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#shirley verrett
thinkingimages · 1 year
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View of mezzo-soprano Shirley Verrett performing in Bellini's opera, "Norma." Stamped on back: "Donald Southern, photography. 12 Goodwins Court, London W.C.2., 01 240 0753." Label on back: "Norma, Covent Garden."
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Black History Month: Some of the greatest African-American opera divas of the 20th century: Marian Anderson, Leontyne Price, Shirley Verrett, Reri Grist, Grace Bumbry, Martina Arroyo, Jessye Norman, Kathleen Battle, Leona Mitchell and Maria Ewing.
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operaqueen · 1 year
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Shirley Verrett
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4operalove · 7 months
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RENATA SCOTTO with:
Sondra Radvanovsky & Stefanie Blythe. Copyright ©️ Getty Images
With the brilliant Composer and Conductor ERMANNO WOLF+FERRARI. Copyright ©️ Getty Images.
With Luciano Pavarotti, Shirley VERRETT and Matteo Manuguerra. Copyright ©️ Getty Images.
With FRANCO ZEFFIRELLI.
The last GREAT SOPRANO of the GOLDEN ERA. Copyright ©️ Getty Images.
With James Levine & Deborah Voigt. Copyright ©️ Getty Images.
With Deborah Voigt. Copyright ©️ Getty Images.
With Plácido Domingo Sherrill Milnes & Grace Bumbry.
With Plácido Domingo.
With Plácido Domingo.
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girlscarpia · 1 year
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pleasantarcade151 · 2 years
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Shirley Verrett & Piero Cappuccilli in Macbeth (VERDI) 🌹🌹🌹🌿🌹🌹🌹
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verismonoir · 1 year
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Shirley Verrett
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cartermagazine · 3 months
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Today In History
Grace Bumbry, famed mezzo-soprano opera singer, was born January 4, 1937 in St. Louis, Missouri. She was a member of a pioneering generation of singers beginning with Leontyne Price and including Martina Arroyo, Shirley Verrett, Jessye Norman, Kathleen Battle, and Reri Grist, who succeeded Marian Anderson in the worlds of opera and classical music.
They paved the way for future generations of African American opera and concert singers. Bumbry’s voice was rich and dynamic, possessing a wide range, and was capable of producing a very distinctive plangent tone.
CARTER™ Magazine
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princesssarisa · 13 days
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Opera on YouTube, Part 2
Le Nozze di Figaro (The Marriage of Figaro)
Glyndebourne Festival Opera, 1973 (Knut Skram, Ileana Cotrubas, Kiri Te Kanawa, Benjamin Luxon; conducted by John Pritchard; English subtitles)
Jean-Pierre Ponnelle studio film, 1976 (Hermann Prey, Mirella Freni, Kiri Te Kanawa, Dietrich Fischer-Dieskau; conducted by Karl Böhm; English subtitles) – Acts I and II, Acts III and IV
Tokyo National Theatre, 1980 (Hermann Prey, Lucia Popp, Gundula Janowitz, Bernd Weikl; conducted by Karl Böhm; Japanese subtitles)
Théâtre du Châtelet, 1993 (Bryn Terfel, Alison Hagley, Hillevi Martinpelto, Rodney Gilfry; conducted by John Eliot Gardiner; Italian subtitles)
Glyndebourne Festival Opera, 1994 (Gerald Finley, Alison Hagley, Renée Fleming, Andreas Schmidt; conducted by Bernard Haitink; English subtitles)
Zürich Opera House, 1996 (Carlos Chaussón, Isabel Rey, Eva Mei, Rodney Gilfry; conducted by Nikolaus Harnoncourt; English subtitles)
