Claudia Muzio (1889-1936) was one of the most acclaimed and idolized artists of her day, especially in North and South America. Nevertheless, modern listeners tend to fall into two camps: those who revere her and those who simply know little about her. In other words, to know Muzio is to love Muzio.
At her best, Muzio exemplified some of the qualities most desirable in a singer. Her essentially lyric soprano voice was not particularly large, but it was beautiful and exhibited a tonal warmth rarely captured on record at the time. She developed an impressive range of dynamics, from the softest piano to the most thrilling forte, and she had a highly cultivated legato. However, the crowning achievement in Muzio’s artistry was her unforgettable gift for imaginative interpretation, the result of her skill of expression and the psychological understanding of her characters. Her abilities as an actress earned her the nickname “the Duse of opera,” referring to the Italian actress Eleanora Duse—and, in this respect, she is widely regarded as the forerunner of Callas.
Muzio was exposed to great singing at an early age; her father was a stage director at Covent Garden and the Metropolitan Opera, where her mother sang in the chorus. After returning to Italy to study voice with Annetta Casaloni, Verdi’s original Maddalena in Rigoletto, Muzio made her debut in 1910 at the age of 20 as Massenet’s Manon at Arezzo. Three years later, she made her La Scala debut as Desdemona in Otello, the role of her Paris debut the following year. In 1914, Muzio sang several roles at Covent Garden, including Mimi and Tosca opposite Caruso.
In 1916, Muzio made her Metropolitan Opera debut as Tosca (again with Caruso) and remained a leading soprano with the company until 1921, after which she fell out of favor with Met management. During this time, she performed the role of Giorgetta in Il tabarro in the world premiere of Puccini’s Il trittico. Muzio began a 10-year association with the Chicago Civic Opera in 1922, making her debut there as Aida. She also sang frequently in San Francisco, where her Tosca opened the War Memorial Opera House. Muzio was much in demand in the principal houses of South America, scoring notable successes at the Teatro Colón in Buenos Aires, in particular. Verdi and Puccini heroines comprised the majority of Muzio’s repertoire. She also performed several verismo roles—notably Santuzza, which she sang with distinguishing nuance and refinement.
Muzio was a private woman whose personal life was filled with unhappiness. She was also diagnosed with a heart condition and lost much of her fortune during the Great Depression. Her death in 1936 at the age of 47 was officially attributed to heart failure, but rumors persisted that it might have been the result of suicide.
Tenor Giacomo Lauri-Volpi wrote that Muzio’s voice was “made of tears and sighs and restrained interior fire,” the documentation of which on record is substantial. The majority of Muzio’s recordings were made during three stages in her career.
1917-1918
Muzio recorded 43 titles for the Pathé label, which have since been transferred to CD by the Pearl and Romophone labels. Limits in technology mar these recordings, yet they show a singer still developing the traits that would later define her.
1920-1925
Thirty-seven recordings were made on Edison; they also are now available on Pearl and Romophone. The recordings from this period show Muzio as a mature artist in her vocal prime. Depth of expression and radiance of voice are evident on many tracks, despite the comparatively low technical standards of the acoustic era.
1934-1935
Lauri-Volpi and others financed these 26 recordings by the Italian Columbia company. They are now easily accessible through CD releases by the Bel Canto Society, Nimbus Records’ Prima Voce label, and Romophone. Muzio’s recordings from these sessions took advantage of the rapid advances in recording technology, which were now done by electrical means. Some argue that the voice was less fresh and powerful at this point, but this was the voice of an ill woman. The inherent beauty in the tone is still undeniable, and the dramatic intensity and musical imagination are compelling.
During this time came the recording which Muzio is universally remembered for, in the role which she was most closely associated with—Violetta’s “Addio, del passato” from La traviata. Here pathos defines the performance, and her reading of Germont’s letter “Teneste la promessa” is unforgettably haunting.
Muzio’s “L’altra notte in fondo al mare” from Mefistofele makes a lasting impression, as does her performance of Donaudy’s song “O del mio amato ben.” The great dramatic soprano Dame Eva Turner called Muzio’s “Ombra di nube” from Licinio Refice’s Cecilia, which was written for Muzio, her “desert-island disc.” A pleasant contrast in the collection is a lively “Les filles de Cadix” by Delibes.
