Brief in stature and in no way slim, mezzo-soprano Ebe Stignani was a paragon among twentieth-century singers in her vocal range, a compass sweeping from low F to a glowing high C of an excellent and power many dramatic sopranos envied. Although she herself accepted to becoming no celebrity, her stage looks carried enormous pressure through her performing alone. Her profession was born in a day and time of additional great mezzos and prolonged nearly three years into the primary many years of Giulietta Simionato, Elena Nicolai, and Fedora Barbieri. She documented often, preserving many of her most celebrated functions in complete shows. Beginning with the analysis of piano in the Conservatory of San Pietro di Maiella in her indigenous Naples, Stignani quickly undertook programs in vocal teaching under Agostino Roche who cautioned her never to exploit her facile best register by learning to be a soprano. During her five years with Roche, she done solfège and scales even while she studied tranquility and both choral as well as the operatic books. Stignani’s debut occurred in the San Carlo in Naples in 1925 when she plunged in to the dramatic part of Amneris in Verdi’s Aida. Asked by Arturo Toscanini for an audition, she discovered herself having a agreement for La Scala and started her long profession there with La Gioconda, Götterdämmerung, and Weber’s Der Freischütz (in the short, but uncompromisingly soprano part of Aennchen). Quickly, she was performing beneath the finest conductors of that time period: Ghione, Gui, Guarnieri, Marinuzzi, Panizza, and Serafin. Provided the scale and thrust of her tone of voice, she was designated significant amounts of Wagner, each part sung in her indigenous vocabulary, as was the custom made of that time period in Italy. Also, she found make the big Verdi jobs her very own — Ulrica, Azucena, Preziosilla, and Eboli in Don Carlo. In the last mentioned, she was a last-minute replacement for the revered Giuseppina Cobelli and, despite her generally placid nature, discovered the knowledge of overtaking for a vocalist so esteemed with the Scala viewers a nerve-wracking one. Stignani triumphed, and discovered the demanding function becoming among her two mainstay parts, the various other getting Leonora in Donizetti’s La favorita. Beyond the Verdi/Wagner books, Stignani embraced Fidalma in Cimarosa’s Il matrimonio segreto, Carmen, Adalgisa in Bellini’s Norma, Marina in Boris Godunov, Dalila as well as the function she loved most importantly others, Orfeo in Gluck’s Orfeo ed Euridice. Somewhere else in Italy, her jobs on the Maggio Musicale Fiorentino had been the Great Priestess in Spontini’s La vestale and Fenena in Nabucco in 1933. By 1940, she was involved for the greater important function of Arsace in Rossini’s Semiramide. In the meantime, other opera homes beyond Italy summoned her for a number of functions. She sang in London from 1937, when she debuted as Amneris, and carrying on regularly until her Adalgisa opposing Callas in 1952 and 1957, the entire year before her pension. AMERICA noticed her in opera just, at SAN FRANCISCO BAY AREA (1938 and 1948) and in Chicago (1955), where her looks included a unforgettable Il trovatore with Callas and Björling. A rapturously received recital at Carnegie Hall in 1948 didn’t produce another present from your Metropolitan Opera (a 1939 agreement was voided from the outbreak of WWII), but she sang with achievement in SOUTH USA aswell as throughout European countries. Among Stignani’s commercially documented functions are Amneris (double), Adalgisa (double), Eboli, Preziosilla, and Laura.