JANE BATHORI (born Jeanne-Marie Berthier, June 14, 1877 – January 25, 1970) was a French opera singer.

Born in ParisFrance, she was famous on the operatic stage and important in the development of contemporary French music.

Bathori originally studied piano and planned for a career as concert pianist but soon turned to singing, making her professional debut sometime in 1898 at the small Théâtre de la Bodinière in therue Saint-Lazare in a concert to honor the poet Paul Verlaine. That same year, her debut in the grands concerts began when she appeared at the Concerts du Conservatoire followed by performances in Gabriel Fauré‘s La Naissance de Vénus and Camille Saint-Saëns‘ Messe de Requiem. During the season 1899–1900 she made her mezzo-soprano operatic debut at Nantes.

In the early 1900s, Bathori began studying with Pierre-Émile Engel, whom she married in 1908. In 1917, she became the director of the Théâtre du Vieux-Colombier. After the war she sang at La Scala and in other major centres across Europe. During the time of Les Six in the early 1920s she played a large role in the propagation of the new music of this period especially by some of the members of the famous Les Six. On January 31, 1920 she gave the first performance of Louis Durey‘s Printemps au fond de la mer. She would give the first performances of many works by other contemporary French composers.

In the 1930s she sang in the Teatro Colón in Buenos AiresArgentina. During the German occupation of France during World War II she would make Buenos Aires her home. After her return to France she taught and coached a number of young singers, working closely with Irène Joachim. Although age put an end to her own concert career, she occasionally appeared in public and on recordings as accompanist.

Jane Bathori died in Paris and is interred in the Funerarium du Cimetière du Père-Lachaise.

 External links

FEDORA BARBIERI (4 June 1920 – 4 March 2003) was an Italian mezzo-soprano.

Barbieri was born in Trieste. She made her official debut in Florence in 1940, but retired in 1943 because of her marriage. She re-emerged in 1945. She was one of the first performers to investigate and perform in early operas by Monteverdi and Pergolesi. Her debut at the Teatro alla Scala, where she was to have her greatest successes, came in 1942, with a performance ofLudwig van Beethoven‘s 9th Symphony, conducted by Victor de Sabata.

She made her debut at the Metropolitan Opera on 6 November 1950 in the role of Princess Eboli in Verdi‘s Don Carlo. Altogether, she gave 96 performances of 11 operas in that house, and also sang Eboli in the famous Luchino Visconti production of the Verdi opera for the Royal Opera House, Covent Garden‘s centenary in 1958. Though she never officially retired, she more or less discontinued performing live in the 1990s, making her career one of the longest in opera history.

Although generally considered a formidable actress and singer in her own right, she is now mostly remembered for regularly partnering Maria Callas on as well as off stage during the 1950s. Many of their collaborations (together with other regular partners Giuseppe di StefanoBoris ChristoffTito GobbiRolando Panerai and Tullio Serafin) were recorded by Fonit Cetra (mainly “La Gioconda“, 1952) and EMI. Her most famous portrayals included Amneris in “Aïda“, Azucena in Il trovatore, Quickly in Falstaff, Eboli in Don Carlo and Ulrica in Un ballo in maschera. Her 1951 performance of the Verdi Requiem, with Herva Nelli, di Stefano and Cesare Siepi, conducted by Arturo Toscanini, was issued by RCA. She can be seen and heard in the role of Madelon on a DVD of the opera “Andrea Chénier“, which stars Plácido Domingo, issued by the Bel Canto Society; also as Giovanna in “Rigoletto” filmed by Jean Pierre Ponnelle with Luciano Pavarotti and again with Domingo as Mamma Lucia in Franco Zeffirelli‘s “Cavalleria Rusticana“. In 1996 she sang and talked in Jan Schmidt-Garre‘s film Opera Fanatic. She died, aged 82, in Florence.

MARGARET BALFOUR (c.1892 – January 1961) was an English classical Contralto of the 1920s and 1930s.

