Graziella Sciutti collection

Description data TOP

unitid

{"value"=>"18635", "type"=>"local_mss"}

unitdate

{"value"=>"1950-1995", "type"=>"inclusive", "normal"=>"1950/1995"}

date_inclusive_start

1950

date_inclusive_end

1995

keydate

1950

unittitle

{"value"=>"Graziella Sciutti collection"}

physdesc

{"format"=>"structured", "physdesc_components"=>[{"name"=>"extent", "value"=>"8.28 linear feet", "unit"=>"linear feet"}, {"name"=>"extent", "value"=>"19 boxes", "unit"=>"containers"}], "supress_display"=>true}

repository

{"value"=>"<span class=\"corpname\">The New York Public Library. <span class=\"subarea\">Music Division</span></span> <div class=\"address\"><span class=\"addressline\">New York, New York</span></div>"}

abstract

{"value"=>" The Graziella Sciutti collection holds scores, photographs, and subject files containing correspondence, set and costume designs, clippings, programs, and biographical essays and interviews. It documents her career as a performing vocalist in opera, musicals, and solo recitals from the 1950s to the early 1980s, and as an opera director from the 1980s to the mid-1990s.", "generated"=>true}

prefercite

{"value"=>"<p>Graziella Sciutti collection, JPB 13-10. Music Division, New York Public Library.</p>"}

origination

{"value"=>"Sciutti, Graziella", "type"=>"persname"}

bioghist

{"value"=>"<p>Graziella Sciutti (1927-2001) was an Italian soprano vocalist and opera director. Born in Turin, she studied at the Santa Cecilia Conservatory in Rome. During her student years, she was a soloist in a performance of Bach's St. Matthew Passion, conducted by Herbert von Karajan. She made her formal debut at the Aix-en-Provence Festival in 1951 as Lucy in Gian-Carlo Menotti's The Telephone, and she continued to perform at that festival for many years. Three of the Mozart roles she performed there became signature pieces for her: Susanna in La Nozze di Figaro, Despina in Così Fan Tutte, and Zerlina in Don Giovanni.</p> <p>She also created the title role of Henri Sauguet's Caprices de Marianne at Aix-en-Provence in 1954, the same year she made her Glyndebourne Festival debut as Rosina in Il Barbiere di Siviglia (Rossini). She sang Carolina in Cimarosa's Il Matrimonio Segreto in the inaugural performances of the Piccola Scala, in Milan, where she went on to sing a broad repertory that included roles in Piccini's Buona Figliuola, Donizetti's Don Pasquale, Le Comte Ory (Rossini), and Paisiello's Nina Pazza per Amore.</p> <p>Sciutti made her British debut at Covent Garden in 1956, and her American debut at the San Francisco Opera in 1961. She worked with the Vienna State Opera for several years, where her most successful roles were in Mozart operas and as Nanetta in a Luchino Visconti production of Verdi's Falstaff. She also worked with the Salzburg Festival for two decades.</p> <p>In 1977, Sciutti sang in and directed a production of Poulenc's Voix Humaine at the Glyndebourne Festival, foreshadowing her move away from performance to opera direction. She staged productions of Le Nozze di Figaro and Elisir d'Amore (Donizetti) at the Canadian Opera, and in 1983 she made her New York directing debut with a highly praised production of Puccini's La Bohème at the Juilliard School. In 1984, she revised Colin Graham's production of Così Fan Tutte at the Metropolitan Opera. Her 1995 staging of La Bohème at the New York City Opera won an Emmy Award after it was broadcast as part of the Live From Lincoln Center series in 1997.</p> <p>Sciutti was also a pedagogue, teaching at the Royal College of Music in London and giving master classes at the Lyric Center of Chicago, the Juilliard School, and the Merola Opera Program at the San Francisco Opera.</p> <p>Source: Kozinn, Alan. \"Graziella Sciutti, 73, Soprano and Director.\" <span class=\"title\">The New York Times</span>, April 14, 2001: C7.</p>"}

scopecontent

{"value"=>"<p>The Graziella Sciutti collection holds scores, photographs, and subject files containing correspondence, set and costume designs, clippings, programs, and biographical essays and interviews. It documents her career as a performing vocalist in opera, musicals, and solo recitals from the 1950s to the early 1980s, and as an opera director from the 1980s to the mid-1990s.</p> <p>Subject files mainly document productions of various operas and musicals, primarily in Europe, though also including a few American companies. The scores contain opera piano reductions and pieces for vocalist and piano or orchestra. Most contain Sciutti's performance notes. Later opera scores contain directorial notes on staging and costumes. A few of the vocal/piano scores are autographed by the composers.</p> <p>The photographs primarily hold prints of Sciutti in performance from the 1950s to the early 1980s, but also document productions Sciutti directed in the 1980s and 1990s, and contain a few publicity and informal photographs.</p> <p>The collection contains two video recordings. One is a 1963 recording of Sciutti performing in La Nozze di Figaro in Salzburg, the other an undated performance of Tra Conquista e Destino. Inquiries regarding visual materials in the collection may be directed to the Rodgers and Hammerstein Archives of Recorded Sound (rha@nypl.org). Visual materials will be subject to preservation evaluation and migration prior to access.</p>"}

