Title page for ETD etd-11112009-092220


Type of Document Master's Thesis
Author Kaufman, Sarah Wells
Author's Email Address sarahwellskaufman@gmail.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
  • theater
  • Antonio Scotti
  • vaudeville
  • performance
  • concerts
  • Giulio Gatti-Casazza
Date of Defense 2009-10-29
Availability unrestricted
Abstract
Italian 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housed in Hill Memorial Library at LSU, along with the manuscript of the unpublished biography.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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