Marilyn Horne
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Marilyn Horne
(born Jan. 16, 1934, Bradford, Pa., U.S.) U.S. mezzo-soprano. Horne studied voice at the University of Southern California and with the soprano Lotte Lehmann (18881976). In 1954 Horne dubbed the singing voice of Dorothy Dandridge in the film Carmen Jones, and that same year, she made her opera debut with the Los Angeles Guild Opera. Her long and influential association with the bel canto (a singing style based on an exact control of the intensity of vocal tone) repertoire began in 1962, and she played an important role in the revival of operas by George Frideric Handel and Gioacchino Rossini. Her distinctive voice was even throughout its remarkably wide range, and she had virtuoso control of breath and pitch. She retired in 2000 after a long career.
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Marilyn (Bernice) Horne
(b Bradford, pa, 16 Jan 1934). American mezzo-soprano. After performing in California she sang in Europe from 1956, making her Covent Garden début in 1964. A long association with Joan Sutherland has included appearances in operas by Rossini and Bellini. A versatile artist, she has been heard as Rinaldo, Zerlina and Carmen. She made her Met début in 1970.
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Marilyn (Bernice) Horne
Horne, Marilyn, 1934-, American mezzo-soprano, b. Bradford, Pa. She established herself with her characterization of Marie in Alban Berg's Wozzeck at the San Francisco Opera in 1960. In 1970 she made her debut at the Metropolitan Opera singing Adalgisa in Bellini's Norma. Horne is noted for the power and smoothness ("seamlessness") of her voice, evident in the ease with which she glides from one register to another. Among her notable roles have been Eboli in Verdi's Don Carlos, Arsace in Rossini's Semiramide, and the title role in Bizet's Carmen.
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Horne, Marilyn
American mezzo-soprano who became a principal performer at the Metropolitan Opera in New York City after her debut there as Adalgisa in Norma (1970).
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Marilyn Horne
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"You have to know exactly what you want out of your career. If you want to be a star, you don't bother with other things."
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Marilyn Horne
| For The Record... |
| Born Marilyn Bemeice Horne, January 16, 1934; daughter of Bentz J. (a city assessor and semiprofessional tenor) and Berneice P. (Hokanson) Home; married Henry Lewis (an orchestra conductor), 1960 (divorced, 1976); children: Angela. Education: Attended University of Southern California; studied with William Vennard and soprano Lotte Lehmann. Religion: Episcopalian. Opera and concert singer, c. 1941—. Performed at churches and USO centers, 1940s; made operatic debut with the Los Angeles Guild Opera, 1954; appeared at Venice Festival, 1956; performed major soprano and mezzo-soprano roles with the Municipal Opera of Gelsenkirchen, West Germany, 1957-60; sang mezzo-soprano role in Beatrice di Tenda, 1961; first performance as Arsace in Semiramide, 1964; debuted at London’s Covent Garden, 1964, Milan’s La Scala, 1969, and New York City’s Metropolitan Opera, 1970; sang the part of Semira in The Ghost of Versailles, 1991; performed at inauguration of U.S. President Bill Clinton, 1993. Author, with Jane Scovell, of Marilyn Horne, My Life, Atheneum, 1983. Addresses: Home—New York, NY. Record company—London Records, 825 Eighth Ave., New York, NY 10019. |
Opera singer
Marilyn Horne has become one of the twentieth century’s most celebrated opera singers, despite her decision to concentrate on the mostly supporting roles of a mezzo-soprano. Her vast range, technical precision, and confident stage presence have earned her great respect, lending force to her efforts to revive the florid singing of bel canto operas.
Horne, who was born in 1934 and as a child wished to become a famous diva, was already singing professionally by the time she was seven years old. Trained by her father, a semiprofessional tenor, Horne and her sister appeared together in churches and United Service Organizations (USO) centers during World War II. In 1951 she entered the University of Southern California on a voice scholarship and began studying with William Vennard. Horne later took masters classes with soprano Lotte Lehmann. She left the university in 1953 in order to concentrate on her career.
