Beverly Sills

Beverly Sills (born Belle Miriam Silverman; May 25, 1929 – July 2, 2007) was an American soprano whose career peak in opera was between the 1950s and 1970s.

Although she sang a repertoire from Handel and Mozart to Puccini, Massenet and Verdi, she was especially renowned for her performances in coloratura soprano roles in live opera and recordings. Sills was largely associated with the operas of Donizetti, of which she performed and recorded many roles. Her signature roles include the title role in Donizetti's Lucia di Lammermoor, the title role in Massenet's Manon, Marie in Donizetti's La fille du régiment, the three heroines in Offenbach's Les contes d'Hoffmann, Rosina in Rossini's The Barber of Seville, Violetta in Verdi's La traviata, and most notably Elisabetta in Donizetti's Roberto Devereux.

The New York Times noted,

In her prime her technique was exemplary. She could dispatch coloratura roulades and embellishments, capped by radiant high Ds and E-flats, with seemingly effortless agility. She sang with scrupulous musicianship, rhythmic incisiveness and a vivid sense of text.

NPR said her voice was "Capable of spinning a seemingly endless legato line, or bursting with crystalline perfection into waves of dazzling fioriture and thrilling high notes."

After retiring from singing in 1980, she became the general manager of the New York City Opera. In 1994, she became the chairwoman of Lincoln Center and then, in 2002, of the Metropolitan Opera, stepping down in 2005. Sills lent her celebrity to further her charity work for the prevention and treatment of birth defects.

Sills was a member of the executive committee of the Writers and Artists for Peace in the Middle East, a pro-Israel group.

Sills was born Belle Miriam Silverman in Crown Heights, Brooklyn, New York City, to Shirley Bahn (née Sonia Markovna), a musician, and Morris Silverman, an insurance broker. Her parents were Jewish immigrants from Odessa in the Russian Empire (present-day Ukraine), and Bucharest in Romania. She was raised in Brooklyn, where she was known, among friends, as "Bubbles" Silverman. As a child, she spoke Yiddish, Russian, Romanian, French, and English. She attended Erasmus Hall High School in Brooklyn, as well as Manhattan's Professional Children's School.

At the age of three, Sills won a "Miss Beautiful Baby" contest, in which she sang "The Wedding of Jack and Jill". Beginning at age four, she performed professionally on the Saturday morning radio program, "Rainbow House", as "Bubbles" Silverman. Sills began taking singing lessons with Estelle Liebling at the age of seven and a year later sang in the short film Uncle Sol Solves It (filmed August 1937, released June 1938 by Educational Pictures), by which time she had adopted her stage name, Beverly Sills. Liebling encouraged her to audition for CBS Radio's Major Bowes' Amateur Hour, and on October 26, 1939, at the age of 10, Sills was the winner of that week's program. Bowes then asked her to appear on his Capitol Family Hour, a weekly variety show. Her first appearance was on November 19, 1939, the 17th anniversary of the show, and she appeared frequently on the program thereafter.

In 1945, Sills made her professional stage debut with a Gilbert and Sullivan touring company produced by Jacob J. Shubert, playing twelve cities in the US and Canada, in seven different Gilbert and Sullivan operas. In her 1987 autobiography, she credits that tour with helping to develop the comic timing she soon became famous for: "I played the title role in Patience... a very funny, flaky girl. ... I played her as a dumb Dora all the way through.... I found that I had a gift for slapstick humor, and it was fun to exercise it onstage." Sills sang in operettas for several more years.

On July 9, 1946, Sills appeared as a contestant on the radio show Arthur Godfrey's Talent Scouts. She sang under the pseudonym of "Vicki Lynn", as she was under contract to Shubert. Shubert did not want Godfrey to be able to say he had discovered "Beverly Sills" if she won the contest (although she did not ultimately win). Sills sang "Romany Life" from Victor Herbert's The Fortune Teller.

In 1948-49 Sills toured with Estelle Liebling's "Liebling Singers" ("five girls and a baritone"), performing operatic excerpts in recital with piano.

In 1966, the New York City Opera revived Handel's then virtually unknown opera seria Giulio Cesare (with Norman Treigle as Caesar), and Sills' performance as Cleopatra made her an international opera star. Sills also made her "unofficial" Met debut at a Lewisohn Stadium summer concert performance as Donna Anna in Don Giovanni, though nothing further came of this other than offers from Rudolf Bing for roles such as Flotow's Martha. In subsequent seasons at the NYCO, Sills had great successes in the roles of the Queen of Shemakha in Rimsky-Korsakov's The Golden Cockerel, the title role in Manon, Donizetti's Lucia di Lammermoor, and the three female leads Suor Angelica, Giorgetta, and Lauretta in Puccini's trilogy Il trittico.

In 1969, Sills sang Zerbinetta in the American premiere (in a concert version) of the 1912 version of Richard Strauss's Ariadne auf Naxos with the Boston Symphony. Her performance of the role, especially Zerbinetta's aria, "Großmächtige Prinzessin", which she sang in the original higher key, won her acclaim. Home video-taped copies circulated among collectors for years afterwards, often commanding large sums on Internet auction sites (the performance was released commercially in 2006, garnering high praise). The second major event of the year was her debut as Pamira in Rossini's The Siege of Corinth at La Scala, a success that put her on the cover of Newsweek.

