GUERRINA FABBRI (FERRARA, 21 JUNE, 1866 – TURIN, 15 FEBRUARY, 1946)
Guerrina Fabbri, renowned as one of the last great coloratura contraltos, was born into a family of notable singers, with her sister Vittorina Fabbri achieving success as a mezzo-soprano. Guerrina’s vocal brilliance and artistry made her a standout performer in an era when coloratura contraltos were becoming increasingly rare.
Early Career and Education
Guerrina studied with A. Mattioli in Ferrara and Galetti-Gianoli in Milan. She made her operatic debut in 1885 at the Municipal Theatre of Viadana near Mantua, performing as Orsini in Donizetti’s Lucrezia Borgia. That same season, she sang Cieca in Ponchielli’s La Gioconda and Marta in Boito’s Mefistofele in Palermo.
International Success
In 1886, she appeared in Madrid, and the following year, she performed at London’s Drury Lane Theatre as Amneris in Aida. She joined Adelina Patti’s opera troupe in 1889, which toured internationally, including guest performances at the New York Metropolitan Opera. In the 1891–92 season, Guerrina was a regular member of the Met, performing Arsace in Rossini’s Semiramide and Nancy in Flotow’s Martha.
She also made notable appearances in London, singing roles such as Orpheus in Gluck’s Orfeo ed Euridice, Angelina in La Cenerentola, and Fidalma in Cimarosa’s Il matrimonio segreto. In 1888, she gave concerts at New York’s Steinway Hall and, in 1902, performed Massenet’s Cendrillon at Teatro San Carlo in Naples.
Career Highlights
Guerrina excelled in character and buffo roles later in her career due to her physical presence. Notable performances include Quickly in Verdi’s Falstaff at La Scala in 1906 and the Queen in A. Thomas’s Hamlet at the Teatro Colón in Buenos Aires in 1908.
She championed modern works such as Wolf-Ferrari’s I quattro rusteghi, which she premiered in 1922 and performed until her retirement in 1928. She was also celebrated for her portrayals of Angelina in Rossini’s La Cenerentola and Isabella in L’Italiana in Algeri, showcasing her extraordinary technical ability and the rich timbre of her voice.
Later Years
After retiring from the stage, Guerrina lived in Turin, where she worked as a respected singing teacher, imparting her vast knowledge and experience to the next generation of artists.
Legacy
Guerrina Fabbri’s artistry bridged the 19th and 20th centuries, maintaining the tradition of the coloratura contralto and leaving an indelible mark on the operatic world. Her recordings, although rare, capture the beauty and versatility of her voice, offering a glimpse into a bygone era of vocal brilliance.
TRACKLIST
G&T, Milano 1903-10?
Romeo e Giulietta (Bellini): Se Romeo t’uccise un figlio 53318 Con160R
Italiana in Algeri (Rossini): Rondo 053007 Con552
Romeo e Giulietta (Bellini): Cavatina 053009 Con553R
Romeo e Giulietta (Bellini): Ah se tu dormi (Bauer: Vaccai??) 53321 Con164R
Lucrezia Borgia (Donizetti): Il segreto per esser felice 53322 Con166R
Prophète (Meyerbeer): Figlio mio 053041 Con558
Semiramide (Rossini): Cavatina di Arsace 053006 Con566R
Barbiere di Siviglia (Rossini): Una voce poco fà 053015 Con579R
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