Roberta Peters

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Roberta Peters, 1974

Roberta Peters , actually Roberta Peterman (born May 4, 1930 in the Bronx , New York ; † January 18, 2017 in Rye , New York) was an American opera, operetta, musical, lied and concert singer ( soprano ). She was one of the most famous coloratura sopranos of the 20th century.

Life

She was the only child of a shoemaker and hat maker. At the age of 13 she began her musical training a. a. with William Pierce Herman . In 1950 she made her debut, who had never been on a stage before, as Zerlina in Don Giovanni at the Metropolitan Opera in New York and became known overnight. Roberta Peters sang on all the major opera stages in the world. From the mid-1950s she appeared at several Italian opera houses as well as at the Vienna State Opera . She caused a special stir as Queen of the Night at the Salzburg Festival in 1963/64.

The repertoire of the internationally sought-after singer included u. a. the roles of Susanna in The Marriage of Figaro , Rosina in The Barber of Seville , Norina in Don Pasquale , Nanetta in Falstaff , Sophie in Der Rosenkavalier , Lucia in Lucia di Lammermoor , Amore in Orpheus and Eurydice , the Marzelina in Fidelio , Despina in Così fan tutte , to name just a few of the many. Occasionally she also sang Violetta in La traviata and Mimi in La Bohème . In her later career she continued her repertoire some operetta and musical roles to, such as The Merry Widow and The King and I .

The soprano was a song and concert singer in demand around the world. An extensive discography and a large number of various TV and video recordings document Peters' wide musical spectrum.

Roberta Peters was married to her colleague at the Metropolitan Opera, the baritone Robert Merrill , for a few months in 1951 . Their second marriage in 1955 resulted in two sons.

Discography

literature

  • David Hamilton (Ed.): The Metropolitan Opera Encyclopedia. New York 1987

Web links

Individual evidence

  1. ^ Margalit Fox: Roberta Peters, Soprano With a Dramatic Entrance, Dies at 86 , The New York Times, January 19, 2017