In 1954 Horne made her operatic debut with the Los Angeles Guild Opera in the mezzo-soprano role of Hata in Czech composer Bedrich Smetana’s The Bartered Bride. The same year she dubbed the singing voice of actress Dorothy Dandridge in the film version of Carmen Jones. Conductor Robert Craft helped further her career by featuring her in his Los Angeles Monday Evening Concerts. He also introduced her to composer Igor Stravinsky for whom she sang in several concerts and recording sessions.
Horne left the United States for Europe in 1956 to gain more experience. Stravinsky and Craft helped arrange her appearance at that year’s Venice Festival, her first major exposure in Europe. The following year she joined the Municipal Opera of Gelsenkirchen—a city in West Germany’s Ruhr valley—where she sang such roles as Mimi in La Boheme, Tatiana in Eugene Onegin, and Fulvia in Ezio. She went on to perform in Italy, Vienna, Southern California, and Alaska in a variety of formats, including operas, concerts, radio broadcasts, and music festivals.
More significant than Horne’s experience with various formats was her ability to sing a wide variety of roles. Her range extended from a low E to a high C—nearly two octaves—and she could alter her tone to sing soprano, mezzo-soprano, and mezzo-coloratura roles. Horne admitted to Vogue reporter David Daniel, "I could and would sing almost anything anyone asked me to. I was young, I figured, and I had nothing to lose.… I was going to make it no matter what."
Especially Enjoyed Roles for Mezzo-Soprano
Home returned to the United States in 1960, making her debut that summer as Marie in Wozzeck with the San Francisco Opera Company. Soon thereafter, she performed several important roles, including Carmen for the San Francisco Opera Company in 1961, Lora in the premiere of Vittorio Giannini’s The Harvest at the Chicago Lyric Opera the same year, and Adalgisa in Bellini’s Norma for the Vancouver Opera in 1962.
Though she was able to sing a wide range of roles, Home had discovered that she enjoyed singing the more ornate passages of Handel oratorios and Bach cantatas. Coloratura roles, with their difficult combinations of trills, rapid scales, arpeggios, and roulades challenged her already superb technical mastery and interpretive skills. Just such a role presented itself in 1961 when the mezzo-soprano who was to sing with Joan Sutherland in Beatrice di Tenda canceled three weeks before the opening. Home replaced her, singing the role of Agnese to great critical praise.
At that time, such bel canto operas as Beatrice di Tenda had been virtually forgotten. According to Philip Kennicott of Musical America, these baroque operas were "considered dramatically flimsy and vocally strenuous," and "many of these works hadn’t been staged for nearly a century." However, some singers, including Joan Sutherland, were renewing the operas’ popularity, and Home’s speed, flexibility, and vast range made her voice a natural for this genre. Although Horne sang several soprano roles over the next few years—including her 1970 Metropolitan Opera (Met) debut as Adalgisa in Norma—she soon began to specialize in mezzo-soprano, bel canto music.
Often Sang Male Roles
In 1964 Horne first performed a bel canto role that she would sing many times during the next 30 years—Arsace, the commanding general of the Babylonian army in Gioacchino Rossini’s Semiramide. This initial performance in Los Angeles, with Joan Sutherland in the title role, was such a success they performed it that same year at Carnegie Hall. Described as an opera of "fiendish difficulty" by Vogue correspondent David Daniel, it was an immense success in New York City. Winthrop Sargeant reported in the New Yorker, "Marilyn Horne, a mezzo-soprano of brilliant agility, backed [Joan Sutherland] to the hilt in the transvestite part of Arsace… and the duet between the two at the end of the third act was as spectacular a display of trilling and cascading pyrotechnics as I have ever come across."
With her choice of a soprano or mezzo career, some think it unusual that Horne chose the mostly supporting roles of a mezzo-soprano. However, as she explained to Kennicott in Musical America, "I think I get some pretty gutsy characters in these [bel canto] operas. Many of them are male roles, of course, but that also gives them a lot of dramatic thrust, accent, and power." Kennicott attested to the success of her choice: "Through years of hearing her sing with different sopranos, audiences have marveled at Horne’s ability to blend, shade and color her voice, making it a confident, yet never self-serving accompaniment to everyone on stage."
