File:Bernice de Pasquali as Gilda in Rigoletto - Mishkin Studio, New York - The grand opera singers of to-day (1912).jpg

Identifier: grandoperasinger02lahe (find matches)
Title: The grand opera singers of to-day : an account of the leading operatic stars who have sung during recent years, together with a sketch of the chief operatic enterprises
Year: 1912 (1910s)
Authors: Lahee, Henry Charles, 1856-1953
Subjects: Singers Opera
Publisher: Boston : L. C. Page
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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in alt.She was trained in New York by Madame Ohr-strom-Eenard. Jane Noria was spoken of as one of theyoungest and most beautiful grand operasingers of the day. She is an American, bornin St. Louis, and she made her debut under herfamily name, Josephine Ludwig. She sangleading parts in an English opera company inAmerica before going to Europe. She eventu-ally secured an engagement with the ParisGrand Opera and succeeded well as Margue-rite, Juliet, Elsa, Elizabeth, etc. She joined theMetropolitan Company in 1909. Bernice de Pasquali is the daughter of Cap-tain William James of Hull, Mass., the townwhich is known as the political barometer of itsState. At the age of eight she began her studiesat the National Conservatory in New York, andat sixteen she was already employed as ateacher in that institution. At the same time,one Salvadore Mangione de Pasquali was alsoemployed there as a teacher, and he becameattentive to her. They were married in 1896.Since 1902 Madame de Pasquali has gone
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Copyright by Mishkin Studio, New York BERNICE DE PASQUALI AS GILDA IN RIGOLETTO The Metropolitan Opera-House 311 abroad three times, appearing in London, Ber-lin, and St. Petersburg, and finally in Paris.She also sang for two years in Milan andBorne, her most successful roles being thesoprano parts in Rigoletto, La Boheme, II Barbiere, Lucia, I Puritani, and Faust/ She made her American debut in January,1909, in La Traviata, but though her stagepresence was attractive and she made excellentuse of the few dramatic possibilities offered by•the work, she was nervous and did not do her-self justice. The audience was sympathetic. In March, 1912, she again appeared at theMetropolitan Opera-House, and this time metwith greater success. The following account ofher performance appeared in one of the jour-nals: Mme. de Pasqualis work commended itselfhighly to connoisseurs when she first appearedat this house a few years ago, and she has grownto be a far greater and more finished artist inthe

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