She is best remembered as the angel in Elgar‘s own recorded excerpts of The Dream of Gerontius (1927) and one of the 16 soloists in the original performance of Vaughan Williams‘ Serenade to Music (1938).

She was also recorded by HMV singing Bach‘s Mass in B Minor with Elisabeth Schumann and the London Symphony Orchestra conducted by Albert Coates in sessions in 1929 at Kingsway Hall,London. She sang in the St Matthew Passion in November 1929 (with Keith Falkner and Elsie Suddaby) at Westminster with the Bach Cantata Club under Charles Kennedy Scott. She sangBeethoven‘s Symphony No. 9 with the BBC Chorus and the BBC Symphony Orchestra conducted by Arturo Toscanini at the Queen’s Hall, London, on November 3, 1937. She was a soloist at the Handel Festival conducted by Henry Wood at Alexandra Palace in 1939.



  1. ^ http://www.musicweb-international.com/hooey/elijah.htm

BETTY ALLEN (17 March 1927 – 22 June 2009) was a renowned American operatic mezzo-soprano who had an active international singing career during the 1950s through the 1970s.

File:Betty Allen.jpg

. In the latter part of her career her voice acquired a contralto-like darkening, which can be heard on her recording ofSergei Prokofiev’s Alexander Nevsky with conductor Eugene Ormandy and the Philadelphia Orchestra. She was known for her collaborations with American composers, such as Leonard BernsteinAaron CoplandDavid DiamondNed Rorem, and Virgil Thomson among others. 

Allen was part of the first generation of black opera singers to achieve wide success and is viewed as part of an instrumental group of performers who helped break down the barriers of racial prejudice in the opera world. She was greatly admired by Bernstein and the conductor notably chose her to be the featured soloist for his final performances as music director of the New York Philharmonic in 1973. After her singing career ended, she became a lauded voice teacher and arts administrator.

Early singing career:1950s

Allen’s first major performance came in 1951 while studying at the Tanglewood Music Festival‘s Berkshire Music Center. At Tanglewood, she was chosen by Leonard Bernstein to be the mezzo-soprano soloist in a presentation of his Jeremiah Symphony with the Boston Symphony Orchestra. She made her opera début the following year as the Commère in Virgil Thomson’s Four Saints in Three Acts at the August Wilson Theatre in a production mounted by the American National Theater and Academy. She later recorded that role for the opera’s first complete recording.  In 1952 she won the Marian Anderson Award after winning its namesake’s singing competition in Philadelphia. 

Allen’s next forray into opera came on June 6, 1954 when she participated in the world premiere of Sam Raphling‘s Tin Pan Alley on a radio broadcast on WNYC.  On July 1, 1954 she sang the part of Prince Orlofsky in a concert version of Johann Strauss II‘s Die Fledermaus at the Lewisohn Stadium under conductor Tibor Kozma.  On October 28, 1954 she made her New York City Opera (NYCO) debut as Queenie in Show Boat.[1] She spent the rest of the 1954-1955 season performing in a tour of France and North Africa after being selected by the National Music Leagueand the Jeunesses Musicales International to participate in an artist exchange program between the United States and France. 

In January 1955 Allen sang the part of the Israelite Messenger in Handel‘s Judas Maccabaeus with tenor Walter Carringer in the title role, the Interracial Fellowship Chorus, and conductor Harold Aks.  With The Dessoff Choirs and conductor Paul Boepple she was a soloist in Claudio Monteverdi‘s Vespro della Beata Vergine 1610 in a concert sponsored by the Baron Carlo de Ferraris Salzano, Consul General of Italy at Carnegie Hall on April 28, 1955. She then spent the next several months on a European recital tour where she was received warmly. 

On January 14, 1957 Allen excited much attention for her portrayal of the title heroine in Arthur Honegger‘s Judith in a concert performance of the work with the American Concert Choir and Orchestra under conductor Margaret Hillis at Town Hall. Critic Edward Downes said of her performance, “Allen sang the music of the first two acts without apparent effort. Her voice had a rich, true mezzo-soprano quality with a brilliant top, and dark reedy chest tones. It was so beautifully placed and focused that it gave the impression of being larger than it was. Her piano and even pianissimo singing had the velvet quality that carries so beautifully through an auditorium. She was a figure of refal dignity, yet she showed dramatic temperament, too.”  In December 1957 she was a soloist in the Oratorio Society of New York‘s performances of Handel’s Messiah. 

