V1116. BEVERLY SILLS, w.Mackerras & Ceccato Cond.: Vorrei Spiegarvi, o Dio!, K.418 (Mozart); Arias from Entführung, Robert le Diable, Les Huguenots, Hamlet, Mignon & Louise; w.Ceccato Cond.: Amor; Breit’ über mein Haupt (both Strauss); w.Paula Robison (Flute) & Charles Wadsworth (Pf.): Le Toréador - Ah! Vous dirai-je, maman – Variations (Adam); Lo! here the gentle lark (Bishop). (England) Decca 467 906, recorded 1964-74. Gatefold Jacket. Long out-of-print, Final Sealed Copy! - 028946790625
“When asked what repertory [Sills] wanted for this retrospect[ive], her immediate answer was, ‘Be sure to include my Mozart/Strauss recording. I think it’s my favorite. The rest is up to you.”
- John Ardoin, Program Notes
"Beverly Sills, the acclaimed Brooklyn-born coloratura soprano who was more popular with the American public than any opera singer since Enrico Caruso.
Sills won the greatest reviews of her career [as Cleopatra in Handel’s GIULIO CESARE, 1966, New York City Opera]. Critics praised her adroit handling of the music’s florid fioratura, her perfect trills, her exquisite pianissimo singing and her rich sound….Suddenly she was an opera super-star. In 1968 she had another enormous success in the title role of Massenet’s MANON. When the production was revived the next year, the New Yorker critic Winthrop Sargent wrote: ‘If I were recommending the wonders of New York City to a tourist, I should place Beverly Sills as Manon at the top of the list…".
- Anthony Tommasini, THE NEW YORK TIMES, 4 July, 2007
“With her vibrant, cheery personality, soprano Beverly Sills always was a favorite of the general public, among the most effective spokespersons the arts have had in America. The child of immigrant parents, Sills (born Belle Miriam Silverman) discovered singing at an early age; at four she was on a morning radio program as ‘Bubbles’ Silverman, and by age seven she had sung in a movie. At 16 she joined a touring Gilbert and Sullivan company. Her most important vocal studies were with Estelle Liebling, who had been a favored soprano of John Philip Sousa. In 1947, she made her operatic début as Frasquita in CARMEN at Philadelphia. She toured North America during the 1951-1952 season with the Charles Wagner Opera Company, singing Violetta in LA TRAVIATA and Micaëla (CARMEN). After singing in Baltimore and San Francisco, she made her début at the New York City Opera, which was to become her artistic home for over two decades. She once again sang Violetta in that début, but soon expanded her repertoire to include a wide range of roles. Among the twentieth century operas in which she performed were Moore's THE BALLAD OF BABY DOE, Nono's INTOLLERANZA, and Weisgall's SIX CHARACTERS IN THREE ACTS. In 1966, she reached international fame with performances as Cleopatra in Handel's GIULIO CESARE. Her performances of Donizetti's ‘Tudor triology’ - ROBERTO DEVEREUX, MARIA STUARDA and ANNA BOLENA, solidified her stature on the international scene. She made her La Scala début as Pamira in Rossini's THE SIEGE OF CORINTH in an edition prepared by conductor Thomas Schippers. In 1975, she made her début at the Metropolitan Opera in the same role; she had already sung Donna Anna in a concert performance there in 1966. Her Vienna début in 1967 as the Queen of the Night in Mozart's DIE ZAUBERFLÖTE was one of her few performances of this role. She regularly sang many other important roles in both Italian opera and in works from other countries.
She retired from performing at the age of 50, with an appearance in Menotti's LA LOCA, and accepted the position of General Manager of the New York City Opera. In 1991, she joined the board of the Metropolitan Opera, and four years later became head of New York's Lincoln Center. Sills sang regularly in concerts and recitals containing the arias from her famous roles. Her concert performance of the first version of Richard Strauss' ARIADNE AUF NAXOS is justly famous, since Zerbinetta's aria in this version is much more difficult than in the revised version.
Her basic voice was a light, high soprano with excellent technique and breath control. She was best heard in roles where fragility of character was paramount, such as Marie in Donizetti's LA FILLE DU RÉGIMENT, Puccini's MANON LESCAUT, and Violetta. By sheer power of character she held her own in operas normally best served by larger voices as well.
Her autobiography was published in 1976 with the title ‘Bubbles: A Self-Portrait’ and was revised in 1981 as ‘Bubbles: An Encore’; another autobiography, ‘Beverly’, followed in 1987.”
- Richard LeSueur, allmusic.com