Horne began to eliminate certain roles from her repertoire as she entered her sixties, an age at which most opera singers have retired. She no longer performs in Verdi operas, except for Falstaff in which she plays Dame Quickly. However, she continues to sing the demanding bel canto roles of Rossini and to learn new roles. In 1991 Horne played Semira—a role written especially for her—in the premiere of John Corigliano’s The Ghost of Versailles.
Played Major Part in Revival of Bel Canto Opera
Horne’s appearance in Semiramide at the often conservative Met in 1990, surrounded by young American bel canto singers, indicated the enormous influence she has had in the revival of bel canto singing. Noted Rossini scholar Philip Gosset stressed to Musical America correspondent Philip Kennicott, "I don’t think the Rossini revival could possibly have taken place without [Horne’s] central position in it." In recognition of her contributions to the revival of such operas, Horne received an invitation to perform at Avery Fisher Hall in New York’s Lincoln Center the day of Rossini’s 200th birthday, February 29, 1992.
Horne, considered one of the greatest mezzo-sopranos of her time, not only led the revival of bel canto opera, but has entranced audiences in a myriad of roles. Musical America’s Kennicott described the reasons for her vast success: "She not only had a distinctive and beautiful voice, but also an incomparably even technique that allowed her to fly through the tortuous roulades and runs of Rossini as if her voice were a dark wooden flute, played with superhuman dexterity."
Selected discography
(With Joan Sutherland and Richard Conrad) The Age of Bel Canto, London Records, 1964.
Presenting Marilyn Horne, London Records, 1965.
Souvenir of a Golden Era, London Records, 1966.
(With Sutherland and Luciano Pavarotti) Requiem, London Records, 1968.
(With Sutherland) Semiramide, London Records, 1969.
Bach and Handel Arias, London Records, 1969.
Marilyn Horne Sings Carmen, London Records, 1970.
(With Elena Souliotis, Nicolai Ghiaurov, and John Alexander) Anna Bolena, London Records, 1970.
Marilyn Horne’s Greatest Hits, London Records, 1973.
Marilyn Horne, London Records, 1974.
(With the Chicago Symphony Orchestra and Chorus) Mahler’s Symphony No. 3, RCA, 1976.
(With Sutherland and Pavarotti) II Trovatore, London Records, 1977.
Sheherazade, CBS, 1978.
Diva!, CBS, 1981.
(With Samuel Ramey, Ernesto Palacio, and Kathleen Battle) L’Italiana in Algeri, RCA, 1981.
Giovanna D’Arco and Songs, CBS, 1982.
In Concert at the Met, RCA, 1983.
Airs D’Operas, Erato, 1984.
Rarities From Her Repertoire, Standing Room Only 800 Series, 1992.
(With Sir Colin Davis) Falstaff, RCA Victor Red Seal, 1992.
(With Chris Merritt and Rockwell Blake) Ermione, Legato Classics, 1992.
All Through the Night, RCA, 1992.
Beautiful Dreamer, London Records.
Sources
Books
Horne, Marilyn, with Jane Scovell, Marilyn Horne, My Life, Atheneum, 1983.
The Metropolitan Opera Encyclopedia: A Comprehensive Guide to the World of Opera, edited by David Hamilton, Simon and Schuster, 1987.
Periodicals
Modern Maturity, December 1991/January 1992.
Musical America, January/February 1992.
New Yorker, February 29, 1964.
Pulse!, November 1992.
Time, February 19, 1965.
Vanity Fair, February 1992.
Vogue, December 1990.
AMG AllMusic Guide: Pop Artists:
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Marilyn Horne
- Genres: Classical
Biography
A singer whose voice has been compared to Vladimir Horowitz's piano and Jascha Heifetz's violin, Marilyn Horne has been called "the greatest singer in the world" by Opera News and has been recognized by the New York Times as being "the most American of all operatic singers." Horne is known for her dramatic range, singing everything from Gioachino Rossini to William Bolcom, "Danny Boy" to George Handel's Rinaldo. She is credited in Italy as being the interpreter of Gioachino Rossini and is recognized worldwide for her bel canto and versatile style of singing. She has a made a career of nourishing and popularizing new American music, whether it be contemporary or opera.Marilyn Horne, born January 16, 1934 in Bradford, Pennsylvania, began her singing career at the age of two singing songs around the piano bench. At the age of four, Marilyn Horne sang at an FDR rally. Her parents moved to Los Angeles when she was 11; she took vocal studies at the University of Southern California and participated in Lotte Lehmann's vocal classes. Her first public performance was in 1954, when she was the dubbed voice of Dorothy Dandridge in the film Carmen Jones. She made her Los Angeles debut the same year when she performed in The Bartered Bride as Hata.
