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The American Opera Singer: The lives & adventures of America's great singers in opera & concert from 1825 to the present
 
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The American Opera Singer: The lives & adventures of America's great singers in opera & concert from 1825 to the present [Paperback]

Peter G. Davis (Editor)
3.4 out of 5 stars  See all reviews (8 customer reviews)

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Book Description

March 16, 1999
In America today, opera has never been more popular, and one reason for this is, no doubt, that American opera singers are fixtures on every leading opera stage throughout the world.  In this lively and engrossing account, Peter G. Davis, music critic for New York magazine and a leading opera authority, tells the story of how these plucky, resilient and supremely talented American singers have transformed this venerable European-born art form and made it their own.

Starting with opera's arrival in America in the early nineteenth century, Davis shows how American singers grew in sophistication and stature along with the country.  From the nineteenth-century pioneers who crashed the gates of Europe's elite opera circles, to the glamorous singers of the early twentieth century who were also Hollywood stars and publicity magnets, to the highly professional singers since World War II who not only have gained European acceptance but now dominate the industry, this lively and highly readable account chronicles the extraordinary lives and adventures of these larger-than-life personalities.  Included are Maria Callas, Beverly Sills, Richard Tucker, Leontyne Price, Marilyn Horne, Lawrence Tibbett, and a galaxy of others whose stories are as dramatic and compelling as the roles they sang on stage.

Full of prima-donna antics, hilarious backstage anecdotes, and performance lore, The American Opera Singer will delight anyone who has felt the magic of opera, and will provide a new canon of American singing sure to provoke spirited debate among aficionados.

Trained as a musician and composer, Peter G. Davis has been writing about music for over thirty years in such publications as the New York Times, The Times of London, High Fidelity, and Opera News.  He is currently music critic for New York magazine and lives in New York City.

Experience the artistry of America's supremely talented singers on RCA Victor Red Seal's The American Opera Singer, a companion 2-CD set to this book, now available in record stores.


From the Hardcover edition.

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Editorial Reviews

Amazon.com Review

According to Peter Davis, music critic for New York magazine and author of The American Opera Singer, American opera singers have always faced somewhat of an uphill battle in their quest for artistic recognition. Opera has never been an art form that Americans considered their own, and thus a repertory of pieces written and performed in English are few and far between; add to this the problems early opera pioneers had in finding appropriate vocal coaching, familiarizing themselves with a wide variety of languages and musical styles, and overcoming a peculiarly American aversion to stage performers, and you can see that--for aspiring opera stars--singing in America has truly been a challenge.

The American Opera Singer is a combination history and critique: Davis first traces the evolution of opera in North America and then comments on its practice today. Throughout the book he artfully limns the larger-than-life personalities of such stars as Beverly Sills, Frederica Von Stade, Leontyne Price, and Richard Tucker in entertaining, perceptive prose. For opera lovers of any nationality, The American Opera Singer makes for a stimulating reading experience. --This text refers to the Hardcover edition.

From Library Journal

Americans aspiring to an operatic career once changed their names to make themselves sound European; today they dominate the rosters of opera houses all over the world. Davis, a prominent New York music journalist, has given us a splendid account of their artistic journey, from the early 19th century to the present. Enticing chapter headings like "Last Night There was Skating on the Nile" and "A Caruso in Petticoats" introduce Davis's tales of artists who were both extraordinary and very human. Among the most memorable are David Bispham, whose roles were selected by a psychic, and Olive Fremstad, the Metropolitan Opera's first Salome. To prepare for her famous scene with the head of John the Baptist, she visited a morgue and rehearsed with the real thing. A "page-turner" for opera fans, this highly readable book will also be useful as a reference source for information about many lesser-known singers. Recommended both for academic and public libraries.?Kate McCaffrey, Onondaga Cty. P.L., Syracuse, N.Y.
Copyright 1997 Reed Business Information, Inc. --This text refers to the Hardcover edition.

