Jump to content

Alberta Masiello

From Wikipedia, the free encyclopedia

This is an old revision of this page, as edited by Ser Amantio di Nicolao (talk | contribs) at 15:55, 21 February 2020 (Copying from Category:20th-century American opera singers to Category:20th-century women opera singers using Cat-a-lot). The present address (URL) is a permanent link to this revision, which may differ significantly from the current revision.

Alberta Masiello
Alberta Masiello in operatic costume
Background information
Born(1915-11-20)20 November 1915
Milan, Italy
Died25 December 1990(1990-12-25) (aged 75)
New York
GenresClassical
Instrument(s)Piano, Voice
Years active1932–1989

Alberta Masiello (20 November 1915 – 25 December 1990),[1][2] was an assistant-conductor and opera coach at the Metropolitan Opera; a panelist in the Saturday afternoon Metropolitan Opera Quiz on the Metropolitan Opera radio broadcasts, and teacher at the Juilliard School and at Mannes School of Music.

Family

Alberta Masiello was born in Milan, Italy. Her grandfather Giuseppe La Puma (1870–1940), was a Basso buffo opera singer who created the role of Cornelius in the world premiere of Pietro Mascagni’s opera Isabeau (1911). La Puma also founded the Mascagni Centre of Culture. Giuseppe La Puma's daughter (Masiello's mother), was Giuseppina La Puma, who moved to New York in 1933 with Masiello. La Puma became impresario and changed her name to Josephine La Puma. Her 'La Puma Opera Workshop' in New York was an alternative to the established mainstream opera companies in the city, providing young artists, including Alberta Masiello, with professional opportunities.[3] Alberta Masiello's father was the opera singer Ottavio Masiello.[4]

Life

Alberta Masiello studied piano with Renzo Lorenzoni at the Milan Conservatory,[5] (Conservatorio di musica "Giuseppe Verdi" di Milano), with a diploma, 1932[6] and at The Juilliard School. Ernest Hutcheson, the president of Juilliard, took an interest in Masiello and helped her start a career as a pianist. After graduating from Juilliard, Masiello worked with Paul Althouse and Mme. Anna Schoen-Rene.[6] In 1934 Masiello worked as part of a twelve piano ensemble billed as the "twelve Grands" in Radio City music hall.[7] She later performed using her married name, Alberta Masiello Bosco.[8] Numerous recitals as pianist and accompanist, an activity spanning from 1939 when she performed at the White House,[9] performances in Carnegie hall[10] as well as recordings and broadcasts with singers till the 70s. Her husband, Joseph Bosco, died in 1966.[11] In the early 1940s Masiello performed in clubs with Bertlies Weinschenk (also known by her married name as Lys Simonette, and after 1945 Kurt Weill’s assistant) as the two-piano team, "Yola and Lisa" (the Mexican sisters).[12] Between 1944 and 1949 Masiello sang mezzo-soprano roles in regional companies, including Amneris, Herodias[13] and Azucena [14] and Carmen at the New York City Opera Company.[15][16] Her vocal career was brief. "I never liked my voice tremendously", she claimed.[17] Between 1949 and 1959 she worked at the New York City Opera, the Lyric Opera of Chicago and the Dallas Opera (where Masiello collaborated with Maria Callas in her capacity as chorus conductor).[18] Masiello joined the Metropolitan Opera in 1959. During her twenty-one-year tenure there she became an icon of what an assistant conductor can do. Osie Hawkins, Met executive stage manager, referred to her as 'an orchestra in herself', "for she had the reputation of being able to play the score of Pelléas et Melisande note perfect, not to mention a very convincing hot jazz repertory".[19] At the Met she was also known for her wry humour. During a rehearsal for Carmen with the conductor Leonard Bernstein, "when the first verse of the "Habanera" ended and a break was called, she head-snappingly startled everyone on that stage by quietly breaking into the strains of the Chopin Funeral March. "An opinion or a prophecy?" someone inquired. "An opinion" was her enigmatic reply.[19] She retired from the Met in 1981 and continued teaching opera singers, pianists and conductors until her death in 1990. In 1979 Masiello received the Award for Professional Excellence from the National Opera Institute (San Francisco).[20] Her archive is at the New York Public Library.[21]

