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Updated: June 27, 2025
Thus Madame Sembrich, in recent years, appears to have devoted very special study to nasal tones, whereby her voice, especially in the middle register, has gained greatly in warmth. To fix the pupil's attention on the nasal tone and the elasticity of the palate, he should often be given exercises with French words. It ought always to be employed.
She reappeared again in the same opera on Thursday evening, February 14, 1918, but on this occasion I did not hear her. Marcella Sembrich was born February 15, 1858. She made her début in Athens in I Puritani, June 8, 1877, and she made her New York début in Lucia October 24, 1883, at the beginning of the first season of the Metropolitan Opera House.
As for Mme. Melba, not to be set in the shade simply because Mme. Sembrich is almost as good a pianist as she is a singer, she supplements Arditi's waltz or Massenet's "Sevillana" with Tosti's "Mattinata," to which she also plays an exquisite accompaniment.
Sembrich has never been a failure and she is too old to begin now!" she is reported to have said to a friend. Emma Calvé's date of birth is recorded as 1864 in some of the musical dictionaries. This would make her 53 years old. Her singing of the Marseillaise a year ago at the Allies Bazaar at the Grand Central Palace proved to me that her retirement from the Opera was premature.
This pretty mazurka is charmingly sung and played by Marcella Sembrich in the singing lesson of "The Barber of Seville." There are several mazurkas in the list. Most of these songs are mediocre. Poland's Dirge is an exception, and so is Horsemen Before the Battle. "Was ein junges Madchen liebt" has a short introduction, in which the reminiscence hunter may find a true bit of "Meistersinger" color.
There is no doubt that the training in intervals which her practice on the violin gave her proved invaluable as an aid to her in singing. In later days several of the most celebrated singers have been also good violinists, as, for instance, Christine Nilsson and Marcella Sembrich.
"Hi there, Sembrich!" commanded a fresh young voice, the owner of which emphasized his salute with his horn, "are you one of the factory kids?" Nance rose to a sitting posture. "What's it to you?" she asked, instantly on the defensive. "I want to know if Mr. Clarke's come in. Have you seen him?" "No, indeed," said Nance, to whom Mr.
W. J. Henderson once called her the "Queen of Unsong." Well, perhaps she is, but she is certainly better able to cope artistically with the problems of the modern music drama than such Queens of Song as Marcella Sembrich and Adelina Patti would be. Perhaps Unsong is the name of the new art. I do not think I have ever been backward in expressing my appreciation of this artist.
Abbey's company included several of the most popular artists Nilsson, Sembrich, Scalchi, Campanini, Del Puente, etc., and his repertory embraced the usual popular operas, the conclusion seemed inevitable that the public wanted a complete change. Dr.
Marcella Sembrich, a coloratura soprano from Galicia, has a light, penetrating, marvelously sweet, and exceedingly flexible voice, with an almost perfect vocal mechanism. As one of her admirers has said, her tones are as clear as silver bells, and there is something buoyant and jubilant in her mode of song.
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