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Elizabeth Forbes

Shore, Andrew ( b Oldham , Sept 30, 1952 ). English baritone . He studied at the RNCM and the London Opera Centre, then sang with Opera For All and various university groups. With Kent Opera ( 1981–7 ) he gave notable performances as Antonio ( Le nozze di Figaro ) and Rossini's Bartolo, while for Opera North he has sung such roles as King Dodon ( The Golden Cockerel ), Mr Flint ( Billy Budd ), Gianni Schicchi, Leander ( The Love for Three Oranges ), Varlaam, Don Pasquale, Don Jerome (in the first British staging of Gerhard's Duenna , 1992

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repertory included many leading tenor parts from operas by Verdi, Wagner, Gounod, Mascagni and above all by Russian composers, and a large number of Bulgarian folksongs. He staged several operas in Sofia and wrote many articles in Bulgarian and Russian as well as a book, Po vaprosa za osnovavaneto na Balgarskata narodna opera (‘On the foundation of the Bulgarian National Opera’, Sofia, 1907 ).

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Rodolfo Celletti and Valeria Pregliasco Gualerzi

exceptional beauty. Encouraged by the tenor Francesco Marconi to devote herself to opera, she studied with Maddelena Mariani-Masi and made her début in 1900 at the S Carlos, Lisbon, in Pagliacci , immediately afterwards singing in La bohème at the S Carlo, Naples. Although mostly engaged in Paris, Monte Carlo and, above all, St Petersburg, she also sang in New York (Metropolitan and Manhattan Opera House) between 1907 and 1910 , and in London in 1908 (Covent Garden) and 1911 (London Opera House). With an agreeable though limited voice, she was an elegant, natural

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other means of satisfying her. In 1729 Handel engaged Strada for London, where she made her début as Adelaida in Lotario and was the leading soprano in all his operas and oratorios until 1737 . She sang more major Handel parts than any other singer, appearing in at least 24 operas, the opera-ballet Terpsicore and many other works, and was the only member of his company who did not go over to the Opera of the Nobility in 1733 . Handel composed many roles for her: Adelaida in Lotario ( 1729 ), Partenope ( 1730 ), Cleofide in Poro ( 1731 ), Fulvia in Ezio

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Dorinda , Ernelinda , Lucio Vero and Clearte , and probably in Handel's Silla (Metella). She was the only singer who appeared in all 47 performances of Rinaldo between 1711 and 1717 . The four parts Handel composed for her, three of them sorceresses, show that she was an exceptional artist with technical agility, dramatic fire and a compass of two octaves ( c ′ to c ‴). In 1726 she sang at Stuttgart in a comic opera, Pyramus und Thisbe , directed by her husband Giovanni Schiavonetti ( d 19 March 1730 ), a Venetian cellist. ( SartoriL )

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Elizabeth Forbes

on BMB E. Fitzball : Thirty-Five Years of a Dramatic Author's Life (London, 1859) C.L. Kenney : A Memoir of Michael William Balfe (London, 1875/ R ) W.A. Barrett : Balfe: his Life and Work (London, 1882) E.W. White : The Rise of English Opera (London, 1951/ R ) B. Carr : ‘The First All-Sung English 19th-Century Opera’, MT , 115 (1974), 125–6

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at the Stockholm Royal Opera for more than 25 years, she also sang all over Europe and in the USA, making her Metropolitan Opera début in 1935 as Amneris, and her Chicago début the following year as Carmen. First heard at Covent Garden in 1936 as Amneris, she returned in 1939 as Azucena, a performance preserved on disc. Her large repertory included several Wagner roles – Brangäne, Venus, Fricka – as well as Delilah, Mignon, Herodias ( Salome ), Marina ( Boris Godunov ) and Marfa ( Khovanshchina ). She also appeared in many Swedish operas, including Peterson-Berger’s

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Alan Blyth

), Manon Lescaut, Jenůfa, Chrysothemis (which she recorded for Solti) and Marie ( Wozzeck ). In 1962 she created the role of Hecuba in Tippett’s King Priam , and the following year sang Katerina Izmaylova in the first British staging of Shostakovich’s opera. In all, she sang 293 performances at the Royal Opera. At Sadler’s Wells she sang Venus, Tosca, Concepcion ( L’heure espagnole ) and Kát’a. At the Metropolitan, New York, she created the role of Christine in Marvin David Levy’s Mourning Becomes Electra ( 1967 ). She appeared in San Francisco as Minnie in

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Katherine K. Preston

Max Maretzek as the prima donna for his Astor Place Opera Company in 1850–51 , with which she appeared to great acclaim in New York, Philadelphia and Boston. She and Maurice Strakosch then organized a concert troupe and embarked on an extended tour of the eastern USA. Parodi subsequently performed again with the Astor Place company and with Strakosch, and sang with the Paris Opéra. In the late 1850s she returned to the USA and (again with Strakosch) organized the Parodi Opera Company, with which she appeared all over the American South and Midwest ( 1859–60 ). The

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Gilles Potvin

Paul Althouse. He made his Opéra-Comique début in 1949 , in Mireille , and remained in Paris for five seasons. His reputation as a Mozart specialist, elegantly lyrical in style, was first established at the Aix-en-Provence and (from 1951 ) Glyndebourne festivals, where he sang Idamantes and Don Ottavio. He sang in Mozart operas at La Scala ( 1953 ), in London with the Vienna Staatsoper ( 1954 ), at the Teatro Colón, at the Salzburg Festival ( 1956 ) and with the Metropolitan (début 1963 as Don Ottavio). He made admired recordings of all his major Mozart roles. Simoneau

