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MARGHERITA CAROSIO - PROGRAM SIGNED CO-SIGNED BY: CARLO ZAMPIGHI, KYRA VAYNE, GIULIO MASTRANGELO, PIER MIRANDA FERRARO, MANRICO DE TURA - HFSID 100079

English souvenir program for A Season of Italian Opera, signed by sopranos Margherita Carosio and Kyra Vayne, tenors Pier Miranda Ferraro and Carlo Zampighi, baritone Giulio Mastrangelo and conductor Manrico De Tura

Sale Price $198.00

Reg. $220.00

Condition: fine condition
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OPERA STARS: MARGHERITA CAROSIO, KYRA VAYNE, PIER MIRANDA FERRARO, CARLO ZAMPIGHI, MANRICO DE TURA and GIULIO MASTRANGELO
English souvenir program for A Season of Italian Opera, signed by sopranos Margherita Carosio and Kyra Vayne, tenors Pier Miranda Ferraro and Carlo Zampighi, baritone Giulio Mastrangelo and conductor Manrico De Tura
Program signed "Marcherita Carosio", "Kyra Vayne", "Carlo Zampighi", "Pier Miranda Ferraro", "Manrico De Tura" and "Giulio Mastrangello". B/w, 8 pages including cover, 7¾x9¾, bound with 2 staples. One-shilling souvenir program for A Season of Italian Opera by Eugene Iskoldoff Productions for Peter Daubney Presentation Ltd. It's a hell of a thing when you're primarily remembered for your understudy's accomplishments, but that's the fate of Italian coloratura soprano CAROSIO (1907-2005). She dropped out of a 1949 production of Bellini's I Puritani to perform the part of Brünnhilde in Wagner's Die Walkure, and her understudy learned her role in five days, electrifying the opera world. That understudy was Maria Callas. Make no mistake, though, Carosio was also a talented opera singer - one of the major opera stars in Italy before World War II and much in demand in her native country for her light coloratura voice. She debuted in concert at age 14 and in opera at 16 in the title role of Donizetti's Lucia di Lammermoor, and retired after almost 40 years in opera in 1959. In addition to playing Teatro alla Scala and houses all over Italy, Carosio also performed at Covent Garden. Perversely, fame didn't catch up to English soprano VAYNE (1916-2001), born Kyra Knopmuss, until well after her prime. A late bloomer, the Russian-born Vayne didn't discover her singing abilities until she appeared in a Russian Orthodox church choir at 16. She broke into opera after singing with radio comedian Vic Olvier during World War II and performed from the 1940s to the 1970s. The last years of her career were filled with poverty and doors slamming shut in her face, and she eventually retired to become a secretary and then a ceramics restorer. But an Austrian label re-released some of her recordings in the late 1990s, and suddenly she found her audience. Those who worked with her described a difficult singer with limited acitng ability, and even Vayne seemed nonplussed by her reversal of fortune; she was quoted in an article saying, "Suddenly I'm spoken of as one of the great voices. I just scream with laughter when I hear this. It's idiotic." However, her new generation of admirers saw her differently, as a singer with a voice of rare beauty and with a wide and carefully selected repertory. Italian tenor FERRARO (1924-2008), born Petro Ferraro, excelled with Italian operas and was most associated with the title role in Verdi's Otello, which he reportedly performed over 300 times. Ferraro performed from 1951 to 1981 and, though he was popular in his native Italy, he never achieved the fame of contemporaries like Franco Corelli or Mario Del Monaco. And that's a shame, because Ferraro was a gifted singer with a wider repertoire than his more famous contemporaries. After a bicycling accident forced him to retire in 1981, he became a singing teacher. ZAMPIGHI (1927-1997) was a tenor who debuted in 1951. He was especially known for his performances of Massenet's Manon and Donizetti's Elisir d'Amore with soprano Margherita Carosio. DE TURA, named after Manrico in Verdi's Il trovatore by his tenor father, was a condutor at Teatro alla Scala and other Italian opera houses as well as throughout the world. Baritone MASTRANGELO performed from 1950 to 1959 in Italy's most important houses. Lightly toned and creased. Ferraro and Mastrangello's signatures are faded but legible. Rusted staples with rust stains inside program. Ink transference. Folded in half and unfolded. Light scuffing along fold. Otherwise in fine condition.

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