THE VOICE DETECTIVE

MARIA CANIGLIA, SOPRANO, MAY 5TH, 1905

Drawing of Maria Caniglia

‘I think she will do.’

So spoke the composer Mascagni, when Maria Caniglia auditioned before him as an emergency replacement for the role of Rosaura in Le Maschere. Maria was 24 years old and in her first season at La Scala and the year was 1930. The audition took place two days before the dress rehearsal.

The triumphant outcome of this rather off-hand praise depended upon the character and determination of the young singer. She learned and mastered the role in those two days, and throughout her long career Caniglia was noted for her outgoing and engaging personality. We would now recognise her as a team-player who would give all for her side. Indeed she told interviewer Lanfranco Rasponi, ‘I belong to a group of singers,…, who gave too much of themselves.’ She further, with characteristic honesty said, ‘I suffered a great deal in the theatre, for every time I conferred all my heart and soul. If toward the end my vocal resources were no longer what they had been, the public respected and loved me, because instinctively it recognised I did not spare one ounce of my being.’

Maria Caniglia was born in Naples in 1906 and studied singing at the Conservatorio di Musica San Pietro a Majella. Although engaged at La Scala for the 1930-31 season, her first professional performance took place in Turin in 1930. as Chrysothemis in Strauss’ Elektra. She sang most of the Verdi lyric-dramatic heroines, but Caniglia made her mark especially in the verismo operas which were being composed throughout this period. However, she was not confined to Italian repertoire. Early in her career she performed Senta in Der Fliegender Holländer and spoke glowingly of Wagner, ‘How marvellously Wagner wrote for the voice! But a lot of breath control is needed for the legatos and the poetical phrasing.’

She was continuously at La Scala until 1943. In the same period Maria sang at Covent Garden and New York’s Metropolitan Opera. She returned to La Scala between 1948 and 1951 after which Caniglia left for Rome as the realised that two other great sopranos were engaged for the same roles ahead of her. In Rome, such was the calibre of her performances ‘she became as big an attraction at the Opera as the Sistine Chapel was at the Vatican.’ However, she never regretted the years at La Scale and noted that, ‘In my epoch there, if we made a mistake, the conductor never called us to task but rather reprimanded the assistant who had prepared us: ‘Why didn’t Signorina Caniglia hold that breath five seconds longer?’ or something of that sort.’ Does this still happen anywhere? It seems a very different world.

Her voice was noted for its sensuous and warm timbre, which made her an ideal verismo heroine. There are a number of recordings of complete operas with Beniamino Gigli, most significantly a Tosca, Un ballo in maschera, Aida, and Andrea Chenier. According to the Grove Book of Singers, her most representative recording is in the role of Leonora in La forza del destino, ‘where her gifts as a genuine lirico spinto soprano’, are displayed.

MARIA CANIGLIA, SOPRANO, MAY 5TH, 1905

Drawing of Maria Caniglia

‘I think she will do.’

So spoke the composer Mascagni, when Maria Caniglia auditioned before him as an emergency replacement for the role of Rosaura in Le Maschere. Maria was 24 years old and in her first season at La Scala and the year was 1930. The audition took place two days before the dress rehearsal.

The triumphant outcome of this rather off-hand praise depended upon the character and determination of the young singer. She learned and mastered the role in those two days, and throughout her long career Caniglia was noted for her outgoing and engaging personality. We would now recognise her as a team-player who would give all for her side. Indeed she told interviewer Lanfranco Rasponi, ‘I belong to a group of singers,…, who gave too much of themselves.’ She further, with characteristic honesty said, ‘I suffered a great deal in the theatre, for every time I conferred all my heart and soul. If toward the end my vocal resources were no longer what they had been, the public respected and loved me, because instinctively it recognised I did not spare one ounce of my being.’

