QMF Featured Artist
MARIA PELLEGRINI
Interview with Soprano, MARIA PELLEGRINI 20 August 2020
For a few enchanting summer evenings, I had the distinct pleasure to speak in lucid detail with a truly engaging national treasure of Canada, our very own legendary soprano, Maria Pellegrini. With modesty, coupled with an unpretentious disposition, Maria delves unabashedly into the chapters of her life as an artist who was heralded for her illuminating abilities to express what some may say is the inexpressible. The human heart, with its vast internal palate of light and dark emotions, was revealed through the absolute genius of her voice. A cultivated vocal tone that invariably transported Maria to the top of creation in leading roles at opera houses like Covent Garden. A golden voice, now in her golden years, she is as fresh as the lotus blossoms that graced the stage during her many appearances as Puccini's tragic heroine, Madame Butterfly. She has been referred to by Canadian conductor, Boris Brott, as the 'Callas of Canada', and admired both for her vocal talents coupled with human qualities that have made her such an admired artist and person.
Spontaneously, sitting in her comfortable dwellings in Ottawa, she allows her voice to propel a high note before she explains the nature of the human voice, and what qualifies virtuous training and execution: Which can only be accomplished by, what she refers to as, absolute vocal discipline! Like few singers of her caliber, including Anna Netrebko, Maria's early life prior to her catapult to operatic stardom was modest. Never bankrupt of determination, will, or following the vision of becoming a professional singer, it would therefore be prudent to put the life of Maria Pellegrini into some context. After all, Maria dared to imagine what it would be like to invest an inestimable measure of time, energy, and servitude to the daily regiment of training with one single goal; that a career would evolve 'possibly one day' from a chrysalis to a soaring, ravishing butterfly. And so, this bewitching tale begins on her birthday, July 15, 1943, east of Rome, Italy, near the Adriatic Sea, in a hilltop small town called Pretoro.
In this alluring area of Italy Maria spent the first seven months of her life before moving further east to Pescara, located directly on the Adriatic Sea. It was here where Maria began acquiring her love for singing, acquiring marginal training with a few local teachers. Her parents, Vincenzo, and Josefina encouraged Maria to sing and to follow her devotion to the dream of becoming a great singer. From the age of four Maria was singing for her family and friends. She recalls that her father would sing songs while sitting in his chair, and then ask Maria to sing for him as well. She would refuse unless he paid her some money first to sing. Having developed a strong business acumen at an early age was likely not such a bad idea for a young person venturing into the field of the performing arts. Listening to other singers is very profitable for aspiring singers and Maria was no exception to this part of her learning. She would listen to the radio and observe the voices of legends like Maria Callas, Enrico Caruso, and her idol, Anna Moffo, who later became a great friend of hers. Apart from wanting to emulate the voices of Renata Tebaldi, and Maria Callas, Anna Moffo was of significance to her own development as a young soprano. Although Maria did not take many formal lessons in the early years of her life, she claims that most of what she learned was from personal observation and listening to great voices. She cultivated her own sense of singing whilst observing the various physiological responses she acquired from establishing a free vocal technique. This imperial knowledge was acquired through intuitive based singing. Since the human voice is designed to sing as its primary function, it is of no strange consequence that Maria’s voice bloomed with unimpeded beauty and high form. Whilst she focussed on her vocal interests, Maria attended a convent school where she was taught by several nuns who wanted her to eventually join the convent. However, one day an argument occurred with Sister Louisa at the convent, and Maria became the recipient of a slap in the face. This situation decimated any chance that Maria would consider the opportunity to become a nun. And besides, Maria knew all her life that internally she wanted most to become nothing other than an opera singer, and that she would achieve it through her rhapsodical discipline and focus. It was at the age of 16, Maria made her public debut in Pescara at the Parliament Building. There she presented several songs and arias including Rossini’s Una voce poco fa and Puccini’s Quando m’en vo. It was obvious that Maria was recognized for having a special voice at a young age, but now it was becoming apparent to many strangers that this was a voice destined to go much further than the chamber walls of city hall. A few years later, at the age of 19, Maria emigrated to Canada.
As a new immigrant, Maria found the language of English to be difficult hurdle to overcome. She worked in a manicure salon cleaning floors and doing other things to assist in running the business. It was there that Maria was introduced to a salon client name Mrs. Moore, who was an accompanist and pianist. Mrs. Moore asked Maria if she could sing? Soon after the two women met so Maria could delineate her vocal artistry and potential. Almost immediately, Maria was invited to go to the house of Roland Michener and sing for him and his wife. In the company of influential people, Maria sang for the Michener’s and immediately moved them to tears. Initially Maria was afraid that the tears she witnessed in their eyes were because they thought she was a terrible singer. However, she soon after realized that when they asked her to sing the same piece again, they were absolutely smitten with her talent. Mrs. Michener told Maria that she was going to arrange for her to begin vocal studies at the University of Toronto later that year. Wondrously, one week after singing for the Michener’s, a man with an envelope arrived at Maria’s home. In it was a very generous cheque for Maria’s studies for the following four years. And so, at the age of 22, Maria made her move to Toronto where she would be introduced to a whole new world of music, and most importantly, an intermediary point to what would become her international success as a prima donna!
