LUISA TETRAZZINI, SOPRANO, JUNE 29, 1871

Luisa Tetrazzini

Coloratura soprano Luisa Tetrazzini was born on this day in 1871 in Florence. It is a lesser known fact, that she had two older sisters who were also sopranos, albeit they did not achieve her level of celebrity.

After initially studying with her sister Eva, who was nine year’s senior to Luisa, she proceeded to have lessons with Eva’s teacher, Professor Ceccherini at the Instituto Musicale of Florence.

As is the case in so many lives of famous singers, she received her big break making her operatic debut in1890, at the age of only 19 years, by standing in for the prima donna in Meyerbeer’s L’Africaine at the Teatro Paglione in Florence.

In her autobiography, My Life in Song, she recalled that, “The pavements from the theatre to my home were lined, even at that late hour, with large numbers of people, all of whom seemed to be shouting congratulations to me.”

It was just 2 months after that she was engaged to repeat the role in Rome for the King and Queen of Italy.

The tenor Giacomo Lauri Volpi described her as ‘having a scintillating voice with a brilliant timbre and a range and agility well beyond the norm…” Her voice has been described as possessing ‘warm, clarinet-like beauty’.

But it was claimed that her middle voice was rather thin and child like, (though reportedly it grew with maturity in warmth), this aspect of her voice did not please another tenor of renown John McCormack, who compared it to ‘wailing like a cross infant.’ Nevertheless, Tetrazzini herself had only words of praise for McCormack’s ‘God-given gift’, noting generously, ’I found that his rich voice went so well with mine that I took him back with me to America, and he sang with me both in New York and in the other big towns when the Hammerstein company went on tour.’

Later it was written ‘Tetrazzini possessed an extraordinary vocal technique that enabled her to surmount any vocal challenge with joyful ease. She had complete mastery of runs, trills, staccati and vocal ornaments of all kinds.’

She established herself in Latin America and Europe where in St Petersburg she sang her favourite role in Donizetti’s Lucia di Lammermoor with Enrico Caruso. This marked the beginning of a firm friendship and later even a collaboration in a book on vocal technique between the two.

Though she was still relatively unknown to English opera audiences. But this was all about to change when the opportunity arose for her to stand in for Nellie Melba as Violetta in La Traviata at Covent Garden. She garnered twenty curtain calls and she was critically acclaimed by E.A. Baugham in the Daily News writing,“I do not think I am exaggerating when I say that Mme Tetrazzini has the voice of the century and stands out from even the great Italian singers we know…”

Her superstardom lay just around the corner when reviews compared her to her idol Adelina Patti. Patti being from the opera generation before, attended a performance and later invited her to lunch. The two sopranos became firm friends and Patti was often seen making a point of clapping loudly at Tetrazzini’s performances. Likewise Tetrazzini wrote about a letter she had received from Patti, “Praise from a mixed audience is very gratifying after one has given it of her best. But, praise, and such praise, from Patti is far more than the passing pleasure of a public ovation.”

Engagements in America ensued and recording contracts with Victor Recording Company captured her voice for posterity between 1904-1920.

One very famous event she is known for, is her defiance against Oscar Hammerstein who held her to her contract not to sing in San Francisco. Hammerstein, was her agent whom she admired for his entrepreneurship and business acumen. She exclaimed ‘I will sing in San Francisco if I have to sing there in the streets, for I know the streets of San Francisco are free.” With this declaration she won her legal case, and her new agent W.H. Leahy announced she would sing in the streets of San Francisco. So on a clear Christmas Eve in 1910,Tetrazzini climbed a stage platform in a sparkling white gown, surrounded by a throng of an estimated two to three hundred thousand San Franciscans, and serenaded the city she loved.

As well as this early taster of coming mega-star’s open air benefit performances, she has also been remembered in the culinary world. Whether it be called Turkey or Chicken Tetrazzini, the dish has worked its way into the ubiquitous list of food favourites.

After the First World War she mainly devoted her work to concerts and recitals. Tetrazzini was married three times and was embroiled in legal battles with her third husband which diminished her enormous wealth. Nevertheless, she was well known for her generosity.

In her retirement she taught in both Rome and Milan and her vocal technique, was apparently stunning and remained so until her end in 1940.

