522:, Brazil, where she probably became a singing teacher and gave occasional concerts. By the time of her death she was almost forgotten and the news of her death never appeared in the press. Until the 1990s it was commonly believed that she had died on August 2, 1927, in the San Luis Asylum, an old people's retirement home in Rio de Janeiro. An alternative 1949 date of death has also been proposed; but a Brazilian doctor, Jacques Alain León, reported that it was Fanny Maria Rollas Galvani who actually died in 1949 in Rio, having heard this from her husband the tenor René Talba who was sure that Maria Galvany was in fact killed by the
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and other equally shocking vocal tricks that often give an infamously comic impression of her musical taste. This has caused many listeners to think of
Galvany as nothing more than an unusually gifted vocal technician. Commentators have gone as far as to compare her high E flats to a
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Nevertheless, her surviving recordings are today as controversial in terms of their artistic worth as they were 100 years ago. This is due to her staggering use of intricate
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did not record well, which often results in an irritating, wiry sound that is unappealing to most modern ears. Also, her interpretations are burdened with rapid
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pieces and concert songs. Sadly, only a few of her recordings are preserved or have been reissued for the general public, so no exact discography exists.
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and came back to G&T in 1906, where she made her most popular discs, including ensembles with major stars of her time, such as
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On the other hand, Galvany is still admired for the sweetness of her middle register, for possessing a remarkable sense of
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Galvany made acoustic records for four different firms. Her earliest recordings date back to 1903 and were cut by the
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as part of the
Castellano Company, which also included tenor Nicola Zerola and soprano Adelina Agostinelli.
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Very little is known about the life of this singer. It is generally accepted that she was born in 1878 in
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under Lázaro MarĂa Puig and
Napoleone Verger, and made her operatic debut in the title role of
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This negative view is supported to some extent by her repeated interpolation of flute/voice
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with
Antonio Sabellico and Elvino Ventura as singing partners. Several other appearances in
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Maria
Galvany's breath-taking vocal virtuosity is evident in this 1907 recorded version of
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known for her showy, virtuoso singing technique. Her career, however, ended in obscurity.
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At this point, information about her career dwindles. It is claimed that she settled in
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Company around 1911. Her repertoire consisted mainly of
Italian opera arias,
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and Andrea PerellĂł de
Segurola. She also made several records for the
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The
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Titta Ruffo are probably her best known recordings today.
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during 1918, but she never managed to sing at New York's
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After this successful period in Europe, she embarked to
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was particularly successful, as were her appearances in
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in 1901. Two years later, she performed with success at
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Notes to the Maria
Galvany's Lebendige Vergangenheit CD
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While in Spain, her repertoire included operas such as
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728:Limansky, Nicholas E. (2004). "Maria Galvany".
484:and various Russian cities are also recorded.
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499:. She allegedly performed only once in the
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