Rosa Raisa
Rosa Raisa was a Polish-born and Italian-trained Russian and Jewish operatic dramatic soprano who became a naturalized American. She possessed a voice of remarkable power and was the creator of the title role of Puccini's last opera, Turandot, at La Scala, Milan.
Life and career
Early life and operatic beginnings
She was born as Raitza Burchstein, the daughter of Herschel and Frieda Leah Burchstein, in Białystok in 1893. Some of her family fled Russia when she was 14 due to the pogroms, emigrating to Italy. There Raitza met Dario Ascarelli, who recognized her talent and potential and sponsored her at the Naples Conservatory. Her teacher at the conservatory, the contralto Barbara Marchisio, had been one of the most prominent Italian singers of the mid-19th century.Marchisio brought Raisa in 1912 to Cleofonte Campanini, a leading operatic conductor and impresario. After the audition, he engaged the 20-year-old singer for the 1913 Parma Verdi Centenary, and also signed her for his Philadelphia-Chicago Opera. As she was under 21 years of age, these engagements were confirmed by handshake.
Debuts in Europe and America
Debuts and successes followed rapidly for Raisa. Her North American debut was on 14 November 1913 with Campanini's Chicago-Philadelphia Opera Company in Baltimore as Mimí in Puccini's La bohème with Giovanni Martinelli of the Metropolitan Opera as Rodolfo in his first season in North America.. Her first role in Philadelphia was Isabella of Aragon in the United States premiere of Alberto Franchetti's Cristoforo Colombo, followed by Verdi's Aida on 29 November 1913 at the Auditorium Theatre in Chicago. Edward Moore, then critic for the Chicago Tribune, stated that hers was "a voice the like of whose power had never been heard on that stage".She added several roles to her stage repertoire with the Chicago-Philadelphia company: Santuzza in Mascagni's Cavalleria rusticana, Donna Anna in Mozart's Don Giovanni, Klytemnestra in Vittorio Gnecchi's Cassandra, and Elsa in Lohengrin in English.
In the spring of 1914 she went to London where she debuted at Covent Garden in Aida with Enrico Caruso, participated as Helen of Troy in Boito's Mefistofele with Claudia Muzio, John McCormack and Adamo Didur, and substituted for Claire Dux as the Countess in Mozart's Le nozze di Figaro. The London company went to Paris where she sang her only Nedda in Leoncavallo's Pagliacci, and again sang Amelia in Verdi's Un ballo in maschera. In November 1914 publisher Tito Ricordi, who had personally auditioned Raisa in his studio, recommended her to the management of the Modena opera for a long run of Riccardo Zandonai's new opera, Francesca da Rimini, first performed in Turin only a few months earlier.
This led to an engagement at the Teatro Costanzi in Rome for more Francescas, Aidas and two novelties, Fedra, a prize-winning opera premiere by a young Romano Romani and Abdul by Brazilian Alberto Nepomuceno. Legendary Emma Carelli, an esteemed soprano in her own right who had become the director of the Rome Opera, introduced Raisa to her husband Walter Mocchi, who organized the glamorous opera seasons in Buenos Aires. As South America was in the Southern Hemisphere, there was a long-standing tradition of the finest Italian artists boarding ships after the end of the opera season in Italy and performing in the reverse seasons, the autumn and winter months in South America. The annals of operatic performances in South America oftentimes read as the "greatest" Italian opera to be seen, the Teatro Colón in Buenos Aires a defining theatre.
Mocchi took Raisa to South America in May 1915 for a long season, first in Buenos Aires and Rosario in Argentina, Montevideo in Uruguay and São Paulo, Rio de Janeiro and Porto Alegre in Brazil. In addition to her Francescas and Aidas she added Meyerbeer's L'Africana also starring Titta Ruffo, and sang the Marschallin in the South American premiere of Der Rosenkavalier by Richard Strauss in Italian with Gilda dalla Rizza as Octavian and the then unknown Amelita Galli-Curci as Sophie. All these operas were conducted by Gino Marinuzzi, who for many years championed Raisa.
