(b Genoa, 1821; d Milan, 1896). Italian mezzo-soprano . She studied with her father, the composer and teacher Natale Abbadia, making her début in 1836 at Sassari. In Vienna she sang Corilla in Donizetti’s Le convenienze ed inconvenienze teatrali (1840). At La Scala she created Giulietta in Verdi’s ...
(b Milan, June 26, 1933; d Bologna, Jan 20, 2014). Italian conductor. Son of the violinist and teacher Michelangelo Abbado, he heard Debussy’s Nocturnes as a small boy and immediately had the ambition to become a conductor. Soon after the war he attended rehearsals by Furtwängler and Toscanini in Milan; his quiet, undemonstrative manner on the podium derives in part from his aversion to the dictatorial approach he witnessed in Toscanini. He first learnt the piano with his father, and studied at the Milan Conservatory until 1955, before going to the Vienna Music Academy to study conducting with Hans Swarowsky. In 1958 he won the Koussevitzky Competition, and a series of concert and operatic engagements in Italy followed. His career was further boosted when he won the Mitropoulos Prize in 1963 and worked for five months with the New York PO. His international success was rapid, and led to his first appearances at the Salzburg Festival in ...
(b Milan, Dec 30, 1954). Italian conductor. He studied at the conservatories in Pesaro and Milan, and with Franco Ferrara in Rome. He made his conducting début with the orchestra of the Accademia di S Cecilia in 1977, and his operatic début, with Simon Boccanegra, in Macerata the following year. His career developed with guest appearances in leading Italian opera houses and regular collaborations with orchestras in Italy, France, Germany and the USA, where he made his début (with the Orchestra of St Luke’s) in 1991. He has also conducted at the Edinburgh Festival (1982) and at festivals in Israel, Lille and Munich. In 1991 Abbado was appointed chief conductor of the Munich RO, a post he held until 1998. Meanwhile, he has consolidated his operatic career with guest engagements at La Scala, the Vienna Staatsoper, the Staatsoper in Munich (making his début with a new production of ...
Rainer E. Lotz
(bMinneapolis, May 7, 1900; dMinneapolis, Sept 15, 1975). Americanbandleader and violinist. He began his career playing light and classical music as a member of J. Rosamond Johnson’s orchestra (1920–25). In 1925 he recorded as a soloist with Clara Smith (If you only knowed, Col. 14058D, and You better keep the home fires burning, Col. 14062D) and began to lead his own band. The following year he directed the Savoy Bearcats, and in 1927 he reorganized the group for a tour of Brazil, Argentina, and Uruguay; he also took a band to England. Between 1928 and 1939 he toured extensively in Europe and visited India twice. After returning to the USA he organized a band in 1940 for Ethel Waters, toured with a small group, and then settled in Chicago, where he played regularly with a trio until 1964. Although he was not a jazz soloist, Abbey employed excellent sidemen, including Fletcher Allen, Emile Christian, Bill Coleman, Peter DuConge, and Crickett Smith. His jazz recordings as a leader remain unissued except for ...
H. Wiley Hitchcock
revised by Katherine K. Preston
(b Chicago, Dec 9, 1850; d Salt Lake City, Jan 5, 1891). American soprano and impresario. She studied first with her father and by the age of nine was performing professionally. She joined an itinerant concert troup in 1866 and after it disbanded went to New York to study with Achille Errani; her concert début there was in December 1871. In 1872 she went abroad to study with Sangiovanni in Milan and Marchesi, Wartel and Delle Sedie in Paris. Her operatic début at Covent Garden was as Marie in La fille du régiment (2 May 1876), but her contract was cancelled when she refused to sing Violetta on moral grounds.
Abbott secretly married Eugene Wetherell (d 1889); in 1876 they returned to the USA, where she gave concerts. Her American operatic début was in New York on 23 February 1877, again as Marie. In ...
