Autograph signature of the Italian tenor in full on verso of a Metropolitan Opera Association check in payment for services rendered. With autograph signatures of Frank Garlichs as treasurer and Edward Johnson on recto. Angelo BADA.
Autograph signature of the Italian tenor in full on verso of a Metropolitan Opera Association check in payment for services rendered. With autograph signatures of Frank Garlichs as treasurer and Edward Johnson on recto.

Autograph signature of the Italian tenor in full on verso of a Metropolitan Opera Association check in payment for services rendered. With autograph signatures of Frank Garlichs as treasurer and Edward Johnson on recto.

Dated March 18, 1938. Ca. 80 x 217 mm.

Two small tears to upper edge; bank perforation to central portion; red handstamp, minor annotation in black ink, and small paper defect to verso.

Bada "made his début in 1898 in Italy and sang there for a decade. In 1908 he went to New York, where he made his Metropolitan début as the Messenger in Aida. He remained as chief comprimario at the Metropolitan for 30 years, creating roles in Puccini’s Fanciulla del West (1910), Il tabarro (Tinca) and Gianni Schicchi (1918, Gherardo) and taking part in many New York first performances. In 1928–9 he sang at Covent Garden as Shuysky (Boris Godunov) and in 1935 appeared at the Salzburg Festival as Dr Caius (Falstaff). He made his last appearance at the Metropolitan in 1938 at Martinelli’s silver jubilee concert." Elizabeth Forbes in Grove Music Online.

Canadian Edward Johnson (1878-1959) became "the leading tenor of the Chicago Opera (1919–22) and the Metropolitan Opera (1922–35) where he was a favourite as Pelléas, Romeo and Peter Ibbetson, a role he created in the Deems Taylor opera. Also in his repertory were Siegfried and Faust (1923, Covent Garden). His musicianship, romantic appearance and ability to project a character were coupled with a lyric voice of good quality and range, a sound technique and a seldom-used but easy high E. He followed Herbert Witherspoon, Gatti-Casazza’s successor, as general manager of the Metropolitan (1935–50), instituted the Auditions of the Air and successfully guided the Metropolitan through the war period. On retirement (1950) Johnson moved to Guelph, but remained chairman of the board of Toronto’s Royal Conservatory of Music." Ruby Mercer in Grove Music Online. Item #23735

Price: $25.00  other currencies

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