Rosa Ponselle: A Centenary Biography

To my abject shame, I confess that prior to reading this biography, I knew Ponselle only vaguely as a "name" from the Golden Age. (Since reading the book, I've acquired dozens of her recordings and viewed her screen test!) What great fun this book is! And what a life to chronicle. Miss Ponselle is shown to be a complex, fabulous, contradictory, and sometimes infuriating human being, a woman of enormous stamina and determination. Her struggles would seem trite and unbelievable in one of those Hollywood faux-bio movies once so popular, yet she did struggle and triumph in the best screen tradition. Without resorting to any phony sensationalism, the author skillfully kept me poised on the edge of my seat, waiting to see what was going to happen next. This may have been partly because I was unfamiliar with Ponselle's career, but I think it would be true for all readers. A rich and totally fulfilling book.

James Drake's previous biography of Rosa Ponselle (styled an "autobiography," but in fact written entirely by Drake), was an excellent book and, until this new offering, served as the only biogrqaphy of an artist many consider the greatest opera singer America has produced, and one of the greatest, of any nationality, of all time. Prof. Drake's new book on Ponselle is not merely a rehashing of his earlier effort, but in fact entirely supersedes it. Unorthodox in organization, it gives us a complete picture of Rosa Ponselle, both as artist and woman. Prof. Drake has given us one of the finest biographies of an opera singer ever written. Each chapter in the book is divided into four sections. First, there is an introductory overview, by Drake, of the period of Ponselle's life covered in that chapter. Next comes "The Interview," which is a transcript of interviews Ponselle gave to various persons (including the author) in the later years of her life, again dealing with the period of her life covered by the chapter. Here, Ponselle herself speaks. Then follows an account by some other person closely associated with Ponselle, dealing with the same events - her manager, Libbie Miller; her secretary and longtime companion, Edith Prilik Sania; her husband, Carle Jackson; and a close friend, Lena Tambourini. Finally, there is "The Written Record," which looks at what was actually written about Ponselle at the time of the events in question - reviews, articles, interviews, etc. The overall effect of this sequence is to give a full, well-rounded and sometimes conflicting account of Ponselle's life. Not infrequently, Ponselle's own spoken recollections will be contradicted either by the recollections of others or by the written record. Perhaps the most important contribution of this book is to scrutinize - and in part, explode - the "Cinderella" myth surrounding Ponselle's "discovery" by Caruso and her subsequent engagement by the Met. Edith Prilik Sania's account gives a fascinatingly different perspective on these events. (She was there when they happened.) Another example of a fresh and varied perspective is the account of Ponselle's relationship with her manager early in her operatic career, William Thorner. Ponselle always maintained that Thorner never gave her any voice lessons ("I wouldn't have let him touch my voice!"), contrary to his own claims, and she downplayed Thorner's role in her engagement by the Met. Ponselle's recollections were no doubt colored by her personal antipathy to Thorner. (She later sued him, and one gets the impression that she never forgave him for steering her to Columbia records, rather than to Victor, where she would have been able to record with Caruso). What the written record and Edith Prilik's recollections show, is that Thorner may in fact have given Ponselle some voice lessons (he was a well-known vocal instructor at the time), and he had a lot more to

If Flaubert was in love with Emma Bovary, surely James Drake must be in love with Rosa Ponselle. He has made her live for us, just as Flaubert made Emma flesh and blood. For me, opera singers are made of glass; they shine, and they may even seem transparent, but rarely do they seem human. Through the clear, admiring eyes of James Drake, Rosa could be our next-door neighbor. The dignity of Drake's writing, his clear love and respect for his subject makes her life shimmer like crystal. This book one of the best of the summer

Biographies of the great opera singers are not plentiful. The truly good, well-written biographies are even more scarce. The biography of Rosa Ponselle by James Drake belongs in that handful of well-written and well-reseached biograhies that are not only readbale but are difficult to put down (to sleep). This is not a reprint of the earlier book written by Ponselle with Drake but is an entirely new volume drawing on interviews and documents that were either unavailable or suppressed by Ponselle in "A Singer's Life". Drake constructs his narrative judiciously and fairly giving us a complete (or, rather, as complete as possible) picture of one of the greatest sopranos of this century. In addition, it also provides fascinating glimpses of some of her colleagues such as Caruso (with whom she made her Met debut in 1918) and Martinelli as well as the rigors of making records during that era and the everyday workings of the Met. This is a fascinating volume that belongs in every opera lover's library. My only quibble is that Amadeus didn't include a CD with the book (as does Baskerville Publishers). No, not of Ponselle's recordings. Those who buy this book will find her complete recordings readily available on Romophone in superb sound. Rather, it would have been nice to have been able to listen to some of the interviews used throughout the book rather than just read them. Having met Ponselle, it was a delight talking to her and that comes through on the recorded interviews. Despite this small quibble, I can't recommend this book strongly enough. But, be forewarned, it's as hard to put down as a good Agatha Christie!