Her singing ability was recognized by Igor Stravinsky, and her operatic career began when he invited her to perform in the 1956 Vienna festival. She remained in Europe for three seasons singing for the Gelsenkirchen Opera. In 1964, she returned to the United States to perform in the San Francisco Opera, landing the role of Marie in Berg's Wozzeck. Marilyn Horne's most notable association was with the Australian opera singer Dame Joan Sutherland, first working with Sutherland in 1961 at Carnegie Hall. In 1965, they were paired again in an unforgettable performance in Boston of Rossini's Semiramide. Her partnership with Dame Sutherland led to her Metropolitan Opera debut in 1970.
Horne has performed for various presidents, including at the inauguration of President Bill Clinton. ~ Kim Summers, Rovi
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Marilyn Horne
Marilyn Horne (born January 16, 1934, Bradford, Pennsylvania) is an American mezzo-soprano opera singer. She specialized in roles requiring a large sound, beauty of tone, excellent breath support, and the ability to execute difficult coloratura passages.
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Biography
Horne was born in Bradford, Pennsylvania, but moved with her parents to Long Beach, California, when she was 11. At the age of 13, she became part of the newly formed Los Angeles Concert Youth Chorus. She attended the University of Southern California where she was a member of Pi Beta Phi fraternity for women. She is an alumna of Long Beach Polytechnic High School and returned in 1989 in a performance to benefit its music program. As a high school student, Marilyn was part of the St. Luke's Choir of Long Beach under the direction of William Ripley Dorr. This prestigious choir often worked for the movie studios and recorded on Capitol Records. Marilyn and her sister Gloria were part of St. Luke's Quartet along with tenor, Bob James and baritone, Philip D. Haynes.
She studied voice under William Vennard at the University of Southern California School of Music and participated in Lotte Lehmann's vocal master classes.[1]
Career
Horne's first major professional engagement was in 1954, when she dubbed the singing voice of Dorothy Dandridge in the film Carmen Jones. Until that point, she had worked as a background singer for several TV sitcoms, as well as recorded covers of popular songs of the early 1950s, which were sold in dimestores around the country for $1.98. She made an appearance on The Odd Couple as a character named "Jackie," her own nickname, a meek and nervous would-be singer who develops into a full-blown diva and essays the role of Carmen with brilliant results; she also sang on The Tonight Show Starring Johnny Carson. She made her Los Angeles debut the same year when she performed the role of Hata in The Bartered Bride with the Los Angeles Guild Opera.
Her first major breakthrough came when her singing ability was recognized by Igor Stravinsky; her operatic career began when he invited her to perform in the 1956 Venice festival. She remained in Europe for three seasons singing for the Gelsenkirchen Opera.
She was highly acclaimed for her performance as Marie in Alban Berg's Wozzeck at the inauguration of Gelsenkirchen's new opera house on May 22, 1960. In 1964, she returned to the United States to appear in Wozzeck at the San Francisco Opera.
For many years, Horne was associated with the Australian soprano Dame Joan Sutherland in their performances of the bel canto repertoire. They first performed together in a concert version of Vincenzo Bellini's Beatrice di Tenda at The Town Hall in Manhattan in February 1961. This performance was so successful, it was repeated twice at Carnegie Hall. In 1965, they were paired again in a performance of Rossini's Semiramide with the Opera Company of Boston, and sang in a joint concert on October 15, 1979, which was telecasted as "Live from Lincoln Center".
