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Gina Cigna

Though French-born, soprano Gina Cigna was of Italian lineage and enjoyed her initial successes in Italy. Possessed of a big tone of voice (critics still issue whether it had been a spinto excess weight instrument or a complete dramatic), she manifested a searing strength in her stage shows, not infrequently basically flattening the greater phlegmatic of her co-workers in heat of overall performance. Cigna’s was a unique voice, having a vibrato loose and imperfectly described in the low registers, but firming to a machine gun-like speed at the very top. Her blinking eyes, expressive encounter, and imperious carriage complemented her performing to produce an memorable impression. Although her profession was tragically brief, she resided to age 101, teaching for a complete three years after her pension. Cigna was created Geneviève Gigna and started her musical teaching like a pianist, getting into the Paris Conservatoire, learning with Alfred Cortot and finally graduating having a platinum medal. Her spouse, tenor Maurice Sens, found out her tone of voice and motivated her to sing. One night, she sang at a interpersonal gathering and was noticed by the popular soprano Emma Calvé who, impressed, urged that Geneviève teach her tone of voice. Cigna subsequently analyzed seven years with Calvé, long lasting a strange routine of inhaling and exhaling exercises and clawing herself, notice by note, in to the soprano register (in the beginning, she cannot sing above F razor-sharp). When Calvé finally believed her prepared, Cigna was delivered to Milan where an audition was organized. Associated herself, she sang before Toscanini and was involved at that moment. Her stage debut occurred as Freia at La Scala on January 23, 1927. She sang under her wedded name as Ginette Sens. Her initial great achievement in a significant function emerged in 1929, when she was provided as Donna Elvira within a Dec creation of Don Giovanni, this time around as Gina Cigna. Shortly thereafter, she was provided engagements throughout Italy and eventually sang throughout European countries, as well such as London, Chicago, NY, San Francisco, with several locations in SOUTH USA. In 1931, she initial undertook among her signature assignments, Norma, initial at Vigevano being a trial, after that at Palermo and Florence and finally through Europe as well as the Americas. For the Maggio Musicale Fiorentino in 1933, she essayed the treacherous Abigaille in Nabucco and repeated the function at La Scala another calendar year. Cigna was hardly ever loath to understand from the very best. To get ready for Violetta, she searched for assistance from Rosina Storchio, for Tosca from Hariclea Darclée, as well as for Norma she examined with Giannina Russ. Two Respighi premieres had been entrusted to Cigna: Maria Egiziaca (1932) and La fiamma (1934). In London, where critics and viewers tended to be placed off by solid vibratos, Cigna was less-favorably received. Neither her Elizabeth de Valois nor Marguerite (Berlioz) had been valued in 1933, although her Tosca (1936 and 1939) was thought to be amazing. Her Trovatore Leonora was considered dignified, but unsteady. Cigna’s Metropolitan Opera debut as Aida on Feb 6, 1937, also drew combined reactions. While she was adored for her control from the stage, she was criticized for vocal unevenness. Her Leonora in Il trovatore was well-liked, but her Norma was billed by critic W.J. Henderson mainly because “seeking in the grand collection.” Those even more familiar with a Mediterranean strategy, however, considered her extremely. Cigna survived a engine accident on the path to Vicenza in 1947, but sometime between your rollover and the finish of her sold-out overall performance that night, she experienced a silent coronary attack whose problems ended her profession. She after that considered teaching, 1st in Toronto, after that in Milan and Siena.

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