Maria Caniglia was born in Naples in 1906 and studied singing at the Conservatorio di Musica San Pietro a Majella. Although engaged at La Scala for the 1930-31 season, her first professional performance took place in Turin in 1930. as Chrysothemis in Strauss’ Elektra. She sang most of the Verdi lyric-dramatic heroines, but Caniglia made her mark especially in the verismo operas which were being composed throughout this period. However, she was not confined to Italian repertoire. Early in her career she performed Senta in Der Fliegender Holländer and spoke glowingly of Wagner, ‘How marvellously Wagner wrote for the voice! But a lot of breath control is needed for the legatos and the poetical phrasing.’

She was continuously at La Scala until 1943. In the same period Maria sang at Covent Garden and New York’s Metropolitan Opera. She returned to La Scala between 1948 and 1951 after which Caniglia left for Rome as the realised that two other great sopranos were engaged for the same roles ahead of her. In Rome, such was the calibre of her performances ‘she became as big an attraction at the Opera as the Sistine Chapel was at the Vatican.’ However, she never regretted the years at La Scale and noted that, ‘In my epoch there, if we made a mistake, the conductor never called us to task but rather reprimanded the assistant who had prepared us: ‘Why didn’t Signorina Caniglia hold that breath five seconds longer?’ or something of that sort.’ Does this still happen anywhere? It seems a very different world.

Her voice was noted for its sensuous and warm timbre, which made her an ideal verismo heroine. There are a number of recordings of complete operas with Beniamino Gigli, most significantly a Tosca, Un ballo in maschera, Aida, and Andrea Chenier. According to the Grove Book of Singers, her most representative recording is in the role of Leonora in La forza del destino, ‘where her gifts as a genuine lirico spinto soprano’, are displayed.

Episode 11 Of The Voice Detective Show with Liane Keegan and the Ensemble Creatus

Ensemble Creatus is Artist in Residence at the Victorian Artists Society in Melbourne, Australia in 2025. Their offering is named Seasons of Song, each concert being integral to the season during the year in which it is performed. The first of these concerts took place on the 9 February and coincided with the Victorian Artists Society’s Summer Exhibition. The Summer of course, being in the Southern Hemisphere. This concert is what the Voice Detective experienced, and excerpts form part of the Vodcast, by kind permission of Ensemble Creatus.

The concert series showcases the work of British composer, Ralph Vaughan Williams whose art songs are filled with rich harmonics and an impressive narrative gift. The intention is highlighted in the concert title, ‘When Art meets the Art of the English Song’ It is particularly appropriate that the concert took place in an historic setting with direct links to Dame Nellie Melba who taught singing in this building and the her contemporaries, the Australian painters who initiated a distinct movement in Australian art and who founded the Victorian Artists Society. The Ensemble Creatus team consists of contralto, Liane Keegan, accompanist and co-founder of the Ensemble Toni Lalich OAM, mezzo-soprano Juel Riggall, and sopranos Bethan Ellsmore and Naomi Summers.

The interview is with, Liane, a true contralto, has performed across the world in many of the leading opera houses. She is a specialist in Wagner and Verdi roles, as well as the concert and oratorio repertoire for contralto.

The programme presented was as follows:

Three Vocalises (1958) (wordless)
1. Prelude – Juel Riggall
2. Scherzo – Bethan Ellsmore
3. Quasi Menuetto – Naomi Summers
How can a tree but wither (1896) – Bethan Ellsmore
Poem by Thomas, Lord Vaux (1509- 1556)
Three songs from Shakespeare (1925) – Naomi Summers
Poems by William Shakespeare (1564-1616)
1. Take, O Take
2. When Icicles Hang by the Wall
3. Orpheus with his Lute
To Daffodils (1895) – Bethan Ellsmore
Poem by Robert Herrick (1591-1674)
Excerpts from Seven Songs from The Pilgrims Progress (pre-1951)
No 1. Watchful’s Song – Liane Keegan
No. 4 – The Song of the Leaves of Life & the Water of Life – Bethan & Juel
No. 5 – The Song of Vanity Fair – Naomi Sumers
No. 6 – The Woodcutter’s Song – Juel Riggall
No. 7 – The Bird’s Song – Juel Riggall
Text from The King James Bible [1, 4, 7], John Bunyan
(1628-1688) [6] and Ursula Vaughan Williams (1911 – 2007) [5]
Five Mystical Songs (1906-11) – Liane Keegan
Poems by George Herbert 1593-1633
1. Easter
2. I got me Flowers
3. Love bade me welcome
4. The Call
5. Antiphon