Professional activity

During her lifetime Masiello prepared singers and conductors, such as Franco Corelli, Renée Fleming, Marko Lampas (Lamas),[22] Paul Plishka[23] and Marilyn Horne.[24] Masiello was instrumental in coaching Maria Callas during a vocal crisis, teaching her daily in her studio at the Juilliard School.[25][26][27] As a pianist, she worked with June Anderson, Karan Armstrong[28] Gilda Cruz-Romo,[29] Gianna Rolandi, Katherine Ciesinski, Mario del Monaco, Jessye Norman, Samuel Ramey and Christine Weidinger.[30]

Masiello did not conduct opera performances,[31] but worked with coaches and pianists at her master classes at the Juilliard School[32] and running the opera department at Mannes.[33] Among her coaching students are David Leighton, Ann Lewin,[34] Ben Malensek,[35] Anthony (Toni) Manoli,[36] Nic Muni[37] and Eytan Pessen.

Personality

Masiello was known to be a chain-smoker of thin brown cigarettes.[38] She kept this habit to the end of her life, sitting in a wheelchair giving master classes in her studio, located a block away from the Juilliard School.[39] As a teacher she would avoid first names, addressing students formally. According to Anthony Manoly, "Madame Masiello was always a stickler for pianists knowing how to "flutter" the pedal and sing with a beautiful limpid legato produced by a fine balance of legato playing with the fingers in addition to proper pedal usage. She also insisted that all pianists have a fine understanding of the orchestral scores of the opera you were coaching or playing for her that day. If you didn't have access to the score, she would direct you to her closet of full orchestra scores. She would say, "What do you see"? After you answered what you observed in the orchestral score, she would sternly reply "then PLAY IT"!!".[40] Masiello was also a strict stylist, bandying the vast Zingarelli Italian dictionary to check open and closed vowels, and fighting for clean portamento-free singing.[41] As Harvey E. Phillips tells of Masiello's rehearsal with Soprano Christine Weidinger, " 'Make sure those releases are clean', said the blond-haired Masiello, her pearl earrings shaking as she suppressed a persistent smoker's cough, "and no portamento, God forbid!"[42] Referring to Alberta Masiello's radio broadcasts, the New York Times critic John Rockwell wrote[43] that Masiello's "store of knowledge and imperious manner beguiled listeners for more than 30 years". According to American Bass Paul Plishka, Masiello "was one of the great, great people who influenced generations of singers in her lifetime. I was very upset at the New York Times obituary, which was very brief and gave the impression that she was merely an opera coach. You could have written an entire book about her work, and she deserved front page coverage. She was, a profound inspiration in my career and in so many others."[44]