LUISA TETRAZZINI, SOPRANO, JUNE 29, 1871

Luisa Tetrazzini

Coloratura soprano Luisa Tetrazzini was born on this day in 1871 in Florence. It is a lesser known fact, that she had two older sisters who were also sopranos, albeit they did not achieve her level of celebrity.

After initially studying with her sister Eva, who was nine year’s senior to Luisa, she proceeded to have lessons with Eva’s teacher, Professor Ceccherini at the Instituto Musicale of Florence.

As is the case in so many lives of famous singers, she received her big break making her operatic debut in1890, at the age of only 19 years, by standing in for the prima donna in Meyerbeer’s L’Africaine at the Teatro Paglione in Florence.

In her autobiography, My Life in Song, she recalled that, “The pavements from the theatre to my home were lined, even at that late hour, with large numbers of people, all of whom seemed to be shouting congratulations to me.”

It was just 2 months after that she was engaged to repeat the role in Rome for the King and Queen of Italy.

The tenor Giacomo Lauri Volpi described her as ‘having a scintillating voice with a brilliant timbre and a range and agility well beyond the norm…” Her voice has been described as possessing ‘warm, clarinet-like beauty’.

But it was claimed that her middle voice was rather thin and child like, (though reportedly it grew with maturity in warmth), this aspect of her voice did not please another tenor of renown John McCormack, who compared it to ‘wailing like a cross infant.’ Nevertheless, Tetrazzini herself had only words of praise for McCormack’s ‘God-given gift’, noting generously, ’I found that his rich voice went so well with mine that I took him back with me to America, and he sang with me both in New York and in the other big towns when the Hammerstein company went on tour.’

Later it was written ‘Tetrazzini possessed an extraordinary vocal technique that enabled her to surmount any vocal challenge with joyful ease. She had complete mastery of runs, trills, staccati and vocal ornaments of all kinds.’

She established herself in Latin America and Europe where in St Petersburg she sang her favourite role in Donizetti’s Lucia di Lammermoor with Enrico Caruso. This marked the beginning of a firm friendship and later even a collaboration in a book on vocal technique between the two.

Though she was still relatively unknown to English opera audiences. But this was all about to change when the opportunity arose for her to stand in for Nellie Melba as Violetta in La Traviata at Covent Garden. She garnered twenty curtain calls and she was critically acclaimed by E.A. Baugham in the Daily News writing,“I do not think I am exaggerating when I say that Mme Tetrazzini has the voice of the century and stands out from even the great Italian singers we know…”

Her superstardom lay just around the corner when reviews compared her to her idol Adelina Patti. Patti being from the opera generation before, attended a performance and later invited her to lunch. The two sopranos became firm friends and Patti was often seen making a point of clapping loudly at Tetrazzini’s performances. Likewise Tetrazzini wrote about a letter she had received from Patti, “Praise from a mixed audience is very gratifying after one has given it of her best. But, praise, and such praise, from Patti is far more than the passing pleasure of a public ovation.”

Engagements in America ensued and recording contracts with Victor Recording Company captured her voice for posterity between 1904-1920.

One very famous event she is known for, is her defiance against Oscar Hammerstein who held her to her contract not to sing in San Francisco. Hammerstein, was her agent whom she admired for his entrepreneurship and business acumen. She exclaimed ‘I will sing in San Francisco if I have to sing there in the streets, for I know the streets of San Francisco are free.” With this declaration she won her legal case, and her new agent W.H. Leahy announced she would sing in the streets of San Francisco. So on a clear Christmas Eve in 1910,Tetrazzini climbed a stage platform in a sparkling white gown, surrounded by a throng of an estimated two to three hundred thousand San Franciscans, and serenaded the city she loved.

As well as this early taster of coming mega-star’s open air benefit performances, she has also been remembered in the culinary world. Whether it be called Turkey or Chicken Tetrazzini, the dish has worked its way into the ubiquitous list of food favourites.

After the First World War she mainly devoted her work to concerts and recitals. Tetrazzini was married three times and was embroiled in legal battles with her third husband which diminished her enormous wealth. Nevertheless, she was well known for her generosity.

In her retirement she taught in both Rome and Milan and her vocal technique, was apparently stunning and remained so until her end in 1940.

