Suzanne Danco

Biography

Born: January 22, 1911; Brussels, Belgium   Died: August 10, 2000; Fiesole, Italy  
With a curious melding of a bright vocal timbre and a somewhat-reserved temperament, Suzanne Danco became a leading artist among the lyric sopranos of the 1940s and 1950s. She was a frequent visitor to the recording studio and left an appreciable legacy on disc, each one reflecting her high purpose and musical exactitude. Her choice of operatic roles was wide-ranging, extending from Mozart to Alban Berg with several French heroines occupying a Read more central place among them. Danco received her musical training at the Brussels Conservatory, where her studiousness won her numerous awards. Her first experiences on-stage were as a chorus member. While her family was largely unsupportive regarding her desire to become an opera singer, Danco persisted. After winning a prize in Vienna, she followed the advice of conductor Erich Kleiber and traveled to Prague to study with lyric tenor Fernando Carpi. Following a series of recitals in Italy in 1940, Danco's 1941 debut as Fiordiligi attracted notice in Genoa and the role remained a central one in her subsequent career. She presented herself in the same part for a 1947 production at La Scala. An American operatic career failed to materialize: Rudolf Bing's promise of an invitation from the Metropolitan Opera he was about to join remained unfulfilled and Danco did not appear there. Instead, she visited the United States on a recital tour with accompanist Paul Ulanowsky. Danco's stage appearances in Europe compensated for any American disappointments. For La Scala in 1947, she sang Ellen Orford in Milan's first performance of Britten's Peter Grimes. In 1948, she presented her Jocasta in Stravinsky's Oedipus Rex to La Scala audiences and in 1949, she ventured Marie in Berg's Wozzeck for the Teatro San Carlo, afterward declaring it a part holding no difficulties for her. Despite her enthusiasm for Italian lyric roles, they seldom came her way. A 1951 production of La bohème at Covent Garden was presented in English and Danco felt her one opportunity to sing Mimi was compromised by an inept translation. Despite her discomfort, she was well-regarded by the critics who found her a fragile, slightly distant heroine whose English was excellent. That outing, however, was both the beginning and the end of her career at the Royal Opera House. Other houses were less indifferent. At Rome, her Mélisande was acclaimed and she became a valued artist at the Edinburgh, Aix-en-Provence, and Glyndebourne festivals. In orchestral concerts, she was regarded as exemplary in Berlioz's Les nuits d'été and Ravel's Shéhérazade, both of which she commercially recorded. In her recital repertory, works by Berlioz, Gounod, Fauré, Chausson, Debussy, Ravel, and Poulenc alternated with ones by Schubert, Schumann, Berg, Schoenberg, Falla, and Britten. Several Mozart roles were recorded either on commercial disc or through reasonably faithful radio transmissions. After retirement, Danco taught at Aldeburgh and at the Accademia Chigiana at Siena. Read less