Berlin State Opera, 2005 (Lauri Vasar, Anna Prohaska, Dorothea Röschmann, Ildebrando d'Arcangelo; conducted by Gustavo Dudamel; French subtitles)
Salzburg Festival, 2006 (Ildebrando d'Arcangelo, Anna Netrebko, Dorothea Röschmann, Bo Skovhus; conducted by Nikolas Harnoncourt; English subtitles) – Acts I and II, Acts III and IV
Teatro all Scala, 2006 (Ildebrando d'Arcangelo, Diana Damrau, Marcella Orasatti Talamanca, Pietro Spagnoli; conducted by Gérard Korsten; English and Italian subtitles)
Salzburg Festival, 2015 (Adam Plachetka, Martina Janková, Anett Fritsch, Luca Pisaroni; conducted by Dan Ettinger; no subtitles)
Tosca
Carmine Gallone studio film, 1956 (Franca Duval dubbed by Maria Caniglia, Franco Corelli, Afro Poli dubbed by Giangiacomo Guelfi; conducted by Oliviero de Fabritiis; no subtitles)
Gianfranco de Bosio film, 1976 (Raina Kabaivanska, Plácido Domingo, Sherrill Milnes; conducted by Bruno Bartoletti; English subtitles)
Metropolitan Opera, 1978 (Shirley Verrett, Luciano Pavarotti, Cornell MacNeil; conducted by James Conlon; no subtitles)
Arena di Verona, 1984 (Eva Marton, Jaume Aragall, Ingvar Wixell; conducted by Daniel Oren; no subtitles)
Teatro Real de Madrid, 2004 (Daniela Dessí, Fabio Armiliato, Ruggero Raimondi; conducted by Maurizio Benini; English subtitles)
Royal Opera House, Covent Garden, 2011 (Angela Gheorghiu, Jonas Kaufmann, Bryn Terfel; conducted by Antonio Pappano; English subtitles)
Finnish National Opera, 2018 (Ausrinė Stundytė, Andrea Carè, Tuomas Pursio; conducted by Patrick Fournillier; English subtitles)
Teatro alla Scala 2019 (Anna Netrebko, Francesco Meli, Luca Salsi; conducted by Riccardo Chailly; Hungarian subtitles)
Vienna State Opera, 2019 (Sondra Radvanovsky, Piotr Beczala, Thomas Hampson; conducted by Marco Armiliato; English subtitles)
Ópera de las Palmas, 2024 (Erika Grimaldi, Piotr Beczala, George Gagnidze; conducted by Ramón Tebar; no subtitles)
Don Giovanni
Salzburg Festival, 1954 (Cesare Siepi, Otto Edelmann, Elisabeth Grümmer, Lisa della Casa; conducted by Wilhelm Furtwängler; English subtitles)
Giacomo Vaccari studio film, 1960 (Mario Petri, Sesto Bruscantini, Teresa Stich-Randall, Leyla Gencer; conducted by Francesco Molinari-Pradelli; no subtitles)
Salzburg Festival, 1987 (Samuel Ramey, Ferruccio Furlanetto, Anna Tomowa-Sintow, Julia Varady; conducted by Herbert von Karajan; no subtitles)
Teatro alla Scala, 1987 (Thomas Allen, Claudio Desderi, Edita Gruberova, Ann Murray; conducted by Riccardo Muti; English subtitles)
Peter Sellars studio film, 1990 (Eugene Perry, Herbert Perry, Dominique Labelle, Lorraine Hunt Lieberson; conducted by Craig Smith; English subtitles)
Teatro Comunale di Ferrara, 1997 (Simon Keenlyside, Bryn Terfel, Carmela Remigio, Anna Caterina Antonacci; conducted by Claudio Abbado; no subtitles) – Act I, Act II
Zürich Opera, 2000 (Rodney Gilfry, László Polgár, Isabel Rey, Cecilia Bartoli; conducted by Nikolaus Harnoncourt; English subtitles)
Festival Aix-en-Provence, 2002 (Peter Mattei, Gilles Cachemaille, Alexandra Deshorties, Mirielle Delunsch; conducted by Daniel Harding; no subtitles)
Teatro Real de Madrid, 2006 (Carlos Álvarez, Lorenzo Regazzo, Maria Bayo, Sonia Ganassi; conducted by Victor Pablo Pérez; English subtitles)
Festival Aix-en-Provence, 2017 (Philippe Sly, Nahuel de Pierro, Eleonora Burratto, Isabel Leonard; conducted by Jérémie Rohrer; English subtitles)
Madama Butterfly
Mario Lanfranchi studio film, 1956 (Anna Moffo, Renato Cioni; conducted by Oliviero de Fabritiis; no subtitles)
Jean-Pierre Ponnelle studio film, 1974 (Mirella Freni, Plácido Domingo; conducted by Herbert von Karajan; English subtitles)