At her audition for the University of Toronto, accompanied by Derek Bampton, Maria sang Sempre libera from Verdi’s La Traviata, and the panel applauded unanimously. There began Maria’s intensive studies at the U. of T. with voice professor, Ernesto Vinci, marking the onset of her formal training and role preparation for auditions that were imminent on her vocal horizon. Upon hearing Maria in her first lesson, Vinci told Maria that she was born with a natural vocal timbre that would take her to great heights as a singer. And it was through him that she learned the confirmed and conventional principles of bel canto technique inherent to great voices that she intuitively discovered during her years in Pescara. Vowel formation and modification were one of many guiding principles that deepened Maria’s sense of ‘how’ to sing, and to govern her voice with exponential care and health. Her voice grew in both volume and richness, which led her to her first international audition at Covent Garden in London, England. Dr. Arnold Walter, head of the music faculty at the U. of T. noted that Maria’s name was initially not on the list of singers who were selected to audition at Covent Garden. He stated that “if Maria is not on the list to audition at Covent Garden, then no one will go to the audition.” Since jealousy and rivalry are essentially accepted circumstances in the circles of opera singers, school atmospheres serve as a useful preparation ground for coping with stressful atmospheres in future that test the nerves of singers to successfully withstand the players who operate in the professional music world. Ultimately, Maria went to Covent Garden to audition with her colleagues in tow. There she sang for none other than the late great Hungarian British conductor, Sir Georg Solti. Through several rounds of singing, including Gilda’s aria, Caro nome, Maria was graciously invited to speak with Solti personally. Great honors in the business have been noted to come with indirect nuances. Maria was, for the first time, introduced to conversations that were musically inspired and, what she claims, come with incentives that encourage personal requisites for personal gain. With blushing cheeks and too embarrassed to respond, she thanked the conductor for the opportunity to sing for him and flew back to Canada. She stayed for one more year in Toronto before deciding to move to London, England to root herself in a culture where timing and preparation would equal luck.
However, before Maria would hear the Bell’s of St. Paul’s Cathedral ringing in her ears, her mother insisted that she marry in Canada before she moved to London. A different time in history, Maria obliged by marrying a vocal colleague and friend who she knew from University. Two other marriages ensued afterward, but neither lasted. Steve, her second husband, with whom she had a son named Vincent, preceded Douglas, her third and final marriage which ended in divorce as well. For various reasons these three relationships were not destined for a lifelong commitment. Making one’s way to the top of the leading lady ladder involves travel, career commitment, and a devotion that many non-singers would find difficult to ascertain. Behind the exquisite jewels, elegant dresses, and opening night receptions, there were many nights where Maria cried herself to sleep in her hotel room because she, for example, missed being with her young son. Her life on stage portraying the dying debutante or lovestruck lady that she was designed by nature to become may very well have mirrored some of her inner most secretive emotions that she, as a mother and wife, struggled with in a very real context. Unlike a costume that goes on a hanger every night after the curtain comes down, Maria’s personal attire would often conceal the heavy despair she felt navigating herself through endless tests of emotional endurance for her to be the diva of her own personal desires. Her aspiration to hold the people and things that mattered most dearly to her heart often became a role that seemed inconceivable to play on the stage of her real life. When there are no spotlights, there is a void of darkness. And it was this emptiness and despair that Maria knew would be one of the greatest challenges for her personally to overcome during a sustained career as an international soprano. Like so many singers, there are certain aspects to an operatic career that one simply cannot rehearse or prepare for. According to Maria, many more opportunities to perform may have come to fruition had her moral compass and priorities been less intact. She recollects how surprised she was to discover that the world of music appeared to be vastly different on the outside, and believes she lost many engagements based on the things she would not compromise from the inside. Throughout her career she was promoted and respected exclusively based on her vocal endowments.
This revelation led me to inquire about the subjective, irrational elements in becoming recognized as an outstanding singer. Maria underscores that the voice must be number one, with an extraordinarily strong supporting talent in the areas of acting and stage deportment. We both agreed that the ability to stand out in a room of other equally talented singers requires having a tenacious perspective on what a singer is singing about, and how to convey meaning in a unique and persuasive manner. The ability to express a personal, critical viewpoint is a crucial factor in leaving an indelible impression on the audience. Maria’s voice rises with conviction as she also adds: “Dress properly and appropriately. Focus on presentation and personality and be clear about what your intentions are when you sing!”
The regular routine of practice enables a singer to remain in excellent condition vocally for an entire career. Singing with a secure vocal technique allows the voice to sound its absolute best and in its most natural state. I asked Maria to explain ‘natural singing’ in her own words. “Singing with a natural voice means to sing with ease. Not to spread the vowel formation and to focus on breathing properly. Pay remarkably close attention to these two main points.” Therefore, in the process of warming up, working on vocal freedom, Maria’s focus has concentrated on singing with a correctly placed voice. Singing in the mask – an area defined as the forehead, eyes, nose, and cheeks. It also means that the voice should be correctly positioned for optimal resonance and access to a spinning sound, capable of generating ‘chiaroscuro’, or the contrasting of light and dark vocal shadings and colorations used to dramatize the meaning of words and their corresponding emotions. As Maria’s voice matured, she retained a stable regiment of vocalizations that kept her voice young, fresh, and vital sounding. For this reason alone, she was able to keep roles like Madame Butterfly in her repertoire for many years as she focussed on keeping the voice youthful sounding. Use of staccato, legato, scale patterns, and general breathing related exercises enabled her to be inventive as she trained steadfastly throughout her long career. Of utmost importance is the exercising of the diaphragm, to keep it agile and strongly connected to the body and interrelated vocal mechanisms. Maria also underlines how the keeper of the voice should remain humble, and not superior in attitude. The voice should speak for itself: “I am what I am. I could do with my talents what was possible, and nothing more.” She paused to remember some of her colleagues who she studied and worked with such as: James King, Roxolana Roslak, Robert Goulet, John Arab, Glyn Evans, Alexander Gray, and the list goes on. One of the greater influences on Maria’s career was her friend and colleague, Luciano Pavarotti, who she made her Covent Garden debut with as Gilda, from Verdi’s opera Rigoletto. She performed many times with Pavarotti and recalls the captivating, lyrical quality of his voice, and the joy it was to sing with him. “He was good to sing with and a positive person, both on and off stage.” Maria recollects that the King of the High C’s had expressed some other feelings for her off stage, which wistfully never resulted in any kind of romance between the two opera greats. Maria was, after all, married at the time and honored her status as a married woman. A similar attitude reflected by Elizabeth Taylor, who had eight husbands in her lifetime.
