Italian mezzo-soprano, 1903 - 1974 Biographical notes: She enjoyed her musical training at the Conservatorio Musicale S. Pietro a Majella in Naples. She
studied piano playing, singing and composition. After five years at the conservatory she was immediately hired by Naples’ famous Teatro San Carlo, where she made her début as Amneris in
1925. In 1926 she added another famous and successful part to her repertory, it was Azucena. In that year the young singer was engaged by Arturo Toscanini at La Scala in Milan. Eboli was
her first role there. From 1926 until 1953 Ebe Stignani was a member of the Scala ensemble and was regarded as its leading exponent of dramatic contralto and mezzo roles. She was also heard
in French roles such as Carmen, Dalila and Mignon and she was successful as Brangäne, Ortrud and Gutrune in the German repertoire. In 1927 she made her first guest appearance at the Teatro
Colón in Buenos Aires. In 1937 she sang Amneris at Covent Garden. An important part of her work as a singer was her interest in reviving older operas such as Semiramis, Linda di Chamounix and
La Favorita. She was an acclaimed singer at the Maggio musicale in Florence. Ebe Stignani sang more than one hundred roles in her career that lasted more than three decades! Her last
appearance was as Ulrica in Florence in 1957. As Santuzza As Orfeo As Carmen
Recordings: (selection) |
Bellini - Norma (Gui 1936/Cigna, Breviario, Pasero) |
Fonit Cetra Arkadia |
Bellini - Norma (Gui 1952 live/Callas, Picchi, Sutherland) |
Melodram |
Bellini - Norma (Serafin 1954/Callas, Filipeschi, Rossi-Lemeni) |
EMI |
Bellini - Norma (Serafin 1955 live/Callas, del Monaco, Modesti) |
Hommage |
Bizet - Carmen (Bellezza 1949 live/Gigli, Gigli, Bechi) |
Legato |
Ponchielli - La Gioconda (Molajoli 1931/Arangi-Lombardi, Rota, Granda, Viviani |
Naxos Historical |
Spontini - La Vestale (Votto 1954 live/Callas, Corelli, Rossi-Lemeni) |
Melodram |
Verdi - Aida (de Sabata 1937 live/Cigna, Gigli, Nava, Pasero) |
Eklipse |
Verdi - Aida (Serafin 1946/Caniglia, Gigli, Bechi, Pasero) |
EMI Arkadia |
Verdi - Un Ballo in Maschera (Tieri 1957 live/Cerquetti, Poggi, Bastianini) |
Standing Room Only |
Verdi - Don Carlo (Previtali 1951/Caniglia, Rossi-Lemeni, Picchi, Silveri, Neri) |
Fonit Cetra |
Verdi - La Forza del Destino (Marinuzzi 1941/Caniglia, Masini, Tagliabue, Pasero) |
Fonit Cetra Arkadia |
Verdi - Il Trovatore (Votto 1953 live/Callas, Penno, Tabliabue, Modesti) |
GOP |
Recital (Arias by Gluck, Rossini, Bellini, Donizetti, Verdi, Thomas, Mascagni, Saint-Saëns) |
Preiser - LV |
Classic Collection |
Fonit Cetra |
Four Famous Italian Mezzo-Sopranos (Minghini-Cattaneo, Pederzini, Elmo) |
Preiser - LV |
Casa Sonzogno - A Historical Vocal Portrait |
Arkadia |
Incontri Memorabili No. 20 (Fineschi, Olivero, De Cavalieri, Tassinari) |
Fonit Cetra |
Thomas - Mignon (Excerpts by several French and Italian singers) |
Malibran |
La Scala Edition Vol. 2 |
EMI |
Mike Richter’s Opera Page: The Record of Singing Vol. 4 |
CD-ROM |
As Azucena As Amneris Comment:
Clemens Höslinger wrote: “The mezzo-soprano Ebe Stigani had a prominent place in the ensemble
of La Scala between the wars. She was a versatile, devoted artist, a lively and passionate actress, a singer with an expansive, metallic voice, eminently suited for dramatic, high-strung
roles such as Amneris, Eboli, Carmen and Santuzza. Veracity of expression, absolute dedication to the artistic task in hand were characteristic of her personality - not so much a high-bred vocal
culture or complacent, soulless “prettified” singing.”Her voice is glorious. What I miss (but very rarely) is a “personal view” of a character in her
singing. But what a voice! I prefer her earlier recordings. She sings Per sua madre andrò una figlia (Linda di Chamounix) in a great way, her Eboli is unsurpassed, there is the splendid aria
Laceri, miseri, tanti bambini from L’Amico Fritz and last but not least, the two Dalila arias.
O don fatale (Eboli in Don Carlos / Verdi / Cetra 1940)
As Santuzza
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