Beverly Sills, (Belle Miriam Silverman) was born in 1929 in Brooklyn, New York. Her parents were Ukrainian immigrants, and as a child Sills was exposed to many languages at home, including French, Yiddish, and Russian, along with her native English. This exposure gave her a very natural facility with foreign languages, which was helpful in her later career.
Now how adorable is that!? The amazing thing is that she handles the fioratura quite well! Also, she has been taught, or naturally understands, what the great bel canto tenor Fernando de Lucía once told his student Georges Thill: "...per cantare bene, bisogna aprire la bocca!!" Which little Bubbles did! It's not hard to see why they called her "Bubbles," is it:-) Also, one other thing needs to be noticed. Did you notice Uncle Sol's advice at the end? Stay right here and study in this country., no matter how hanxious your hancestors are to do otherwise:-) .....we have great teachers here. That was one of the first things I noticed. It is important, because this was the grateful and patriotic attitude of so many at that time. The culture these Jewish immigrants, largely from Russia and Eastern Europe, brought to this country was enormous, beyond measure. You can see it in Sill's life-long attitude and work, and also in the attitudes of Jan Peerce, Roberta Peters, and many others. What they went on to contribute—and still do—is a story in itself, one of which every American can be proud, and for which all should be grateful.
Liebling encouraged little Beverly to appear on radio talent shows, which she did, and won a series of them, bringing increasing attention to herself. By age 16, she had joined a Gilbert and Sullivan touring company and began accumulating practical stage experience. Two years later, at 18, she made her operatic stage debut as the Spanish gypsy Frasquita in Bizet's Carmen with the Philadelphia Civic Grand Opera Company. By 1953, when she was 24, she appeared with the San Francisco opera as Helen of Troy in Boito's Mefistofele, and also sang Elivra in Don Giovanni with them the same year. From this moment on, her career virtually exploded. She went on, over the course of her career, to sing very many roles, in virtually all the major houses. Although she sang a repertoire from Handel, Mozart and Puccini, to Massenet and Verdi, she was known for her performances in coloratura soprano roles. Favorite operas were Lucia, La Fille du Régiment, Manon, Les Contes d'Hoffmann, The Barber of Seville, Roberto Devereux, La Traviata, and I Puritani.
Sills' life was music, from beginning to end: it never stops. The honors and accolades were extraordinary, as was her public relations work on behalf of music and charity, her administrative work at New York City Opera, and The Metropolitan. It is a vast biography, much too long to discuss here, but very easily consulted. Also, she has written an autobiography She was, without question, one of the most famous and respected figures in mid-twentieth century American cultural life.
Let us turn to Sills the artist. Here she is in her preferred repertoire, singing "Come per me sereno" from Bellini's La Sonnambula. It is a real coloratura tour-de-force. The trills, fioratura, and (very) high notes are simply stunning. It is a video of a certain length (nine minutes). If you have not the time to listen to it all now, skip the recitative. You don't want to miss any fireworks:
There simply can be no doubt about that technique. It is extraordinary, by any standard. The principles of bel canto singing have been thoroughly internalized, to the point where they simply come to define the singing. Few other sopranos of the twentieth century could match those trills. Sutherland could, but after that one starts to run down the list. Just amazing. And the speed of the coloratura is dazzling. This is a woman who was almost born singing, and was well taught from childhood. I would be so bold as to say that her technique was second to none.
Finally, from an American opera, the "Willow Song" from The Ballad of Baby Doe, by Douglas Moore. Sills distinguished herself in this opera, and was Moore's personal favorite in the title role (watch her, around 2:50, pick a D natural above high C out of the air!)
To a very great soprano, from a grateful American public—Thank you, Bubbles!