New York City Opera, 1982 (Judith Haddon, Jerry Hadley; conducted by Christopher Keene; English subtitles)
Frédéric Mitterand film, 1995 (Ying Huang, Richard Troxell; conducted by James Conlon; English subtitles)
Arena di Verona, 2004 (Fiorenza Cedolins, Marcello Giordani; conducted by Daniel Oren; Spanish subtitles)
Sferisterio Opera Festival, 2009 (Raffaela Angeletti, Massimiliano Pisapia; conducted by Daniele Callegari; no subtitles)
Vienna State Opera, 2017 (Maria José Siri, Murat Karahan; conducted by Jonathan Darlington; no subtitles)
Wichita Grand Opera, 2017 (Yunnie Park, Kirk Dougherty; conducted by Martin Mazik; English subtitles)
Teatro San Carlo, 2019 (Evgenia Muraveva, Saimir Pirgu; conducted by Gabriele Ferro; no subtitles)
Rennes Opera House, 2022 (Karah Son, Angelo Villari; conducted by Rudolf Piehlmayer; French subtitles)
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tagged by @kerfluffel to shuffle my spotify “on repeat” playlist and post the first 10 songs.
so. here’s the Official Spotify-Made On Repeat Selection
1. verdi’s don carlo: “nei giardin del bello” sung by shirley verrett
2. the oh hellos: “on the mountain tall”
3. sufjan stevens: “so you are tired”
4. beethoven’s incidental music for “the ruins of athens”: turkish march
5. delibes’ “les filles de cadix”, sung by victoria de los angeles
6. the chordettes: mr. sandman
7. verdi’s otello: “una vela! una vela!” from the recording with jon vickers and mirella freni
8. mon rovîa: “to watch the world spin without you”
9. mary poppins: “i love to laugh”
10. woodkid: “run boy run—instrumental”
tagging uh. anyone interested!
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johnny1note · 7 months
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very-grownup · 8 months
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Many great divas of the last thirty to forty years have been African Americans: Grace Bumbry, Martina Arroyo, Shirley Verrett, Leona Mitchell, Betty Allen, Mattiwilda Dobbs, Kathleen Battle, Leontyne Price, Jessye Norman. And yet, until recently, opera was a white enterprise. Most opera houses forbade women or men of color from singing or attending. Few blacks attended the Metropolitan Opera, even in the absence of strict segregation policies, and no blacks sang leading roles there until Marian Anderson made her postprime debut in 1955 as Ulrica the gypsy witch in Un Ballo in Maschera. Rosalyn M. Story's recent study, And So I Sing: African-American Divas of Opera and Concert, details a long history of African-American women achieving fame either through recital work or through operatic performances in all-black companies.
In Jean-Jacques Beineix's film Diva, the diva, Wilhelmenia Wiggins Fernandez, an American woman of color, subverts the traditional image of the white diva and reminds us that divas, though usually white, have been linked to racial otherness, darkness, exoticism, and "blood". Long before the recent flourishing of the African-American diva, opera culture used images of darkness to demonize the diva. Color is one of the primary metaphors for the qualities of vocal tone. Singers are taught to avoid the "white" sound and to cover the tones, to make them darker. Roles like Carmen rely on the notion of the diva's "Latin blood". When divas have been made up to appear Asian or African for such roles as Aida, Selika, Cio-Cio-San, and Iris, they were expressing opera culture's insistence on the dark nature of the diva, as well as underscoring, in a problematic masquerade, the white diva's separation from the women of color she portrays.