Episode Number Five Of The Voice Detective Show with Kevin Schwager, Chiropractor in Nelson Bay, Port Stephens, New South Wales, Australia

Kevin is not your usual chiropractor. He uses many therapeutic modalities and life skills gleaned over his 37 years of practice. From an early age he has had an interest in physical fitness and health. Growing up near one of Sydney’s southern beaches,surfing and body surfing became a life-long passion as well as other competitive sporting activities where he could test himself against his personal best.

With this background, it is no surprise to learn that he joined a long line with a family tradition practicing as a chiropractor, a profession which his daughter also now continues.

Excelling at everything he put his mind to, Kevin taught himself to speed read and became a voracious reader. He acknowledges that, he has been particularly influenced by Dr John Demartini’s teachings and the mind’s ability to accomplish the heart’s desires.
  
Kevin is a believer in one’s capacity to overcome adversities with our natural innate abilities and the body’s capacity to heal. From the outset, he always sees his patients as being whole and healthy and uses his skills in kinesiology to find the hidden healing paths to unlock the patient’s ability to get into contact with that wholeness themselves. He is very mindful of how non-violent communication with others and within ourselves, combining with the power of a positive thought will forge our daily lives. These attitudes have become the bedrock of his spiritual practices.

On his own healing path, Kevin has forged friendships with Aboriginal Elders and has been a humble student of the ancient Dreamtime ways and practises. He actively participates in passing on the knowledge, or learning down to younger generations in the form of mentoring and teaching.

Looking after younger generations is dear to Kevin’s heart having worked with street children and outback locations in Australia where such help is most needed and in short supply.

Today he divides his time between being with his young family and running the bustling Nelson Bay Chiropractic and Yoga in NSW, Australia with his life partner Maree Frawley, herself, an accomplished yoga master, teacher, author and inspirational coach.

Episode Number Five Of The Voice Detective Show with Kevin Schwager, Chiropractor in Nelson Bay, Port Stephens, New South Wales, Australia

Kevin is not your usual chiropractor. He uses many therapeutic modalities and life skills gleaned over his 37 years of practice. From an early age he has had an interest in physical fitness and health. Growing up near one of Sydney’s southern beaches,surfing and body surfing became a life-long passion as well as other competitive sporting activities where he could test himself against his personal best.

With this background, it is no surprise to learn that he joined a long line with a family tradition practicing as a chiropractor, a profession which his daughter also now continues.

Excelling at everything he put his mind to, Kevin taught himself to speed read and became a voracious reader. He acknowledges that, he has been particularly influenced by Dr John Demartini’s teachings and the mind’s ability to accomplish the heart’s desires.
  
Kevin is a believer in one’s capacity to overcome adversities with our natural innate abilities and the body’s capacity to heal. From the outset, he always sees his patients as being whole and healthy and uses his skills in kinesiology to find the hidden healing paths to unlock the patient’s ability to get into contact with that wholeness themselves. He is very mindful of how non-violent communication with others and within ourselves, combining with the power of a positive thought will forge our daily lives. These attitudes have become the bedrock of his spiritual practices.

On his own healing path, Kevin has forged friendships with Aboriginal Elders and has been a humble student of the ancient Dreamtime ways and practises. He actively participates in passing on the knowledge, or learning down to younger generations in the form of mentoring and teaching.

Looking after younger generations is dear to Kevin’s heart having worked with street children and outback locations in Australia where such help is most needed and in short supply.

Today he divides his time between being with his young family and running the bustling Nelson Bay Chiropractic and Yoga in NSW, Australia with his life partner Maree Frawley, herself, an accomplished yoga master, teacher, author and inspirational coach.

SHORT002 WHAT IS BETTER THAN PISTACHIOS?

Check our The Voice Detective Gyaan Lyon’s latest discovery… 

SHORT002 WHAT IS BETTER THAN PISTACHIOS?

Check our The Voice Detective Gyaan Lyon’s latest discovery… 

SNAPSHOT001 WHAT’S THE BEST CHOCOLATE IN THE WORLD?

Check our The Voice Detective Gyaan Lyon’s discovery… 

SNAPSHOT001 WHAT’S THE BEST CHOCOLATE IN THE WORLD?

