Ezio Pinza Operatic Success When did he start performing in operas? Pinza's Metropolitan Opera debut occurred in November 1926 in Spontini's La vestale, Was he immediately successful? I don't know. Has he worked with anyone notable? in Spontini's La vestale, with famed American soprano Rosa Ponselle in the title role. What other operas has he been a success in? In 1929, he sang Don Giovanni, a role with which he was subsequently to become closely identified. He subsequently added the Mozart roles Are there any other interesting aspects about this article? Apart from the Met, Pinza appeared at the Royal Opera House, What operas did he perform at the Royal Opera House? I don't know.
When did he stop performing?
When did Ezio Pinza stop performing?
Pinza's Metropolitan Opera debut occurred in November 1926 in Spontini's La vestale, with famed American soprano Rosa Ponselle in the title role. In 1929, he sang Don Giovanni, a role with which he was subsequently to become closely identified. He subsequently added the Mozart roles Figaro (in 1940) and Sarastro (in 1942) to his repertoire, a vast number of Italian operatic roles of Bellini, Donizetti, and Verdi, and Mussorgsky's Boris Godunov (sung in Italian). Apart from the Met, Pinza appeared at the Royal Opera House, Covent Garden, in 1930-1939, and was invited to sing at the Salzburg Festival in 1934-1937 by the celebrated German conductor Bruno Walter. Pinza sang once again under the baton of Toscanini in 1935, this time with the New York Philharmonic Orchestra, as the bass soloist in performances of Beethoven's Missa Solemnis. One of these performances was broadcast by CBS and preserved on transcription discs; this recording has been issued on LPs and CDs. He also sang in Toscanini's February 6, 1938, NBC Symphony Orchestra's broadcast performance of Beethoven's Ninth Symphony. These performances both took place in Carnegie Hall. In March 1942 he was arrested and detained 3 months on Ellis Island with hundreds of other Italian-Americans who were suspected of supporting the Axis. In October 1947 he performed the role of Mephistopheles in Guonod's Faust opposite his daughter, soprano Claudia Pinza Bozzolla, as Marguerite at the San Francisco Opera. Pinza retired from the Metropolitan Opera in 1948. He had sung opposite many celebrated singers at the Met during his heyday. They included, among others, such international stars as Amelita Galli-Curci, Rosa Ponselle, Elisabeth Rethberg, Giovanni Martinelli, Beniamino Gigli, Lawrence Tibbett, Giuseppe De Luca, and Salvatore Baccaloni. The Metropolitan Opera honored Pinza by dedicating all the water fountains at the new Metropolitan Opera House (Lincoln Center) to him. Before his retirement from opera, his repertoire consisted of some 95 classical roles. CANNOTANSWER
Pinza retired from the Metropolitan Opera in 1948.
Ezio Fortunato Pinza (May 18, 1892May 9, 1957) was an Italian opera singer. Pinza possessed a rich, smooth and sonorous voice, with a flexibility unusual for a bass. He spent 22 seasons at New York's Metropolitan Opera, appearing in more than 750 performances of 50 operas. At the San Francisco Opera, Pinza sang 26 roles during 20 seasons from 1927 to 1948. Pinza also sang to great acclaim at La Scala, Milan and at the Royal Opera House, Covent Garden, London.

After retiring from the Met in 1948, Pinza enjoyed a fresh career on Broadway in musical theatre, most notably in South Pacific, in which he created the role of Emile de Becque. He also appeared in several Hollywood films.

Biography

Early years

Ezio Fortunato Pinza was born in modest circumstances in Rome in 1892 and grew up on Italy's east coast, in the ancient city of Ravenna.  He studied singing at Bologna's Conservatorio Giovanni Battista Martini, making his operatic debut at age 22 in 1914, as Oroveso in Norma at Cremona.

As a young man, Pinza was a devotee of bicycle racing. He also undertook four years of military service during World War I, prior to resuming his operatic career in Rome in 1919. He was then invited to sing at Italy's foremost opera house, La Scala, Milan, making his début there in February 1922.  At La Scala, under the direction of the brilliant and exacting principal conductor Arturo Toscanini, Pinza's career blossomed during the course of the next few seasons. He became a popular favourite of critics and audiences due to the high quality of his singing and the attractiveness of his stage presence.

Although he attended the Bologna Conservatory, Pinza never learned to read music; he learned all his music by ear. He would listen to his part played on the piano and then sing it accurately. Pinza succeeded the great Italian basses Francesco Navarini and Vittorio Arimondi, both of whom enjoyed international opera careers during the late 19th and early 20th centuries, and Nazzareno De Angelis, who arrived on the scene in the early 1900s. Another of his eminent predecessors in the Italian operatic repertoire was the Spaniard José Mardones, who had appeared regularly with the Boston and Metropolitan opera companies between 1909 and 1926. Tancredi Pasero, whose vibrant voice sounded remarkably similar to Pinza's, was his chief contemporary rival among Italian-born basses. Pasero, however, lacked Pinza's handsome looks and magnetic personality.

