Autograph signatures ("Edward Johnson" and "Frank Garlichs") on recto and endorsed ("Gina Cigna") on verso of a Metropolitan Opera Association check in payment for services rendered. Gina CIGNA.
Autograph signatures ("Edward Johnson" and "Frank Garlichs") on recto and endorsed ("Gina Cigna") on verso of a Metropolitan Opera Association check in payment for services rendered.

Autograph signatures ("Edward Johnson" and "Frank Garlichs") on recto and endorsed ("Gina Cigna") on verso of a Metropolitan Opera Association check in payment for services rendered.

Dated January 29, 1938. Ca. 80 x 217 mm.

Minor stain to lower corner, with no loss to signatures; bank perforations to central portion; several handstamps to recto and verso.

Italian soprano Gina Cigna made her debut at La Scala in 1926. In 1929, she "returned there and sang every season until 1943, establishing herself as a leading Italian dramatic soprano. She was particularly admired as Norma, La Gioconda, Turandot and in Verdi; she also took part in important revivals of Alceste (1935) and L’incoronazione di Poppea (1937) at Florence, and was the Kostelnička in the first performance in Italy of Jenůfa (1941, Venice). Cigna made her Covent Garden début as Marguerite in La damnation de Faust in 1933, and returned there in 1936, 1937 and 1939. She sang at the Metropolitan (1937–8), and also in San Francisco and Chicago. In 1947, following a car accident, she retired, devoting much of the rest of her life to teaching." She was a highly dramatic and musical singer with a dark voice and an attractive, rapid vibrato. "Her pre-war recordings of Norma and Turandot show the physical excitement of her singing and her dramatic involvement." Harold Rosenthal and Alan Blyth 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 #23739

Price: $30.00  other currencies

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