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Zinka Milanov

Zinka Milanov was probably one of the most renowned and beloved operatic sopranos from the mid-twentieth hundred years. An expert in the spinto repertoire (Verdi’s Aida, both Leonoras, Amelia, and Desdemona; Ponchielli’s Gioconda), she also excelled as Norma and in verismo jobs such as for example Tosca and Santuzza. Within an era where opera audiences had been particularly absorbed with the mystique from the prima donna, Milanov ruled among the brightest lighting. She was occasionally justly criticized for zero her technique leading to poor intonation and imprecise coloratura, however the pure luster and power of her tone of voice secured on her behalf the adoration of throngs of admirers. Given birth to in Zagreb, she started vocal research at age 14 with Milka Ternina, and produced her professional debut as Leonora in Il Trovatore in Ljubljana, Slovenia, in 1927. She spent the majority of her early profession carrying out in Ljubljana, Zagreb, where she was the leading soprano focusing on dramatic soprano functions such as for example Sieglinde as well as the Marschallin. Bruno Walter noticed her in Prague and suggested her to Toscanini, who brought her to worldwide attention carrying out the Verdi Requiem in the 1937 Salzburg Event. That same 12 months she produced her debut in the Metropolitan Opera in Il Trovatore. It had been her Met debut that prompted her to stop her maiden name, Kunc, and adopt her second husband’s even more amazing name, Milanov. The Met became her preferred home, and she performed there basically four months until her pension in 1966. She produced few European looks after 1939, but sang Tosca at La Scala in 1950, and in Il Trovatore at Covent Backyard in the 1956-1957 time of year. Milanov’s tone of voice was at its maximum through the 1950s and it had been during this time period that she drawn the adulation of opera followers. She was badly offered by record businesses and made fairly few studio room recordings of total operas while she is at her prime; a lot of her greatest performances had been captured from radio broadcasts. Among the recordings that perform justice to her tone of voice are Aida, with an all-star solid including Jussi Björling, Leonard Warren, and Fedora Barbieri; Il Trovatore; and Cavalleria rusticana, all designed for RCA. Her farewell overall performance in the Met, marking the finish of an extraordinary profession spanning almost 40 years, was as Maddalena in Andrea Chénier in 1966. Although she didn’t particularly appreciate teaching, she trained in the Curtis Institute of Music after her pension through the stage out of a feeling of responsibility to spread her understanding. She died of the stroke in NY in 1989.

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