La Scala and Puccini
Raisa made her La Scala debut as Francesca upon her return from South America. She performed many Francescas and Aidas as well as Lida in Verdi's rare early opera La battaglia di Legnano at the Scala. After her Francesca at La Scala, she encountered Giacomo Puccini, who visited her after the performance. He was very taken with her performance and potential, Raisa later told the press, that when she asked him which of his operas he thought best for her to tackle, Puccini said: "there is no opera I have written to which your voice is not suited; they are all the same for you." He told her he wanted her to create his next opera Whether he was more entranced with her youth and beauty or her vocal powers is unknown, but his plan for this assumption of Magda was advanced enough that in January 1917 she was announced in the world press for the premiere of this light opera in Monte Carlo. Raisa did not go to Monte Carlo as she was in the United States and was fearful of the submarine warfare at that stage of the Great War. At about the same time Puccini first encountered Raisa, Arturo Toscanini heard her and told his friends in the opera world that he considered Raisa a "female Tamagno", more appropriate for the heroic Turandot she would create nine years later.In 1916 she reprised her Francescas and Aidas at the Rome Opera and returned to South America for another exhausting season, adding Alfredo Catalani's Loreley, Valentina in Meyerbeer's Gli Ugonotti and Alice Ford in Verdi's Falstaff to her repertoire. Falstaff was to play a part in her career for it gave her an only chance to play the non-title role in an opera with baritone Giacomo Rimini, at that time her lover and after 1920 her husband. In August 1916 Campanini elaborated to the Chicago Tribune his plans for the upcoming 1916–17 season of the Chicago Opera Association, and clearly building up the return of Raisa to Chicago, quoting Caruso, "he considers Rosa Raisa the greatest dramatic soprano in the world." The only problem with Campanini's prediction was that Amelita Galli-Curci was to take Chicago, and the world by storm and she ultimately became the attraction of the company.
Chicago years
After her return to Chicago in 1916, Raisa, along with Mary Garden, Edith Mason, Claudia Muzio, and Galli-Curci, were the lead sopranos around which the repertoire of the company revolved.Essentially Raisa was the company's dramatic soprano, Garden the French-repertory soprano, Galli-Curci the light coloratura, Mason a lyric, and Muzio a spinto soprano. Of all these, Muzio was the only one to share some roles with Raisa. Raisa was the company's only Maliella in Wolf-Ferrari's I gioielli della Madonna, Gioconda, Amelia in Verdi's Un ballo in maschera, Rachel in Meyerbeer's La Juive, and Bellini's Norma. This is significant as Claudia Muzio had performed Norma with some success in Italy and South America, but staked no claim to the role over Raisa in Chicago.
Raisa, over the next 16 seasons, sang almost five hundred times in Chicago and on its transnational tours. She also sang two long seasons in Mexico returned to South America for three more seasons. She sang Norma in Buenos Aires, singing it 22 times there in three seasons. The title role of Lo schiavo by Antônio Carlos Gomes was added to her role list in Latin America. In Chicago she added Maddalena in Andrea Chénier, Zina in Raoul Gunsbourg's Le Vieil Aigle, Isabeau in the North American premiere of Mascagni's opera, Basiliola in Italo Montemezzi's La Nave, Puccini's Suor Angelica, Elisabeth in Wagner's Tannhäuser, Minnie in Puccini's La fanciulla del West, Puccini's Madama Butterfly, Toinette in Frank Harling's jazz opera A Light from St. Agnes, Rosalinde in an English-language Die Fledermaus by Johann Strauss, and Zandonai's Conchita.
World premieres: Turandot and Asteria
Raisa also famously added to her repertoire the role of Asteria in Boito's posthumous opera, Nerone, and the title role in Puccini's Turandot at Toscanini's La Scala, both world premieres in the most lavish Scala productions of that storied era. In Raisa's version of the Nerone rehearsals, Puccini managed to enter into the auditorium at an early rehearsal and Toscanini had a tantrum when he realized Puccini was in the house, as it was his firm policy that no one was to be present at the early rehearsals prior to the final dress rehearsal at which the Milanese opera establishment would be invited, no exceptions, not even for Puccini. It fell to Raisa to escort Puccini to the stage door; it was then that Puccini, who had heard some of the early scenes of the Boito opera which featured some stentorian high notes, told Raisa that he was writing Turandot, "It is a role I can just see you and hear you" and he wanted her to create it, telling her that only the final scene still had to be composed. In an interview with the Chicago Tribune the day after word came that Puccini died in Brussels, Raisa told the newspaper that she had playfully told Puccini that he "better be sure to put in plenty of high Cs".On 7 October 1924, less than two months before Puccini died, Angelo Scandiani, administrative director of La Scala, wired Herbert Johnson of the Chicago Opera that Puccini and Toscanini had cast three Chicago Opera artists, Rosa Raisa, Edith Mason, and Giacomo Rimini, for the lead roles in the upcoming Turandot. At that time it was thought that the premiere would take place in April 1925, but Puccini's death at the end of November 1924 postponed these plans; Franco Alfano was selected to compose the final scene from Puccini's sketches.
The premiere was on 25 April 1926 with Raisa as Turandot, Miguel Fleta as Calaf, and Maria Zamboni, a Scala lyric soprano as Liu, replacing Mason who was pregnant. It is at this performance that Toscanini stopped the performance at the place Puccini stopped composing, addressing the audience with essentially these words "here is where the Maestro died." John Gutman of the Metropolitan Opera in a 1962 interview with Raisa asked her if the artists knew that Toscanini would make this gesture. Raisa said that there were rumblings backstage that something like this might happen, but the artists were never told this officially; therefore, they were somewhat, but not totally, surprised. There is anecdotal information that Puccini on his deathbed had asked Toscanini to make such a gesture at the premiere, but this is not possible to confirm.