Horne made her debut at the Royal Opera House in October 1964 as Marie in Wozzeck. Her La Scala debut was as Jocasta in Stravinsky's opéra-oratorio Œdipus rex on March 13, 1969. Another of Horne's breakthroughs occurred that same year during a performance of Rossini's Le siège de Corinthe at La Scala, when Horne received a remarkable mid-act seven-minute ovation. Horne made her debut at the Metropolitan Opera in 1970 as Adalgisa in Bellini's Norma with Sutherland in the title role. She thereafter appeared regularly at the Met, opening the 1972/1973 season as Carmen. A great success there was in Meyerbeer's Le prophète, in John Dexter's production. In 1984, she sang the title role of Handel's opera seria Rinaldo (directed by Frank Corsaro), the first Handel opera ever performed at the Met.
Although best known for her bel canto and opera seria roles, Horne also sang much American music, both contemporary music by composers such as William Bolcom, and traditional popular songs. She can be heard on the soundtrack of Flower Drum Song singing "Love, Look Away" and sings the role of Lady Thiang on the Philips recording of The King and I starring Julie Andrews and Ben Kingsley. She had previously sung in the women's chorus for the 1956 film version of The King and I.
Horne was married from 1960 to 1979 (separated 1974) to the conductor Henry Lewis, with whom she maintained a home in the Echo Park neighborhood of Los Angeles for many years, and with whom she had a daughter, Angela. Horne's mother initially had misgivings that the interracial marriage would have a negative impact on Horne's career, saying, "Be his mistress, for God's sake, not his wife," but soon reconciled with the couple.[2]
In 1983, she published (with co-writer Jane Scovell) a candid autobiography, My Life, and a continuation volume, Marilyn Horne, The Song Continues, appeared in 2004.
Horne received many honors during her career. A New York Times article by Robert Jacobson, editor of Opera News, in celebration of the Met's 100th anniversary in 1983, listed the hundred greatest singers who had ever performed at the house and included Horne, the only one still actively singing at the time. She was awarded Yale University's Sanford Medal.[3]
On July 5, 1986, she performed on the New York Philharmonic's tribute to the 100th anniversary of the Statue of Liberty, which was televised live on ABC Television.[4]. The orchestra, conducted by Zubin Mehta, performed in Central Park. She sang an aria from "Carmen" by Georges Bizet.
In 1992 she was awarded the National Medal of Arts.[5]
In January 1993, Horne sang "Make A Rainbow", by American singer and songwriter Portia Nelson, and the Shaker hymn "Simple Gifts" at the inauguration of US President Bill Clinton.
Horne retired from the concert stage in 1999 with a recital at the Chicago Symphony Center. She still occasionally performs at pop concerts (most recently with Broadway star Barbara Cook), her voice undimmed by age. Horne has also established the Marilyn Horne Foundation to help preserve the art of vocal recitals. She teaches a series of annual Master Classes at the Oberlin Conservatory of Music; the University of Maryland, College Park; the Manhattan School of Music; and the University of Oklahoma.
In December 2005, shortly before Horne's 72nd birthday, she was diagnosed with localized pancreatic cancer.[6] In January 2007, she appeared at a public function for her Foundation.[7] Interviewed by Norman Lebrecht on BBC Radio 3 on July 26, 2010, she spoke briefly about her cancer and cheerfully said, "I'm still here!"[8]
Horne has directed the Voice Program at the Music Academy of the West in Santa Barbara, California, since 1997.
