Her name is given in different ways: Zéllie de Lussan (note the accent mark), Zellie de Lussan (no accent), Zélie de Lussan (only one "l"--again, notice the accent mark), Zelie de Lussan, more.
She made some of the first Red Seal discs.
Zélie de Lussan, an American opera singer of French descent, made her only Victor recordings (five titles) on May 17, 1903.
These were issued as Red Seal discs when the series was new for the Victor Talking Machine Company.
De Lussan's recording session was the second domestic Red Seal session in Victor's history.
The first Red Seal session was for the Australian contralto Ada Crossley, who made her only Victor recordings on April 30, 1903.
Ada Crossley was first, and de Lussan was second.
In 1907, Zelie married the pianist Angelo Fronani.
After retiring from the stage she made her home in London, where she continued to teach singing for many years.
She died on December 18, 1949, at age 87 in London.
"La Paloma" was composed around 1863 by Spanish composer Sebastián Yradier.
The title means "The Dove"
P. Geoffrey Hurst--that is, P. G. Hurst--wrote The Operatic Age of Jean de Reszke: Forty Years of Opera 1874 - 1914.
Here is what he wrote about Zélie de Lussan:
I first met Zelie de Lussan some years after her retirement
at a small party at the Langham Hotel,
and until that moment I had never seen her except many
years before on the stage, where she made one of the
greatest of reputations in the role of Carmen, a role
in which few have succeeded and many have foundered.
So great was Zelie's success in this that
the great number of her other roles is liable to be
forgotten, in particular the Command Performances
and her appearances at State Concerts.
The Command to Windsor Castle when the complete Carmen
was given before Queen Victoria and the Court was a
very notable triumph for Zelie, and followed a
special performance of Donizetti's The Daughter of the
Regiment in English at Balmoral by the Carl Rosa
Company. This took place on November 8, 1892,
about one month earlier than the Carmen at Windsor.
The third opera Command was again at Balmoral,
when on November 13, 1893, the Carl Rosa Company
gave Auber's Fra Diavolo, and many complimentary
messages to the principal artist came from the Royal
Secretary and other royal distinguished personages.
Five times Zelie de Lussan was summoned to take
part in the formal State Concerts at Buckingham
Palace, although able to be present at only four of
them. On such occasions it was customary for the
Queen to be represented by the Prince of Wales, as
her Majesty never attended performances in the
metropolis.
But to return to the party. Zelie was late, and my
first impression as she wove her way between the
tables, making eloquent excuses some time before she
was within earshot, left me in no doubt that this was
Zelie de Lussan.
She made some of the first Red Seal discs.
Zélie de Lussan, an American opera singer of French descent, made her only Victor recordings (five titles) on May 17, 1903.
These were issued as Red Seal discs when the series was new for the Victor Talking Machine Company.
De Lussan's recording session was the second domestic Red Seal session in Victor's history.
The first Red Seal session was for the Australian contralto Ada Crossley, who made her only Victor recordings on April 30, 1903.
Ada Crossley was first, and de Lussan was second.
In 1907, Zelie married the pianist Angelo Fronani.
After retiring from the stage she made her home in London, where she continued to teach singing for many years.
She died on December 18, 1949, at age 87 in London.
"La Paloma" was composed around 1863 by Spanish composer Sebastián Yradier.
The title means "The Dove"
P. Geoffrey Hurst--that is, P. G. Hurst--wrote The Operatic Age of Jean de Reszke: Forty Years of Opera 1874 - 1914.
Here is what he wrote about Zélie de Lussan:
I first met Zelie de Lussan some years after her retirement
at a small party at the Langham Hotel,
and until that moment I had never seen her except many
years before on the stage, where she made one of the
greatest of reputations in the role of Carmen, a role
in which few have succeeded and many have foundered.
So great was Zelie's success in this that
the great number of her other roles is liable to be
forgotten, in particular the Command Performances
and her appearances at State Concerts.
The Command to Windsor Castle when the complete Carmen
was given before Queen Victoria and the Court was a
very notable triumph for Zelie, and followed a
special performance of Donizetti's The Daughter of the
Regiment in English at Balmoral by the Carl Rosa
Company. This took place on November 8, 1892,
about one month earlier than the Carmen at Windsor.
The third opera Command was again at Balmoral,
when on November 13, 1893, the Carl Rosa Company
gave Auber's Fra Diavolo, and many complimentary
messages to the principal artist came from the Royal
Secretary and other royal distinguished personages.
Five times Zelie de Lussan was summoned to take
part in the formal State Concerts at Buckingham
Palace, although able to be present at only four of
them. On such occasions it was customary for the
Queen to be represented by the Prince of Wales, as
her Majesty never attended performances in the
metropolis.
But to return to the party. Zelie was late, and my
first impression as she wove her way between the
tables, making eloquent excuses some time before she
was within earshot, left me in no doubt that this was
Zelie de Lussan.
Category
🎵
Música