Throughout Maria’s career she came to know and work with many other legendary singers. Maria’s mother once accompanied her to a live performance at the age of eighteen in Pescara to hear her idol, Anna Moffo. This was to become the first meeting of many to follow between the two iconic sopranos. Maria explained: “We met again in New Jersey. Anna was singing the role of Butterfly. I went backstage after her performance, there were many people in the corridors waiting to speak with her. I was invited to her dressing room since I was covering the role. Then the Maestro (conductor) entered the room when suddenly Anna turned to me and said: “She (Maria) is the greatest Butterfly, not me!” Maria further explained: “I was twenty-six years old at the time, and it was one of the greatest compliments I ever received.” The relationship between Maria and Anna allowed the two to see each other again, even after Moffo’s career had ended. Another liaison Maria made was with Renata Scotto. The two sopranos shared the stage at Covent Garden in a production of Puccini’s La Boheme. Maria as Musetta and Renata as Mimi. Some years later the two sopranos appeared together in concert in Toronto. Maria remembers how Renata had arrived with almost the exact same aria program as herself. So, as a gracious gesture, Maria agreed to change her selection of arias to accommodate Renata’s program. There were no hysterical diva scenes, just the two sopranos sharing a stage together as great artists should. So many highlights in Maria’s history of performances are due to the dedication of her agent from Rome, Italy, named Gabriella D’Avarrio. There was one performance that Maria very much wanted to sing, and never did. She was invited to sing the role of Violetta at La Scala in Milan but had to decline the offer since she was eight months pregnant at the time. Nothing would have taken away the excitement Maria felt about the anticipation of giving birth to her one and only son, Vincent Thomas, who she proudly speaks of for both personal and professional reasons. “Vincent has brought me such incredible joy, something no one else could have ever done for me. He is my son, and a great gift in my life. He is a fine artist and has graduated from performer and producer, to director of the Pellegrini Opera Company in Ottawa. I am deeply honored that he has brought such vital energy to the company with a creative spirit and leadership that is unbelievable. Because of him, he has elevated the quality of our productions and designed such a high level of opera that Ottawa and all of Canada so deserves!” With so many challenges overcome as a professional opera singer, Maria feels that one of her greatest joys and successes was having her son!
Success is a word that every singer wants to own. So, what creates a successful singer? Maria’s response is immediate: “The VOICE!” She continues to suggest that alcohol should be avoided for the most part. Staying in shape physically is key to a healthy voice. Avoid heavy weightlifting and activities that are too strenuous on the body. Balancing the body with practicing and physical activity is ideal. Walking, bicycling, one hundred sit-ups per day, are just a few activities that allowed her body to remain fit. Vocally speaking, Maria agrees that practicing a minimum of two hours per day is important to staying conditioned. Maria Callas used to practice four to five hours per day. I nodded in agreement with Maria: Singing opera is a highly athletic and demanding enterprise. Maria’s typical performance day would include a walk, having lunch consisting of pasta and steak, and resting before going to the theater a few hours in advance to prepare for the performance. Vocalizations and breathing exercises were naturally a part of her regiment before the curtain ascended. Breathing, and mild vocal exercises allow the voice to be ready both physically and mentally.
In opera, one never knows when an opportunity to perform might arise with short notice. Maria remembers singing an afternoon matinee at Covent Garden singing the role of Madame Butterfly. After her performance she was informed that Dame Kiri Te Kanawa had fallen ill and would be indisposed for her evening performance of Violetta in La Traviata. Maria was asked if she would replace her Dame Kiri Te Kanawa on stage just hours later. Violetta is an exhausting role and arguably one of the most enormous evaluations of any great soprano. Maria, without trepidation, agreed to don the dress for Violetta with only hours to prepare. And like a great singing actress later that evening, Maria sang like a nightingale through to the final act where Violetta dies (from tuberculosis, not fatigue!) and brought the house down. The standing ovation and accolades of her success that day made operatic history.
With many significant roles in her repertoire, Maria has portrayed a broad spectrum of characters that required months, if not years of study, preparation, and refinement. From Frasquita, Mimi, Musetta, Nedda, Aida, Chrisothemis, Violetta, Gilda, she is most associated with the role of Cio-Cio-San, or Madama Butterly. Puccini’s operas are, without question, some of the most operative works from the operatic repertory. Maria sang the role of Liu from Turandot with legendary tenor, Franco Corelli. Maria’s compelling portrayal of Butterfly has flown from one continent to the next. From Taiwan, Covent Garden, New York City Opera, various Canadian opera companies, to the silver screen of CBC, Maria’s celebrated portrayal of Cio-Cio-San was, and still is today, decisive and arresting. The press hailed her performances stating: “Maria Pellegrini as Cio-Cio-San in Butterfly is one of the best protagonists in the world today.” I was inquisitive to ask Maria about her connection to the role of Butterfly, and how she prepared such a paradigmatic characterization. Maria replied: “I thought about every phrase Puccini wrote for Butterfly. Her every thought, word, gesture, and motivation that this Japanese woman, Cio-Cio-San, must have experienced in her tortured soul. Her internal world, so pure, patient, and devoted; but finally poisoned by unrequited love; ultimately leading to her tragic, violent suicide. I knew this role required and deserved endless hours of reflection, observation, imagination, and practice for the synthesis of my personal vocal color choices and declamation to successfully fuse with the physical portrait of this emotionally driven character.” Maria sang the role throughout her career. Again, she deferred to her earlier comment about the voice retaining its freshness necessary to align with the actual age of the character. She further explained that maintaining the bright quality in the voice was imperative, allowing her voice not to become too dark. Even though Maria’s voice matured over the years, her careful consideration and portrayal of Butterfly’s role remained agile to access the pertinent vocal constitution central to the character’s level of sophistication.
