Even though the Metropolitan Opera didn’t have Ebe Stignani, it had Bruna Castagna, another mezzo soprano of voluminous voice and uncommon agility who similarly succeeded as Bizet’s Carmen despite a significantly less than exemplary number. Toscanini involved Castagna both in her indigenous Italy and once again for performances in the us. Air bank checks of live shows through the Metropolitan expose a chocolate-colored device being guided with a musicianly vocalist having both passionate dedication and significant discretion. Blessed in Bari, situated in the South of Italy, Castagna started her research of music at age group seven, training initial being a pianist. By her early teenagers, she was regarded in her area as a new player of true potential, but she elected at that time to forgo the piano and only pursuing a profession as a vocalist. After voice research in Milan, she produced her stage debut rather hastily as Marina in Boris Godunov in 1925. She was just 20, but her achievement at Mantua’s Teatro Sociale prompted conductor Tullio Serafin to provide a agreement for performances on the Teatro Colón in Buenos Aires. Castagna eventually sang in the Argentine capital for three periods. On the other hand, La Scala provided the mezzo possibilities not usually distributed around artists so youthful and she continued to be with that movie theater for the ensuing 3 years from 1925 to 1928. Arturo Toscanini, who acquired previously understand her work, bet Castagna go back to Milan, thinking that he previously within her an musician able to perform justice towards the mezzo functions of Rossini as well as the various other bel canto composers. L’italiana in Algeri, unlike the composer’s Il barbièri di Siviglia, cannot be sung with a soprano. A genuine mezzo was needed and, upon the staging of a fresh creation in 1933, Castagna was hailed with the critics as you who could provide such important functions back to the repertory. At Barcelona’s Liceo, she undertook Carmen for the very first time; it would shortly become among her signature assignments. After triumphant stage shows in France, Germany, Romania, Egypt, and Australia, Castagna received invites from Chicago and SAN FRANCISCO BAY AREA and enjoyed a significant success within a concert appearance at New York’s Hippodrome in 1934. Finally provided a agreement by Metropolitan Opera general supervisor Edward Johnson, she produced her NY stage debut on March 2, 1936, performing a solid Amneris and earning the approval from the city’s music critics. Two various other roles, pursuing in quick succession, put into her status. Her Azucena in Il Trovatore was discovered a searing dramatic existence with voice to complement and her Carmen, though Italianate in taste, was a persuasive departure through the hands-on-hips excesses of earlier interpreters. Critic Lawrence Gilman within her an designer with “both character and creative tact.” A summer season viewers of 15,000 noticed Castagna’s Carmen that same calendar year at Lewisohn Stadium. Evaluating her method of the function, Pitts Sanborn enthusiastically commented “generally she actually is the achieved musician. The mantle of the fantastic Carmens has dropped upon her, and royally she wears it.” Castagna continuing to execute the role through the remainder of her profession. Upon pension, she came back to Italy to instruct tone of voice and interpretation. Despite departing too few industrial recordings, live shows preserved on disk attest to an excellent vocalist. Especially persuasive will be the Verdi Requiem and Missa Solemnis (Beethoven) she documented with Toscanini and types of her wonderfully sung Verdi specialties.