Jan Peerce (June 3, 1904–December 15, 1984) was an American operatic tenor. Peerce was an accomplished performer on the operatic and Broadway concert stages, in solo recitals, and as a recording artist. He is the father of film director Larry Peerce.
Jan Peerce was born Joshua Pincus Perelmuth. His parents, Louis and Henya Perelmuth, came from the Belarusian village of Horodetz. Their first child, a daughter, died in an epidemic. In 1903 they emigrated to America along with their second child, a boy named Mottel. A year later, on June 3, 1904, their third child, a boy named Jacob Pincus (afterwards known as Jan) was born, in a cold water flat in the Lower East Side, Manhattan, New York. He was nicknamed "Pinky" by his neighborhood friends. When he was three years old, his older brother Mottel was killed in an accident as he hitched a ride on an ice wagon. Jan remained on the Lower East Side until his 1930 marriage to Alice Kalmanovitz, a childhood friend. He attended De Witt Clinton High School and Columbia University. At his mother's urging he took violin lessons, and gave public performances, including dance band work as Jack "Pinky" Pearl. Sometimes he also sang and it was soon discovered he was an exceptional lyric tenor.
Licia Albanese (born July 22, 1913) is an Italian-born American operatic soprano. Noted especially for her portrayals of the lyric heroines of Verdi and Puccini, Albanese was a leading artist with the Metropolitan Opera of New York from 1940 to 1966. She also made many recordings and is chairman of The Licia Albanese-Puccini Foundation which is dedicated to assisting young artists and singers.
Born in Bari, Italy, Albanese made her unofficial singing debut in Milan in 1934, when she replaced an absent performer in Puccini's Madama Butterfly, the opera with which she would forever be connected. Over 40 years, she sang more than 300 performances of Cio-Cio San. Although she has been praised for many of her roles, including Mimì, Violetta, Liù and Manon Lescaut, it is her portrayal of the doomed geisha which has remained her best loved. Her connection with that work began early with her teacher, Giuseppina Baldassare-Tedeschi, a contemporary of the composer and an important exponent of the title role in the previous generation.
Giorgio Tozzi (January 8, 1923 – May 30, 2011) was an American operatic bass. He was a mainstay for many years with the Metropolitan Opera, and sang principal bass roles in nearly every major opera house worldwide.
Tozzi was born George John Tozzi in Chicago, Illinois. He studied at DePaul University with Rosa Raisa, Giacomo Rimini and John Daggett Howell, making his professional debut in the Broadway production of Britten's The Rape of Lucretia in 1948 as Tarquinius. His signature roles included Figaro in Mozart's The Marriage of Figaro, Phillip II in Verdi's Don Carlo, Hans Sachs in Wagner's Die Meistersinger von Nürnberg, and Méphistophélès in Gounod's Faust.
In 1957 he portrayed the title role in a nationally broadcast performance of Modest Mussorgsky's Boris Godunov with the NBC Opera Theatre. In 1958 he created the role of The Doctor in Barber's Vanessa.
Tozzi was the recipient of three Grammy Awards: in 1960 the Grammy Award for Best Classical Performance, Operatic or Choral for The Marriage of Figaro with Erich Leinsdorf; in 1961 the Grammy Award for Best Opera Recording for Puccini's Turandot, with Erich Leinsdorf; and in 1963 the Grammy Award for Best Opera Recording for Georg Solti's recording of Verdi's Aida (with Leontyne Price and Jon Vickers). Tozzi also sang the bass part in the recording of Sir Thomas Beecham's version of Handel's Messiah for RCA Victor in 1959.
Gianna D'Angelo (born 18 November 1929, some sources say 1934), is an American coloratura soprano, primarily active in the 1950s and 1960s.
Born Jane Angelovich in Hartford, Connecticut, she studied first at The Juilliard School in New York City with Giuseppe De Luca. In the early 1950s, she moved to Venice, Italy, where she became a pupil of Toti Dal Monte, who also advised her to italianize her name.
She made her debut in 1954 at the Baths of Caracalla in Rome as Gilda in Rigoletto, a role she would remain closely associated with throughout her career. She was rapidly invited at all the major opera houses of Italy, Naples, Florence, Bologna, Trieste, Parma, Milan, etc. She also made appearances at the Paris Opéra and the Glyndebourne Festival as Rosina in Il barbiere di Siviglia and at the Edinburgh Festival as Norina in Don Pasquale.
She made her American debut at the Cosmopolitan Opera in San Francisco, in March 1959, in the title role of Lucia di Lammermoor (opposite Giuseppe Campora and Norman Treigle), and at the Metropolitan Opera in New York, on April 5, 1961 as Gilda (with Robert Merrill as Rigoletto), and remained there for eight seasons, appearing in roles such as: Lucia, Amina, Rosina, Norina, Zerbinetta, the Queen of the Night. She also appeared in Philadelphia, Houston, New Orleans, etc.
Adeste Fideles
Laeti triumphantes
Venite, venite in Bethlehem
Natum videte
Regem angelorum
Venite adoremus
Venite adoremus
Venite adoremus
Dominum
O Come All Ye Faithful
Joyful and triumphant,
O come ye, O come ye to Bethlehem.
Come and behold Him,
Born the King of Angels;
O come, let us adore Him,
O come, let us adore Him,
O come, let us adore Him,
Christ the Lord.
O come, let us adore Him,
Noel nouvelet, Noel chantons ici,
Devotes gens, crions a Dieu merci!
Chantons Noel pour le Roi nouvelet, Noel!
Chantons Noel pour le Roi nouvelet,
Noel nouvelet, Noel chantons ici!
Noel nouvelet, Noel chantons ici!
Christmas comes anew, O let us sing Noel!
Glory to God! Now let your praises swell!
Sing we Noel for Christ, the newborn King, Noel!
Sing we Noel for Christ, the newborn King.
Angels did say, "O shepherds come and see,
Born in Bethlehem, a blessed Lamb for thee."
Sing we Noel for Christ, the newborn King, Noel!
Sing we Noel for Christ, the newborn King.
Christmas comes anew, O let us sing Noel!
Christmas comes anew, O let us sing Noel!
Let us sing Noel!