I asked Maria to highlight some key components in her training that she underwent as an opera singer. She is quick to respond by saying that the sacrifices are necessary to fulfill, or you simply do not get any offers to sing. There is a point in every singer’s life where the journey toward or within a career where a decision is required. The question for many is: “Do the demands outweigh the rewards?” Spending a minimum of two or three months learning a new role, perfecting diction, interpreting the music with both voice and body. A singer must arrive on the job stage ready! And normally a minimal amount of time is devoted to working in rehearsal with a stage director and cast. “It is difficult for non-singers to understand how important it is to retain the discipline of going to bed early, regular practice, and all other things that the voice and body require to be in top form. Unlike working in another profession, every single note sung in performance is under the scrupulous microscope of a critic and an audience. Furthermore, the criticism is released in public forums in all media. I never had a bad review. I never read them after my performances, I only heard about them. After all, I already knew what I did on stage.”
“The rehearsal process is stringent. At Covent Garden rehearsals began at 9:30 a.m. daily. Sometimes there were jealous, difficult people to work with. However, even if they were unfriendly, I always remained professional. I never once thought of leaving the business of singing. I had an agent in Italy. However, I also had another, Lombardo Associates in New York, who was excellent. A good agent can be of fine value to a career!”
Maria’s favourite role to sing onstage was Violetta from La Traviata, or “The Fallen One”. The romantic nature of the story combined with exquisite music was always a magnificent experience. Maria worked with many reputable conductors and directors. “Sir Edward Downes knew the scores for memory when he conducted, therefore it was easy to make connection with him on stage. He had extraordinary sensitivity which made him a joy to make music with. Even after he went blind, he could still conduct.” Maria regales the time she sang a production of La Boheme in Caracalla, Italy. Tenor, Giuseppe di Stefano, was the stage director. On the first day of rehearsal Giuseppe turned to her and said: “Maria, just do anything you want to do on stage, and I’ll tell you if I don’t like something. He appreciated the balance between singing and acting that I created on stage and therefore gave me freedom to explore everything I needed to do to create an utterly convincing performance of Mimi. Sometimes in opera today, the staging is too much. It dominates the singing, then the voice does not respond the same.” One of the greatest moments on stage for Maria was singing her Debut at Covent Garden as Gilda with Luciano Pavarotti. The extended standing ovation was a great feeling. Ironically, Maria has never thought of herself as ‘famous’, nor did she want to prove that she was a famous soprano. There is an enormous pressure on singers to prove themselves in performance each time. Stage fright and nerves are things that every singer, at some point, must acknowledge and deal with, usually within minutes of stepping into the spotlight. Maria stated that she would always try to find time alone before going on stage, to concentrate on what she wanted to achieve, and not on her shaking legs that was sometimes fueled by adrenalin. Many young singers early in their career should consider about how to manage their decisions regarding what roles to sing, and when to sing them. There is a right time to audition for specific roles, companies, and agents. Her advice is always “sing when you are ready, and not before!”
It seemed like hours of conversation with Maria about her intriguing life on and off stage. It was very apparent that the experiences she had were still close to her heart, and fresh as ever in her mind. It was important to investigate the wisdom I knew she could impart to other artists exploring the path of singing. Training as a singer is ongoing. It never ends. A second set of ears from a reliable teacher is invaluable to any professional singer. Maria has taught students internationally and was a guest voice professor at McGill University in Montreal for eight years. She enjoyed it tremendously and worked with over eighty students. If Maria were starting out in 2020 as a singer, she would do the same as she did before. “Choose a good teacher at a university and contemplate various role studies. There are more singers today than fifty years ago. It is important to learn roles, master diction, and prepare properly with the right arias for auditions.” She agreed that now there is a prevailing amount of ageism in the business today. Sometimes destructive demands are placed on young voices before they are physiologically ready to perform a role. Patience and clarity of expectations are two facets that should be adhered to when venturing forward into a career as a singer. Financial stability is vital to the advancement of a career. Auditions, training, hotels, travel, and meals are required for doing successful audition tours. An operatic career is more difficult today. It appears to be driven by money, costs, and agents. Maria remains very honest about the reality of operatic life and what it entails. She reveals this reality through positive advice and suggestions since the road to success is about ensuring the singer’s toolbox of skills are sharp and ready to use.
The human voice, unlike any other instrument, is unique because it comes from the body. It is physical, requires mindful interpretation, refined sense of languages and diction, and time for reflection of words that must be seamlessly incorporated into acting and gesture. The complete singer must bring an entire polished package to the stage. With stupendous diligence and good fortune, Maria through her laudable career singing throughout the world, continued her love for the high art form by founding the Pellegrini Opera Company in Ottawa. This pleasing platform of creating opera has provided opportunities for new and more established singers to flourish. Her son, Vincent Thomas, now leads the company as Artistic Director. Together they talk to, guide, and work with the artists who they cast in their productions. This enthusiastic company has many celebrated success stories to date and look forward to regenerating more audiences for opera in Canada. Many people remember Maria’s performances televised on CBC and BRAVO Television, now including YouTube coverage of her artistic expertise.
In retrospect, after decades of illustrious singing, I asked Maria what she would like people to most remember her for as a person. Her response was simple, direct, and conclusive: “I want to be remembered for my performances!” Personally, I found this to be such an astute response coming from the soul of Maria, who has conquered so many personal and professional challenges to meet her goals. After the interviews were completed, I reflected on our long conversations for quite some time. It was evident that all her anecdotes resulted in an emotional outpour, spontaneous laughter, sensitive observations, cherished memories, and brilliant thoughts. Maria’s performances had awoken the wonder in people’s hearts and minds. Her performances delineated her knowledge, feelings, inventiveness, creative discoveries, and most of all, her truth. Maria’s performances were not just autobiographical in nature, but a symbol of her self-sacrifice and, as Robert Schumann deduced, “to send light into the darkness of mankind’s hearts.”
The soul of an artist never dies. We are forever beholden to the radiant words sung and expressed over many decades by Maria Pellegrini, for they will never be forgotten! And, as Maria always repeats before she says goodbye to anyone: Baci! Baci!