Episode 11 Of The Voice Detective Show with Liane Keegan and the Ensemble Creatus

Ensemble Creatus is Artist in Residence at the Victorian Artists Society in Melbourne, Australia in 2025. Their offering is named Seasons of Song, each concert being integral to the season during the year in which it is performed. The first of these concerts took place on the 9 February and coincided with the Victorian Artists Society’s Summer Exhibition. The Summer of course, being in the Southern Hemisphere. This concert is what the Voice Detective experienced, and excerpts form part of the Vodcast, by kind permission of Ensemble Creatus.

The concert series showcases the work of British composer, Ralph Vaughan Williams whose art songs are filled with rich harmonics and an impressive narrative gift. The intention is highlighted in the concert title, ‘When Art meets the Art of the English Song’ It is particularly appropriate that the concert took place in an historic setting with direct links to Dame Nellie Melba who taught singing in this building and the her contemporaries, the Australian painters who initiated a distinct movement in Australian art and who founded the Victorian Artists Society. The Ensemble Creatus team consists of contralto, Liane Keegan, accompanist and co-founder of the Ensemble Toni Lalich OAM, mezzo-soprano Juel Riggall, and sopranos Bethan Ellsmore and Naomi Summers.

The interview is with, Liane, a true contralto, has performed across the world in many of the leading opera houses. She is a specialist in Wagner and Verdi roles, as well as the concert and oratorio repertoire for contralto.

The programme presented was as follows:

Three Vocalises (1958) (wordless)
1. Prelude – Juel Riggall
2. Scherzo – Bethan Ellsmore
3. Quasi Menuetto – Naomi Summers
How can a tree but wither (1896) – Bethan Ellsmore
Poem by Thomas, Lord Vaux (1509- 1556)
Three songs from Shakespeare (1925) – Naomi Summers
Poems by William Shakespeare (1564-1616)
1. Take, O Take
2. When Icicles Hang by the Wall
3. Orpheus with his Lute
To Daffodils (1895) – Bethan Ellsmore
Poem by Robert Herrick (1591-1674)
Excerpts from Seven Songs from The Pilgrims Progress (pre-1951)
No 1. Watchful’s Song – Liane Keegan
No. 4 – The Song of the Leaves of Life & the Water of Life – Bethan & Juel
No. 5 – The Song of Vanity Fair – Naomi Sumers
No. 6 – The Woodcutter’s Song – Juel Riggall
No. 7 – The Bird’s Song – Juel Riggall
Text from The King James Bible [1, 4, 7], John Bunyan
(1628-1688) [6] and Ursula Vaughan Williams (1911 – 2007) [5]
Five Mystical Songs (1906-11) – Liane Keegan
Poems by George Herbert 1593-1633
1. Easter
2. I got me Flowers
3. Love bade me welcome
4. The Call
5. Antiphon

HN007 CESARE RIPA’S ICONOGRAPHIA

Draing of Red Ladder for High Notes

Did you know that Cesare Ripa’s famous Iconographia published in 1593 provides 200 different iconographic descriptions of various ideas, concepts and moral guidance. Our description is the translation made by Edward A. Maser.

Number 192 is Musica.