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Richard Wigmore

an Opera’s Young Artists Development Program, winning the Met’s National Council Auditions in 1991. The following year he made his Met début as the Steersman in Der fliegende Holländer . His success in the role has led to regular appearances in the house, in roles such as Mozart’s Belmonte, Idamante, Ferrando and Don Ottavio, Almaviva ( Il barbiere di Siviglia ), the Duke ( Rigoletto ), Camille de Rosillon ( Die lustige Witwe ), Des Grieux (Jules Massenet’s Manon ), Tom Rakewell and Lysander ( A Midsummer Night’s Dream ). Having honed a reputation above all as

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Winton Dean

restricted ( a to e ♭″) and they are not remarkable for inspiration or virtuosity; but his powers seem to have been on the decline. Burney gathered ‘from those who frequented operas at this time’ that ‘his voice was feeble, and his execution moderate’, but his acting so good that, in the words of Cibber, ‘his hearers bore with the absurdity of his singing the part of Turnus in Camilla, all in Italian, while every other character was sung and recited in English’. Of his part in Teseo Burney remarked (with some justice) that Valentini ‘seems to have been gifted with

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Thor, Jr. Eckert

operatic debut, singing Arkel ( Pelléas et Mélisande ) with the New England Opera Theater. He was heard in opera, in concert, and with orchestras around the world. He created the central role in Schuller’s opera The Visitation in Hamburg, Germany ( 12 October 1966 ), and he repeated the role when the Hamburg company made its American debut at the Metropolitan Opera House in 1967 . Among his recorded performances is that of Crown in Gershwin’s Porgy and Bess . He possessed strength and vibrancy in all registers, but it was as an interpreter that he was acclaimed, for fully

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André Tubeuf and Elizabeth Forbes

of Dialogues des Carmélites ( 1957 ). She created Elle in La voix humaine ( 1959 , Opéra-Comique), a vulnerable, subtle portrayal of a part admirably suited to her gifts, and repeated the role in the American première at Carnegie Hall and the British première with the Glyndebourne company at Edinburgh ( 1960 ). At Glyndebourne she sang an affecting Mélisande ( 1962 ). Duval was a most gifted singing actress, as the roles composed for her by Poulenc demonstrate. She recorded all three of these roles, together with a delightful Concepción in Cluytens’s set of L’heure

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Richard LeSueur and Jonas Westover

and abroad. She has performed and recorded Thomson’s The Mother of us all . Her voice is a large, dramatic instrument, and as an artist she has an expressiveness that is best suited to the grand gesture. She was married to the conductor Kurt Klippstätter, with whom she performed for the first time as Tchaikovsky’s Joan of Arc at the Michigan Opera Theater in 1979 . Dunn has taught at numerous locations, including the University Texas at Austin, the University of Illinois, Northwestern University, Brooklyn College (CUNY), and for several years at Manhattan School

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Alan Blyth

Nightwatchman in Die Meistersinger during the Covent Garden season of English opera in 1909 under Richter, he favoured oratorio and concerts over opera, declaring the latter to be ‘too much work for too little pay’. However, he did not exclude opera from his recitals and practically always mixed aria with classical song and ballads in his programmes. Dawson described himself as a ‘singer of the people’ and believed it essential to communicate directly with his public; to this end he sang all his repertory in English, employing impeccable diction. His bluff, outgoing

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Desmond Shawe-Taylor

I Burian was a leading and much-admired tenor at the Dresden Opera, where he made a powerful impression in the première ( 1905 ) of Strauss’s Salome as Herod, repeating this role in the first productions of the opera in both New York and Paris in 1907 . Wagner was the mainstay of his international repertory; as well as singing Tristan in the Hungarian première of Tristan und Isolde , he sang several of the chief Wagner roles at Covent Garden in four seasons between 1904 and 1914 , and virtually all of them ( Die Meistersinger excepted) during seven seasons at

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Max Loppert

at the Swedish Royal Opera there in 1961 , as Sparafucile; shortly afterwards, an audition with Wieland Wagner resulted in his being engaged as Titurel at the 1962 Bayreuth Festival (the year he joined the Deutsche Oper, Berlin). A voice of immense size and wide range, capable of thundering grandeur and great gentleness, allied to a giant’s physique and an impressive stage presence, won him international fame in Musorgsky, Verdi and all the principal Wagner bass roles. He was Boris Godunov in New York’s first ‘original version’ of the opera, at the Metropolitan

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Harold Rosenthal

where she was the first local Venus, and then went to Paris where she was engaged by the Théâtre Italien ( 1859–70 ). In 1875 she sang Rachel in La Juive at the inauguration of the Opéra’s new building; she remained a member of the Opéra company (except for a short period, 1885–6 ) until the end of 1888 . She became famous for her portrayals of Meyerbeer heroines, Leonore and above all Aida and Donna Anna; she created a number of roles, including Pauline in Gounod's Polyeucte ( 1878 ) and Catherine of Aragon in Saint-Saëns’s Henry VIII ( 1883 ). At La Scala she

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Alan Blyth

, and Sergey in the British première of Katerina Izmaylova . In Paris in 1964 he sang Pollione to the Norma of Callas. For Scottish Opera he sang Siegmund, Florestan and his first Otello, the role he then sang all over Italy and Germany (and at Chicago in 1966 ) but not in London until 1981 with the ENO, and finally at Covent Garden in 1983 . Probably the best English lyric-dramatic tenor of the postwar era, Craig sang all his roles with Italianate fervour and innately musical phrasing. Though his acting was never subtle it had rude sincerity and honest conviction