Gloria Lane

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Gloria Lane Krachmalnick (June 6, 1925 – November 22, 2016)

Donaldson Awards
.

Lane was also a regular performer at the

Glyndebourne Festival, Hawaii Opera Theatre, and Vancouver Opera
. After retiring from singing in 1977, she taught voice out of a private studio in Los Angeles.

Early life and education

Born Gussie Siet in

Philadelphia Inquirer's annual 'Voice of Tomorrow Contest'. Winning the contest enabled her to pursue vocal studies with Elizabeth Westmoreland in Philadelphia. In 1949 she won a scholarship to the Tanglewood Music Center where she made her debut with the Boston Symphony Orchestra performing the title role in scenes from Bizet's Carmen under director Boris Goldovsky.[2]

Early career

In 1950 Lane created the role of the Secretary of the Consulate in the world premiere of

Donaldson Awards for best supporting actress and best debut performance.[2]

In 1954 Lane returned to Broadway to appear in another Menotti world premiere, creating the role of Desideria in the Pulitzer Prize winning The Saint of Bleecker Street.[7] She also sang that role for her debut at La Scala in 1955.

Lane made her debut with the

La Grande Breteche which was commissioned for television by the NBC Opera Theatre (NBCOT). For other NBCOT television broadcasts she also portrayed Helene in War and Peace(1957), Maddalena in Rigoletto (1958), and Marina Mniszech in Boris Godunov (1961).[8]

In 1957 Lane made her debut at the

Royal Opera House, Covent Garden and the San Francisco Opera in 1959, and for her debut at the Opera Company of Boston
in 1960.

International success

During the 1960s Lane's career was primarily based in Europe and Canada. Among the opera companies with whom she sang leading roles during this time were the Canadian Opera Company, the Grand Théâtre de Bordeaux, La Fenice, La Scala,[9] Opéra National de Lyon, the Teatro Comunale di Bologna, the Teatro Giuseppe Verdi, the Teatro Massimo, Teatro Regio di Parma,[10] Teatro Regio di Torino, the Vienna State Opera, and the Wexford Festival Opera among others. In 1961 she created the role of Beatrice in the world premiere of Renzo Rossellini's Uno sguardo dal ponte at the Teatro dell'Opera di Roma; a role she also sang for the opera's American premiere with the Philadelphia Lyric Opera Company in 1967.[11] In 1968 she portrayed Desideria at the Festival dei Due Mondi in Spoleto.[12]

Later life and career

In the late 1960s, Lane's career had begun to dwindle in terms of the number of bookings. She attempted to revitalize her career by switching her

Lady Macbeth of the Mtsensk District for RAI
.

After retiring from the stage, Lane settled in Los Angeles where she taught voice out of a private studio. Her notable students included Pamela Scanlon, Christine Kelley, and Francis Liska. She was married to the late conductor

Studio City neighborhood of Los Angeles.[2]

References

  1. ^ SAG-AFTRA-Spring Edition 2019, In Memoriam
  2. ^ a b c Diane Haithman (July 17, 2005). "A virtuoso scarlet woman". Los Angeles Times.
  3. ^ Smith, Cecil, "The Consul. Musical Drama in Three Acts" (December 1950). Notes (2nd Ser.), 8 (1): pp. 125–126.
  4. ^ The Consul, Internet Broadway Database, accessed January 20, 2013
  5. ^ "A.J." (no full name given), Review of The Consul (1951). The Musical Times, 92 (1298): p. 166.
  6. ^ Benjamin, Arthur, "The Consul" (July 1951). Music & Letters, 32 (3): pp. 247–251.
  7. ISBN 0252026233
    .
  8. ^ Richard F. Shepherd (February 11, 1961). "REFUGEES TO MIX WITH COMMUTERS; Radio Free Europe to Beam Penn Station Broadcasts to Iron Curtain Countries". The New York Times.
  9. ^ "Music: Some Grand Opera a la Scala; Elena Suliotis Shines in Verdi's 'Nabucco' Guelfi and Ghiaurov in Top Form at Expo". The New York Times. October 11, 1967.
  10. ^ "Parma Opera Fans Hail Gloria Lane". The New York Times. January 7, 1963.
  11. ^ *Free Library of Philadelphia: Box: Phila. Lyric Opera Company: 782.1 P5326p Bal Two [1968 - 1975]
  12. ^ Robert C. Doty (July 8, 1968). "Menotti's 'Saint' Given At Spoleto; Public Shows Enthusiasm, but Critics Are Cool". The New York Times.

External links

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