Claudia Muzio
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Claudia Muzio (February 7, 1889 - May 24, 1936), was an Italian operatic soprano, whose international career was among the most successful of the early 20th century.
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[edit] Early years
Born in Pavia, Claudia Muzio was the daughter of an operatic stage manager, whose engagements during her childhood took the family to opera houses around Italy as well as to Covent Garden in London and to the Metropolitan Opera in New York. She arrived in London at the age of 2 and went to school there, becoming fluent in English, before returning to Italy at the age of 16 to study in Turin with Annetta Casaloni, a piano teacher and former operatic mezzo-soprano. She then pursued her vocal studies in Milan with Elettra Callery-Viviani.
[edit] Career
Muzio made her operatic début in Arezzo (15 January 1910) in the title-role of Massenet's Manon, and despite her youth she made rapid progress in the opera-houses of Italy, leading to débuts at La Scala in Milan in 1913 (as Desdemona in Verdi's Otello), in Paris (as Desdemona) and in London at Covent Garden (as Puccini's Manon Lescaut) in 1914; she stayed on in London to sing other roles including Mimi and Tosca (both with Caruso). She was invited to the Met in New York in December 1916 (for Tosca) and was so successful that she continued to appear there during six successive years. She established a special relationship with the Teatro Colón in Buenos Aires, where she first appeared in June 1919 (as Catalani's Loreley), and from then until 1934 she sang there in 23 different operas; she became known as "La Divina". Between 1922 and 1932, she also appeared regularly in Chicago (after falling out with the management at the New York Met). Other notable roles in her career included Aida, Santuzza in Cavalleria rusticana, Maddalena in Andrea Chénier, and Leonora in Il Trovatore (all in New York), and also Violetta in La Traviata and Leonora in La Forza del Destino (in Chicago and Buenos Aires). Her last and according to some critics her greatest role was in Rome in 1934 as Cecilia in the opera of that name written for her by Licinio Refice.
Claudia Muzio was noted for the beauty and evenness of her voice, which, although not particularly large, acquired a considerable richness of tonal colouring as she grew older. Her performances were sometimes criticised for excessive use of pianissimo singing. She had an impressive stage presence, being tall and elegant, and her acting ability conveyed an intense identification with the characters she portrayed. She was a dedicated and hard-working performer who remained modest and even reclusive despite her increasing fame and wealth. She regularly partnered some of the leading tenors of the day - Caruso, Gigli, Martinelli - and many of her fellow singers expressed the highest regard for her ability (including Ebe Stignani, Eva Turner, and Alfred Piccaver).
[edit] Last years
In her later years, Muzio experienced some financial anxiety after losing money through the extravagance of a manager/rumored lover and then in the Wall Street crash. She married in 1929 Renato Liberati, seventeen years her junior. In 1930 she started to experience some health problems, but continued singing and recording. On 24 May 1936, after a short illness, she died in a Rome hotel of what was officially described as heart failure, aged 47. There was much speculation about other possible causes of death, including suicide. The correspondent for The Times (London) commented: "Her death has been received here with the utmost consternation, as she was highly valued for her gifts both as a vocalist and as an actress."
She is buried in the Cimitero del Verano in Rome.
[edit] Recordings
Claudia Muzio is represented by recordings from various stages of her career, but unfortunately few of them from the period of some of her greatest successes in the late 1920s and early 1930s.
- 1911. HMV. Muzio recorded 2 arias, including Si, mi chiamano Mimi from La Bohème, when she was only 22 and her voice and technique were still relatively immature. [Included on CD transfer Romaphone 81005-2.]
- 1917-1918. Pathé. 43 titles recorded. [Transferred to CD on Romaphone 81010-2.]
- 1920-1925. Edison. 37 titles recorded. [Transferred to CD by Pearl, GEMM CDS 9072, and also on Romaphone 81005-2.]
- 1932. In October, Muzio appeared in the opening of production of Tosca at the San Francisco War Memorial Opera House; the opening night was recorded for radio, and Act I has been issued on CD (in very poor sound quality). [Available on Minerva MN-A76, as part of a collection of Muzio's Puccini performances.]
- 1934-1935. Columbia. Muzio personally produced and financed a set of 26 recordings for Columbia in 1934 and 1935. By 1935, there is some noticeable weakening of the top of her voice but her expressive powers are well-displayed, especially in a much-admired interpretation of Addio del passato from Verdi's La Traviata. The sound-quality of these is fairly good, and they are the recordings by which she has been best remembered. [Transferred to CD on Romaphone 81015; 19 titles, along with her 1911 La Bohème track, are also on Nimbus NI 7814.]
[edit] References
Douglas, Nigel. [1994]. "Claudia Muzio", in More legendary voices, pp.183-206. London, André Deutsch. ISBN 0-233-98889-0.
Richards, J.B. [1968]. "Claudia Muzio". Record Collector, XVII (1968) nos.9-10, pp.197-237; no.11, p.256 (with discography by H. Barnes). [Not consulted.]
Steane, John. [1989]. "Claudia Muzio: a centenary tribute". Musical Times, v.130, no.1752 (Feb.1989), pp.72-73,75.
[edit] External links
Offers a downloadable version of Tatiana's letter scene from Eugene Onegin, sung in Italian under the title "Sei forse l'angelo fidele"; recorded by Edison in 1920.
Gives a brief biography with several pictures.
