Rosa Ponselle (born Jan. 22, 1897, Meriden, Conn., U.S.—died May 25, 1981, Baltimore, Md.) was an American coloratura soprano of great breadth of range and expressive ability, who is probably best known for her performance in the title role of Vincenzo Bellini’s Norma.
Ponzillo began singing at an early age in the cafés and motion-picture theatres of Meriden, Connecticut, and nearby New Haven. Later she and her sister Carmela played in vaudeville in Pittsburgh, Pennsylvania, as the Ponzillo Sisters. Much of her early career is obscure, but in 1918 she came to the attention of Enrico Caruso, who was deeply impressed by her voice. At his urging she was engaged by the Metropolitan Opera in New York City, and in November 1918, as Rosa Ponselle, she made her operatic debut opposite Caruso, taking on the challenging role of Leonora in Giuseppe Verdi’s La forza del destino. She studied for the role with Romano Romani, who remained her principal vocal coach and teacher for the rest of her career.
Most of Ponselle’s career was spent at the Metropolitan, although she sang at Covent Garden in London (1929–30) and also at the Maggio Musicale in Florence (1933). During her 19 seasons at the Met, she sang a total of 22 dramatic and dramatic-coloratura roles. Among her greatest successes were those in Carl Maria von Weber’s Oberon, the Met’s first performance of that work, in December 1918; the world premiere of Joseph Carl Breil’s The Legend, in March 1919; Norma, which she sang in 1927 in the Met’s first production in 36 years; Amilcare Ponchielli’s La gioconda; and Carmen. Her rich, supple soprano, especially strong in its lower notes but remarkably seamless throughout its wide range, and her superb technique (she was particularly noted for her trill) enabled her to fill dramatic and exotic roles with exceptional power. (Click here for an of Rosa Ponselle’s singing.)
The first American-born, American-trained singer to star at the Met, she was remembered by some critics as the greatest voice of her day. Ponselle retired after the 1936–37 season and devoted herself to making recordings and to teaching. She also served as artistic director of the Baltimore Civic Opera Company in Maryland for a time.