For a few enchanting summer evenings, I had the distinct pleasure to speak in lucid detail with a truly engaging national treasure of Canada, our very own legendary soprano, Maria Pellegrini. With modesty, coupled with an unpretentious disposition, Maria delves unabashedly into the chapters of her life as an artist who was heralded for her illuminating abilities to express what some may say is the inexpressible. The human heart, with its vast internal palate of light and dark emotions, was revealed through the absolute genius of her voice. A cultivated vocal tone that invariably transported Maria to the top of creation in leading roles at opera houses like Covent Garden. A golden voice, now in her golden years, she is as fresh as the lotus blossoms that graced the stage during her many appearances as Puccini's tragic heroine, Madame Butterfly. She has been referred to by Canadian conductor, Boris Brott, as the 'Callas of Canada', and admired both for her vocal talents coupled with human qualities that have made her such an admired artist and person.
Spontaneously, sitting in her comfortable dwellings in Ottawa, she allows her voice to propel a high note before she explains the nature of the human voice, and what qualifies virtuous training and execution: Which can only be accomplished by, what she refers to as, absolute vocal discipline! Like few singers of her caliber, including Anna Netrebko, Maria's early life prior to her catapult to operatic stardom was modest. Never bankrupt of determination, will, or following the vision of becoming a professional singer, it would therefore be prudent to put the life of Maria Pellegrini into some context. After all, Maria dared to imagine what it would be like to invest an inestimable measure of time, energy, and servitude to the daily regiment of training with one single goal; that a career would evolve 'possibly one day' from a chrysalis to a soaring, ravishing butterfly. And so, this bewitching tale begins on her birthday, July 15, 1943, east of Rome, Italy, near the Adriatic Sea, in a hilltop small town called Pretoro.
In this alluring area of Italy Maria spent the first seven months of her life before moving further east to Pescara, located directly on the Adriatic Sea. It was here where Maria began acquiring her love for singing, acquiring marginal training with a few local teachers. Her parents, Vincenzo, and Josefina encouraged Maria to sing and to follow her devotion to the dream of becoming a great singer. From the age of four Maria was singing for her family and friends. She recalls that her father would sing songs while sitting in his chair, and then ask Maria to sing for him as well. She would refuse unless he paid her some money first to sing. Having developed a strong business acumen at an early age was likely not such a bad idea for a young person venturing into the field of the performing arts. Listening to other singers is very profitable for aspiring singers and Maria was no exception to this part of her learning. She would listen to the radio and observe the voices of legends like Maria Callas, Enrico Caruso, and her idol, Anna Moffo, who later became a great friend of hers. Apart from wanting to emulate the voices of Renata Tebaldi, and Maria Callas, Anna Moffo was of significance to her own development as a young soprano. Although Maria did not take many formal lessons in the early years of her life, she claims that most of what she learned was from personal observation and listening to great voices. She cultivated her own sense of singing whilst observing the various physiological responses she acquired from establishing a free vocal technique. This imperial knowledge was acquired through intuitive based singing. Since the human voice is designed to sing as its primary function, it is of no strange consequence that Maria’s voice bloomed with unimpeded beauty and high form. Whilst she focussed on her vocal interests, Maria attended a convent school where she was taught by several nuns who wanted her to eventually join the convent. However, one day an argument occurred with Sister Louisa at the convent, and Maria became the recipient of a slap in the face. This situation decimated any chance that Maria would consider the opportunity to become a nun. And besides, Maria knew all her life that internally she wanted most to become nothing other than an opera singer, and that she would achieve it through her rhapsodical discipline and focus. It was at the age of 16, Maria made her public debut in Pescara at the Parliament Building. There she presented several songs and arias including Rossini’s Una voce poco fa and Puccini’s Quando m’en vo. It was obvious that Maria was recognized for having a special voice at a young age, but now it was becoming apparent to many strangers that this was a voice destined to go much further than the chamber walls of city hall. A few years later, at the age of 19, Maria emigrated to Canada.
As a new immigrant, Maria found the language of English to be difficult hurdle to overcome. She worked in a manicure salon cleaning floors and doing other things to assist in running the business. It was there that Maria was introduced to a salon client name Mrs. Moore, who was an accompanist and pianist. Mrs. Moore asked Maria if she could sing? Soon after the two women met so Maria could delineate her vocal artistry and potential. Almost immediately, Maria was invited to go to the house of Roland Michener and sing for him and his wife. In the company of influential people, Maria sang for the Michener’s and immediately moved them to tears. Initially Maria was afraid that the tears she witnessed in their eyes were because they thought she was a terrible singer. However, she soon after realized that when they asked her to sing the same piece again, they were absolutely smitten with her talent. Mrs. Michener told Maria that she was going to arrange for her to begin vocal studies at the University of Toronto later that year. Wondrously, one week after singing for the Michener’s, a man with an envelope arrived at Maria’s home. In it was a very generous cheque for Maria’s studies for the following four years. And so, at the age of 22, Maria made her move to Toronto where she would be introduced to a whole new world of music, and most importantly, an intermediary point to what would become her international success as a prima donna!
