Autograph signature of Rudolf Bing on recto, with the autograph signature of the Italian soprano Tucci in endorsement on verso of a Metropolitan Opera Association check dated January 11, 1966 in payment for services rendered. Gabriella 1929- TUCCI.
Autograph signature of Rudolf Bing on recto, with the autograph signature of the Italian soprano Tucci in endorsement on verso of a Metropolitan Opera Association check dated January 11, 1966 in payment for services rendered.

Autograph signature of Rudolf Bing on recto, with the autograph signature of the Italian soprano Tucci in endorsement on verso of a Metropolitan Opera Association check dated January 11, 1966 in payment for services rendered.

Ca. 86 x 152 mm.

Slightly worn; handstamps to recto and verso.

In 1951 Tucci "made her début in La forza del destino opposite Gigli. She sang throughout Italy (her La Scala début was as Mimì in 1959), and made guest appearances internationally, notably at the Teatro Colón and the Bol′shoy Theatre. She made her London début at the Adelphi Theatre as Mimì in December 1959 and first appeared at Covent Garden in the next year, as Aida and Tosca. Her American début, in San Francisco, was as Maddalena (Andrea Chénier) in 1959; the following October, as Butterfly, she began a close association with the Metropolitan which lasted until 1973. Her repertory included most of the standard Italian spinto roles and she also successfully undertook the challenge of such florid parts as Elcia (Mosè in Egitto), Luisa Miller and Elvira (I puritani), as well as Mozart, Gluck and Gounod roles. Tucci was an uneven singer but her best performances were notable for communicative warmth, taste and lustrous tone. A poignant actress, she was especially effective in the final acts of Otello... and La traviata. She was also a sympathetic and dramatically convincing Leonora (Il trovatore)." Martin Bernheimer in Grove Music Online.

Sir Rudolf Bing (1902-1997), British impresario of Austrian birth, was general manager of the Glyndebourne Opera (1936-1949) and the Metropolitan Opera in New York (1950-1972). "He had great influence on both the company and American opera in the 1950s and 60s, particularly because of his autocratic attitudes... Bing introduced a number of black singers and dancers and extended the season to fill the whole year; he also supervised the move to Lincoln Center." Patrick J. Smith in Grove Music Online. Item #23753

Price: $40.00  other currencies

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