- María Galvany
Maria Galvany or María Galvany (1878? - 1949?) was a Spanish
coloratura soprano notable for hervirtuoso singing technique.Biography
Very little is known about the life and career of this extraordinary singer. It is generally accepted that she was born in 1878 in
Granada ,Spain , though the exact year and date of her birth are disputed (some sources claim 1874 or 1876). She studied at theMadrid Conservatory under renowned singing teachersLázaro María Puig andNapoleone Verger , and made her operatic debut in the title role ofGaetano Donizetti 'sLucia di Lammermoor , at Cartagena around 1896.While in Spain, her repertoire included operas such as
La Sonnambula ,La Traviata ,Hamlet ,Lakmé andLes Huguenots (all sung in Italian). After becoming a favorite of the Spanish public she went on to sing in Italy. Apparently she never sang atLa Scala ; instead, she performed atMilan 'sTeatro Dal Verme in 1901. Two years later she sang La Sonnambula alongPiero Schiavazzi inParma , with great success. During 1905 she went on tour throughoutEurope , singing inHolland ,Belgium andFrance as part of the Castellano Company, which also included tenorNicola Zerola and sopranoAdelina Agostinelli .Her 1908
Venice performance of Ophelia inAmbroise Thomas 's Hamlet was particularly successful, as were her appearances inLondon . Although there is no historical evidence that she ever appeared at theCovent Garden Theatre , she sang in theTheatre Royal, Drury Lane in 1901, performingDinorah ,Il Barbiere di Siviglia and La Sonnambula. Later, she appeared at theColiseum Theatre withAntonia Sabellico andElvino Ventura as singing parters. Several other appearances inLisbon ,Nice and various Russian cities are also recorded.After this successful period in Europe, she embarked to
South America , where she became especially popular inBrazil andArgentina . She allegedly performed only once in theUnited States , singingvaudeville inSan Francisco during 1918, and it is remarkable that she never managed to sing at New York'sMetropolitan Opera House .At this point, information about her career becomes obscure. It is claimed that she settled in
Rio de Janeiro , Brazil, where she probably became a singing teacher and gave occasional concerts. By the time of her death she was almost forgotten and the news of her passing never appeared in the press.Until the 1990s it was commonly believed that she had died on November 2, 1949, in the San Luis Asylum, an old people's retirement home in Rio de Janeiro. However, Brazilian doctor Jacques Alain León claims that she was in fact killed by
influenza in 1918, and that it was dramatic soprano Fanny Maria Rollas Galvani who actually died in 1949 in Rio.Recordings
Galvany made records for four different companies. Her earliest recordings date back to 1903 and were made for G&T. Later on, she recorded for
Pathé Records and came back to G&T in 1906, where she made her most popular records, including well known duets with major stars of her time, such asFernando de Lucia ,Titta Ruffo ,Aristodemo Giorgini ,Remo Andreini andAndrea Perelló de Segurola . She also made several records for Edison around 1911. Her repertoire consisted mainly of Italian opera arias,zarzuela and concert songs. Sadly, only a few of her recordings are preserved or have been reissued for the general public, so no exact account of her recorded output exists.Nevertheless, the surviving recordings are today as controversial as they first were 100 years ago. This is due to her staggering use of intricate
coloratura passages mined with machine-gun-likestaccato and other equally shocking vocal tricks that often give an infamously comic impression of her musicianship. The rapidity of her executions may lead first-time listeners to believe that the record is being played at double speed. This has caused many listeners to think of Galvany as nothing more than an unusually gifted vocal technician and overlook her true interpretative merits. Critical voices have gone as far as to compare her high E flats to a whistling kettle.This negative view is supported to some extent by her repeated interpolation of flute/voice
cadenzas , sometimes twice during the samearia , that often have no relation to the original piece. Such practices were common at the time, however. In addition, the naturaltimbre of Galvany's upperregister did not record well, which often results in an irritating wiry sound that is unappealing to most modern ears. In addition, her interpretations are burdened with excessively rapidtempi , hardvibrato , unexpected register shifts, throat clearing sounds and section cuts.On the other hand, Galvany is still admired for the sweetness of her middle register, for possessing a remarkable sense of pitch and for her outrageous ability to tackle on incredibly complicated fioriture . Her virtuosity remains unparalled in the history of recorded singing and her duets, particularly opposite Titta Ruffo, are still counted among the finest early renditions made; this suggests that she could probably have had a more successful career if she had not lacked the appropriate guidance.
Now that her recordings have reached CD format thanks to new transfer technologies, one is able to better judge the artistry of this extraordinary singer, or her ultimate lack of it, though initial approaches may not be satisfactory.
Media
listen
filename = Galvany_-_L'incantatrice_(Arditi_-_1907).ogg
title = L'incantatrice
description = Maria Galvany's breath-taking vocal virtuosity is evident in this 1907 recorded version ofLuigi Arditi 's "L'incantatrice" |ources
*Nicholas E. Limansky. "Oxford's Opera Quarterly Journal". #20: 505-512. 2004.
*Leo Riemens. "Notes to the Maria Galvany's Lebendige Vergangenheit CD". Historic Recordings, Austro Mechana. 2003.External links
* [http://cylinders.library.ucsb.edu/search.php?queryType=@attr%201=1016&query=Maria%20Galvany&num=1&start=1&sortBy=&sortOrder=id: The Cylinder Preservation and Digitization Project: Maria Galvany] – Maria Galvany's 1910 rendition in Italian of "Der Hölle Rache" from
Mozart 'sDie Zauberflöte . Downloadable mp3 file.
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