Biography

Born: January 22, 1911; Brussels, Belgium   Died: August 10, 2000; Fiesole, Italy  
With a curious melding of a bright vocal timbre and a somewhat-reserved temperament, Suzanne Danco became a leading artist among the lyric sopranos of the 1940s and 1950s. She was a frequent visitor to the recording studio and left an appreciable legacy on disc, each one reflecting her high purpose and musical exactitude. Her choice of operatic roles was wide-ranging, extending from Mozart to Alban Berg with several French heroines occupying a Read more
WORKS ALBUMS
TITLE/COMPOSER
LABEL
No. 1. Unterm Schutz von dichten Blattergrunden
No. 2. Hain in diesen Paradiesen
No. 3. Als Neuling trat ich ein in dein Gehege
No. 4. Da meine Lippen reglos sind und brennen
No. 5. Saget mir, auf welchem Pfade
No. 6. Jedem Werke bin ich furder tot
No. 7. Angst und Hoffen wechselnd mich beklemmen
No. 8. Wenn ich heut nicht deinen Leib beruhre
No. 9. Streng ist uns das Gluck und sprode
No. 10. Das schone Beet betracht ich mir im Harren
No. 11. Als wir hinter dem bebluhmten Tore
No. 12. Wenn sich bei heiliger Ruh in tiefen Matten
No. 13. Du lehnest wider eine Silberweide
No. 14. Sprich nicht immer von dem Laub
No. 15. Wir bevolkerten die abend dustern Lauben
Debussy: Le Martyre de Saint Sébastien - Mystère - 1. La Cour des lys
Debussy: Le Martyre de Saint Sébastien - Mystère - 2. La Chambre magique
Debussy: Le Martyre de Saint Sébastien - Mystère - 3. Le Concile des faux dieux
Debussy: Le Martyre de Saint Sébastien - Mystère - 4. Le Laurier blessé
Debussy: Le Martyre de Saint Sébastien - Mystère - 5. Le Paradis
Overture
"Notte e giorno faticar"
Ma qual mai s'offre, o Dei
"Orsù, spicciati presto"
"Ah! chi mi dice mai" - "Udisti? qualche bella"
"Madamina, il catalogo è questo"
"Giovinette, che fate all'amore"
"Manco male, è partita"
"Ho capito, signor sì!"
"Alfin siam liberati"
"Là ci darem la mano" - "Fermati, scellerato!"
"Ah, fuggi il traditor"
"Mi par ch'oggi il demonio si diverta"
"Non ti fidar, o misera"
"Don Ottavio... son morta!"
"Or sai chi l'onore"
"Dalla sua pace"
"Io deggio ad ogni patto"
"Fin ch'han dal vino"
"Masetto... senti un po'..."
"Batti, batti, o bel Masetto"
"Presto, presto... pria ch'ei venga"
"Bisogna aver corragio"
"Riposate, vezzose ragazze"
"Eh via, buffone, non mi seccar"
"Ah! taci, ingiusto core"
"Deh! vieni alla finestra"
"Metà di voi qua vadano"
"Vedrai, carino"
"Di molte faci il lume"
"Sola, sola in buio loco"
"Ah! pietà, signori miei!"
"Il mio tesoro intanto"
"In quali eccessi, o numi...Mi tradi quell'alma ingrata"
"Ah! ah! ah! questa è buona!"
"O statua gentilissima"
"Calmatevi, idol mio"
"Non mi dir, bell'idol mio"
"Già la mensa è preparata"
"Don Giovanni, a cenar teco m'invitasti"
"Ah! dov'è il perfido?"
Kyrie eleison (Chorus)
Christe eleison (Soprano 1 and 2)
Kyrie eleison (Chorus)
Gloria in excelsis Deo (Chorus)
Laudamus te (Soprano 2)
Gratias agimus tibi (Chorus)
Domine Deus (Soprano 1, Tenor)
Qui tollis peccata mundi (Chorus)
Qui sedes ad dextram Patris (Alto)
Quoniam tu solus Sanctus (Bass) - Cum Sancto Spiritu (Chorus)
Credo in unum Deum (Chorus)
Patrem omnipotentem (Chorus)
Et in unum Dominum (Soprano 1, Alto)
Et incarnatus est (Chorus)
Crucifixus (Chorus) - Et resurrexit terita die (Chorus)
Et in Spiritum Sanctum Dominum (Bass)
Confiteor unum baptisma (Chorus)
Sanctus (Chorus)
Osanna (Double Chorus)
Benedictus (Tenor)
Agnus Dei (Alto)
Dona nobis pacem (Double Chorus)
La Damnation de Faust, Op. 24: Le vieil hiver
Les bergers laissent