Check our The Voice Detective Gyaan Lyon’s discovery… 

JOHN MCCORMACK, TENOR, JUNE 14, 1884

John McCormack

Could any singer have ever received so many accolades, titles and fame in their lifetime? Maybe Beniamino Gigli did…

John McCormack’s life seemed charmed being interwoven with fame and fortune from its very beginning. Born in Westmeath, County Athlone in Ireland, his musical leanings were nurtured by singing in the church choir and no doubt also, by his Scottish parents who incidentally possessed fine singing voices.

Later when the family moved to Dublin he joined the St. Mary’s Pro Cathedral Choir. There his talent was recognised by the choir master and composer Vincent O’Brien.

One year after training he won the coveted medal Feis Ceoil for his singing. The following year he encouraged his friend, also a tenor who would later be famous in his own right, the author James Joyce, to enter the singing competition. Joyce, received 3rd place. One wonders what career path Joyce may have chosen had he won!

Fund raisers enabled him to train with Vincenzo Sabatini in Milan. Sabatini did not find his voice at all wanting and concentrated on teaching him a breathing technique which was to become a hallmark of McCormack’s singing. Famous for his extraordinary breath control, he could sing sixty four notes on one breath in Mozart’s “Il mio tesoro” from Don Giovanni, and his singing of pieces by Händel was just as impressive in this remarkable ability.

He made his operatic debut under the name of Giovanni Foli in Mascagni’s L’amico Fritz in 1906. Engagements in America followed and at the height of his career he toured Australia as the star tenor for the Melba Grand Opera season of 1911. From 1908 to 1914 he performed regularly at Covent Garden with either NELLIE MELBA or LUISA TETRAZZINI.

From 1912 his interest turned more and more in the direction of concert performances which brought his voice to the masses – and the masses adored him.

He became the Victor Talking Machine Company’s most popular ‘Red Seal’ recording artist after Enrico Caruso. Apropos Caruso, after hearing Caruso’s performance in the front row as Rodolfo in La Boheme at Covent Garden, McCormack said: “It was the best lesson, up to that moment, I had ever received and a stimulus which cannot be described. The sound of Caruso’s voice that night lingered in my ears for months.”

Or from another account, “as to this schooling he was prompted by hearing a Caruso at Covent Garden in 1904. McCormack was twenty then, and just beginning a career as a professional singer. ‘I will never rest’ he said to a friend after that performance.I will work and train and pray and someday there will be two men singing like that. Caruso and me.”

Two years later he was singing in London himself, becoming the Covent Garden’s youngest leading tenor in Mascagni’s Cavalleria Rusticana.

He continued to receive praise as his unstoppable star ascended. The famous violinist, Jan Kubelik, remarked in paying him one of the greatest compliments after hearing him in Prague: “That man must have a Stradivarius in his throat”.

Possibly because he didn’t quite enjoy the acting side of performing opera, or that he realised he could reach more people and make more money from his voice whilst performing with the likes of Fritz Kreisler, he decided to pursue concert performing and the popular music recording artist path. During the catastrophe of the First World War, in 1917, he also decided to become an American citizen. McCormack’s biographer, Gordon Ledbetter, believes the tenor was the last singer to successfully bring together such divergent styles.

Another biographer attempting to convey McCormack’s widespread fan base to contemporary audiences said he was like Pavarotti, Madonna and Johnny Carson all rolled into one!

Certainly his wartime hits appealed greatly to the Irish population in America as they could show pride in both Ireland and the United States. McCormack became a radio megastar and donated to the U.S war effort and catholic charities generously.

Some of his hits at the time were ‘It’s a Long Way to Tipperary’ ‘Mother MacCree’ and for the Hollywood film ‘Song o’My Heart’ where he was paid half a million dollars to sing eleven songs for the soundtrack.

He became a very wealthy man and by all accounts enjoyed his wealth to the fullest, giving back to the public in the form of many benefit concerts and donations.

Not many opera singers are created Papal Counts – not so for John Count McCormack as seen engraved on his headstone where he is buried in his birth country of Ireland. Earlier in his life he had also received three Papal Knighthoods in addition to being a Knight of Malta. He died at the age of 61 of bronchial pneumonia seven years after giving his farewell performance at the Royal Albert Hall. Despite the farewell performance in 1938, during the Second World War, he came out of retirement in support of the Red Cross. Quite a life!