At her audition for the University of Toronto, accompanied by Derek Bampton, Maria sang Sempre libera from Verdi’s La Traviata, and the panel applauded unanimously. There began Maria’s intensive studies at the U. of T. with voice professor, Ernesto Vinci, marking the onset of her formal training and role preparation for auditions that were imminent on her vocal horizon. Upon hearing Maria in her first lesson, Vinci told Maria that she was born with a natural vocal timbre that would take her to great heights as a singer. And it was through him that she learned the confirmed and conventional principles of bel canto technique inherent to great voices that she intuitively discovered during her years in Pescara. Vowel formation and modification were one of many guiding principles that deepened Maria’s sense of ‘how’ to sing, and to govern her voice with exponential care and health. Her voice grew in both volume and richness, which led her to her first international audition at Covent Garden in London, England. Dr. Arnold Walter, head of the music faculty at the U. of T. noted that Maria’s name was initially not on the list of singers who were selected to audition at Covent Garden. He stated that “if Maria is not on the list to audition at Covent Garden, then no one will go to the audition.” Since jealousy and rivalry are essentially accepted circumstances in the circles of opera singers, school atmospheres serve as a useful preparation ground for coping with stressful atmospheres in future that test the nerves of singers to successfully withstand the players who operate in the professional music world. Ultimately, Maria went to Covent Garden to audition with her colleagues in tow. There she sang for none other than the late great Hungarian British conductor, Sir Georg Solti. Through several rounds of singing, including Gilda’s aria, Caro nome, Maria was graciously invited to speak with Solti personally. Great honors in the business have been noted to come with indirect nuances. Maria was, for the first time, introduced to conversations that were musically inspired and, what she claims, come with incentives that encourage personal requisites for personal gain. With blushing cheeks and too embarrassed to respond, she thanked the conductor for the opportunity to sing for him and flew back to Canada. She stayed for one more year in Toronto before deciding to move to London, England to root herself in a culture where timing and preparation would equal luck.
However, before Maria would hear the Bell’s of St. Paul’s Cathedral ringing in her ears, her mother insisted that she marry in Canada before she moved to London. A different time in history, Maria obliged by marrying a vocal colleague and friend who she knew from University. Two other marriages ensued afterward, but neither lasted. Steve, her second husband, with whom she had a son named Vincent, preceded Douglas, her third and final marriage which ended in divorce as well. For various reasons these three relationships were not destined for a lifelong commitment. Making one’s way to the top of the leading lady ladder involves travel, career commitment, and a devotion that many non-singers would find difficult to ascertain. Behind the exquisite jewels, elegant dresses, and opening night receptions, there were many nights where Maria cried herself to sleep in her hotel room because she, for example, missed being with her young son. Her life on stage portraying the dying debutante or lovestruck lady that she was designed by nature to become may very well have mirrored some of her inner most secretive emotions that she, as a mother and wife, struggled with in a very real context. Unlike a costume that goes on a hanger every night after the curtain comes down, Maria’s personal attire would often conceal the heavy despair she felt navigating herself through endless tests of emotional endurance for her to be the diva of her own personal desires. Her aspiration to hold the people and things that mattered most dearly to her heart often became a role that seemed inconceivable to play on the stage of her real life. When there are no spotlights, there is a void of darkness. And it was this emptiness and despair that Maria knew would be one of the greatest challenges for her personally to overcome during a sustained career as an international soprano. Like so many singers, there are certain aspects to an operatic career that one simply cannot rehearse or prepare for. According to Maria, many more opportunities to perform may have come to fruition had her moral compass and priorities been less intact. She recollects how surprised she was to discover that the world of music appeared to be vastly different on the outside, and believes she lost many engagements based on the things she would not compromise from the inside. Throughout her career she was promoted and respected exclusively based on her vocal endowments.
This revelation led me to inquire about the subjective, irrational elements in becoming recognized as an outstanding singer. Maria underscores that the voice must be number one, with an extraordinarily strong supporting talent in the areas of acting and stage deportment. We both agreed that the ability to stand out in a room of other equally talented singers requires having a tenacious perspective on what a singer is singing about, and how to convey meaning in a unique and persuasive manner. The ability to express a personal, critical viewpoint is a crucial factor in leaving an indelible impression on the audience. Maria’s voice rises with conviction as she also adds: “Dress properly and appropriately. Focus on presentation and personality and be clear about what your intentions are when you sing!”
The regular routine of practice enables a singer to remain in excellent condition vocally for an entire career. Singing with a secure vocal technique allows the voice to sound its absolute best and in its most natural state. I asked Maria to explain ‘natural singing’ in her own words. “Singing with a natural voice means to sing with ease. Not to spread the vowel formation and to focus on breathing properly. Pay remarkably close attention to these two main points.” Therefore, in the process of warming up, working on vocal freedom, Maria’s focus has concentrated on singing with a correctly placed voice. Singing in the mask – an area defined as the forehead, eyes, nose, and cheeks. It also means that the voice should be correctly positioned for optimal resonance and access to a spinning sound, capable of generating ‘chiaroscuro’, or the contrasting of light and dark vocal shadings and colorations used to dramatize the meaning of words and their corresponding emotions. As Maria’s voice matured, she retained a stable regiment of vocalizations that kept her voice young, fresh, and vital sounding. For this reason alone, she was able to keep roles like Madame Butterfly in her repertoire for many years as she focussed on keeping the voice youthful sounding. Use of staccato, legato, scale patterns, and general breathing related exercises enabled her to be inventive as she trained steadfastly throughout her long career. Of utmost importance is the exercising of the diaphragm, to keep it agile and strongly connected to the body and interrelated vocal mechanisms. Maria also underlines how the keeper of the voice should remain humble, and not superior in attitude. The voice should speak for itself: “I am what I am. I could do with my talents what was possible, and nothing more.” She paused to remember some of her colleagues who she studied and worked with such as: James King, Roxolana Roslak, Robert Goulet, John Arab, Glyn Evans, Alexander Gray, and the list goes on. One of the greater influences on Maria’s career was her friend and colleague, Luciano Pavarotti, who she made her Covent Garden debut with as Gilda, from Verdi’s opera Rigoletto. She performed many times with Pavarotti and recalls the captivating, lyrical quality of his voice, and the joy it was to sing with him. “He was good to sing with and a positive person, both on and off stage.” Maria recollects that the King of the High C’s had expressed some other feelings for her off stage, which wistfully never resulted in any kind of romance between the two opera greats. Maria was, after all, married at the time and honored her status as a married woman. A similar attitude reflected by Elizabeth Taylor, who had eight husbands in her lifetime.