Product Details

  • Paperback: 640 pages
  • Publisher: Anchor (March 16, 1999)
  • Language: English
  • ISBN-10: 0385421745
  • ISBN-13: 978-0385421744
  • Product Dimensions: 5.2 x 1.2 x 8.5 inches
  • Shipping Weight: 1.8 pounds (View shipping rates and policies)
  • Average Customer Review: 3.4 out of 5 stars  See all reviews (8 customer reviews)
  • Amazon Best Sellers Rank: #1,440,982 in Books (See Top 100 in Books)

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Customer Reviews

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12 of 15 people found the following review helpful:
5.0 out of 5 stars Comprehensive and opinionated, December 7, 2000
This review is from: The American Opera Singer: The lives & adventures of America's great singers in opera & concert from 1825 to the present (Paperback)
Peter G. Davis' definition of "American" in this volume is quite broad, encompassing singers born abroad who made a significant contribution to the American operatic scene, as well as native-born artists who, for one reason or another, spent much of their artistic lives overseas. Thus, he discusses singers as diverse as Callas and Sills, Astrid Varnay and Helen Traubel, Claire Watson and Roland Hayes. With singers whose most significant career contributions took place outside the U.S., such as Callas and Varnay, Mr. Davis takes pains to show what role their American years and appearances played in their artistic lives.

The scope and detail of the book is its strength, particularly the early chapters, which deal with many singers about whom detailed information would be difficult to obtain elsewhere. I particularly appreciated the chapter detailing the tortuous progress of the African-American opera singer in the American musical landscape.

Mr. Davis is forthright and uncompromising in his opinions, which is the cause of the low ratings this book has received from reviewers on this site whose favorite singers have been singled out for rough treatment. What these fans seem not to have noticed is his even-handedness, even with those he criticizes. I happen to agree, for example, that Leontyne Price probably made a more significant contribution to the operatic art on recordings than in live performance. If one can get beyond knee-jerk reactions to this or that assessment, however, there is much of value here. His writing style is polished without being pretentious. This is a book that should be read in tandem with John Dizikes' Opera in America for a full portrait of this art form since its inception in the United States.

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15 of 20 people found the following review helpful:
4.0 out of 5 stars A hard-nosed look at singing and singers, March 13, 2000
This review is from: The American Opera Singer: The lives & adventures of America's great singers in opera & concert from 1825 to the present (Paperback)
This book is not for the faint-hearted, nor is it for those who cannot abide anything other than unadulterated praise for their pet singers. Peter G. Davis has long been one of most brutal, but often insightful, of American critics, as those who read "New York" magazine will know. Both the brutality and the insight are on display here.

Davis provides a fascinating and comprehensive review of the "American" singer - which is limited not just to native-born Americans and Canadians, but also to foreign-born singers like Caruso and Pons whose careers were centered in the U.S. and who in some way had a major impact on the American operatic consciousness. In these pages, I encountered many singers of whom I had previously been unaware, particularly from years past. For the open-minded reader, there is a great deal to learn here.

There is also a great deal to infuriate fans of certain singers of the recent past. Beverly Sills, for example, comes in for some pretty rough treatment. But in this reader's opinion, Davis is right on the mark with his assessment of Sills' voice and career. Davis is absolutely right in his assertion that Sills was, by nature, a light lyric soprano and that she sang at her best in this repertoire. Only the most gushy, stars-in-the-eyes fan would deny that Sills' voice began to take a crash-dive after she started singing the heavy bel canto repertoire in the early 70's, or that many of her later recordings are marred by excessive vibrato and shrill, wobbly high notes - it's all there to hear. Indeed, the whole of Davis' book takes Sills to task for her ridiculous, self-serving assertions that before her career, American singers "didn't get no respect" or that she was some kind of trail-blazer. Dozens of great American singers had done it all before her. Similarly, Davis' unflattering remarks on Leontyne Price's later singing may not be particularly gallant, but they are accurate.

Davis is generous with praise, where he thinks it is deserved, which is often. But like any good - or honest - critic, he considers the bad along with the good. I found this book continually fascinating and a source of much information. I recommend it highly to inquiring minds.

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5 of 7 people found the following review helpful:
5.0 out of 5 stars A good history of American singing, November 15, 1997
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It is generous of Mr. Dizikes to review this book so favorably, since his own (Opera in America) is so much better. Nevertheless, the focus of the two is different. Dizikes focuses on institutions, Davis on individual singers. The popular press has overplayed Davis's assessment of today's singers (less than 100 pages). It's a solid history by one who has listened carefully to many records and read (it appears) every contemporary press report. As a journalist, Davis writes very well--though not as well as J.B. Steane. All in all, a very good book for anyone interested in singing.
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