Performance style of the operetta embodied in operatic performance practice: an analysis of Elza Szamosi's 1908 recording of "Mi chiamano Mimi"

Szabó, Ferenc János (2014) Performance style of the operetta embodied in operatic performance practice: an analysis of Elza Szamosi's 1908 recording of "Mi chiamano Mimi". In: Performance Studies Network Third International Conference, 2014.07.17., University of Cambridge, UK.

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Abstract

At the beginning of the twentieth century, operettas were performed not only in the operetta theatres of Budapest but also in the Royal Hungarian Opera. Despite the fact that operetta required a quite different vocal and acting style than the opera, the performers of the operettas played at the Opera were members of the operatic ensemble. Several important Hungarian performers of the operas by Puccini were successful operetta singers before – and in part, after – their operatic careers. Their singing style was highly esteemed even by Puccini himself, for example, Elza Szamosi sang the title role of Madama Butterfly at the first performance in the USA at Puccini’s recommendation. In my presentation I will try to find answers to the question of where we can detect the impact of the performance style of the operetta on the operatic performance practice. This investigation could show not only a unique process in the performing art but also a unique feature of the Hungarian operatic performance practice.

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