Operatic success 
Pinza's Metropolitan Opera debut occurred in November 1926 in Spontini's La vestale, with famed American soprano Rosa Ponselle in the title role. In 1929, he sang Don Giovanni, a role with which he was subsequently to become closely identified. He subsequently added the Mozart roles Figaro (in 1940) and Sarastro (in 1942) to his repertoire, a vast number of Italian operatic roles of Bellini, Donizetti, and Verdi, and Mussorgsky's Boris Godunov (sung in Italian). Apart from the Met, Pinza appeared at the Royal Opera House, Covent Garden, in 1930–1939, and was invited to sing at the Salzburg Festival in 1934-1937 by the celebrated German conductor Bruno Walter.

Pinza sang once again under the baton of Toscanini in 1935, this time with the New York Philharmonic Orchestra, as the bass soloist in performances of Beethoven's Missa Solemnis.  One of these performances was broadcast by CBS and preserved on transcription discs; this recording has been issued on LP and CD.  He also sang in Toscanini's February 6, 1938, NBC Symphony Orchestra's broadcast performance of Beethoven's Ninth Symphony.  These performances both took place in Carnegie Hall. In October 1947, he performed the role of Méphistophélès in Gounod's Faust opposite his daughter, soprano Claudia Pinza Bozzolla, as Marguerite at the San Francisco Opera.

Pinza resigned from the Metropolitan Opera in 1948. He had sung opposite many celebrated singers at the Met during his heyday, including, among others, such international stars as Amelita Galli-Curci, Rosa Ponselle, Elisabeth Rethberg, Maria Jeritza, Giovanni Martinelli, Beniamino Gigli, Lawrence Tibbett, and Giuseppe De Luca. The Metropolitan Opera honored Pinza by dedicating all the water fountains at the new Metropolitan Opera House (Lincoln Center) to him. Before his retirement from opera, his repertoire consisted of around 95 roles.

Arrest and detention by FBI

In March 1942, the FBI arrested Pinza at his New York home and unjustly detained him for nearly three months on Ellis Island with hundreds of other Italian-Americans who were suspected of supporting the Axis. Norman Cordon, a fellow basso at the Metropolitan Opera who was considered one of Pinza's rivals, boasted that he had informed the FBI that Pinza was a fascist sympathizer. At the time of his arrest and detention, Pinza was just four months away from obtaining US citizenship. The incident was extremely traumatic for Pinza, and he suffered from periods of severe depression for years afterward. Even so, shortly after Pinza's release, the two bassos performed together in an ongoing Met production of Don Giovanni, with Pinza in the title role and Cordon as the Commendatore.

Later years and death
After his Met farewell, Pinza embarked on a second career in Broadway musicals. In April 1949, he appeared in Rodgers and Hammerstein's  South Pacific, originating the role of French planter Emile de Becque. His highly expressive performance of the hit song "Some Enchanted Evening" made Pinza a matinée idol and a national celebrity. In 1950, he received a Tony Award for best lead actor in a musical.

Pinza became a member of Westchester Country Club in Rye, New York, and lived in a house adjacent to the fifth golf hole of the South Course. In 1953, he had his own short-lived NBC situation comedy on TV, Bonino, in which he appeared as a recently widowed Italian-American opera singer trying to rear eight children. Two of the children were portrayed by Van Dyke Parks and Chet Allen, who had also been with the American Boychoir. Mary Wickes appeared on Bonino as the bossy housekeeper. In 1954, he appeared in the Broadway production of Fanny opposite Florence Henderson. On March 28, 1954, Pinza and Henderson were featured in the TV special General Foods 25th Anniversary Show: A Salute to Rodgers and Hammerstein which was broadcast on all four American TV networks of the time.

Pinza's health began to decline during the mid 1950s; a series of heart attacks precipitated a stroke on May 1, 1957. Pinza died in his sleep of a heart attack on May 9, at the age of 64 in Stamford, Connecticut. His funeral was held at the Cathedral of St. John the Divine in New York City. He is interred at Putnam Cemetery, in Greenwich, Connecticut. Shortly before his death, Pinza completed his memoirs, which were published in 1958 by Rinehart & Company. Photos taken during his career, as well as images of his family, were included in the book.

