Beverly Sills
Beverly Sills
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Full Name and Common Aliases
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Beverly Sills was an American opera singer, known professionally as Beverly Sills.
Birth and Death Dates
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Born: May 25, 1929
Died: July 2, 2007 (aged 78)
Nationality and Profession(s)
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Nationality: American
Professions: Opera Singer, Conductor
Early Life and Background
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Beverly Sills was born in Brooklyn, New York City, to a family of Russian Jewish immigrants. Her father was a tailor, and her mother worked as a seamstress. She began singing at the age of 15 when she won a local talent contest with her rendition of "When I Grow Too Old to Dream." This early success sparked her passion for music, leading her to pursue a career in opera.
Sills' formal training began at the prestigious New York City's High School of Music & Art (now known as LaGuardia Arts). She continued her studies at the Mannes College of Music and later attended the Curtis Institute of Music in Philadelphia. Her early singing career saw her perform in various regional productions, eventually leading to a contract with the Metropolitan Opera.
Major Accomplishments
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Throughout her illustrious career, Beverly Sills achieved numerous milestones. Some of her most notable accomplishments include:
First American Woman to Perform at La Scala: In 1975, she made history by becoming the first American woman to perform at Milan's renowned opera house.
Recipient of the Presidential Medal of Freedom: In 1990, President George H.W. Bush awarded Sills this prestigious honor for her contributions to the arts.
Conductor and Artistic Director: She served as the artistic director of the Opera Company of Boston from 1979 to 1980 and was a frequent guest conductor at various opera companies.Notable Works or Actions
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Some notable works and actions associated with Beverly Sills include:
Recording Contract with EMI Records: In 1968, she signed a recording contract with EMI Records, releasing several albums that showcased her remarkable vocal range.
* Collaborations with Renowned Conductors: Throughout her career, Sills worked with notable conductors such as George Szell, Zubin Mehta, and James Levine.
Impact and Legacy
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Beverly Sills' impact on the world of opera is undeniable. Her trailblazing performances paved the way for future generations of American opera singers. She remains one of the most celebrated sopranos of all time, known for her powerful voice and captivating stage presence.
Sills also made a lasting impression through her advocacy work in promoting arts education and accessibility. In 1980, she founded the Young Concert Artists Foundation to provide opportunities for young musicians. Her dedication to the arts has left a lasting legacy that continues to inspire aspiring artists today.
Why They Are Widely Quoted or Remembered
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Beverly Sills is widely quoted and remembered due to her remarkable talent, trailblazing spirit, and enduring impact on the world of opera. Her unwavering dedication to the arts has inspired countless individuals, cementing her status as one of the most beloved figures in classical music history.
Her passing in 2007 was met with an outpouring of tributes from around the globe, a testament to the profound influence she had on generations of artists and music lovers alike. As a shining example of perseverance, passion, and artistic excellence, Beverly Sills continues to be celebrated and remembered as one of the most iconic figures in opera history.
Quotes by Beverly Sills
I frequently say that I never share blame, I never share credit, and I never share desserts!
Opera became popular in Texas the same way it did in a lot of previously isolated regions of the nation. It started with money. In the case of Texas, it was oil money, and it made a lot of people very rich, very fast.
When I was general director of City Opera, we were pioneers in the practice of projecting supertitles so that American audiences finally could know what all the singing was about.
I began by listening to my mother's collection of Amelita Galli-Curci and Lily Pons records, and then was taken (at age eight) to hear Pons at a Met performance of Lakme. It was at that moment that I decided to become an opera star. Not just an opera singer, but an opera star!
I was always the first person in the theater all the time. If it was an eight-o'clock curtain, I was here at five-thirty, and it wasn't that I needed to vocalize, because I was all warmed up. I couldn't wait for it to begin.
You can't imitate; all our faces are constructed differently... and the vocal cords; otherwise, we'd all sound alike. I don't think anybody should ever teach by imitating.
In a sense, I revolutionized the operatic scene because I proved you can make a great international career without the Metropolitan. I'm the only singer who's done that, and I'm proud of that, so it's all worked out for the best.
At the beginning, I thought, 'Oh, I can't criticize a singer who's doing a role that I adored... even a role I didn't do.' And then I thought, 'The heck with that! Thirty years of experience... ask the girl who did it!' And I feel that if they're not willing to take what I have to say, that's fine! But I'm going to say it.
I never breathe through the nose, not when I'm singing. In the opera, you don't have so much time. That's fine at the beginning of an opera or after somebody else has been doing an aria, and you want to get a good fresh start.