Throughout Maria’s career she came to know and work with many other legendary singers. Maria’s mother once accompanied her to a live performance at the age of eighteen in Pescara to hear her idol, Anna Moffo. This was to become the first meeting of many to follow between the two iconic sopranos. Maria explained: “We met again in New Jersey. Anna was singing the role of Butterfly. I went backstage after her performance, there were many people in the corridors waiting to speak with her. I was invited to her dressing room since I was covering the role. Then the Maestro (conductor) entered the room when suddenly Anna turned to me and said: “She (Maria) is the greatest Butterfly, not me!” Maria further explained: “I was twenty-six years old at the time, and it was one of the greatest compliments I ever received.” The relationship between Maria and Anna allowed the two to see each other again, even after Moffo’s career had ended. Another liaison Maria made was with Renata Scotto. The two sopranos shared the stage at Covent Garden in a production of Puccini’s La Boheme. Maria as Musetta and Renata as Mimi. Some years later the two sopranos appeared together in concert in Toronto. Maria remembers how Renata had arrived with almost the exact same aria program as herself. So, as a gracious gesture, Maria agreed to change her selection of arias to accommodate Renata’s program. There were no hysterical diva scenes, just the two sopranos sharing a stage together as great artists should. So many highlights in Maria’s history of performances are due to the dedication of her agent from Rome, Italy, named Gabriella D’Avarrio. There was one performance that Maria very much wanted to sing, and never did. She was invited to sing the role of Violetta at La Scala in Milan but had to decline the offer since she was eight months pregnant at the time. Nothing would have taken away the excitement Maria felt about the anticipation of giving birth to her one and only son, Vincent Thomas, who she proudly speaks of for both personal and professional reasons. “Vincent has brought me such incredible joy, something no one else could have ever done for me. He is my son, and a great gift in my life. He is a fine artist and has graduated from performer and producer, to director of the Pellegrini Opera Company in Ottawa. I am deeply honored that he has brought such vital energy to the company with a creative spirit and leadership that is unbelievable. Because of him, he has elevated the quality of our productions and designed such a high level of opera that Ottawa and all of Canada so deserves!” With so many challenges overcome as a professional opera singer, Maria feels that one of her greatest joys and successes was having her son!
Success is a word that every singer wants to own. So, what creates a successful singer? Maria’s response is immediate: “The VOICE!” She continues to suggest that alcohol should be avoided for the most part. Staying in shape physically is key to a healthy voice. Avoid heavy weightlifting and activities that are too strenuous on the body. Balancing the body with practicing and physical activity is ideal. Walking, bicycling, one hundred sit-ups per day, are just a few activities that allowed her body to remain fit. Vocally speaking, Maria agrees that practicing a minimum of two hours per day is important to staying conditioned. Maria Callas used to practice four to five hours per day. I nodded in agreement with Maria: Singing opera is a highly athletic and demanding enterprise. Maria’s typical performance day would include a walk, having lunch consisting of pasta and steak, and resting before going to the theater a few hours in advance to prepare for the performance. Vocalizations and breathing exercises were naturally a part of her regiment before the curtain ascended. Breathing, and mild vocal exercises allow the voice to be ready both physically and mentally.
In opera, one never knows when an opportunity to perform might arise with short notice. Maria remembers singing an afternoon matinee at Covent Garden singing the role of Madame Butterfly. After her performance she was informed that Dame Kiri Te Kanawa had fallen ill and would be indisposed for her evening performance of Violetta in La Traviata. Maria was asked if she would replace her Dame Kiri Te Kanawa on stage just hours later. Violetta is an exhausting role and arguably one of the most enormous evaluations of any great soprano. Maria, without trepidation, agreed to don the dress for Violetta with only hours to prepare. And like a great singing actress later that evening, Maria sang like a nightingale through to the final act where Violetta dies (from tuberculosis, not fatigue!) and brought the house down. The standing ovation and accolades of her success that day made operatic history.
With many significant roles in her repertoire, Maria has portrayed a broad spectrum of characters that required months, if not years of study, preparation, and refinement. From Frasquita, Mimi, Musetta, Nedda, Aida, Chrisothemis, Violetta, Gilda, she is most associated with the role of Cio-Cio-San, or Madama Butterly. Puccini’s operas are, without question, some of the most operative works from the operatic repertory. Maria sang the role of Liu from Turandot with legendary tenor, Franco Corelli. Maria’s compelling portrayal of Butterfly has flown from one continent to the next. From Taiwan, Covent Garden, New York City Opera, various Canadian opera companies, to the silver screen of CBC, Maria’s celebrated portrayal of Cio-Cio-San was, and still is today, decisive and arresting. The press hailed her performances stating: “Maria Pellegrini as Cio-Cio-San in Butterfly is one of the best protagonists in the world today.” I was inquisitive to ask Maria about her connection to the role of Butterfly, and how she prepared such a paradigmatic characterization. Maria replied: “I thought about every phrase Puccini wrote for Butterfly. Her every thought, word, gesture, and motivation that this Japanese woman, Cio-Cio-San, must have experienced in her tortured soul. Her internal world, so pure, patient, and devoted; but finally poisoned by unrequited love; ultimately leading to her tragic, violent suicide. I knew this role required and deserved endless hours of reflection, observation, imagination, and practice for the synthesis of my personal vocal color choices and declamation to successfully fuse with the physical portrait of this emotionally driven character.” Maria sang the role throughout her career. Again, she deferred to her earlier comment about the voice retaining its freshness necessary to align with the actual age of the character. She further explained that maintaining the bright quality in the voice was imperative, allowing her voice not to become too dark. Even though Maria’s voice matured over the years, her careful consideration and portrayal of Butterfly’s role remained agile to access the pertinent vocal constitution central to the character’s level of sophistication.