The voice of the black operatic or concert diva was imagined to emanate directly from her ethnicity: commentators referred to Marian Anderson's "Negroid sound." And listeners have used metaphors of darkness and of racial essence to describe the appeal of certain female operatic voices even when the singer was white. Maria Malibran and Pauline Viardot were frequently described as having non-European features; one friend of Malibran speculated on the diva's "negro blood." A journalist, describing Adelina Patti as a child, notices her "little brown throat," her "Dark arms" clinging to her girl playmates' "white little necks"; because of her darkness, she is a "born exponent of the Spanish type." Italian origin was itself considered a sign of darkness: Margherita de L'Epine was called the "tawny Tuscan."
The diva brings her vocal treasure abroad, on tour to the colonies; and she finds there, among the colonized, a reflection of her abjected organ. Galli-Curci's biographer, narrating the diva's tour of Asia and Africa, alternates descriptions of her "native" audiences and accounts of her larynx's increasing vulnerability to medical specialists and to disease, as if the diva's voice, sent to tame and tranquilize the colonized, were itself the empire's possession, doomed to mysterious maladies and uncontrolled passions. Galli-Curci was like a missionary bent on conquering darkness; but her voice, because it was female, hidden, and inscrutable, was already aligned, in the imagery of empire, with the colonized.
- The Queen’s Throat: Opera, Homosexuality, and the Mystery of Desire, Wayne Koestenbaum.
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detroitlib · 2 years
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View of tenor George Shirley at recording session of Stravinsky's opera, "Oedipus Rex" for Columbia Records. Label on back: "Recording Stravinsky's 'Oedipus Rex' for Columbia Records in January, 1962, under the composer's direction. This document in sound is one of a series to be released soon in connection with the observance of Stravinsky's eightieth birthday. Mr. Shirley first sang this demanding role at Wayne University in 1955; he is scheduled to repeat it several times this summer during the Santa Fe Opera's Stravinsky Festival. The Jocasta of the recording is Shirley Verrett-Carter who will be the Carmen to Mr. Shirley's Don Jose at Spoleto in the early part of this summer." Typed on back: "George Shirley at recording session of Oedipus Rex for Columbia Records under Stravinsky's direction, January, 1962."
Courtesy of the E. Azalia Hackley Collection of African Americans in the Performing Arts, Detroit Public Library
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lboogie1906 · 1 year
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Grace Melzia Bumbry (born January 4, 1937), an opera singer, is considered one of the leading mezzo-sopranos of her generation, as well as a major soprano earlier in her career. She is a member of a pioneering generation of African-American opera and classical singers (including Jessye Norman, Leontyne Price, Martina Arroyo, Shirley Verrett, and Reri Grist) who followed Marian Anderson in the world of opera and classical music paving the way for future African-American opera and concert singers. Her voice was rich and dynamic, possessing a wide range, and was capable of producing a very distinctive plangent tone. She was born in St. Louis, the third child of Benjamin and Melzia Bumbry. In her prime, she possessed good agility and bel canto technique (see for example her renditions of the 'Veil Song' from Verdi's Don Carlo in the 1970s and 1980s, as well as her Ernani from the Lyric Opera of Chicago in 1984). She was particularly noted for her fiery temperament and dramatic intensity on stage. More recently, she has become known as a recitalist and interpreter of lieder, and as a teacher. From the late 1980s on, she concentrated her career in Europe, rather than in the US. A long-time resident of Switzerland, she now makes her home in Salzburg, Austria. #africanhistory365 #africanexcellence #zetaphibeta https://www.instagram.com/p/Cm_iJigLoUZ/?igshid=NGJjMDIxMWI=
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girlscarpia · 1 year
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OH I forgot to post this it seems <3
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pleasantarcade151 · 2 years
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SHIRLEY VERRETT & GRACE BUMBRY 🌷🌸🌷
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