Description

ALDA NONI (TRIESTE, APRIL 30, 1916 – CYPRUS, MAY 19, 2011)

 

 

 

 

She initially studied piano at the Trieste Conservatory before switching to vocal training. Her operatic debut came in 1937 at the Ljubljana Opera as Rosina in Rossini’s The Barber of Seville, which launched her career across the major stages of Zagreb and Belgrade.

In 1942, she joined the Vienna State Opera, where she was a member until 1946, primarily excelling in operas by Mozart, Rossini, and Donizetti. A highlight of her Vienna tenure was when Richard Strauss personally selected her to perform the role of Zerbinetta in Ariadne auf Naxos for his 80th birthday gala in 1944. Her portrayal of the role, with its demanding vocal acrobatics, showcased her exceptional technique and artistry.

After World War II, her career expanded, and she found success in Italy, particularly at La Scala in Milan, where her debut role was Musetta in Puccini’s La Bohème in 1949. She gained significant acclaim in roles like Carolina in Cimarosa’s Il matrimonio segreto and Zerlina in Don Giovanni. She also performed at other prominent Italian houses in Rome, Venice, and Turin, and made appearances at the Florence Festival.

Her talents were internationally recognized, and she performed in London at the Cambridge Theatre in 1946, where she portrayed Norina in Donizetti’s Don Pasquale, often alongside Mariano Stabile. She continued to grace major stages such as the Teatro Colón in Buenos Aires (1947), the Berlin State Opera, the Opéra-Comique in Paris, Teatro San Carlos in Lisbon, and opera houses in Madrid and Rio de Janeiro. Additionally, she appeared at the Edinburgh Festival in 1949 and was a regular at the Glyndebourne Festival from 1949 to 1954, performing roles like Despina (Così fan tutte), Blondchen (The Abduction from the Seraglio), Oscar (Un ballo in maschera), and Clorinda (La Cenerentola).

Her career continued to thrive into the 1950s, with a notable performance in Oslo in 1958 as Adina in L’elisir d’amore. Her daughter, Tiziana Sojat, followed in her footsteps, becoming a successful soprano in her own right.

This soprano was admired for her technically brilliant voice, particularly in coloratura soubrette roles like Blondchen, Despina, Nannetta (Falstaff), and Oscar (Un ballo in maschera). Her charm and vivacity on stage made her an audience favorite, not only for her singing but also for her engaging stage presence.

 

 

TRACKLIST

 

 

1. Ballo in maschera (Verdi) Saper vorreste HMV DA1954 OEA15021
2. Ballo in maschera (Verdi) Volta la terrea HMV DA1954 OEA15020
3. Cosi fan tutte (Mozart) In uomini, in soldati HMV DA1986 OEA 15018
4. Cosi fan tutte (Mozart) Una donna a quindici anni HMV DA1986 OEA 15019
5. Der Barbier von Sevilla (Rossini) Cavatine der Rosoni Frag’ ich mein beklom’nes Herz; 1. Teil Grammophon 68108 A 2073 12 GE 9
6. Der Barbier von Sevilla (Rossini) Cavatine der Rosoni Frag’ ich mein beklom’nes Herz; 2. Teil Grammophon 68108 B 2074 12 GE 9
7. Don Pasquale (Donizetti) So anch’io la virtu’ HMV DB11346
8. Il Matrimonio Segreto (Cimarosa) Perdonate, signor mio Parlophone 2-71510 R 30050
9. Il Signor Bruschetta (Rossini) Ah donate il caro sposo Parlophone 2-71511 R 30050
10. La Sonnambula (Bellini) Care Compagne HMV DB11341 2BA7586
11. La Sonnambula (Bellini) Sovra il sen HMV DB11341 2BA7587
12. L’elisir d’amore (Donizetti) Quanto amore! with Sesto Bruscantini Cetra C-1235 XTV 17274
13. Originalaufnahme aus dem Wien-Film (Profes) 1. Teil Ja, der RhythmusKauf’ die einen bunten Luftballon… 2. Teil Wie schön wär’ heut’ für mich die Welt) with Bohème Quartett Polydor 57300 A, 57300 B
14. Pescatori di Perle (Bizet) Siccome un di HMV DB11346 2BA7570
15. Rigoletto (Verdi) Caro nome Polydor 68303 B
16. Traviata (Verdi) Folie, folie… Sempre libera Polydor 68303 A