Abridged discography
- Bellini: Norma (Sutherland, J. Alexander, Cross; Bonynge, 1964) Decca
- Bernstein: West Side Story (Te Kanawa, Troyanos, Carreras; Bernstein, 1984) Deutsche Grammophon
- Bizet: Carmen (Maliponte, McCracken, Krause; Bernstein, 1972) Deutsche Grammophon
- Donizetti: Anna Bolena (Souliotis, J. Alexander, Ghiaurov; Varviso, 1968/69) Decca
- Donizetti: Lucrezia Borgia (Sutherland, Aragall, Wixell; Bonynge, 1977) Decca
- Gluck: Orfeo ed Euridice (Lorengar, Donath; Solti, 1970) Decca
- Handel: Semele (Battle, Ramey; Nelson, 1990) Deutsche Grammophon
- Massenet: La navarraise (Domingo, Milnes, Zaccaria; Lewis, 1975) RCA
- Meyerbeer: Le prophète (Scotto, McCracken, Hines; Lewis, c1976) Sony
- Mozart: Don Giovanni (Sutherland, Lorengar, Krenn, Bacquier, Gramm; Bonynge, 1968) Decca
- Ponchielli: La Gioconda (Tebaldi, Dominguez, Bergonzi, Merrill; Gardelli, 1967) Decca
- Puccini: Suor Angelica (Scotto, Cotrubas; Maazel, 1976) Sony
- Rossini: Il barbiere di Siviglia (Barbacini, Nucci, Dara, Ramey; R.Chailly, 1982) Sony
- Rossini: Bianca e Falliero (Ricciarelli, Merritt; Renzetti, 1986) [live] Fonit Cetra
- Rossini: L'italiana in Algeri (Battle, Ramey; Scimone, 1980) Erato
- Rossini: Semiramide (Sutherland, Rouleau; Bonynge, 1965/66) Decca
- Rossini: Tancredi (Cuberli, Zaccaria; Weikert, 1982) Sony
- Roussel: Padmâvatî (Gedda, van Dam; Plasson, 1982/83) EMI
- Thomas: Mignon (Welting, von Stade, Vanzo, Zaccaria; de Almeida, 1977) Sony
- Verdi: Falstaff (Sweet, Lopardo, Panerai, Titus; C.Davis, 1991) RCA
- Verdi: Requiem (Sutherland, Horne, Pavarotti, Talvela; Solti, 1967) Decca
- Verdi: Il trovatore (Sutherland, Pavarotti, Wixell, Ghiaurov; Bonynge, 1976) Decca
- Vivaldi: Orlando furioso (de los Ángeles, Valentini Terrani; Scimone, 1977) Erato
Abridged videography
- Corigliano: The Ghosts of Versailles (Stratas, Fleming; Levine, Graham, 1992) [live] Deutsche Grammophon
- Rossini: L'italiana in Algeri (M.Merritt, Ahlstedt; Levine, Ponnelle, 1986) [live] Deutsche Grammophon
- Rossini: Semiramide (Anderson, Ramey; Conlon, Copley, 1990) [live] Kultur
- Verdi: Falstaff (Freni, Bonney, Lopardo, Plishka; Levine, Zeffirelli, 1992) [live] Deutsche Grammophon
- Vivaldi: Orlando furioso (Behr, Pizzi, 1989) [live] Kultur
Works
- Marilyn Horne: The Song Continues by Marilyn Horne and Jane Scovell, Baskerville Publishers; ISBN 1-880909-71-5
- Marilyn Horne: My Life by Marilyn Horne and Jane Scovell, Atheneum Books; ISBN 0-689-11401-X
Sources
- ^ Kennedy Center: Biographical information for Marilyn Horne
- ^ Ryan, Michael (January 23, 1984). "Marilyn Horne". People 21 (3). ISSN 0093-7673. http://www.people.com/people/archive/article/0,,20086915,00.html. Retrieved September 8, 2011.
- ^ Leading clarinetist to receive Sanford Medal
- ^ "Liberty Receives Classical Salute, Sun Sentinel, July 5, 1986". http://articles.sun-sentinel.com/1986-07-05/features/8602090161_1_liberty-weekend-liberty-festivities-great-lawn.
- ^ Lifetime Honors – National Medal of Arts
- ^ Opera News > The Met Opera Guild
- ^ Anne Midgette: Marilyn Horne Puts Her Protégés on Parade in Song, The New York Times, January 29 2007. Retrieved 21 May 2007.
- ^ Norman Lebrecht interviews Marilyn Horne for 45 minutes on BBC Radio 3, 26 July 2010 at 21:15, available on podcast
External links
- Marilyn Horne at the Internet Movie Database
- The Marilyn Horne Foundation
- Discography (Capon's Lists of Opera Recordings)
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Mentioned in
Sutherland, Horne, Bonynge Gala Concert
(1985 Music Film)
Marilyn Horne Sings Famous Arias
(1986 Music Film)
Marilyn Horne in Concert
(1986 Music Film)
Evviva Belcanto
(1990 Music Film)
Semiramide
(1990 Music Film)
» More