Scan 61
The New Grove Dictionary Of Music And Musicians 5 Ed. 2nd, 1904
28 lines. Read by computer on 18 September 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1Regine Crespin as Kundry in Wagner's Parsifal
3Mulhouse in 1950, as Elsa the role of her Paris Opera debut the same year (10 August). In the next six years, despite further appearances in Paris (as Vita in d'Indy's L'étranger, Desdemona and Gounod's Marguerite), her career was more successfully advanced in the provinces, in French opera (Salome in Massenet's Hérodiade, Brünhilde in Meyer's Siegfried) and also in the German and Italian roles, sung in French, with which her international reputation was later made notably Sieglinde, the Marschallin and Tosca. In 1956 she returned to the Opera as Weber's Rienzi, subsequent successes there led to engagements at Bayreuth, as Wieland Wagner's 'Mediterranean enchantress' Kundry (1958 60), and Sieglinde (1961), and at Glyndebourne (1959 60), as the Marschallin. In this role, an aristocratic, rather melancholy elegance of style and a delicate mastery of nuance, both vocal and dramatic, won her wide praise, particularly in Berlin, Vienna and New York (her Metropolitan Opera début, on 19 November 1962, followed direction in the role from Lotte Lehmann). At Covent Garden she played the Marschallin (début, 24 October 1960), Tosca, Elsa and, less happily, Beethoven's Leonore. She undertook her first Ariadne in Chicago (1964), and her first Walküre Brünhilde at the 1967 Salzburg Easter Festival, but, with the onset of vocal difficulties marked by unease in her highest register, she relinquished the latter role. In the 1975 6 Metropolitan season she gave her first Carmen. one of two readings
4Mulhouse in 1950, as Elsa the role of her Paris Opera debut the same year (10 August). In the next six years, despite further appearances in Paris (as Vita in d'Indy's L'étranger, Desdemona and Gounod's Marguerite), her career was more successfully advanced in the provinces, in French opera (Salome in Massenet's Hérodiade, Brünnhilde in Meyer's Siegfried) and also in the German and Italian roles, sung in French, with which her international reputation was later made notably Sieglinde, the Marschallin and Tosca. In 1956 she returned to the Opera as Weber's Rienzi, subsequent successes there led to engagements at Bayreuth, as Wieland Wagner's 'Mediterranean enchantress' Kundry (1958 60), and Sieglinde (1961), and at Glyndebourne (1959 60), as the Marschallin. In this role, an aristocratic, rather melancholy elegance of style and a delicate mastery of nuance, both vocal and dramatic, won her wide praise, particularly in Berlin, Vienna and New York (her Metropolitan Opera début, on 19 November 1962, followed direction in the role from Lotte Lehmann). At Covent Garden she played the Marschallin (début, 24 October 1960), Tosca, Elsa and, less happily, Beethoven's Leonore. She undertook her first Ariadne in Chicago (1964), and her first Walküre Brünnhilde at the 1967 Salzburg Easter Festival, but, with the onset of vocal difficulties marked by unease in her highest register, she relinquished the latter role. In the 1975 6 Metropolitan season she gave her first Carmen. one of two readings
6Crespin was the first French singer after Germaine Lubin to command the heroic roles of German and French opera with equal authority, in addition to the idiomatic assurance of her Wagner, she was distinguished for the classical nobility of style in French roles for which it is a necessity. Julia in La vestale, Berlioz's Dido, the titular heroines of Iphigénie en Tauride and Faure's Pénélope. She was the New Prioress at the Paris première of Dialogues des Carmélites (1957), and Phaedra in the 1959 La Scala revival of Pizzetti's opera. Although her vocal timbre is not ideally suited to Italian opera, she has been a moving Amelia (Un ballo in maschera), Desdemona and Tosca. Her singing, in opera and concert, is notable for a remarkable finesse of diction, phrase shaping and tone-colour, capable of transforming a powerful but flawed dramatic soprano into an instrument of smooth, lustrous beauty. In her prime, the eloquence of her soft high phrases was matched by few other singers. A recitalist of great accomplishment, she performs Wolf subtly, and Poulenc and Offenbach with irresistible wit. She has recorded the New Prioress, the Marschallin, Sieglinde and the Walküre Brünhilde, and, among other works, haunting accounts of Berlioz's Nuits d'été and Ravel's Shehérazade. one of two readings
