Type of Document Master's Thesis Author Kaufman, Sarah Wells Author's Email Address email@example.com URN etd-11112009-092220 Title The Pasquale Amato Correspondence at Louisiana State University Degree Master of Music (M.M.) Department Music Advisory Committee
Advisor Name Title Giger, Andreas Committee Chair Boutwell, Brett Committee Member Herlinger, Jan Committee Member Keywords
- Pasquale Amato
- Geraldine Farrar
- Antonio Scotti
- Giulio Gatti-Casazza
Date of Defense 2009-10-29 Availability unrestricted AbstractItalian baritone Pasquale Amato (1878-1942), who sang at the Metropolitan Opera in New York from 1908Ė1921, was regarded by critics and colleagues as a leading baritone of the early twentieth-century. Amato appeared in several United States and world premieres, most notably as Jack Rance in Giacomo Pucinniís La fanciulla del West (1910), and often performed
alongside Enrico Caruso. After leaving the Met in 1921 and touring Europe until 1926, Amato returned to the United States. His struggle to find substantial work eventually led to his
pursuing teaching. In 1935, having secured a position as director of the opera department at Louisiana State University (LSU), Amato found success in his twin role as director and teacher at LSU until his death in 1942.
Upon Amatoís death, his widow Egeria Amato contacted LSU English professor John Earle Uhler and asked him to write her late husbandís biography. Uhler then contacted Amatoís
family, friends, and colleagues for information. Uhlerís collected research materials (accounts from Mrs. Amato, vocal pedagogy articles written by Amato, and personal letters) are now
housed in Hill Memorial Library at LSU, along with the manuscript of the unpublished biography. This thesis compiles and contextualizes pertinent correspondence within Uhlerís
collection, specifically, Italian letters between Amato and Zirato and letters from Amatoís colleagues. The correspondence is an invaluable source regarding Amatoís personal and professional life: it offers for the first time a candid look into his aspirations and disappointments and reveals the obstacles Amato faced upon his re-entrance into the American concert and opera
scene, particularly, the rumor that he had lost his voice. This thesis will also be the first focused study on Amato since Uhlerís earlier work, and will hopefully establish the foundation for
further scholarship on the baritone.
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