Horne, Marilyn

born Jan. 16, 1934, Bradford, Pa., U.S.

U.S. mezzo-soprano.

Horne studied voice at the University of Southern California and with the soprano Lotte Lehmann (1888–1976). In 1954 Horne dubbed the singing voice of Dorothy Dandridge in the film Carmen Jones, and that same year, she made her opera debut with the Los Angeles Guild Opera. Her long and influential association with the bel canto (a singing style based on an exact control of the intensity of vocal tone) repertoire began in 1962, and she played an important role in the revival of operas by George Frideric Handel and Gioacchino Rossini. Her distinctive voice was even throughout its remarkably wide range, and she had virtuoso control of breath and pitch. She retired in 2000 after a long career.

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▪ American opera singer

in full  Marilyn Bernice Horne  

born Jan. 16, 1934, Bradford, Pa., U.S.

 

 American mezzo-soprano noted for the seamless quality and exceptional range and flexibility of her voice, especially in coloratura roles by Gioacchino Rossini and George Frideric Handel. She was also instrumental in reviving interest in their lesser-known operas.

      Horne studied voice at the University of Southern California with William Vennard and at the Music Academy of the West, Santa Barbara, California, with Lotte Lehmann (Lehmann, Lotte). In 1954 she dubbed the voice of Dorothy Dandridge in the film Carmen Jones; the same year, she made her opera debut with the Los Angeles Guild Opera as Hata in Bedřich Smetana's The Bartered Bride. She left school and in 1956 performed the role of Giulietta in Jacques Offenbach's The Tales of Hoffmann at the Gelsenkirchen Opera in West Germany. In three seasons at the Gelsenkirchen she performed such roles as Fulvia in Handel's Ezio and Marie in Alban Berg's Wozzeck.

      Horne repeated her role in Wozzeck at the San Francisco Opera in 1960. The following year, as Agnese in Vincenzo Bellini's Beatrice di Tenda, she joined Joan Sutherland (Sutherland, Dame Joan) in the first of several joint concert performances. It was also Horne's first bel canto role. Her debut at La Scala, Milan, came in 1969 in Igor Stravinsky's Oedipus Rex. Her long-awaited debut at New York City's Metropolitan Opera came in 1970 as Adalgisa in Bellini's Norma; she subsequently became one of the Met's principal singers. Horne had her greatest successes in such “trouser roles” as Rossini's Tancredi and Handel's Rinaldo. Because of her ability to sing roles that had been originally written for the castrati (castrato) (who had both an upper range and great vocal power), Horne was known for resurrecting seldom-performed operas. Horne's efforts were rewarded in 1982, when she was awarded the first Golden Plaque of the Rossini Foundation, honouring her as “the greatest Rossini singer in the world.”

      In 1993 Horne sang at the inauguration of President Bill Clinton. The following year she established the Marilyn Horne Foundation, which gives aspiring opera singers opportunities to perform throughout the United States. In 1995 Horne became director of the vocal program at The Music Academy of the West. Marilyn Horne: My Life (written with Jane Scovell) was published in 1983.

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