Sills's now high-profile career landed her on the cover of Time in 1971, where she was described as "America's Queen of Opera". The title was appropriate because Sills had purposely limited her overseas engagements because of her family. Her major overseas appearances include London's Covent Garden, Milan's La Scala, La Fenice in Venice, the Vienna State Opera, the Théâtre de Beaulieu in Lausanne, Switzerland, and concerts in Paris. In South America, she sang in the opera houses of Buenos Aires and Santiago, a concert in Lima, Peru, and appeared in several productions in Mexico City, including Lucia di Lammermoor with Luciano Pavarotti. On November 9, 1971, her performance in the New York City Opera's production of The Golden Cockerel was telecast live to cable TV subscribers.

During this period, she made her first television appearance as a talk-show personality in May 1968 on Virginia Graham's Girl Talk, a weekday series syndicated by ABC Films. An opera fan who was Talent Coordinator for the series persuaded the producer to put her on the air and she was a huge hit. Throughout the rest of her career she shone as a talk show guest, sometimes also functioning as a guest host. Sills underwent successful surgery for ovarian cancer in late October 1974 (sometimes misreported as breast cancer). Her recovery was so rapid and complete that she opened in The Daughter of the Regiment at the San Francisco Opera a month later.

Following Sir Rudolf Bing's departure as director, Sills finally made her debut at the Metropolitan Opera on April 7, 1975 in The Siege of Corinth, receiving an eighteen-minute ovation at her curtain call. Other operas she sang at the Met include La Traviata, Lucia di Lammermoor, Thaïs, and Don Pasquale (directed by John Dexter). In an interview after his retirement, Bing stated that his refusal to use Sills – as well as his preference for engaging, almost exclusively, Italian stars such as Renata Tebaldi due to his notion that American audiences expected to see Italian stars – was the single biggest mistake of his career. Sills attempted to downplay her animosity towards Bing while she was still singing, and even in her two autobiographies. But in a 1997 interview, Sills spoke her mind plainly, "Oh, Mr. Bing is an ass. [W]hile everybody said what a great administrator he was and a great this, Mr. Bing was just an improbable, impossible General Manager of the Metropolitan Opera.... The arrogance of that man."

In 1978, Sills announced she would retire on October 27, 1980, in a farewell gala at the New York City Opera (NYCO). In the spring of 1979, she began acting as co-director of NYCO, and became its sole general director as of the fall season of that year, a post she held until 1989, although she remained on the NYCO board until 1991. During her time as general director, Sills helped turn what was then a financially struggling opera company into a viable enterprise. She also devoted herself to various arts causes and such charities as March of Dimes and was sought after for speaking engagements on college campuses and for fund raisers.

From 1994 to 2002, Sills was chairwoman of Lincoln Center. In October 2002, she agreed to serve as chairwoman of the Metropolitan Opera, for which she had been a board member since 1991. She resigned as Met chairwoman in January 2005, citing family as the main reason (she had to place her husband, whom she had cared for over eight years, in a nursing home). She stayed long enough to supervise the appointment of Peter Gelb, formerly head of Sony Classical Records, as the Met's general manager, to succeed Joseph Volpe in August 2006.

Peter Greenough, Sills's husband, died on September 6, 2006, at the age of 89, shortly before what would have been their 50th wedding anniversary on November 17, 2006.

She co-hosted The View for Best Friends Week on November 9, 2006, as Barbara Walters' best friend. She said she did not sing anymore, even in the shower, to preserve the memory of her voice.

She appeared on screen in movie theaters during HD transmissions live from the Met, interviewed during intermissions by the host Margaret Juntwait on January 6, 2007 (I puritani simulcast), as a backstage interviewer on February 24, 2007 (Eugene Onegin simulcast), and then, briefly, on April 28, 2007 (Il trittico simulcast).

Sills's voice has been variously described as "rich, supple", "silvery", "precise, a little light", "multicolored", "robust and enveloping", with "a cutting edge that can slice through the largest orchestra and chorus", soaring easily above high C. Her technique and musicianship have been much praised. Conductor Thomas Schippers said in a 1971 interview with Time that she had "the fastest voice alive". The New York Times writes that "she could dispatch coloratura roulade (music) and embellishments, capped with radiant high Ds and E-flats, with seemingly effortless agility. She sang with scrupulous musicianship, rhythmic incisiveness and a vivid sense of text." Soprano Leontyne Price was "flabbergasted at how many millions of things she can do with a written scale." Her vocal range, in performance, extended from F3 to F6, and she said she could sometimes hit a G6 in warm up.

These are the roles that Sills performed on stage or for television or radio.

Sills received many honors and awards from the 1970s through her final years. Here is a list of her major awards, divided by category:

1969 – Scenes and Arias from French Opera (nomination)

1970 – Mozart and Strauss Arias (nomination)

1976 – Best Classical Vocal Soloist Performance for Herbert: Music of Victor Herbert (winner)

1975 – Profile in Music: Beverly Sills, Festival '75 (winner)

During her operatic career, Sills recorded eighteen full-length operas:

Sills also recorded nine solo recital albums of arias and songs, and was soprano soloist on a 1967 recording of Mahler's Symphony No. 2.

She starred in eight opera productions televised on PBS and several more on other public TV systems. She participated in such TV specials as A Look-in at the Met with Danny Kaye in 1975, Sills and Burnett at the Met, with Carol Burnett in 1976, and Profile in Music, which won an Emmy Award for its showing in the US in 1975, although it had been recorded in England in 1971. She also played the role of Helene in a complete performance of Hin und Zurück on Episode 6 of Aaron Copland's WNET series Music in the Twenties.

Some of those televised performances have been commercially distributed on videotape and DVD:

Ariadne auf Naxos (Watson, Nagy; Leinsdorf, 1969) [Concert Version]