In January 1958 Allen made her New York recital debut at Town Hall to a warm reception. The following March she gave a critically acclaimed performance of Ernest Chausson‘s Chanson perpétuelle and Maurice Ravel‘s Chansons madécasses with the New York Chamber Music Ensemble and pianist Leonid Hambro.  In December 1958 she sang the world premiere of Julia Perry‘s Stabat Mater in a paring with the setting by Antonio Vivaldi. 

 Later singing career:1960s and 1970s

On May 5, 1960 Allen began her long partnership with Bernstein and the New York Philharmonic in a concert performance of Four Saints in Three Acts. She was a regular guest artist with the orchestra through 1975, appearing as a soloist in performances of such works as Johann Sebastian Bach‘s Johannes Passion, Bach’s St Matthew Passion, Bach’s Ich elender Mensch, wer wird mich erlösenBeethoven‘s Symphony No. 9Berg‘s Four Songs, Op. 2, both of Berg’s settings of Theodor Storm‘s Schliesse mir die Augen beideJoseph Haydn‘s She Never Told Her Love,Liszt‘s Die Legende von der heiligen ElisabethMahler‘s Lieder eines fahrenden Gesellen, Mahler’s Symphony No. 3, Mahler’s Symphony No. 8Franz Schubert‘s Die junge Nonne, Schubert’sErlkönig, Schubert’s WinterreiseStravinsky‘s A Sermon, a Narrative and a Prayer, and The Star-Spangled Banner among others. After an eleven-year absence she returned for one last performance with the orchestra in 1986. 

In 1961 Allen sang Teresa to the Amina of Joan Sutherland in the American Opera Society‘s production of La sonnambula at Carnegie Hall.  She performed with the AOS again the following year as Baba the Turk in Stravinsky’s The Rake’s Progress with Alexander Young as Tom Rakewell, John Reardon as Nick Shadow, and Judith Raskin as Anne Trulove.  She sang the role of Armando di Gondì in Gaetano Donizetti‘s Maria di Rohan with the AOS in February 1963 with Ilvo Ligabue in the title role and Lino Puglisi as Enrico. In March 1963 she sang Juno in Handel’sSemele with conductor Johannes Somary and the Amor Artis choir and orchestra. Soprano Helen Boatwright was in the title role, Donald Gramm sang Cadmus and Somnus, and Blake Stern was Jupiter. She returned to AOS again in 1965 to sing Zaida in Rossini‘s Il turco in Italia with Giorgio Tadeo as Selim, Judith Raskin as Fiorilla, Elfego Esparza as Don Geronio, Jerold Siena as Narciso, and Sherrill Milnes as Prosdocimo. That year she also portrayed Clitemnestre in Gluck‘s Iphigénie en Aulide at the AOS with Christa Ludwig in the title role, Richard Cassilly as Achille, and Walter Berry as Agamemnon. 

Allen appeared in two operas at the Midsummer Musical Festival at Philharmonic Hall in the summer of 1963. In July she sang Dorabella in Mozart‘s Così fan tutte under the baton of Paul Callaway. Also in the cast were Martina Arroyo as Vitellia, David Lloyd as Titus, Beverly Wolff as Sextus, Margaret Kalil as Servilia, and David Clatworthy as Publius.  In August Allen portrayed the Female Chorus in Benjamin Britten‘s The Rape of Lucretia with Lili Chookasian in the title role, William Greene as the Male Chorus, Joan Caplan as Bianca, Joan Gavoorian as Lucia, Ara Berberian as Collatinus, David Clatworthy as Tarquinius, and Ron Bottcher as Junius. 