I asked Maria to highlight some key components in her training that she underwent as an opera singer. She is quick to respond by saying that the sacrifices are necessary to fulfill, or you simply do not get any offers to sing. There is a point in every singer’s life where the journey toward or within a career where a decision is required. The question for many is: “Do the demands outweigh the rewards?” Spending a minimum of two or three months learning a new role, perfecting diction, interpreting the music with both voice and body. A singer must arrive on the job stage ready! And normally a minimal amount of time is devoted to working in rehearsal with a stage director and cast. “It is difficult for non-singers to understand how important it is to retain the discipline of going to bed early, regular practice, and all other things that the voice and body require to be in top form. Unlike working in another profession, every single note sung in performance is under the scrupulous microscope of a critic and an audience. Furthermore, the criticism is released in public forums in all media. I never had a bad review. I never read them after my performances, I only heard about them. After all, I already knew what I did on stage.”
“The rehearsal process is stringent. At Covent Garden rehearsals began at 9:30 a.m. daily. Sometimes there were jealous, difficult people to work with. However, even if they were unfriendly, I always remained professional. I never once thought of leaving the business of singing. I had an agent in Italy. However, I also had another, Lombardo Associates in New York, who was excellent. A good agent can be of fine value to a career!”
Maria’s favourite role to sing onstage was Violetta from La Traviata, or “The Fallen One”. The romantic nature of the story combined with exquisite music was always a magnificent experience. Maria worked with many reputable conductors and directors. “Sir Edward Downes knew the scores for memory when he conducted, therefore it was easy to make connection with him on stage. He had extraordinary sensitivity which made him a joy to make music with. Even after he went blind, he could still conduct.” Maria regales the time she sang a production of La Boheme in Caracalla, Italy. Tenor, Giuseppe di Stefano, was the stage director. On the first day of rehearsal Giuseppe turned to her and said: “Maria, just do anything you want to do on stage, and I’ll tell you if I don’t like something. He appreciated the balance between singing and acting that I created on stage and therefore gave me freedom to explore everything I needed to do to create an utterly convincing performance of Mimi. Sometimes in opera today, the staging is too much. It dominates the singing, then the voice does not respond the same.” One of the greatest moments on stage for Maria was singing her Debut at Covent Garden as Gilda with Luciano Pavarotti. The extended standing ovation was a great feeling. Ironically, Maria has never thought of herself as ‘famous’, nor did she want to prove that she was a famous soprano. There is an enormous pressure on singers to prove themselves in performance each time. Stage fright and nerves are things that every singer, at some point, must acknowledge and deal with, usually within minutes of stepping into the spotlight. Maria stated that she would always try to find time alone before going on stage, to concentrate on what she wanted to achieve, and not on her shaking legs that was sometimes fueled by adrenalin. Many young singers early in their career should consider about how to manage their decisions regarding what roles to sing, and when to sing them. There is a right time to audition for specific roles, companies, and agents. Her advice is always “sing when you are ready, and not before!”
It seemed like hours of conversation with Maria about her intriguing life on and off stage. It was very apparent that the experiences she had were still close to her heart, and fresh as ever in her mind. It was important to investigate the wisdom I knew she could impart to other artists exploring the path of singing. Training as a singer is ongoing. It never ends. A second set of ears from a reliable teacher is invaluable to any professional singer. Maria has taught students internationally and was a guest voice professor at McGill University in Montreal for eight years. She enjoyed it tremendously and worked with over eighty students. If Maria were starting out in 2020 as a singer, she would do the same as she did before. “Choose a good teacher at a university and contemplate various role studies. There are more singers today than fifty years ago. It is important to learn roles, master diction, and prepare properly with the right arias for auditions.” She agreed that now there is a prevailing amount of ageism in the business today. Sometimes destructive demands are placed on young voices before they are physiologically ready to perform a role. Patience and clarity of expectations are two facets that should be adhered to when venturing forward into a career as a singer. Financial stability is vital to the advancement of a career. Auditions, training, hotels, travel, and meals are required for doing successful audition tours. An operatic career is more difficult today. It appears to be driven by money, costs, and agents. Maria remains very honest about the reality of operatic life and what it entails. She reveals this reality through positive advice and suggestions since the road to success is about ensuring the singer’s toolbox of skills are sharp and ready to use.
The human voice, unlike any other instrument, is unique because it comes from the body. It is physical, requires mindful interpretation, refined sense of languages and diction, and time for reflection of words that must be seamlessly incorporated into acting and gesture. The complete singer must bring an entire polished package to the stage. With stupendous diligence and good fortune, Maria through her laudable career singing throughout the world, continued her love for the high art form by founding the Pellegrini Opera Company in Ottawa. This pleasing platform of creating opera has provided opportunities for new and more established singers to flourish. Her son, Vincent Thomas, now leads the company as Artistic Director. Together they talk to, guide, and work with the artists who they cast in their productions. This enthusiastic company has many celebrated success stories to date and look forward to regenerating more audiences for opera in Canada. Many people remember Maria’s performances televised on CBC and BRAVO Television, now including YouTube coverage of her artistic expertise.
In retrospect, after decades of illustrious singing, I asked Maria what she would like people to most remember her for as a person. Her response was simple, direct, and conclusive: “I want to be remembered for my performances!” Personally, I found this to be such an astute response coming from the soul of Maria, who has conquered so many personal and professional challenges to meet her goals. After the interviews were completed, I reflected on our long conversations for quite some time. It was evident that all her anecdotes resulted in an emotional outpour, spontaneous laughter, sensitive observations, cherished memories, and brilliant thoughts. Maria’s performances had awoken the wonder in people’s hearts and minds. Her performances delineated her knowledge, feelings, inventiveness, creative discoveries, and most of all, her truth. Maria’s performances were not just autobiographical in nature, but a symbol of her self-sacrifice and, as Robert Schumann deduced, “to send light into the darkness of mankind’s hearts.”
The soul of an artist never dies. We are forever beholden to the radiant words sung and expressed over many decades by Maria Pellegrini, for they will never be forgotten! And, as Maria always repeats before she says goodbye to anyone: Baci! Baci!