Mais d'un éclat guerrier
March hongroise: (Rákóczy March)
Sans regrets j'ai quitté
Christ vient de ressusciter! (Chant de la fête de Pâques)
Hélas! doux chants du ciel
O pure émotion!
A boire encor!
Oh! qui'il fait bon
Certain rat (Chanson de Brander)
Amen. Amen
Vrai Dieu, messieurs
Une puce gentille (Chanson de Méphistophélés)
Assez! fuyons ces lieux
Voici des roses
Dors, heureux Faust, dors!
Ballet of the Sylphs
Margarita!
Villes entourées
La retraite
Merci, doux crépuscule!
Je l'entends!
Que l'air est étouffant!
Autrefois un roi de Thulé (The King of Thule)
Esprit des flammes
La Damnation de Faust, Op. 24: Menuet des follets
Maintenant
Grands dieux!
Allons, il est trop tard!
D'amour l'ardente flamme (Romance de Marguerite)
Au son des trompettes
Nature immense (Invocation à la Nature)
A la voûte azurée
Dans mon coeur retentit (La course à l'abîme)
Has! Irimiru Karabrao!
Alors l'enfer se tut
Laus! Hosanna!
Overture
"Notte e giorno faticar"
Ma qual mai s'offre, o Dei
"Orsù, spicciati presto"
"Ah! chi mi dice mai" - "Udisti? qualche bella"
"Madamina, il catalogo è questo"
"Giovinette, che fate all'amore"
"Manco male, è partita"
"Ho capito, signor sì!"
"Alfin siam liberati"
"Là ci darem la mano" - "Fermati, scellerato!"
"Ah, fuggi il traditor"
"Mi par ch'oggi il demonio si diverta"
"Non ti fidar, o misera"
"Don Ottavio... son morta!"
"Or sai chi l'onore"
"Dalla sua pace"
"Io deggio ad ogni patto"
"Fin ch'han dal vino"
"Masetto... senti un po'..."
"Batti, batti, o bel Masetto"
"Presto, presto... pria ch'ei venga"
"Bisogna aver corragio"
"Riposate, vezzose ragazze"
"Eh via, buffone, non mi seccar"
"Ah! taci, ingiusto core"
"Deh! vieni alla finestra"
"Metà di voi qua vadano"
"Vedrai, carino"
"Di molte faci il lume"
"Sola, sola in buio loco"
"Ah! pietà, signori miei!"
"Il mio tesoro intanto"
"In quali eccessi, o numi...Mi tradi quell'alma ingrata"
"Ah! ah! ah! questa è buona!"
"O statua gentilissima"
"Calmatevi, idol mio"
"Non mi dir, bell'idol mio"
"Già la mensa è preparata"
"Don Giovanni, a cenar teco m'invitasti"
"Ah! dov'è il perfido?"
Overture
"Cinque... deci... venti..." - "Cosa stai misurando"
"Se a caso Madama la notte ti chiama"
Bravo, signor padrone...Se vuol ballare...Ed aspettaste
"La vendetta" - "Tutto ancor non ho perso"
"Via resti servita" - "Va là, vecchia pedante"
Non so più...Ah, son perduto!
Cosa sento!...Basilio, in traccia tosto...Giovani
"Non più andrai"
Porgi amor...Vieni, cara Susanna
"Voi che sapete" - "Bravo! che bella voce!"
Venite! Inginocchiatevi...Quante buffonerie!
"Che novità!"
"Susanna, or via, sortite" - "Dunque, voi non aprite"
"Aprite, presto, aprite" - "O guarda il demonietto!"
"Tutto è come io lasciai"
"Esci, ormai, garzon malnato" - "Susanna!... Signore!"
"Signore, di fuori" - "Ah! signore... signor!"
"Voi signor, che giusto siete"
"Che imbarazzo è mai questo" - "Via, fatti core"
"Crudel! perché finora" - "E perché fosti meco"
Hai già vinta la causa!...Vedrò mentr'io sospiro...
"Riconosci in questo amplesso" - "Eccovi, o caro amico" - "Andiamo, andiam, bel paggio"
E Susanna non vien...Dove sono i biei momenti...Io
Cosa mi narri!...Che soave zeffiretto...Piegato è
Ecco la marcia...Eh, già, solita usanza
L'ho perduta...Barbarina, cos'hai?
Il capro e la capretta...Nel padiglione a manca
"In quegli anni in cui val poco"
"Tutto è disposto"
Giunse alfin il momento...Deh, vieni, non tardar...
Pian pianin le andrò più presso...Tutto è tranquillo
"Gente, gente, all'armi"


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