Ezio Pinza: From Opera Legend to Broadway Star

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Author:

by Alice Lechner

INTERVIEW

When we think of musical legends, some names are simply unforgettable. One such name is Ezio Pinza, the celebrated Italian bass whose powerful voice an remarkable versatility transcended opera and Broadway.

Born in Rome in 1892, Ezio Pinza’s early life was a far cry from the glamorous world of opera. He was actually studying to become a civil engineer. But as many great stories go, fate had other plans. Encouraged by his father to pursue singing, Pinza enrolled at the Conservatorio Giovanni Battista Martini in Bologna. It didn’t take long for his extraordinary voice to catch attention. By 1914, he made his operatic debut as Oroveso in Norma by Bellini, and from there, his career skyrocketed.

Pinza’s career in opera was nothing short of legendary. After World War 1, he performed with some of the most prestigious opera companies in the world, including Teatro alla Scala. His true breakthrough came when he made his debut at the Metropolitan Opera in New York in 1926. He would go on to perform at the met for an incredible 22 seasons, playing over 50 roles in 750 performances.
Whether performing in Verdi’s Attila or Wagner’s The Flying Dutchman, Pinza’s artistry was unmatched. But it wasn’t just his voal talent that made him a star, his acting and stage presence were equally captivating. His towering presence and emotional depth made him a force to be reckoned with in any production.

Crossing Over: From Opera to Broadway

After retiring from opera in 1948, most artists would simply rested on their laurels. Not Ezio Pinza. Instead, he boldly stepped into the world of Broadway. It was a smooth transition – after all, his voice was made for musical theater. In 1949, Pinza took on the role of Emile de Becque in the iconic Rodgers and Hammerstein musical South Pacific.

Pinza’s portrayal of Emile became legendary, especially his performance of the song „Some Enchanted Evening”, which quickly became a hit. His role earned him a Tony Award for Best Actor in a Musical in 1950. 

But Pinza’s talents didn’t end with opera and Broadway. In the 1950s, he ventured into film and television, making appearances in movies like Mr. Imperium (1951) and Tonight We Sing (1953). He also hosted his own TV show, The RCA Victor Show. 

A Dark Chapter in Pinza’s Life: The FBI Detention

In the 1940s, during World War II, Ezio Pinza’s life took a dramatic turn when he became entangled in an unfortunate political controversy. At the time, tensions were high, and the Unitaed States was deeply concerned about potential threats from foreign sympathizers. Pinza, who has lived in both Italy and the U.S., became the subject of suspicion due to his Italian heritage and some of his past associations.

In 1942, Pinza was wrongfully detained by the FBI for several months. The FBI suspected that, because of his Italian background, he might have ties to fascist sympathizers, a label what was not uncommon for Italian expatriates during the war. It was a time of extreme paranoia in the U.S., with government agencies conducting widespread investigations into possible connections between foreign nationals and the Axis powers.

Though there was no concrete evidence to support the accusations against him, Pinza’s fame and international connections led to scrutiny. He was detained under suspicion of being a threat to national security, a claim that was completely unfounded. As a man who spent most of his life in the U.S., contributing to its cultural scene through opera and theater, this accusation was both unjust and harmful. 

In his later years, Pinza struggled with health issues, including heart problems. These health issues impacted his ability to perform regularly, and by the late 1950s, he was no longer able to sing at the level he had in his prime. Despite this, he remained committed to his craft and tried to maintain his connection with this audience, often performing in smaller venues or taking on roles that did not require as much vocal strain.
He passed away on September 9th, 1957, at the age of 65. He died in Greenwich Village, New York, where he lived during his later years. The cause of death was related to complication from heart disease.

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Alice Lechner

Alice Lechner

Alice Lechner comes from a music-loving family. Her first encounter with the opera universe was at the tender age of six. The grandeur of the stage productions and costumes, the backstage chatter, and last, but definitely not least, the music left her in awe, beginning with Mozart’s Don Giovanni. The overall feeling that opera awakens in anyone who gets a glimpse into this part of artistic eternity, that each and every day passes the test of time, was what drew her to stay and be a part of this world. The Opera House of Brașov became her second home, and the people who worked there were her second family.

Since then, Alice has devoted her spare time to maximising her musical knowledge through instrumental studies, studying both piano and violin for a short time. In the following years, her number one passion stepped out of the limelight and graciously gave way to Law Studies.
Since 2018 she has been studying Law at “Alexandru Ioan Cuza” University in Iași.