Musica is depicted as a beautiful young woman sitting astride a celestial sphere. The sphere represents the harmony of the spheres of heaven upon which earthly harmony is dependent. She is young and beautiful because Music itself is pleasurable and beautiful. Nearby is an anvil from whence according to legend Pythagoras had his moment of inspiration that the tones struck might be written down for musicians. There is also a set of scales representing the blending and balance required for harmonious music. Before her a shrub plays a lute and at the cherub’s feet a bird singing – these two represent instruments made by humankind and the music of nature herself. In the background the west wind blows gently upon a flock of swans who are alleged to sing only if praised by gentle and warm encouragement, or “like some musicians who will only sing if they are soothed by the soft breeze of praise and admiration,” to quote Ripa himself. Finally, the god of Music, Apollo himself is present in the form of a monument with a lyre – his representative musical instrument.

HN007 CESARE RIPA’S ICONOGRAPHIA

Draing of Red Ladder for High Notes

Did you know that Cesare Ripa’s famous Iconographia published in 1593 provides 200 different iconographic descriptions of various ideas, concepts and moral guidance. Our description is the translation made by Edward A. Maser.

Number 192 is Musica.

Musica is depicted as a beautiful young woman sitting astride a celestial sphere. The sphere represents the harmony of the spheres of heaven upon which earthly harmony is dependent. She is young and beautiful because Music itself is pleasurable and beautiful. Nearby is an anvil from whence according to legend Pythagoras had his moment of inspiration that the tones struck might be written down for musicians. There is also a set of scales representing the blending and balance required for harmonious music. Before her a shrub plays a lute and at the cherub’s feet a bird singing – these two represent instruments made by humankind and the music of nature herself. In the background the west wind blows gently upon a flock of swans who are alleged to sing only if praised by gentle and warm encouragement, or “like some musicians who will only sing if they are soothed by the soft breeze of praise and admiration,” to quote Ripa himself. Finally, the god of Music, Apollo himself is present in the form of a monument with a lyre – his representative musical instrument.

KATHLEEN FERRIER, CONTRALTO, APRIL 22, 1912

Kathleen Ferrier Drawing

Upon the shock announcement of her untimely death whilst at the height of her career in 1953, British contralto Kathleen Ferrier, was considered the most popular lady in Britain after the Queen. To this day the mention of her name garners great admiration and reverence amongst opera aficionados.

Ferrier grew up in the household of a school headmaster father. Her mother also possessed a strong contralto voice. Her musical aptitude was recognised at an early age, and she won awards and prizes for her piano playing, but at this stage her voice was not considered anything remarkable. When her father retired, the family were not able to afford to send her to attend music college.

On Ferrier’s career up to this point, the music biographer Humphrey Burton wrote in 1988: ‘For more than a decade, when she should have been studying music with the best teachers, learning English literature, and foreign languages, acquiring stage craft and movement skills, and travelling to London regularly to see opera, Miss Ferrier was actually answering the telephone, getting married to a bank manager and winning tinpot competitions for her piano-playing.’

But she was destined to receive much greater accolades and fame far from her initial success and become a living legend of her time with her contemporaries such as Marian Anderson claiming, ‘My God, what a voice — and what a face!’ In Vienna, the soprano Elisabeth Schwarzkopf was Ferrier’s co-soloist in a recorded performance of Bach’s Mass in B minor, with the Vienna Symphony under Herbert von Karajan. Schwarzkopf later recalled Ferrier’s singing of the Agnus Dei from the Mass as her highlight of the year.

Luckily her voice is well documented in recordings of her repertoire extending from folksong and popular ballads to the classical works of Bach, Brahms, Mahler and Elgar. She created the role of Lucretia in Benjamin Britten’s ‘The Rape of Lucretia’ at the Glyndebourne Opera Festival in 1946, and followed with Orfeo in Gluck’s Orfeo ed Eurydice. These are the only operatic roles she chose to sing, though she performed operatic arias such as Adieu Fôrets from Tchaikovsky which she performed in recital settings.

To appreciate the beauty of her voice listen to her Ombra Mai Fu by Handel or the unaccompanied Northumbrian folk song Blow the Wind Southerly.

