|
(1) Russian tenor B.I. Zalipsky. Zalipsky
had an unusual way of training his lyric voice. He would listen intently to
other good singers with his vocal line and attempted those attributes that he
thought were useful and positive.
(2)
Contralto Yevgeniya Zbruyeva
(186?-1936) in an unidentified role, possibly Marfa in Khovanshchina.
Her singing career was naturally prompted by her father, Pyotr Bulakhov, who
was a singer and composer. After graduating from the Moscow Conservatory,
where she studied with Yelisaveta Lavrovskaya, she joined the Bolshoi in 1893.
She was also seen at the Mariinsky Theatre after 1905. She was a possessor of
a beautiful voice that was even, deep and rich throughout its range. Her roles
were well thought out and she paid particular attention to her diction and the
text. She greatest roles were Marfa (Khovanshchina), and Glinka's Vanya
and Ratmir. After her retirement from the stage she taught at the conservatory
in St. Petersburg.
(3)
(4) Tenor Karl Ziegler in Der Schmuck der
Madonna. Vienna, 1912. Smaller roles in Bayreuth.
(5)
German bass Georg Zottmayr
(1869-1941) as Gurnemanz in Parsifal.
Zottmayr began his career as a concert singer before turning to opera. He
appeared mostly in Vienna, Prague, and Dresden. Published by Martin Herzfeld,
Dresden, 1914.
(6)
Italian tenor Giovanni Zenatello
(1876-1949) as Otello, a role for which he was particularly known. He sang in
several important world premieres, most notably as Pinkerton in the original
and revised versions of Puccini's Madama Butterfly. This is a Mishkin
photograph, circa 1909.
(7)
Giovanni Zenatello.
|
