció Bordalba i Simón was a Catalan operatic soprano who performed under the name Concetta Bordalba outside her native Spain. She spent most of her career in Italy or with touring Italian opera companies and was particularly known for her performances as Elsa in Wagner's Lohengrin and Margherita in Boito's Mefistofele.
Carmen Bonaplata-Bau (1871–1911) was a Spanish operatic soprano who made her début at the Teatro Dal Verme in Milan in 1886 in the title role of Verdi's Aida. From 1892, she appeared on several occasions at La Scala but also sang in New York (1896), Buenos Aires (1897) and in her native Barcelona (1902). She frequently performed the role of Aida until her retirement from the stage in 1904.
Margherita Zenoni was an Italian opera singer who sang leading soprano roles in the opera houses of Italy and abroad from the early 1850s. She left Europe in 1867, first to sing with Annibale Biacchi's Italian opera company in Cuba and then to tour with Augusto Cagli's Italian opera company in Australasia. She remained with Cagli's company in its various incarnations until 1877, singing in India, Australia, New Zealand and South Africa. She died in Turin, her native city, less than a year after her return from South Africa.
Fausta Labia was an Italian operatic soprano who was active mainly from 1892 to 1908. She made her debut in Naples in April 1892 as Valentine in Meyerbeer's Les Huguenots. After engagements at the Royal Swedish Opera in Stockholm (1893–95) and Lisbon (1896), she returned to Italy where she performed first in Turin, Rome and Bologna. Thereafter notable performances included the title role in Mascagni's Iris at La Fenice in Venice (1900) and Sieglinde in Wagner's Die Walküre at Milan's La Scala (1901).
Andrea Avelina Carrera was a Spanish operatic soprano who frequently performed at the Gran Teatro del Liceo in Barcelona. It was there she made her debut in 1889 as Elsa in Richard Wagner's Lohengrin as a substitute, receiving enthusiastic reviews. In the 1890s, she toured Spain but also appeared in Italy and Portugal, while in the early 1900s she performed in Latin America. In March 1896, at Milan's La Scala she appeared in the world premiere of Umberto Giordano's Andrea Chénier, creating the role of Maddalena. On retiring in 1910, she trained students in Barcelona.