Sadly she finally succumbed to her breast cancer diagnosis despite working through radiation treatments and previous mastectomy, even stoically finishing what was to be her last ever stage appearance, when the femur of her leg gave way during the performance due to her effects of the radiation treatment. The audience was never aware of her condition.

She passed away not long afterwards and to this day it is still speculated as to how her career could have been even greater if she had lived longer. On the final page of Neville Cardus’ compilation of memoirs, after all the lists of recordings, there is a final last observation which simply states, ‘It is tragic that no recording exists of Kathleen Ferrier’s singing of the Angel in The Dream of Gerontius.

Ferrier was awarded the CBE in 1953 and a prestigious singing competition the Kathleen Ferrier Awards is held each April in the United Kingdom open to British and International singers under the age of 28 who have already completed a year of study in UK or the Republic of Ireland, to help further their studies as a legacy to her memory.

KATHLEEN FERRIER, CONTRALTO, APRIL 22, 1912

Kathleen Ferrier Drawing

Upon the shock announcement of her untimely death whilst at the height of her career in 1953, British contralto Kathleen Ferrier, was considered the most popular lady in Britain after the Queen. To this day the mention of her name garners great admiration and reverence amongst opera aficionados.

Ferrier grew up in the household of a school headmaster father. Her mother also possessed a strong contralto voice. Her musical aptitude was recognised at an early age, and she won awards and prizes for her piano playing, but at this stage her voice was not considered anything remarkable. When her father retired, the family were not able to afford to send her to attend music college.

On Ferrier’s career up to this point, the music biographer Humphrey Burton wrote in 1988: ‘For more than a decade, when she should have been studying music with the best teachers, learning English literature, and foreign languages, acquiring stage craft and movement skills, and travelling to London regularly to see opera, Miss Ferrier was actually answering the telephone, getting married to a bank manager and winning tinpot competitions for her piano-playing.’

But she was destined to receive much greater accolades and fame far from her initial success and become a living legend of her time with her contemporaries such as Marian Anderson claiming, ‘My God, what a voice — and what a face!’ In Vienna, the soprano Elisabeth Schwarzkopf was Ferrier’s co-soloist in a recorded performance of Bach’s Mass in B minor, with the Vienna Symphony under Herbert von Karajan. Schwarzkopf later recalled Ferrier’s singing of the Agnus Dei from the Mass as her highlight of the year.

Luckily her voice is well documented in recordings of her repertoire extending from folksong and popular ballads to the classical works of Bach, Brahms, Mahler and Elgar. She created the role of Lucretia in Benjamin Britten’s ‘The Rape of Lucretia’ at the Glyndebourne Opera Festival in 1946, and followed with Orfeo in Gluck’s Orfeo ed Eurydice. These are the only operatic roles she chose to sing, though she performed operatic arias such as Adieu Fôrets from Tchaikovsky which she performed in recital settings.

To appreciate the beauty of her voice listen to her Ombra Mai Fu by Handel or the unaccompanied Northumbrian folk song Blow the Wind Southerly.

Sadly she finally succumbed to her breast cancer diagnosis despite working through radiation treatments and previous mastectomy, even stoically finishing what was to be her last ever stage appearance, when the femur of her leg gave way during the performance due to her effects of the radiation treatment. The audience was never aware of her condition.

She passed away not long afterwards and to this day it is still speculated as to how her career could have been even greater if she had lived longer. On the final page of Neville Cardus’ compilation of memoirs, after all the lists of recordings, there is a final last observation which simply states, ‘It is tragic that no recording exists of Kathleen Ferrier’s singing of the Angel in The Dream of Gerontius.

Ferrier was awarded the CBE in 1953 and a prestigious singing competition the Kathleen Ferrier Awards is held each April in the United Kingdom open to British and International singers under the age of 28 who have already completed a year of study in UK or the Republic of Ireland, to help further their studies as a legacy to her memory.

de_DEDE
en_USEN de_DEDE
The Voice Detective