Vera Curtis

Vera C. Curtis (1879

After retiring from the opera stage, Curtis continued to sing in a series of lecture-recitals which she presented in cities throughout the United States in the 1930s and 1940s. In 1930 she began working as a voice teacher out of studios in Harlem and Port Chester, New York, and continued to work as a teacher of singing for over three decades. She ceased teaching in May 1961 just nine months before her death in February 1962 at the age of 82.

Early life and education

Vera Cameron Curtis was born in

While a student in New York, Curtis made her New York concert debut at a Young People's Concert on December 21, 1907, as the soprano soloist in Mendelssohn's A Midsummer Night's Dream with the New York Philharmonic (NYP) being led by conductor Walter Damrosch.^[15] She performed under Damrosch again in 1909; this time with the New York Symphony Orchestra at Carnegie Hall as the Widow in Mendelssohn's Elijah,^[17] She also performed in a second Young People's Concert with the NYP in 1909 under the baton of Frank Damrosch (Walter's brother); performing the Mother, the Sandman, and the Dewman in a concert version of Humperdinck's Hansel and Gretel.^[18]

Curtis made her

Curtis sang with the Met through 1920 in a variety of roles; although she achieved her greatest successes in the stage works of Richard Wagner.^[3] Her Wagnerian repertoire included the parts of Freia in Das Rheingold, Gutrune in Götterdämmerung, both the Shepherd Boy and Venus in Tannhäuser, and both Sieglinde and Ortlinde in Die Walküre.^[3] Her other repertoire at the Met included Desdemona in Verdi's Otello,^[3] Euridice in Gluck's Orfeo ed Euridice,^[3] Giulietta in Offenbach's The Tales of Hoffmann,^[7] Marguerite in Gounod's Faust,^[3] Marianne in Richard Strauss's Der Rosenkavalier,^[3] Mimì in Puccini's La bohème,^[7] Nedda in Leoncavallo's Pagliacci,^[7] Santuzza in Mascagni's Cavalleria rusticana,^[3] and the tile role in Aida.^[7] In 1913 she created the role of Lise in the world premiere of Walter Damrosch's Cyrano at the Met;^[24] and two years later she appeared with the company as Queen Carolina in the world premiere of Giordano's Madame Sans-Gêne.^[25]

After leaving the Met, Curtis continued to perform. In 1921 she performed the role of Marguerite in a concert version of Faust at Jordan Hall in Boston.^[26] In 1922 she toured in concerts with the Cleveland Orchestra.^[25] She was a leading soprano with the Philadelphia Grand Opera Company; notably portraying Aida for that company's inaugural performance at the Academy of Music on October 28, 1926.^[27] She was heard again with that company as Verdi's Desdemona in 1927; a performance broadcast live on WINS (AM) (then WGBS).^[28] In 1929 she performed the role of Venus in Tannhäuser with the Cincinnati Opera; a production which toured to other American cities.^[29]

Later life

In the 1930s Curtis ceased performing in operas and on the larger concert stage; although she remained an active performer as a recitalist. During the 1930s and 1940s she toured widely throughout the United States giving a series of lecture-recitals in which she would lecture on specific operas or composers in conjunction with performing arias and excerpts from the works being discussed.^{[30][31][32][33][34][35][36]} In 1930 she began to work as a voice teacher out of two studios; one at 1 East 124th St. in Harlem and the other at the parish house of St. Peter's Episcopal Church in Port Chester, New York.^[37] She continued to work as a voice teacher until May 1961; just nine months prior to her death.^[3] She died in Fairfield, Connecticut, on February 6, 1962, at the age of 82.^[3]

References