Nelda (or Nella) Garrone (born c. 1880) was an Italian mezzo-soprano, best known for her interpretations of comprimaria roles in some of the earliest complete opera recordings.
There is no information on Garrone's place of birth, her early years and her vocal studies. She probably made her debut in 1907 at the Teatro Lirico in Milan as Suzuki in Giacomo Puccini's Madama Butterfly . [1] From that point she had a notable career as a comprimaria mezzo-soprano, performing parts like Maddalena in Giuseppe Verdi's Rigoletto , Afra in Alfredo Catalani's La Wally , Contessa di Coigny and Madelon in Umberto Giordano's Andrea Chénier , Marta and Pantalis in Arrigo Boito's Mefistofele , Wockle in Puccini's La fanciulla del West and others. [1] In 1908 she was heard as Suzuki at the Teatro Colón in Buenos Aires in the local premiere of Madama Butterfly opposite Maria Farneti as Cio-Cio-San and Amedeo Bassi as Pinkerton. [2] The next year she sang the same role at the Teatro La Fenice in Venice. [1] In 1918 Garrone made her debut at La Scala, appearing in the premiere of Alberto Favara's new opera Urania, [3] and kept singing there till 1925, often under the direction of Arturo Toscanini. [4] In addition to that, in 1922 she was seen as Clorinda in Gioachino Rossini's La Cenerentola at the Teatro Regio di Torino [1] and in 1924 appeared at the Teatro Dal Verme in Milan in the premiere of Carlo Jachino's opera Giocondo e il suo Re. [3] Her last appearances were in 1925.
The name of Nelda Garrone is familiar to 78RMPs collectors, as she is known to have recorded five comprimaria parts in three early HMV complete opera sets included in the La Scala series conducted by Carlo Sabajno. They are Maddalena and Giovanna in Verdi's Rigoletto (1916, with Giuseppe Danise, Ayres Borghi-Zerni and Carlo Broccardi); Marthe in Charles Gounod's Faust (1920, with Giuliano Romagnoli, Gemma Bosini and Fernando Autori) and Contessa di Coigny and Mulatta Bersi in Giordano's Andrea Chénier (1921, with Luigi Lupato, Valentina Bartolomasi and Adolfo Pacini). Garrone's other recordings include two fragments from Rigoletto and Il trovatore made for the Lyrophon label.
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."
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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.
Antonietta Meneghel, better known by her stage name Toti Dal Monte, was a celebrated Italian operatic lyric soprano. She may be best remembered today for her performance as Cio-cio-san in Puccini's Madama Butterfly, having recorded this role complete in 1939 with Beniamino Gigli as Pinkerton.
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