Amelita Galli-Curci

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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Galli-Curci, Amelita


Born Nov. 18, 1889, in Milan; died Nov. 26, 1963, in La Jolla, Calif. Italian coloratura soprano.

Galli-Curci graduated from the Milan Conservatory in 1903 as a pianist. Later, on the recommendation of P. Mascagni, she studied singing. In 1906 she made her operatic debut at Trani as Gilda in Verdi’s Rigoletto. She lived in the USA from 1916 until her death, and she performed in opera theaters in many countries. From 1930 to 1938, Galli-Curci performed primarily at concerts. She was an outstanding representative of Italian operatic art—one of the performers whose work helped shape the national and international vocal art.

Galli-Curci’s roles included Rosina in Rossini’s The Barber of Seville, Violetta in Verdi’s La Traviata, Lakmé in Lakmé by Delibes, Lucia in Donizetti’s Lucia di Lammermoor, Elvira in Bellini’s The Puritans, and the Queen of Shemakhan in The Golden Cockerel by Rimsky-Korsakov. She sang in St. Petersburg in 1914.


Timokhin, V. Vydaiushchiesia ital’ianskie pevtsy. Moscow, 1962.
La Massena, E. Galli-Curci’s Life of Song. New York, 1945.
The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
Meyerbeer's 1859 pastoral comic opera Dinorah (also known as Le pardon dc Plocrmet) has enjoyed only a very small number of recordings over the years, and has disappeared from the opera house, where it was once a favourite of such singers as Amelita Galli-Curci, Luisa Tetrazzini and others.
Although he had enlisted a few big classical names--Anna Case, Sergei Rachmaninoff, and, of course, his old friend Sarah Bernhardt--many stars at that time--Enrico Caruso, Amelita Galli-Curci, Ignacy Jan Paderewski, and, in popular music, Louis Armstrong, Fannie Brice, and Al Jolson--all signed with Victor.
She performed all over Britain with the London Symphony Orchestra under Mengelberg in an international celebrity concert series alongside such legendary figures as Paderewski, the soprano Amelita Galli-Curci and the conductor Wilhelm Furtwangler.
There is a sensitive and sympathetic portrait, drawn chiefly from her letters and reminiscences, of Edith Wilson, an intelligent, insightful woman who understood people far better than her husband and kept the presidency functional following his stroke; and also a shrewd assessment of the cultural role and impact of Amelita Galli-Curci, Louise Homer, Geraldine Farrar, and especially of Enrico Caruso and his rendition of "Over There." There are acrid depictions of John Dewey and Nicholas Murray Butler as war apologists, and of Henry Cabot Lodge and Albert Fall ranting against the League; and an absorbing account of the little-known race, won by Americans in "flying boats," to cross the Atlantic by air.