Allen had a major triumph in 1964 as Jocasta in Stravinsky‘s Oedipus Rex at the Teatro Colón in Buenos Aires. She made her San Francisco Opera debut two years later as Azucena in Il trovatore with McHenry Boatwright as the Count di Luna, later reprising that role with the company in 1971. Engagements soon followed at the Canadian Opera Company (1971), the Palacio de Bellas Artes (1971), and the Washington National Opera (1972). She was committed to the New York City Opera from 1973-1975 where her roles included Azucena, Mistress Quickly in Falstaff, Jocasta in Oedipus rex, and Eurycleia in Il ritorno d’Ulisse in patria.

At the Santa Fe Opera Allen sang Pythia in Aribert Reimann‘s Melusine and Genevieve in Claude Debussy‘s Pelléas et Mélisande in 1972. She returned to that house in 1975 to portray Mistress Quickly and the grandmother in Manuel de Falla‘s La vida breve.[23] She made her debut at the Metropolitan Opera as the Commère on February 20, 1973 in a cast that included Clamma Dale as St. Teresa I, David Britton as St. Stephen, and Barbara Hendricks as St. Settlement. She was invited to sing at Mexico´s city for Casals´hommage in The Manger. In 1975 she sang Monisha in the first fully staged production of Scott Joplin’s Treemonisha at the Houston Grand Opera. She portrayed the role again in the Fall of 1975 at the Kennedy Center and in 1976 in New York City. Other roles in her repertoire included Sesto in La Clemenza di Tito, the Sorceress in Dido and Aeneas, and Ulrica in Verdi’s Un ballo in maschera.

Allen was also highly active internationally as a concert singer and recitalist during the 1960s and 1970s. She made appearances at the CaramoorCasalsCincinnati MayMarlboroRavinia,Saratoga, and Tanglewood Music Festivals. She appeared with a number of notable orchestras including the Philadelphia Orchestra and the AmericanBostonChicago, and Cincinnati symphony orchestras to name just a few. Her concert work led to collaborations with such conductors as Pierre BoulezPablo CasalsEdo de WaartAntal DorátiIstván KertészRafael KubelíkErich LeinsdorfLorin MaazelCharles MunchEugene OrmandySeiji OzawaGeorg SoltiLeopold Stokowski and Enrique Gimeno. She also appeared in recitals throughout North and South America, Europe, and Asia.

 Later life and career

Allen’s professional singing career was cut short by chronic lung problems which she blamed on her exposure to the Campbell, Ohio steel mills in her childhood. Although she made a handful of concert appearances into the 1980s, her opera career was over by the late 1970s. From 1969 up until her death she served on the faculty of the Manhattan School of Music. She also served on the faculties of both the Curtis Institute of Music (masterclasses since 1987) and the North Carolina School of the Arts (1978-1987).

In 1979 Allen became the executive director of the Harlem School of the Arts, later becoming president in 1992. In September 1989 she became the first American to teach a masterclass at theSaint Petersburg Conservatory through a cultural exchange program with the Harlem School of the Arts. She was also active as an adjudicator for many vocal competitions, such as the Metropolitan Opera Regional Auditions, the Young Concert Artists, and the Dutch International Vocal Competition in ´s Hertogenbosch among others. She died in Valhalla, New York at the age of 82.

Allen was also active as a member of the boards of numerous arts organizations, including the Board of Directors and Executive Committee of the Carnegie Hall, the National Foundation for the Advancement of the Arts, the Manhattan School of Music, Arts and Business Council, the American Arts Alliance, the Chamber Music Society of Lincoln Center, the Symphony Orchestra of the New York City Housing Authority, the Independent School Orchestras, and the Children’s Storefront and Theatre Development Fund. For many year she co-chaired the Harlem Arts Advocacy Coalition and the Schomburg Commission. She was also a member of the New York City Advisory Committee for Cultural Affairs.