{"value"=>"<p class='list-head'>The Graziella Sciutti collection is arranged in three series:</p>\n<ul class='arrangement series-descriptions'>\n<li><div class='series-title'><a href='/mus/18635#c669828'>Series I: Professional Files</a></div>\n<div class='series-date'>1950-1998</div>\n<div class='series-extent'>8.5 boxes</div>\n<div class='series-description'><p>This series contains correspondence, contracts, clippings, biographies, photographs, programs, and set and costume designs. It is arranged by subject.</p> <p>Many of the files are for opera companies in Europe and America that Sciutti worked with as a either performer (1950s - early 1980s) or director (1980s - mid-1990s). Companies with significant content include Teatro Massimo in Palermo, the Lyric Opera of Chicago, the Canadian Opera Company, the Glyndebourne Festival Opera, the Salzburger Festspiele, and the Theater der Stadt Koblenz. Some of the company files hold contracts and programs, but most contracts and programs are filed under their respective headings. Files fo companies Sciutti worked with as a director, particularly Teatro Massimo, hold set and costume designs in addition to correspondence. Some costume designs include fabric samples and full-color drawings.</p> <p>Other files hold general correspondence with Sciutti's managers, S. A. Gorlinsky, Columbia Artists Management, and Interart Establishment Vaduz. Most of the correspondence with presenters in Italy is in Italian.</p> <p>The programs span Sciutti's career and include opera performances, solo recitals, and her later role as director. The news clippings mostly document her work from the mid-1960s onward.</p></div></li><li><div class='series-title'><a href='/mus/18635#c669900'>Series II: Photographs</a></div>\n<div class='series-date'>1951-1995</div>\n<div class='series-extent'>3.5 boxes</div>\n<div class='series-description'><p>This series is comprised mainly of production photogrphs (arranged by presenting organization), and also holds publicity headshots and informal photographs (arranged chronologically). Most are prints, but in some cases negatives are present as well. Photographs can also be found in Series I.</p> <p>The opera companies with the most photographs in the series are Teatro alla Scala, the Wiener Staatsoper, the Salzburger Festspiele, and the Festival International D'art Lyrique et de Musique in Aix-en-Provence. Most of the photographs are from Sciutti's performance career, but some from the 1980s and 1990s document productions she directed, such as those at the New York City Opera and the Juilliard School. Other Sciutti-directed productions are concentrated in the photographs of unknown location, housed at the end of the series.</p></div></li><li><div class='series-title'><a href='/mus/18635#c669971'>Series III: Scores</a></div>\n<div class='series-date'>1950s-1990s</div>\n<div class='series-extent'>7 boxes</div>\n<div class='series-description'><p>This series holds autographed scores, manuscripts, published opera scores and libretti, and songs, arias and other works. It is arranged alphabetically by score type.</p> <p>The autographed scores, which are mostly published, include music by Eugene Conley, Marcel Godart, Friedrich Karl Grimm, Willy Hess, John Mooran, Lodovico Rocca, Geni Sadero, and Wladimir Vogel.</p> <p>The manuscripts are written by Sciutti (and unknown others), and include music by Donizetti, Franck, Enro Masetti, Mendelssohn, Monteverdi, Mozart, Rossini, and Hugo Wolf, as well as many unidentified or illegibly-written composers.</p> <p>The opera scores and libretti, all published piano reductions, contain Sciutti's performance or directorial notes. Titles include Il Marito Disperato, L'Amante di Tutte, Le Astuzie Femminili, I Due Baroni di Rocca Azzurra, L'Idolo Cinese, La Finta Semplice, Cosi Fan Tutte, Die Walzerkönigen, La Vera Costanza, I Tre Amanti, L'Osteria di Marechiaro, Rigoletto, La Cambiale di Matrimonio, Don Giovanni, Lucia di Lammermoor, L'Elisir d'Amore, La Vera Costanza, The Threepenny Opera, La Sonnambula, Il Matrimonio Segreto, and Chiome d'oro.</p> <p>The songs, arias, and other works, all published, contain Sciutti's performance notes and include music by Bach, Barber, Bellini, Donizetti, Hindemith, Honegger, Moussorgsky, Mozart, Poulenc, Purcell, Ravel, Rossini, Schumann, Richard Strauss, Stravinsky, and Weill, among others.</p></div></li></ul>\n", "type"=>"arrangement"}

arrangement

{"value"=>"<p>The Graziella Sciutti collection are organized in the following series:</p> <ul class=\"list\"> <li>Series I: Professional Files, 1950-1998</li> <li>Series II: Photographs, 1951-1995</li> <li>Series III: Scores, 1950s-1990s</li></ul>", "supress_display"=>true}

acqinfo

{"value"=>"<p>Donated by Jack V. Lunzer, Executor of the Estate of Graziella Sciutti, in 2003.</p>"}

processinfo

{"value"=>"<p>Compiled by Matthew Snyder.</p>"}

{"value"=>"<p>Processing consisted of foldering and arranging papers, scores, and photographs.</p>"}

accessrestrict

{"value"=>"<p>Inquiries regarding audio/visual materials in the collection may be directed to the Rodgers and Hammerstein Archives of Recorded Sound (rha@nypl.org). Audio/visual materials will be subject to preservation evaluation and migration prior to access.</p>"}

userestrict

{"value"=>"<p>For permission to publish, contact the Chief, Music Division, New York Public Library for the Performing Arts.</p>"}

physloc

{"value"=>"JPB 13-10", "type"=>"local_call", "supress_display"=>true}

extent_statement

8.28 linear feet (19 boxes)

date_start

1950

date_end

1995

Update Collection TOP

Update from EAD XML File

Child components TOP

1. Series I: Professional Files [43/1]
2. Series II: Photographs [2/1]
3. Series III: Scores [9/1]