File:Amelita Galli-Curci as Lakmé.jpg

Identifier: grandoperasinger02lahe (find matches)
Title: The grand opera singers of to-day : an account of the leading operatic stars who have sung during recent years, together with a sketch of the chief operatic enterprises
Year: 1912 (1910s)
Authors: Lahee, Henry Charles, 1856-1953
Subjects: Singers Opera
Publisher: Boston : L. C. Page
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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yist in hisspare hours. He took the government exam-ination for telegraph and post office, and wasthe first of one thousand students. Then hisvoice was discovered by Matteo Aderno, and indue course he appeared as an opera singer,making his debut at Treviso in Le Wally in1913. He also created the parts of Paolo inZandonais Paolo and Francesca, and Hein-nec in an Aztec opera of that name by an Ar-gentine composer. He sang at Covent Garden,Madrid and Milan, also South America beforecoming to this country. Both Crimi and Rimini have remained mem-bers of the Chicago Company for some years,and Rimini married Rosa Raisa. The sensation of the decade was the intro-duction to the American public of AmelitaGalli-Curci in Chicago, and in New York. Infact a New York critic wrote, Galli-Curcicomes nearer perfection than any sopranoheard during the present generation. Amelita Galli was born at Milan, Italy, andeducated at the Liceo Alessandro Manzoni, fromwhich she was graduated with first honors as
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Study by George M. Kesslere, B. P. AMELITA GALLI-CURCI AS LAKME The Chicago Opera Association 513 a linguist. She received her musical educationat the Conservatory in Milan, graduating as apianist. She is said to have had no vocal train-ing whatever, but to have secured a hearing atthe Costanzi through the influence of GennaroCurci, whose brother she married. She sangCaro Nome and secured a contract, makingher debut in Rigoletto at the Costanzi, inRome, in 1910. Then followed six years ofsinging in the theaters of Europe and in SouthAmerica where she was in the same companywith Caruso, Tito RufTo and Rosa Raisa. Itis said that she was denied a hearing in NewYork, the Metropolitan Company being full. Itis also reported that Campanini had almost tobe forced to give her a hearing, which he didthrough the intercession of Rosa Raisa. Buton hearing her he immediately engaged her, andshe made her American debut in Chicago onNov. 18, 1916, singing Gilda in Rigoletto.Although she made a wonder

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