 Awards and honors

  • Marian Anderson Award (1952)
  • Martha Baird Rockefeller Music Fund Award (1953)
  • John Hay Whitney Grant (1953)
  • Ford Foundation Grant (1954)
  • Honorary doctorate of Humane Letters from Wittenberg University (1971)
  • Honorary doctorate of music from Union College (1981)
  • American Eagle Award from the National Music Council (1988)
  • Philadelphia National Bank Distinguished Artist of the Year (1989)
  • Exceptional Achievement Award from the Women’s Project and Productions
  • First recipient of the ISO Award from the Independent School Orchestras
  • Laurel Leaf Award from the American Composers Alliance


  1. a b c d e “Betty Allen, Opera Singer and Educator, Dies at 82″, The New York Times, June 25, 2009
  2. a b Margalit Fox (January 15, 1995). “MAKING IT WORK; The Music in Discipline”The New York Times.
  3. a b “Mezzo to Tour France In Exchange of Artists”The New York Times. June 4, 1954.
  4. a b Edward Downes (January 15, 1957). “Music: Concert Choir; A New Cantata and Honegger’s ‘Judith’ Performed–Betty Allen Excels”The New York Times.
  5. ^ “Premiere of Sam Raphling’s ‘Tin Pan Alley’ Begins Week-Long Opera Fete on WNYC”The New York Times. June 7, 1954.
  6. ^ “STADIUM TO OFFER ‘DIE FLEDERMAUS’; Opera in Concert Form Will Be First of ‘Special’ Bills -Italian Program Slated”The New York Times. May 7, 1954.
  7. ^ “Interracial Fellowship Chorus Offers ‘Judas Maccabaeus,’ Oratorio by Handel”The New York Times. January 10, 1955.
  8. ^ “Music: Monteverdi Work Revived; Dessoff Choirs Sing in Carnegie Program”The New York Times. April 29, 1955.
  9. ^ Allen Biography at operissimo.com (in German)
  10. ^ Harold C. Schonberg (December 14, 1957). “Oratorio Society Offers ‘Messiah’ In Its Christmas-Time Tradition”The New York Times.
  11. ^ E.C. (March 10, 1958). “Betty Allen, Soprano, Excels in Concert Of New York Chamber Music Ensemble”The New York Times.
  12. ^ Ross Parmenter (December 10, 1958). “‘STABAT MATER’ SUNG AT CONCERT; 2 Versions Offered by Betty Allen, Mezzo-Soprano, in Clarion Series”The New York Times.
  13. ^ New York Philharmonic Performance Archives
  14. ^ Harold C. Schonberg (December 6, 1961). “Music: Joan Sutherland; Soprano Performs in ‘La Sonnambula’”The New York Times.
  15. ^ Harold C. Schonberg (November 21, 1962). “Music: ‘Rake’s Progress’; American Opera Society Opens 10th Season”The New York Times.
  16. ^ Harold C. Schonberg (February 14, 1963). “Opera: 1843 Revival; Singers Fail to Meet Coloratura Demands of Donizetti’s ‘Maria di Rohan’”The New York Times.
  17. ^ Harold C. Schonberg (April 4, 1963). “Music: An Opera-Oratorio by Handel; ‘Semele’ Is Offered by Amor Artis Group Somary Directs Work Rarely Performed”The New York Times.
  18. ^ Harold C. Schonberg (February 24, 1965). “Music: ‘Il Turco in Italia’ Is Offered in Concert; Rossini Rarity Heard at Carnegie Hall Singers Try but Miss Essential Spirit”The New York Times.
  19. ^ Raymond Ericson (March 24, 1965). “IPHIGENIA’ GLOWS IN CONCERT FORM; Gluck Opera Moves Swiftly in Carnegie Performance”The New York Times.
  20. ^ Harold C. Schonberg (July 25, 1963). “Opera: Mozart’s ‘La Clemenza di Tito’; Paul Callaway Conducts the Cantata Singers Philharmonic’s Phase I Acoustics Completed”The New York Times.
  21. ^ Raymond Ericson (August 1, 1963). “Music: Britten’s ‘Rape of Lucretia’; Concert Version Given at Philharmonic Hall”The New York Times.
  22. ^ San Francisco Opera archives
  23. ^ Santa Fe Opera archives
  24. ^ Metropolitan Opera Archives

MARY BOTHWELL (November 28, 1898 – May 3, 1985) was a Canadian classical vocalist and painter.