(b Forestville, NY, Jan 25, 1887; d Miami Beach, FL, Jan 31, 1995). American stage director, producer, playwright, and actor. During a 92-year career in the theater Abbott influenced the development of musical comedy and helped launch many important careers. He made his Broadway acting debut in 1913 and continued to act during the 1920s. He also began working as both a playwright and director. After his first hit, The Fall Guy, Abbott began to write and stage fast-paced melodramas. In 1932 he co-produced a farce called 20th Century; it was in this genre that he defined a fast-paced theatrical style that became known as the Abbott Touch. He was the leading director of musical comedies. Abbott also wrote the books for On your Toes (1936), The Boys from Syracuse (1938), and Pal Joey (1940), the scores of which were composed by Richard Rodgers and Lorenz Hart. In ...
(b Cairo, 1910; d Cairo, May 3, 1991). Egyptian composer and singer. As a child he had a remarkable musical memory, and at the age of seven he joined a drama troupe to sing during intervals. In 1920 he began studies of traditional Arab music at the Arabic Music Club (now the Institute of Arabic Music), and he also studied Western music for a time at the Bergrün School in Cairo. He then embarked on a dual career as a singer-composer; possessing a fine baritone voice, he achieved great popularity, and he also won fame for his improvisations on the ‘ud (lute). His acquaintance with the poet Aḥmad Shawqī helped him socially, and his settings of Shawqī are classics of the genre. Chosen by Sayyid Darwīsh to perform in his operetta Al-barouka (or La mascotte), ‘Abd al-Wahhāb some years later completed Darwīsh's posthumous Cleopatra, though he composed no original music for the theatre. However, he played in many musical films, performing his own songs. Among the awards he received are the Order of Merit and the State Prize for the Arts....
Lucrecia R. Kasilag
(b Santa Cruz, Manila, May 14, 1876; d Manila, April 23, 1944). Filipino composer, conductor and violin teacher. At an early age he studied solfège, composition, conducting and the violin with Ladislao Bonus. He played the violin in the Rizal Orchestra in his youth, and in 1910 he founded the Oriental Orchestra; in the early 1920s he conducted many zarzuelas and operas. He was the moving spirit behind the Manila Chamber Music Society, of which he became director in 1921. A well-known violin teacher, he also excelled as a nationalist composer. Among his works are the zarzuelas Ang sampaguita (‘The Sampaguita Flower’), Anak ng dagat (‘Son of the Sea’), Luha’t dugo (‘Tears and Blood’), Ang masamang kaugalian (‘The Bad Traits’), Delinquente and Declaracion de amor. Other compositions include a cantata, O! dios sa kalangitan (‘O God in Heaven’), Ibong adarna (‘The Adarna Bird’), a coloratura song, and Kundiman...
Lisa A. Urkevich
[Muḥammed ‘Abdu ‘Othmān Marzuq al-Dehel al-‘Asīrī]
(b Jizan, Saudi Arabia, 1949). Saudi singer, composer and ‘ūd (lute) player. His father was a well-known sailor who died when Muḥammed was two years old. Muḥammed began singing at the age of six, and at nine he received his first vocal training through the study of Qur'anic recitation, which, along with the call to prayer (adhān), he offered at school events. About the age of 13 he became involved with amateur traditional singers and learnt to play the ‘ūd. Because of his close proximity to Yemen, he encountered master musicians of the al-yamānī style. He gained a diploma in shipbuilding and was offered a scholarship to study in Japan, but declined the offer, preferring to become a professional musician. His first recognized composition was Hala yā bū sha'ar tha'ir (1965). He went on to record over 80 albums in a variety of styles, including popular Egyptian styles, but he has been most appreciated for his folkloric, traditional Saudi and Gulf pieces. He gained an international reputation and has often been called ‘...
(bNew York, Jan 30, 1927; dNew York, Oct 2, 1993). Double bass and ‘ūd player. His early influences included the music played and sung by his father, who was Sudanese, and the Middle Eastern and East European music he heard growing up in Brooklyn’s multiracial community. He began learning violin at the age of seven and later studied double bass, piano, and tuba and attended the High School of the Performing Arts in New York. At this time he played Greek, Syrian, and Gypsy music professionally at weddings and other occasions. After playing double bass with Art Blakey (1945–8), Don Byas (1946), Sam “the Man” Taylor (1954), and Randy Weston (1954–7) he worked with Thelonious Monk (1957–8), with whom he recorded in performance at the Five Spot in New York and appeared on television in the CBS series “The Seven Lively Arts,” as well as on “The Sound of Jazz” (both ...