JOHN MCCORMACK, TENOR, JUNE 14, 1884

John McCormack

Could any singer have ever received so many accolades, titles and fame in their lifetime? Maybe Beniamino Gigli did…

John McCormack’s life seemed charmed being interwoven with fame and fortune from its very beginning. Born in Westmeath, County Athlone in Ireland, his musical leanings were nurtured by singing in the church choir and no doubt also, by his Scottish parents who incidentally possessed fine singing voices.

Later when the family moved to Dublin he joined the St. Mary’s Pro Cathedral Choir. There his talent was recognised by the choir master and composer Vincent O’Brien.

One year after training he won the coveted medal Feis Ceoil for his singing. The following year he encouraged his friend, also a tenor who would later be famous in his own right, the author James Joyce, to enter the singing competition. Joyce, received 3rd place. One wonders what career path Joyce may have chosen had he won!

Fund raisers enabled him to train with Vincenzo Sabatini in Milan. Sabatini did not find his voice at all wanting and concentrated on teaching him a breathing technique which was to become a hallmark of McCormack’s singing. Famous for his extraordinary breath control, he could sing sixty four notes on one breath in Mozart’s “Il mio tesoro” from Don Giovanni, and his singing of pieces by Händel was just as impressive in this remarkable ability.

He made his operatic debut under the name of Giovanni Foli in Mascagni’s L’amico Fritz in 1906. Engagements in America followed and at the height of his career he toured Australia as the star tenor for the Melba Grand Opera season of 1911. From 1908 to 1914 he performed regularly at Covent Garden with either NELLIE MELBA or LUISA TETRAZZINI.

From 1912 his interest turned more and more in the direction of concert performances which brought his voice to the masses – and the masses adored him.

He became the Victor Talking Machine Company’s most popular ‘Red Seal’ recording artist after Enrico Caruso. Apropos Caruso, after hearing Caruso’s performance in the front row as Rodolfo in La Boheme at Covent Garden, McCormack said: “It was the best lesson, up to that moment, I had ever received and a stimulus which cannot be described. The sound of Caruso’s voice that night lingered in my ears for months.”

Or from another account, “as to this schooling he was prompted by hearing a Caruso at Covent Garden in 1904. McCormack was twenty then, and just beginning a career as a professional singer. ‘I will never rest’ he said to a friend after that performance.I will work and train and pray and someday there will be two men singing like that. Caruso and me.”

Two years later he was singing in London himself, becoming the Covent Garden’s youngest leading tenor in Mascagni’s Cavalleria Rusticana.

He continued to receive praise as his unstoppable star ascended. The famous violinist, Jan Kubelik, remarked in paying him one of the greatest compliments after hearing him in Prague: “That man must have a Stradivarius in his throat”.

Possibly because he didn’t quite enjoy the acting side of performing opera, or that he realised he could reach more people and make more money from his voice whilst performing with the likes of Fritz Kreisler, he decided to pursue concert performing and the popular music recording artist path. During the catastrophe of the First World War, in 1917, he also decided to become an American citizen. McCormack’s biographer, Gordon Ledbetter, believes the tenor was the last singer to successfully bring together such divergent styles.

Another biographer attempting to convey McCormack’s widespread fan base to contemporary audiences said he was like Pavarotti, Madonna and Johnny Carson all rolled into one!

Certainly his wartime hits appealed greatly to the Irish population in America as they could show pride in both Ireland and the United States. McCormack became a radio megastar and donated to the U.S war effort and catholic charities generously.

Some of his hits at the time were ‘It’s a Long Way to Tipperary’ ‘Mother MacCree’ and for the Hollywood film ‘Song o’My Heart’ where he was paid half a million dollars to sing eleven songs for the soundtrack.

He became a very wealthy man and by all accounts enjoyed his wealth to the fullest, giving back to the public in the form of many benefit concerts and donations.

Not many opera singers are created Papal Counts – not so for John Count McCormack as seen engraved on his headstone where he is buried in his birth country of Ireland. Earlier in his life he had also received three Papal Knighthoods in addition to being a Knight of Malta. He died at the age of 61 of bronchial pneumonia seven years after giving his farewell performance at the Royal Albert Hall. Despite the farewell performance in 1938, during the Second World War, he came out of retirement in support of the Red Cross. Quite a life!