TOSCA
Vissi d'arte, vissi d'amore,
non feci mai male ad anima viva!
Con man furtiva
quante miserie conobbi, aiutai.
Sempre con fé sincera,
la mia preghiera
ai santi tabernacoli salì.
Sempre con fé sincera
diedi fiori agli altar.
Nell'ora dei dolore perché,
perché, Signore, perché
me ne rimuneri così?
Diedi gioielli
della Madonna al manto,
e diedi il canto agli astri,
al ciel, che ne ridean più belli.
Nell'ora dei dolore perché,
perché, Signor,
perché me ne rimuneri così?
Ljuba Welitsch
1913-1996
Soprano
Ljuba Welitsch (Bulgarian: Люба Величкова) (born Borissovo, Bulgaria July 10, 1913 - died Vienna, Austria September 1, 1996) was a celebrated Bulgarian, later Austrian, operatic soprano.
She studied singing at Sofia Conservatory with professor Georgi Zlatev-Cherkin. After specializing in Vienna, she first appeared in Sofia in 1936. Engagements followed in Graz, Hamburg, Munich and finally at the Vienna State Opera.
Known for her red hair and exuberant vivacity, her most famous role was that of Salome which she performed under the composer, Richard Strauss, himself in 1944 on his 80th birthday. She sang the same role for her London debut in 1947 and her first performance at the Metropolitan Opera, New York on 4 February 1949. She also sang the title roles of Tosca and Aida, Donna Anna in Don Giovanni, Minnie in La fanciulla del West and Musetta in La bohème.
Her voice was neither creamy nor shrill, possessing a small beat, to which the microphone is kind. This voice was very capable of riding the Straussian orchestra. Welitsch is a unique singer and her uniqueness is quickly established. Where others linger and milk the moment, she presses ahead, testing the ability of conductors to follow her. It is usually at the moment a doubt has formed that Welitsch confounds the listener by some sudden conversational intimacy that breaks through convention utterly. Even more astonishing is the way she achieves these moments without breaking the line for dramatic effect.*
A great artist, she was also capable of extraordinary over-the-top exhibitions and her exploits at the Metropolitan in New York were legendary, including a raunchy Musetta that struck fear into her colleagues, and a Tosca performance when she repeatedly kicked the supposedly dead body of the Scarpia (Lawrence Tibbett) she had taken a personal dislike to.
Her international career, already interrupted by the war, did not last long, although she actually continued singing until 1981. Appearances included those at the Royal Opera House, Covent Garden in the 1950s. However when her voice deteriorated she started a second career in films (in America and Austria) and on Austrian television.
She was married twice and divorced twice, with no children.
She studied singing at Sofia Conservatory with professor Georgi Zlatev-Cherkin. After specializing in Vienna, she first appeared in Sofia in 1936. Engagements followed in Graz, Hamburg, Munich and finally at the Vienna State Opera.
Known for her red hair and exuberant vivacity, her most famous role was that of Salome which she performed under the composer, Richard Strauss, himself in 1944 on his 80th birthday. She sang the same role for her London debut in 1947 and her first performance at the Metropolitan Opera, New York on 4 February 1949. She also sang the title roles of Tosca and Aida, Donna Anna in Don Giovanni, Minnie in La fanciulla del West and Musetta in La bohème.
Her voice was neither creamy nor shrill, possessing a small beat, to which the microphone is kind. This voice was very capable of riding the Straussian orchestra. Welitsch is a unique singer and her uniqueness is quickly established. Where others linger and milk the moment, she presses ahead, testing the ability of conductors to follow her. It is usually at the moment a doubt has formed that Welitsch confounds the listener by some sudden conversational intimacy that breaks through convention utterly. Even more astonishing is the way she achieves these moments without breaking the line for dramatic effect.*
A great artist, she was also capable of extraordinary over-the-top exhibitions and her exploits at the Metropolitan in New York were legendary, including a raunchy Musetta that struck fear into her colleagues, and a Tosca performance when she repeatedly kicked the supposedly dead body of the Scarpia (Lawrence Tibbett) she had taken a personal dislike to.
Her international career, already interrupted by the war, did not last long, although she actually continued singing until 1981. Appearances included those at the Royal Opera House, Covent Garden in the 1950s. However when her voice deteriorated she started a second career in films (in America and Austria) and on Austrian television.
She was married twice and divorced twice, with no children.