(b Bairamcea, nr Cetatea Albă, Romania, March 1, 1924; d Bucharest, Romania Nov 27, 2000). Romanian mezzo-soprano. She graduated from the Bucharest Conservatory (1948–52), studying under Constantin Stroescu (singing), Jean Rănzescu (opera), and Jean Bobescu (repertory). She made her début with the Bucharest Philharmonic, performing Mozart’s Requiem (1952), and the same year made her opera début, singing the role of Azucena (1952) at the Romanian National Opera. In 1973 she worked as librettist, director, and sang in the world première of Doamna Chiajna (‘Lady Chiajna’) by N. Buicliu at the Romanian Opera. She was a member of the vocal quartet of the Bucharest Philharmonic (1951–7) and a soloist at the Romanian Opera in Bucharest (1952–77), and her lyrical-dramatic repertory comprised some of the most important mezzo-soprano roles. Her career led her from Bucharest to the stages of the great theatres of the world, in tours with the Romanian Opera and personal tours (including La Scala, the Metropolitan, the inaugural show at the new headquarters of Lincoln Center, the Opéra National de Paris, the Wiener Staatsoper, the Bolshoi Theatre, the Gran Teatre del Liceu, the Théâtre de la Monnaie, and the Palacio de Bellas Artes in Mexico City). She undertook scientific research in phonation and vocal pedagogy. An active member of the New York Academy of Sciences, she held conferences and lectures on singing, medicine, mathematics, and sociology. She participated in international vocal juries, and edited, in her capacity as a musicologist, ...
(b Ottawa, ON, Sept 20, 1885; d New York, NY, Dec 26, 1958). American mezzo-soprano. She began her vocal training with Frank Buels in Ottawa at the age of 13, then continued her studies in Europe with, among others, Auguste-Jean Dubulle, Jacques Bouhy, William Shakespeare, Carlo Carignani, and Anna Schoen-René. After her professional debut as a contralto at the Ottawa Basilica (1902), she toured with Emma Albani in Britain and Canada (1906) and made her stage debut as Micaëla in Pavia (1909). In 1910, after her contracts with Covent Garden to sing Yniold (in Pelléas et Mélisande) and Mallika (in Léo Delibes’s Lakmé) had not led to performances, she left London to join her future husband, a plantation manager, in Java, and began to study the traditional songs of Southeast Asia.
After concert tours in Asia, Australia, and New Zealand, Gauthier settled in New York, where from ...
(b Sigourney, IA). American mezzo-soprano. She took voice lessons from Jocelyn Reiter at the University of Iowa, where she received her bachelor’s degree. She continued her studies with Paul von Schilhawsky at the Salzburg Mozarteum, focusing on German lieder. She has appeared widely on the concert stage and with the world’s premiere opera troupes, including the Metropolitan Opera and the New York City Opera. Her Metropolitan debut was in 2002 as the wardrobe mistress/schoolboy in Berg’s Lulu. She has also appeared there as Cherubino in Le nozze di Figaro, Ascanio in Benvenuto Cellini, Nicklausse in Les contes d’Hoffmann, Prince Orlofsky in Die Fledermaus, Stéphano in Roméo et Juliette, and the Page of Herodias in Salome. Her many appearances at the New York City Opera have garnered her both the Betty Allen and Diva awards; with the company, she has performed the roles of Erika in Vanessa, Suzuki in ...
Trudi Ann Wright
(b New York, NY, Jan 30, 1922). American mezzo-soprano. Kulhmann is best known for creating the role of the Mother in Menotti’s Amahl and the Night Visitors. After the start of World War II, Kuhlmann joined WAVES (Women Accepted for Volunteer Emergency Services), where she learned Morse Code to send messages to ships at sea. Her musical talent was recognized after she performed on radio programs promoting WAVES and soon had her own weekly show, Navy Serenade, where she sang popular songs of the period.
After the war, Kulhmann attended Juilliard on a full scholarship through the G.I. Bill, received her degree in 1950, and sang with Robert Shaw’s professional chorus. She then auditioned for Menotti’s The Consul, and earned the role of the Secretary. After performing in a revival of Music in the Air directed by Oscar Hammerstein, Kuhlmann landed the role of the Mother in Amahl...
(It.: ‘first musician’)
In the 17th century, Musico meant a professional singer or musician of either sex; it later came to mean a castrato. With the decline and then the disappearance of the operatic castrato after 1800, the practice of assigning a leading male part (primo uomo) to a high voice continued from about 1800 to 1850 with a woman singing in breeches, described as primo musico (or simply musico). As with the older primo uomo part for castrato, the primo musico role was usually that of a lover or aristocratic friend (such as Tancredi in Rossini’s opera or Maffio Orsini in Donizetti’s Lucrezia Borgia). A musico was often but not invariably a contralto or mezzo-soprano; Giulia Grisi had a contract as both prima donna and primo musico and demanded that it be rewritten to specify primo musico soprano (to Alessandro Lanari, 9 July 1830, I-Ms Coll. Casati 659)....