MAFALDA FAVERO (PORTOMAGGIORE, NEAR FERRARA, 6 JANUARY, 1903 – MILAN, 3 SEPTEMBER, 1981)
Her real name was Giuseppina Favero. She received her vocal training from Alessandro Vezzani in Bologna. In 1925, she stepped in for another singer at the Teatro Ponchielli in Cremona, performing the role of Lola in Cavalleria Rusticana under the stage name Maria Bianchi. After giving concerts, she made her official debut in 1927 at the Teatro Regio in Turin as Liù in Puccini’s Turandot.
The following season, Toscanini engaged her for La Scala in Milan, where she debuted in 1928 to great acclaim as Elsa in Lohengrin and reprised the role of Liù. From 1929 to 1942, and again from 1943 to 1950, she was one of the leading prima donnas at La Scala. Notable performances included world premieres such as Lattuada’s Le Preziose Ridicole (1929), Wolf-Ferrari’s Il Campiello (1936) as Gasparina, and La Dama Boba (1939). Other highlights at La Scala included her celebrated portrayal of Gasparina in Cimarosa’s Il Matrimonio Segreto (1935) and the revival of Leoncavallo’s Zazà (1940), performed specifically for her.
Her international career flourished with performances at the Teatro San Carlo in Naples in the world premiere of Alfano’s L’ultimo Lord (1930) and Mascagni’s Pinotta in San Remo (1932). She also created roles in Zandonai’s La Farsa Amorosa (1933) and Mario Persico’s La Locandiera (1941) in Rome.
Favero enjoyed considerable success abroad, including guest appearances at Covent Garden in London (1937 and 1939), the San Francisco Opera (1938, debuting as Zerlina in Don Giovanni), and at the Metropolitan Opera in New York (1938–39), where she debuted as Mimì in La Bohème alongside Jussi Björling’s debut as Rodolfo. She performed at the Verona Arena Festival (1937–39), the state operas of Munich and Berlin, and theaters in Rio de Janeiro, Stockholm (1947), and Alexandria (1949).
Her final performance at La Scala was in 1949 as the Woman in Milhaud’s Le Pauvre Matelot, and her stage farewell occurred the same year in Piacenza as Manon in Massenet’s Manon.
Favero’s repertoire spanned a wide range of roles, including Charlotte in Massenet’s Werther, Thaïs in Thaïs, Juliette in Gounod’s Roméo et Juliette, the title roles in Mascagni’s Iris and Lodoletta, Suzel in L’Amico Fritz, and Magda in Puccini’s La Rondine. She was particularly renowned for her portrayals of Mimì in La Bohème, the title roles in Manon and Thaïs, Adriana in Cilea’s Adriana Lecouvreur, and Zazà in Leoncavallo’s Zazà.
Her voice was celebrated for its technical mastery and lyrical beauty, making her one of the most distinguished sopranos of her era.
Literature: I. Buscaglia, Mafalda Favero nella vita e nell’arte (1946).
TRACKLIST
Bohème (Puccini) O soave fanciulla (w. Ziliani) DB2521 2BA561 HMV, Milano 1935-04-24
Amico Fritz (Mascagni) Son pochi fiori DA1498 0BA1451 HMV, Milano 1936-06-16
Bohème (Puccini) Donde lieta uscì GQ7017 WB3625 Columbia, Milano 1930-07-04
Bohème (Puccini) Sì, mi chiamano Mimì DB3200 2BA1826 HMV, Milano 1937-04-02
Bohème (Puccini) Sono andati GQ7017 WB3622 Columbia, Milano 1930-07-04
Don Giovanni (Mozart) Vedrai, carino DB5446 HMV, Milano
Manon Lescaut (Puccini) In quelle trine morbide DB3200 2BA1871 HMV, Milano 1937-04-02
Puritani (Bellini) Son vergin vezzosa DB5448 HMV, Milano 1937
Madama Butterfly (Puccini) Bimba dagli occhi… Io t’ho ghermita (w. Ziliani) DB2894 DB2894 2BA1381 2BA1382 HMV, Milano 1936-05-21
Turandot (Puccini) Morte di Liù D5932 WB2190 Columbia, Milano 1928-10-10
Bohème (Puccini) O soave fanciulla (w. Ziliani) DB2521 2BA561 HMV, Milano 1935-04-24
Turandot (Puccini) Signore, ascolta! D5932 WB2159 Columbia, Milano 1928-10-06
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