Date: 1948

As a singer she began her career as a contralto, but ultimately ended up performing soprano parts in the opera and concert repertoire.

Born in Hickson near Woodstock, Ontario, Bothwell studied at the Canadian Academy of Music in Toronto where she was a voice student of Otto Morando and a piano student of Peter C. Kennedy. From 1920-1929 she performed as a contralto in opera and oratorio performances in Toronto andBuffalo, New York. In 1937 she went to Austria to study singing at the Mozarteum University of Salzburg. The following year she moved to New York City where she was a pupil of Paul Althouse. She made her recital debut in that city at Town Hall on November 1, 1938 and continued to appear there until the early 1960s.

In 1947 she made her first European tour which included performances in GermanyHolland, and England. That same year she was much admired at the Scheveningen Festival for her portrayal of the Marschallin in Der Rosenkavalier. She was also celebrated for her portrayal of Isolde in Tristan und Isolde, a role she notably performed with the BBC Symphony Orchestra under conductor Adrian Boult in 1948. She performed on radio in New York,ParisLondon, and Basel. Among her recordings for Royale are An Hour of Lieder:

  • Hugo Wolf Sung by Mary Bothwell (1310)
  • An Hour of Concert Songs (1318)
  • Bless This House (1538)
  • Richard Strauss Album (4069)

Bothwell was elected president of the Canadian Women’s Club of New York City at the annual meeting in the Savoy Hilton on May 12, 1958. During her term as president of the Canadian Women’s Club of New York she encouraged the careers of young Canadian performers.

Bothwell became known also for her paintings of flowers. “Wild Flowers of Switzerland”, 36 botanical studies in oil by Mary Bothwell was exhibited for the first time at the Horticultural Society of New York on April 18, 1971.


  • Encyclopedia of Music in Canada
  • MARY BOTHWELL GIVES ANNUAL SONG RECITAL – New York Times, February 16, 1953. Page 18
  • Canadian Women Plan To Aid Blind Children – New York Times, December 10, 1961, Sunday.Page 100.
  • What’s New in Art. In the Galleries: MARY BOTHWELL-The Horticultural Society of New York. New York Times, March 25, 1973, Sunday. Section: AL, Page 162.

ANNA BETHELL (1882 – 2 March 1969) was an English actress, singer and stage director.

She is best known for her performances in the Gilbert and Sullivan operas with the D’Oyly Carte Opera Company. After playing other small mezzo-soprano parts, she played the role of Mrs. Partlett in The Sorcerer for many years. She also occasionally played some of the larger contralto roles. She later became stage director of the company from 1947 to 1949 and also directed the J. C. Williamson Gilbert and Sullivan Company.

Bethell was married to fellow D’Oyly Carte member Sydney Granville.

Early years

Bethell was born in Lancashire, England.

Bethell was engaged by the D’Oyly Carte Opera Company in 1909, singing in the chorus and playing the smaller mezzo-soprano roles of Kate in The Pirates of Penzance, Lady Saphir inPatience, Leila in Iolanthe and Chloe in Princess Ida.  She soon also took on the role of Vittoria in The Gondoliers. She left the company in 1912 but returned the next year, touring in the same roles and also as Peep-Bo in The Mikado. From 1915, Bethell sang in the chorus, again playing Saphir from 1917. She began to understudy the principal contralto roles, then played by Bertha Lewis, in 1918. At this time, she began to play Mrs. Partlett in The Sorcerer and Inez in The Gondoliers. Between 1918 and 1924, she also toured, from time to time, in two plays by Stanley HoughtonHindle Wakes (as Fanny Hawthorn) and The Younger Generation. 