Movies and television
Pinza appeared in several films, beginning with 1947's Carnegie Hall, which featured a number of famous classical singers, musicians, conductors, and the New York Philharmonic Orchestra. He received a film contract from Metro-Goldwyn-Mayer and appeared in Mr. Imperium with Lana Turner and Strictly Dishonorable, both released in 1951; MGM cancelled his contract after both films turned out to be major box office failures.    His final big-screen appearance was in the Twentieth Century-Fox film Tonight We Sing (1953), playing the famous Russian bass Feodor Chaliapin in a movie biography of impresario Sol Hurok. In this film, Pinza sings a portion of Mussorgsky's Boris Godunov in the original Russian. A recording of Pinza singing  Anema e core is heard in the 1980 film The Blues Brothers playing on a phonograph in the scene where Jake and Elwood visit landlady Mrs Tarantino.

Pinza hosted his own television musical program during 1951, which for a time alternated with The RCA Victor Show Starring Dennis Day, later named The Dennis Day Show. In 1953, he starred in the NBC sitcom Bonino. Pinza continued to make appearances on American television until 1955.

Recordings
Pinza recorded extensively for HMV/The Gramophone Company and the Victor Talking Machine Company/RCA Victor during his prime in the 1920s and 1930s. These 78-rpm discs consist largely of individual operatic arias and some ensemble pieces (plus a complete Verdi Requiem conducted by Carlo Sabajno in 1927, and another with Tullio Serafin in 1939). They are prized by music critics and general listeners alike for the exceptional beauty of voice and the fine musicianship that Pinza displays on them. Most of them were reissued on LP, and today they are  available on many CD reissues.

Pinza was still making operatic recordings in the 1950s, although his voice was now in obvious decline. In the mid-1940s, he had recorded for Columbia Records.  He occasionally recorded popular songs, and was featured on Columbia's best-selling original cast recording of South Pacific with Mary Martin. Pinza returned to RCA Victor in the early 1950s and recorded several operatic arias and popular songs. Pinza can also be heard on the RCA Victor original cast album of Fanny,  recorded in 1954.

References

 The Grand Tradition by John Steane, Duckworth, London, 1974.
 The Concise Oxford Dictionary of Opera (second edition), edited by Harold Rosenthal and John Warrack, Oxford University Press, London, 1980.
 Liner notes from Ezio Pinza: Bass Arias, Pearl CD, GEM 0061, issued in 1999; and from Ezio Pinza: Opera Arias, EMI CD, CDH 7 64253 2, issued in 1992.

External links

 
 
 
YouTube (audio only): Pinza singing as Don Giovanni in 1942, with the Commendatore sung by Norman Cordon, who had falsely reported Pinza to the FBI as a Fascist sympathizer.

Male actors from Rome
Donaldson Award winners
Operatic basses
Italian male musical theatre actors
Italian male television actors
Tony Award winners
RCA Victor artists
1892 births
1957 deaths
Italian military personnel of World War I
Italian emigrants to the United States
20th-century Italian male opera singers
20th-century American male opera singers
Moonswept is the final studio album by the folk trio The Roches, released in 2007. The trio did not release any further studio albums before Maggie Roche's death in January 2017.

Track listing

 "Us Little Kids"
 "Only You Know How"
 "No Shoes"
 "Moonswept"
 "Family of Bones"
 "That Naughty Lady of Shady Lane"
 "Long Before"
 "Piggy Mask"
 "Huh"
 "Stop Performing"
 "Gung Ho"
 "Instead I Choose"
 "September 11th at the Shambhala Center"
 "Jesus Shaves"

References

2007 albums
The Roches albums Arthur Tolcher (9 April 1922 – 9 March 1987), born Arthur John Stone-Tolcher in Bloxwich, Staffordshire, England, was a virtuoso British harmonica player and child star who started his career in the British music halls in the 1930s.

Career
He appeared at the London Palladium at 15 and was an early friend and colleague of Morecambe and Wise. Tolcher was managed by his mother Beatrice ("Beef"), who knew Eric Morecambe's mother well. When the double act became successful, Eric and Ernie did not forget their friend and he appeared for many years in their TV shows. He would come on stage in evening wear and start to play his harmonica (always "España cañí/Spanish Gypsy Dance"), only to be stopped by Eric and Ernie saying, "Not now, Arthur!" He also played in some longer sketches on their show.

In a BBC Radio 4 programme in August 2007, Tolcher's life story was narrated by Stewart Henderson. Although he had applied to work for the BBC many times in the 1950s, he was dismissed as "amateurish". This did not stop him from performing many backing tracks on hit records for singers such as Frank Ifield.

Personal life
Tolcher often worked away from home, but his home was in Bloxwich, in the West Midlands, for many years.

Tolcher, who was a lifelong and devout Roman Catholic, died in March 1987 aged 64.

References 

1922 births
1987 deaths
British harmonica players
Morecambe and Wise
People from Bloxwich
20th-century British musicians
20th-century British comedians