References

  1. ^ Social security death index
  2. ^ NY Times Obituary: Alberta Masiello, An Opera Coach And Panelist, 75, retrieved July 19, 2013
  3. ^ Victoria Etnier Villamil, From Johnson's Kids to Lemonade Opera: The American Classical Singer Comes ..., Northeastern, 2004, ISBN 1555536352, p.159
  4. ^ William Murray, Fortissimo: backstage at the opera with sacred monsters and young singers see preface (no page): 'The golden age of La Puma', Crown, 2005, ISBN 978-1400053605
  5. ^ Newspaper announcement of a piano recital February 10, 1940, in Highland Hall Holidaysburg, The Altoona Mirror, February 2, 1940, p. 17
  6. ^ a b "archives.nypl.org -- Alberta Masiello papers". archives.nypl.org. Retrieved Sep 23, 2019.
  7. ^ Bonner, David, Revolutionizing Children's Records,Scarecrow Press, 2008, p.25
  8. ^ Newspaper announcement of a piano recital February 10, 1940, in Highland Hall, Holidaysburg, The Altoona Mirror, February 2, 1940, p. 17
  9. ^ NY Times from January 11, 1939
  10. ^ NY Times of June 3, 1951
  11. ^ NY Times death notice, March 7, 1966
  12. ^ Kurt Weil Foundation information about Symonette Archived 2012-07-23 at the Wayback Machine, retrieved July 19, 2013
  13. ^ NY Times, October 18, 1948
  14. ^ Paul, Jackson, Startup at the Met, Amadeus Press, 2006, p. 448
  15. ^ NY Times, October 11, 1948, p. 28
  16. ^ Music Reporter, Volume 2, P. 27 (1948)
  17. ^ Paul, Jackson, Startup at the Met,Amadeus Press, 2006, p.448
  18. ^ John Ardoin, The Callas Legacy: The Complete Guide to Her Recordings on Compact Discs, Encore Editions, 1984, ISBN 978-0931340901, p. 129
  19. ^ a b Harvey E. Phillips, The Carmen Chronicle Stein & Day, NY, 1973, ISBN 0-8128-1609-9, p.53
  20. ^ Front Matter, Music Educators Journal , Vol. 65, No. 6 (February 1979), p. 15
  21. ^ "Content: New York Public Library, Alberta Masiello papers, 1894-1990" (PDF). Retrieved Sep 23, 2019.
  22. ^ Masiello as vocal coach, Marko Lampas, My Life in America and What Maria Callas Taught Me, ISBN 9780557429080, Lulu.com, 2010, pp. 153-164
  23. ^ Evaluation of Masiello, retrieved July 19, 2013
  24. ^ Autographed photo of Marilyn Horne retrieved July 19, 2013.
  25. ^ Tenor Giuseppe di Stefano mentions Masiello's 'secret coachings' with Callas in La Stampa, August 16, 1996, p. 19
  26. ^ Ariana Stassinopoulos, Maria Callas: The Woman Behind the Legend, Huffington, ISBN 978-0815412281, p.299
  27. ^ Jacques Lorcey, Maria Callas, d'art & d'amour, pp.464-466 (Alberta is mistakenly referred to as 'Alberto')
  28. ^ Barton Silverman, NY Times news item, March 28, 1966
  29. ^ Paul, Jackson, Startup at the Met,Amadeus Press, 2006, p.478
  30. ^ Metropolitan Opera Online Performance Archives retrieved July 19, 2013
  31. ^ Opera News, Feb.14, 1976, Deborah Seabury, La Maestra quoted in: Christine Ammer, Unsung: A History of Women in American Music, New Century, 2003, ISBN 1574670611. Masiellos refusal to conduct at the Metropolitan Opera.
  32. ^ A Renowned Divo Speaks, Wallace Cheatham and George Shirley The Black Perspective in Music, Vol. 18, No. 1/2 (1990), p. 149
  33. ^ Changing Scene, Music Educators Journal, Vol. 68, No. 2 (Oct., 1981), pp. 67-68, pp. 73-74
  34. ^ http://msmstudents.com/Portals/0/Documents/Accompanying/REGULAR%20VOCAL%20COACHES'%20BIOS%20FOR%20SPRING%202013.pdf[permanent dead link‍]
  35. ^ sbmiller@post-dispatch.com > 314-340-8249, SARAH BRYAN MILLER • Post-Dispatch Classical Music Critic >. "Vocal coach wants OTSL singers to find feeling in music". stltoday.com. Retrieved Sep 23, 2019.{{cite web}}: CS1 maint: numeric names: authors list (link)
  36. ^ "Anthony Manoli". Miami Music Festival. Retrieved Sep 23, 2019.
  37. ^ Journal, Lynn Felder Winston-Salem. "Fletcher Opera Institute presenting 'La Tragédie de Carmen'". Winston-Salem Journal. Retrieved Sep 23, 2019.
  38. ^ Patrick J. Smith, A year at the Met, Knopf, 1983, p. 141
  39. ^ First hand account of work with Masiello, retrieved July 19, 2013
  40. ^ Anthony Manoly, 'Alberta Masiello' 2017
  41. ^ Eytan Pessen, 'Remembering Alberta Masiello', Stuttgart, 1998
  42. ^ Harvey E. Phillips, The Carmen Chronicle Stein & Day, NY, 1973, ISBN 0-8128-1609-9, p.19
  43. ^ Rockwell, John (Jan 5, 1991). "Alberta Masiello, An Opera Coach And Panelist, 75". Retrieved Sep 23, 2019 – via NYTimes.com.
  44. ^ "Paul Plishka Interview, New Jersey Record". www.georgemartynuk.com. Retrieved Sep 23, 2019.
Retrieved from "https://en.wikipedia.org/w/index.php?title=Alberta_Masiello&oldid=941940875"