7Crespin was the first French singer after Germaine Lubin to command the heroic roles of German and French opera with equal authority, in addition to the idiomatic assurance of her Wagner, she was distinguished for the classical nobility of style in French roles for which it is a necessity. Julia in La vestale, Berlioz's Dido, the titular heroines of Iphigénie en Tauride and Fauré's Pénélope. She was the New Prioress at the Paris première of Dialogues des Carmélites (1957), and Phaedra in the 1959 La Scala revival of Pizzetti's opera. Although her vocal timbre is not ideally suited to Italian opera, she has been a moving Amelia (Un ballo in maschera), Desdemona and Tosca. Her singing, in opera and concert, is notable for a remarkable finesse of diction, phrase shaping and tone-colour, capable of transforming a powerful but flawed dramatic soprano into an instrument of smooth, lustrous beauty. In her prime, the eloquence of her soft high phrases was matched by few other singers. A recitalist of great accomplishment, she performs Wolf subtly, and Poulenc and Offenbach with irresistible wit. She has recorded the New Prioress, the Marschallin, Sieglinde and the Walküre Brünnhilde, and, among other works, haunting accounts of Berlioz's Nuits d'été and Ravel's Shehérazade. one of two readings
9BIBLIOGRAPHY
10A Natan Primadonna (Basle 1962), 26
11A Tubout Régine Crespin' Opera, xv (1963), 227
121 Serpa 'Crespin, Régine' Le grand voix (Rome, 1964) [with opera discography by R. Vegeto]
13H D Rosenthal Régine Crespin Opera News xxx 22 (1966) 14
14J B Steane The Grand Tradition (London 1974) 483ff
16MAX LOPPERT
18Creston, Paul [Giuotoveggio, Giuseppe] (b New York, 10 Oct 1906) American composer and teacher. Born into a poor immigrant family, he had no training in theory or composition although he did take piano and organ lessons. He did not decide on a career in composition until 1932. In 1938 he received a Guggenheim fellowship and in 1941 the New York Music Critics' Circle Award for his Symphony no 1, from that time he was among the most widely performed American composers. Creston has made rhythm the keystone of his style, his technique depending primarily on constantly shifting subdivisions of a regular metre. The other main features of his music are long, florid, but motivically generated melody, lush impressionistic harmony and very full orchestration. The texture is generally homophonic, the tonality free and the form classical in its clarity and concision despite the flamboyantly romantic gestures. In sum Creston's work is brash and vital, spontaneous and intense, yet it is highly organized and displays remarkable ingenuity in thematic development. Creston has received many awards and commissions. He was president of the National Association for American Composers and Conductors (1956 60) and was a director of the American Society of Composers, Authors and Publishers (1960 68). From 1968 to 1975 he was professor of music and composer-in-residence at Central Washington State College.
20WORKS
21(selective list)
23ORCHESTRAL
24Partita op 12, fl, vn, str, 1937, Threnody, op 16, 1938, 2 Choric Dances, op 17, 1938, Sym no 1, op 20, 1940, Mar Concertino, op 21 1940, Sax Conc, op 26 1941, Legend, op 31, band 1942, Fantasy op 32, pf, orch, 1942, Frontiers, op 34, 1943, Sym no 2, op 35, 1944, Poem, op 39, harp, orch, 1945, Zanoni, op 40, band, 1946, Fantasy, op 42, trbn, orch, 1947, PI Conc, op 43 1949, Sym no 3, op 48 1950, 2-PI Conc, op 50 1951, Sym no 4 op 52, 1951, Walt Whitman, op 53, 1952, Invocation and Dance, op 58, 1953, Celebration Ov, op 61, band, 1954, Dance Ov, op 62, 1954, Sym no 5, op 64, 1955, Va Conc no 1, op 65, 1956, Lydian Ode, op 67, 1956, Toccata op 68, 1957, Accordion Conc, op 75, 1958, Prelude and Dance, op 76, band, 1959, Janus, op 77, 1959, Vn Conc no 2, op 78 1960, Corinthians XIII op 82, 1963, Chorographic Suite, op 86, 1965, Pavane Variations, op 89, 1966, Chthonic Ode, op 90, 1966, Thanatopsis, op 101, 1971, Jubilee op 102, band, 1971
26VOCAL
274 Songs, op 7 (Tagore), 1v, pf, 1935, 3 Sonnets, op 10 (Ficke), 1v, pf, 1936, 3 Chorales, op 11 (Tagore), SATB, 1936, Requiem, op 15,
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