OLGA SIMZIS (ODESSA, 1887 – ?)
During her career, she primarily performed in central Italy and South America. She likely studied in the United States and made her debut there. In 1909, she sang at the Teatro Regio in Parma in A. Catalani’s Loreley. In 1913, she joined the Western Metropolitan Opera Company in North America, spending a season in San Francisco and performing roles such as Gilda in Rigoletto, Musetta in La Bohème, and Micaela in Carmen.
In 1918, she appeared at the Teatro Genovese in Genoa as Elvira in V. Bellini’s I Puritani. The following year, in 1919, she performed at the Teatro Colón in Buenos Aires in Madama Butterfly. She was married to conductor Arturo de Angelis, who conducted at the Teatro Colón in 1919. When he became the manager of the Opera House in Santiago de Chile, she moved there with him.
Chronology of some appearances
1908 New Orleans Opera Stagione Compagnia Lambardi
1909 Casalpusterlengo Teatro Sociale Mignon (Filina)
1910 Parma Teatro Regio Loreley (Anna)
1911 Ferrara Teatro Tosi Borghi Rigoletto (Gilda)
1912 Napoli Teatro Mercadante Mignon (Filina)
1913 Torino Teatro Vittorio Emanuele Pagliacci (Nedda)
1914 Lucca Teatro Del Giglio Mignon (Filina)
1915 Venezia Teatro La Fenice Rigoletto (Gilda)
1916 Genova Politeama Genovese Figlia Del Reggimento (Maria)
1917 Padova Teatro Garibaldi Lucia di Lammermoor (Lucia)
1918 Genova Politeama Genovese Puritani (Elvira)
1919 Buenos Ayres Teatro Marconi Barbiere di Siviglia (Rosina)
1920 Buenos Ayres Teatro Marconi Boheme (Mimì)
1921 Buenos Ayres Teatro Marconi Amico Fritz (Suzel)
1925 Buenos Ayres Teatro Marconi Iris (Iris)
1926 Buenos Ayres Teatro Marconi Iris (Iris)
TRACKLIST
Rigoletto by Giuseppe Verdi performed in Italian
Conductor Carlo Sabajno – 1916-17(STU)
Orchestra – Teatro alla Scala
Chorus – Teatro alla Scala
Rigoletto – Giuseppe Danise
Gilda – Ayres Borghi-Zerni
Duca di Mantova – Carlo Broccardi
Sparafucile – Vincenzo Bettoni
Maddalena – Nelda Garrone
Giovanna – Nelda Garrone
Monterone – Vincenzo Bettoni
Marullo – Napoleone Limonta
Borsa – Giuseppe Sala
Conte di Ceprano – Vincenzo Bettoni
Un paggio – Renata Pezzati
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Black Disc; – Società Nazionale del Grammofono «La Voce del Padrone» S 5544, ; S 5546, S 5548,; S 5552, S S 5554, S 5558, S 5560, S 5562, S 5564 {9x12in-78s}, R 5543, R 5549,; R 5551, R 5553, R 5555, R 5557, R 5561, R 5563 {8x10in-78s} (1918)ª; Bongiovanni GB 1024 (highlights) {1LP} (1980)ª
Compact Disc; – Mike Richter – Audio Encyclopedia 301 (From Which We Came – CD-ROM) (1999)ª
ª(year of issue or re-issue)
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Recordings of Rigoletto by Giuseppe Verdi are surveyed in the following publications:-
High Fidelity January 1960 Vol.10 No.1 p.48, October 1963 Vol.13 No.10 p.32; HARRIS p.223; Opera on Record p.208; CELLETTI p.986; Opera on CD (1) p.49 (2) p.55 (3) p.61; L’Avant Scène Opéra No.112-113 p.144, mise à jour juillet 2001 p.2; MET p.583; MET(VID) p.567; PENGUIN p.496; Répertoire No.64 décembre 1993 p.8; Opera on Video p.75; GIUDICI p.905 (2) p.1459; «Musica 99» p.73; BBC Music Magazine December 1996 p.47; Opéra International No.254 février 2001 p.16
This recording is reviewed in the following publication:-
Opera Quarterly – Vol.4 No.1 Spring 1986 p.50 [JA]
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Comments:- The 78s are listed in the catalogue of the Società Nazionale del Grammofono dated giugno 1918 where the following statement is made «…la bell’opera era già pronta nel Maggio 1916. Sfortunatamente per un disgrazziato incidente, parte delle matrici vennero infrante prima di giungere alle Fabbriche. Dire tutte le peripezie delle matrici rimaste intatte e delle nuove, le difficoltà varie incontrate, ecc. ci porterebbe troppo lontano, e forse non interesserebbe.Solo oggi, dopo due anni, ci è dato de presentare al Pubblico il nostro RIGOLETTO completo…». Presumably, as a result of this «disgraziato incidente» in Acts 2 and 3 part of the role of Rigoletto is sung by Ernesto Badini, part ofthe role of Sparafucile is sung by Guido Fernandez, and part of the role of Gilda is sung by Olga Simzis. The quartet is sung by Simzis, Badini, Pezzati (Maddalena), and Broccardi. The original recording was made between 20 and 30 March 1916 and the replacement records on 28, 29, 30 March 1917. More details can be found in «Complete Operas on 78 R.P.M.» by Tom Peel
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