Her passion for opera, even if it is no longer her top professional priority in terms of career, it has most definitely become her priority during her free time. Wanting to experience the best of both worlds and extend her musical horizons, she regularly attends opera performances throughout Romania and abroad.
With OPERA Charm Magazine, Alice aims to nurture her creative side to help it flourish and bloom and to discover, alongside the magazine’s readers, the fascinatingly complex world of opera.

Currently, she is an LL.M. in Business Law at “Alexandru Ioan Cuza” University in Iași.

Oana Zamfir

Oana Zamfir is a second year MA student at the “George Enescu” National University of Arts, at the Department of Musicology.

She studied violin for 12 years at the “Stefan Luchian” High School of Art in Botosani, later focusing on the theoretical aspects of music. In 2019 she completed her bachelor studies in Musicology as a student of the National Academy of Music “Gheorghe Dima” in Cluj-Napoca. Her research during 2018-2019 brought to the forefront elements of the archaic ritual within works of composers who activated during the communist period, giving her the opportunity to start a research internship at the “Carl von Ossietzky” University in Germany. In this context, she recorded conversations with members of the Sophie Drinker Institute in Bremen, and had access to documents directly from the Myriam Marbé archive.

Since 2019 she has been a teacher of Music Education and Theoretical Music Studies, making full use of interactive methods in the musical training of students and working, at the same time, with the children’s choir founded in the first year of her activity.

Her interests include pursuing a degree in interior design in 2020.

Alexandru Suciu

Alexandru Suciu inherited his passion for art growing up in a family of several generations of musicians. He began his musical studies at the “Augustin Bena” School of Music in Cluj, where he studied piano and guitar. Even though his main study direction was philological, his passion for music prevailed. He began his academical journey at the Faculty of Letters of the “Babeș-Bolyai” University, studying Comparative literature and English. He continued by studying Opera Singing at the “Gheorghe Dima” National Music Academy. He also graduated the Musical Education section, followed by Artistic Directing at the Musical Performing Arts department.

His multidisciplinary education opened the doors towards research, which is seen both through his participation in national and international conferences and symposia, such as the Salzburg Easter School PhD-forum, organized by the Salzburg Universität or the Silesian Meeting of Young Scholars, organized by the Institute of English at the University of Silesia, as well as the collaboration with Opera Charm Magazine.

During his student years, he won several prizes, including the Grand Prize at the “Paul Constantinescu” National Musical Interpretation Competition, the Romanian Composers and Musicologists’ Union Prize at the same competition, the First Prize and the Schubert Prize at the “Ada Ulubeanu” Competition.

He further developed his artistic skills by specializing in courses and masterclasses held by personalities such as Vittorio Terranova, Giuseppe Sabbatini, Marian Pop, Ines Salazar, Riccardo Zanellato, Paolo Bosisio, Valentina Farcaș and Manuel Lange in contexts such as the Internationale Sommerakademie für Operngesang Deutschlandsberg, Corso Internazionale di Canto Lirico I.M.C. Licata or the Europäische Akademie für Musik und darstellende Kunst Montepulciano. Besides his activity on-stage, he currently teaches Opera Singing Didactics, and Pedagogical Practice within the Department for Teacher Education and Training at the “Gheorghe Dima” National Music Academy.

Cristina Fieraru

Cristina is a 24 year-old Romanian soprano & a student at the National University of Music Bucharest, where she pursues the MA program in Vocal Performance.

She made her debut in Pamina from “Die Zauberflöte” by Wolfgang Amadeus Mozart at only 19 years old at the Bucharest National Opera House, as a member of the Ludovic Spiess Experimental Opera Studio. Over the years she made her debut in roles such as Contessa d’Almaviva (Le nozze di Figaro), Mimì & Musetta (La Bohème), Alice Ford (Falstaff), Erste Dame (Die Zauberflöte) in her university’s opera productions.
Her passion and experience extends in the field of choral music, too.

She has been part of our dream team since the fall of 2021. For a good period of time she took care of OPERA Charm’s social media and took you on the monthly journey through the history of opera through our Legends rubric – and a few times through the Theaters around the World rubric.

Her little soul rubric – from 2021 to present – is definitely the Conductors of the Future, where, every month, she gives you the chance to meet a young star of the world of conducting and, of course, to find out what’s the most charming feature of opera in these artists’ views.

BIANCA L. NICA

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