In 1921, Bethell resumed the small part of Chloe, with D’Oyly Carte, and the next year also began again to play Kate. In 1923, she sometimes played the role of Cousin Hebe in H.M.S. Pinafore, Melissa in Princess Ida, Pitti-Sing in The Mikado, and Tessa in The Gondoliers. After this, until 1925, she played the parts of Mrs. Partlett, Chloe and Inez. At the end of 1925, Bethel and her husband, Sydney Granville, and other company members left the D’Oyly Carte to travel to Australia, performing in Gilbert and Sullivan roles with the J. C. Williamson Ltd. company. In 1929, she rejoined D’Oyly Carte as Mrs. Partlett, playing the role until 1939.  In 1931, she also occasionally played Little Buttercup in Pinafore and Dame Hannah in Ruddigore.  Bethell is heard as Mrs. Partlett on the D’Oyly Carte’s 1933 recording of excerpts from The Sorcerer. 

 Stage director

Bethell was engaged by the D’Oyly Carte Opera Company as Stage Director from 1947 to 1948. In his 1952 memoir, the former principal comedian of the company, Martyn Green, wrote: “During Anna Bethell’s regime … there had been growing signs of discontent and suggestions of favouritism being shown to some of the members of the chorus in respect to passing over existing understudies, selections for small parts, and so on.  In 1949, she travelled to Australia to direct J. C. Williamson Ltd. productions of Gilbert and Sullivan. That company then toured these productions throughout Australasia for the next three years. 

She died in 1969 in Bournemouth.

EULA BEAL (January 25, 1919 – July 29, 2008) was an American contralto.

During her relatively short touring career, she performed with distinguished collaborators not only in concert on the US West Coast but also in Concert Magic, a 1947 film billed as “the first motion picture concert.”  

Beal was born in Riverside, California. Touring the United States as a concert contralto in the 1940s, she appeared with orchestras including the Phoenix Symphony  and the Los Angeles Philharmonic. With the latter ensemble, she performed in two works by Gustav Mahler: his Eighth Symphony, under Eugene Ormandy at the Hollywood Bowl,  and Kindertotenlieder. Beal’s operatic appearances included impersonations of Erda in Wagner‘s Siegfried and the innkeeper in Boris Godunov with the San Francisco Opera during the 1948 season. She also sang at Radio City Music Hall and the Tanglewood Festival with the Boston Pops. 

Beal’s present fame rests on her participation in Concert Magic, an unscripted film presenting, as the title would suggest, a classical concert. Beal was the sole vocalist; instrumentalists included pianists Adolph BallerJakob Gimpel, and Marguerite Campbell; violinist Yehudi Menuhin; and an orchestra billed as “Symphony Orchestra of Hollywood” under the baton of Antal Dorati. Interspersed with purely instrumental selections, Beal performed the Bach-Gounod “Ave Maria”Franz Schubert‘s “Erlkönig” and “Ave Maria“; Tchaikovsky’s ”None but the lonely heart“; and “Lord, Have Mercy on Me” from the St. Matthew Passion of Johann Sebastian Bach. 

Beal married well known-aerial photographer William Garnett in 1941 and remained his wife until his death in 2006, bearing him three sons. After but a decade on the concert circuit, she opted to abandon her full-time performing career to devoting her time to her family. Nonetheless, she remained sporadically active in northern California, where she and Garnett made their home; besides providing music at local funerals and churches, she performed with the San Francisco Symphony, the Santa Rosa Symphony, the Napa Symphony, and a local Napa, California choral group. She died in Napa in 2008.


  1. a b Lemco, Gary, review of Concert Magic, EuroArts DVD 2054158, on Audiophile Audition Internet site, accessed October 12, 2009
  2. ^ Nilsen, Richard, “Symphony Marks 60 Years of Musicmaking,” The Arizona Republic, September 2, 2007, accessed October 12, 2009
  3. ^ Dettmer, Roger, review of “The Art of Eugene Ormandy,” Biddulph WHL 064/5, on Classical CD Review Internet site, accessed October 12, 2009
  4. ^ LA Phil Presents | Piece Detail – Gustav Mahler: Kindertotenlieder
  5. a b “Garnett, Eula Beal,” obituary published in The San Francisco Chronicle, August 3, 2008, accessed October 12, 2009

 External links