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 Mary Garden

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Mary Garden Berühmte Gedenkstätte

Geburt
Aberdeen, Aberdeen City, Scotland
Tod
3 Jan 1967 (im Alter von 92)
Inverurie, Aberdeenshire, Scotland
Bestattung
Aberdeen, Aberdeen City, Scotland
Grabstelle
Mary Garden was cremated and her ashes were scattered in the Garden of Remembrance at the old Crematorium in Garthdee.
Gedenkstätten-ID
69347004 Quelle ansehen

Opera Singer. A noted lyric soprano of the early 20th. century, she is primarily remembered for performing the French repertoire. Raised initially in Aberdeen, she moved with her family to Massachusetts at nine then after a time in Connecticut settled in Chicago at 14. There Mary began her vocal studies then in 1896 moved on to Paris where she came to the attention of Opera-Comique director Albert Carre. Her operatic debut on April 10, 1900, at the Opera-Comique as the title lead of Gustave Charpentier's "Louise" was a success and led to further assignments including Violetta in Giuseppi Verdi's "La Traviata", Griselidis from Jules Massenet's work of that name, and Melisande in the April 30, 1902, world premiere of Claude Debussy's "Pelleas et Melisande". While at the Opera-Comique Mary also experienced the first of a number of public scandals as she was apparently carrying on simultaneous affairs with Carre and with conductor Andre Messager. Bowing at Covent Garden, London, in 1902 (while continuing to appear in Paris) she was heard there in a number of roles including the title heroine of Massenet's "Manon", Juliette of Charles Gounod's "Romeo et Juliette", and Marguerite from the same composer's "Faust". At Monte Carlo she sang the lead in the February 14, 1905, world premiere of Massenet's "Cherubin" then in 1906 returned to the Opera-Comique for another world premiere as Chrysis from Camille Erlanger's "Aphrodite". Hired by Oscar Hammerstein's Manhattan Opera House Mary made her American bow on November 25, 1907, as the title character of Massenet's "Thais" and earned acclaim as a young boy in his "Le jongleur de Notre Dame". Back in Europe she was heard at the Paris Opera as the title lead of Henry Fevrier's "Monna Vanna" and as Ophelia from Ambrose Thomas' operatic version of Shakespeare's "Hamlet". After appearing in Brussels performances of "Faust" she returned to New York in 1909 where she caused no little commotion in Richard Strauss' "Salome" by performing the Dance of the Seven Veils in a flesh-colored body stocking and kissing the 'severed head' of John the Baptist. Moving to Chicago in 1910 after Hammerstein went broke she was to be associated with various companies there up to her 1934 retirement; Mary took the lead in the February 25, 1911, Philadelphia world premiere of Victor Herbert's failed "Natoma" but had much better success with, among her numerous roles, the title leads on Bizet's "Carmen", Massenet's "Cleopatra", and Puccini's "Tosca", as well as Fiora in Montemezzi's "L'amore dei tre re", Fanny of Massenet's "Sapho", and Charlotte from the same composer's "Werther". Mary also appeared in two of Sam Goldwyn's silent films during the teens, both of them flops, and for her work in support of the Allies in World War I was named Chevalier of the Legion of Honor by France in 1921. After leaving the stage she was a talent scout for MGM, taught master classes (free for those unable to pay), and up to 1949 was a noted lecturer, particularly on Claude Debussy. Though an American citizen she lived her last 30 years in her native Aberdeen; she published "Mary Garden's Story" in 1951, an autobiography in which it is, for various reasons, impossible to tell fact from fiction. A portion of her recorded legacy remains available on CD. In a quote that perhaps explains something of how she approached life she said: "They liked me in "Thais" because I wore least".

Opera Singer. A noted lyric soprano of the early 20th. century, she is primarily remembered for performing the French repertoire. Raised initially in Aberdeen, she moved with her family to Massachusetts at nine then after a time in Connecticut settled in Chicago at 14. There Mary began her vocal studies then in 1896 moved on to Paris where she came to the attention of Opera-Comique director Albert Carre. Her operatic debut on April 10, 1900, at the Opera-Comique as the title lead of Gustave Charpentier's "Louise" was a success and led to further assignments including Violetta in Giuseppi Verdi's "La Traviata", Griselidis from Jules Massenet's work of that name, and Melisande in the April 30, 1902, world premiere of Claude Debussy's "Pelleas et Melisande". While at the Opera-Comique Mary also experienced the first of a number of public scandals as she was apparently carrying on simultaneous affairs with Carre and with conductor Andre Messager. Bowing at Covent Garden, London, in 1902 (while continuing to appear in Paris) she was heard there in a number of roles including the title heroine of Massenet's "Manon", Juliette of Charles Gounod's "Romeo et Juliette", and Marguerite from the same composer's "Faust". At Monte Carlo she sang the lead in the February 14, 1905, world premiere of Massenet's "Cherubin" then in 1906 returned to the Opera-Comique for another world premiere as Chrysis from Camille Erlanger's "Aphrodite". Hired by Oscar Hammerstein's Manhattan Opera House Mary made her American bow on November 25, 1907, as the title character of Massenet's "Thais" and earned acclaim as a young boy in his "Le jongleur de Notre Dame". Back in Europe she was heard at the Paris Opera as the title lead of Henry Fevrier's "Monna Vanna" and as Ophelia from Ambrose Thomas' operatic version of Shakespeare's "Hamlet". After appearing in Brussels performances of "Faust" she returned to New York in 1909 where she caused no little commotion in Richard Strauss' "Salome" by performing the Dance of the Seven Veils in a flesh-colored body stocking and kissing the 'severed head' of John the Baptist. Moving to Chicago in 1910 after Hammerstein went broke she was to be associated with various companies there up to her 1934 retirement; Mary took the lead in the February 25, 1911, Philadelphia world premiere of Victor Herbert's failed "Natoma" but had much better success with, among her numerous roles, the title leads on Bizet's "Carmen", Massenet's "Cleopatra", and Puccini's "Tosca", as well as Fiora in Montemezzi's "L'amore dei tre re", Fanny of Massenet's "Sapho", and Charlotte from the same composer's "Werther". Mary also appeared in two of Sam Goldwyn's silent films during the teens, both of them flops, and for her work in support of the Allies in World War I was named Chevalier of the Legion of Honor by France in 1921. After leaving the stage she was a talent scout for MGM, taught master classes (free for those unable to pay), and up to 1949 was a noted lecturer, particularly on Claude Debussy. Though an American citizen she lived her last 30 years in her native Aberdeen; she published "Mary Garden's Story" in 1951, an autobiography in which it is, for various reasons, impossible to tell fact from fiction. A portion of her recorded legacy remains available on CD. In a quote that perhaps explains something of how she approached life she said: "They liked me in "Thais" because I wore least".

Biografie von: Bob Hufford


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  • Gepflegt von: Find a Grave
  • Ursprünglich erstellt von: Bob Hufford
  • Hinzugefügt: 4 Mai 2011
  • ID der Find-a-Grave-Gedenkstätte: 69347004
  • Find a Grave, Datenbank und Bilder (https://de.findagrave.com/memorial/69347004/mary-garden: aufgerufen ), Gedenkstättenseite für Mary Garden (20 Feb 1874–3 Jan 1967), Gedenkstätten-ID bei Find a Grave 69347004, zitierend Aberdeen Crematorium Old, Aberdeen, Aberdeen City, Scotland; Gepflegt von Find a Grave.