B0110. (RISË STEVENS) John Pennino. Risë Stevens: A Life in Music, Accompanied by Stevens CD. Fort Worth, TX, Baskerville, 2006. 416pp. Bibliography; Videography; Exhaustive Discography, 1935-64; Exhaustive Chronology, 1923-67; Photos; DJ. - 9781880909751
"Risë Stevens was a force of nature on the stage. From her humble beginnings in New York, Stevens' talent, determination and heart helped her rise up to perform on the greatest stages all over the world. Whether she was on the radio, television, the silver screen, or stunning audiences at the Met, her vocal presence was unforgettable. In Carmen, Risë Stevens ascended to the level of legendary performers. Stevens was a star who will always be one of our 'great voices'. The author, John Pennino, has taken special care to document her amazing life, struggles and achievements. Included in this volume are 48 pages of photographs, a detailed chronology, discography, and a CD of rare recordings. According to Astrid Varnay,'Readers of Risë's biography can be assured that the account they are about to enjoy will be accurate, well-documented, perceptive and entertaining. She did not merely step into the part and give a carbon copy of hundreds of Carmens before her. She gave all parts of it her careful consideration'."
- Jo Mottola, Baskerville Publishers
“Risë Stevens is a fiery and juvenile Octavian in two live performances conducted by Bodanzky opposite Lotte Lehmann, Marita Farell and Emanuel List [OP1074], and in a performance under Fritz Reiner opposite Eleanor Steber, Erna Berger and Emanuel List (all at their best) [OP2054]. Both recordings are a ‘must’.
She sings a young and ardent Cherubino in Vittorio Gui’s production of LE NOZZE DI FIGARO which belongs to the most lively recordings of the work (ensemble singing!) [OP1310].”
- Andrea Shum-Binder, subito-cantabile
“By the time Risë Stevens was 18, she was appearing regularly, sometimes in leading roles, with the Little Theater Opera Company, a Brooklyn troupe. (The company was later known as the New York Opéra-Comique). In the audience one night was Anna Schön-René, a well-known voice teacher on the faculty of the Juilliard School. She began teaching Ms. Stevens privately, and arranged for her to attend Juilliard on a scholarship, starting in the fall of 1933. Ms. Stevens spent two and a half years at Juilliard, where she continued her studies with Schön-René. Though Ms. Stevens had been considered a contralto, Schön-René discerned her true vocal register and helped lighten her voice for mezzo roles. In 1935, financed by Schön-René, Ms. Stevens spent the summer at the Mozarteum in Salzburg, Austria, where her teachers included the distinguished soprano Marie Gutheil-Schöder.
Ms. Stevens returned to Europe, making her formal operatic début in Prague, as Mignon, in 1936. Joining the Met in 1938, she made her first appearance with the company on 22 Nov., singing Octavian out of town in Philadelphia. On 17 Dec., she performed for the first time on the Metropolitan Opera stage in New York, singing Mignon.
In Ms. Stevens’ 351 regular appearances at the Met, her professionalism was perhaps never more apparent than it was in one of her many productions of SAMSON ET DALILA. Playing the temptress Dalila, Ms. Stevens reclined on a chaise longue to sing the aria ‘Mon coeur s’ouvre à ta voix’, among the most famous seductions in opera. One night, overcome with theatrical passion, Samson flung himself onto her mid-aria. Samson did not know his own strength. Under his considerable force, the chaise longue, on casters, began to move. Ms. Stevens sailed offstage and into the wings, still singing."
- Margalit Fox, THE NEW YORK TIMES, 21 March, 2013