![Ponselle, Rosa. (1897–1981) [Schlee, Valentina Nicholaevna Sanina. (1899–1989)] Signed Photograph in costume as Carmen (1935)](http://www.schubertiademusic.com/cdn/shop/files/Ponselle_28Schlee_29_SP_in_costume_as_Carmen_23006.jpg?v=1722190668)
Ponselle, Rosa. (1897–1981) [Schlee, Valentina Nicholaevna Sanina. (1899–1989)]. Signed Photograph in costume as Carmen (1935). Full-length doubleweight 8 x 10 inch portrait of the great American operatic soprano dressed as Carmen in a costume by Valentina Sanina Schlee (who went generally by her first name only) for the Met's 1935 production of Bizet's opera. Inscribed in blue ball-point pen, "To / Bill Brady / Sincerely / Rosa Ponselle." Note in unknown hand to verso, "Valentina's costume design for the last act of Bizet's Carmen including an elongated version of the Toreadors cap. The tailored pants were replaced later by a figure-hugging skirt. The costume remained controversial." Surface loss to upper edge of verso, horizontal crease through center section, else in fine condition.
"As brilliant a costume designer as she was a couturiere, Valentina designed the single greatest opera costume of all time for Rosa Ponselle in CARMEN, 1935, which made the cover of Time magazine." (https://nohway.wordpress.com/2009/04/29/john-gruens-fabulous-life-valentinas-fabulous-clothes/)
Carmen was Ponselle's final appearance at the Met. She chose the role because of its low tessitura; her top range, once her greatest asset, had been waning for years. "In spite of a great popular success with the role, for which she had prepared meticulously, Ponselle received a drubbing from most of the New York critics, especially Olin Downes in the New York Times, whose savagely caustic review ('We have never heard Miss Ponselle sing so badly, and we have seldom seen the part enacted in such an artificial and unconvincing manner') hurt Ponselle deeply." (Wikipedia) She repeated the role in a Cleveland production in 1937, after which her stage career was over.
"Ponselle’s voice is generally regarded as one of the most beautiful of the century. She was universally lauded for opulence of tone, evenness of scale, breadth of range, perfection of technique and communicative warmth. Many of these attributes are convincingly documented on recordings. In 1954 she made a few private song recordings, later released commercially, revealing a still opulent voice of darkened timbre and more limited range." (Grove Online)
Ponselle, Rosa. (1897–1981) [Schlee, Valentina Nicholaevna Sanina. (1899–1989)]. Signed Photograph in costume as Carmen (1935). Full-length doubleweight 8 x 10 inch portrait of the great American operatic soprano dressed as Carmen in a costume by Valentina Sanina Schlee (who went generally by her first name only) for the Met's 1935 production of Bizet's opera. Inscribed in blue ball-point pen, "To / Bill Brady / Sincerely / Rosa Ponselle." Note in unknown hand to verso, "Valentina's costume design for the last act of Bizet's Carmen including an elongated version of the Toreadors cap. The tailored pants were replaced later by a figure-hugging skirt. The costume remained controversial." Surface loss to upper edge of verso, horizontal crease through center section, else in fine condition.
"As brilliant a costume designer as she was a couturiere, Valentina designed the single greatest opera costume of all time for Rosa Ponselle in CARMEN, 1935, which made the cover of Time magazine." (https://nohway.wordpress.com/2009/04/29/john-gruens-fabulous-life-valentinas-fabulous-clothes/)
Carmen was Ponselle's final appearance at the Met. She chose the role because of its low tessitura; her top range, once her greatest asset, had been waning for years. "In spite of a great popular success with the role, for which she had prepared meticulously, Ponselle received a drubbing from most of the New York critics, especially Olin Downes in the New York Times, whose savagely caustic review ('We have never heard Miss Ponselle sing so badly, and we have seldom seen the part enacted in such an artificial and unconvincing manner') hurt Ponselle deeply." (Wikipedia) She repeated the role in a Cleveland production in 1937, after which her stage career was over.
"Ponselle’s voice is generally regarded as one of the most beautiful of the century. She was universally lauded for opulence of tone, evenness of scale, breadth of range, perfection of technique and communicative warmth. Many of these attributes are convincingly documented on recordings. In 1954 she made a few private song recordings, later released commercially, revealing a still opulent voice of darkened timbre and more limited range." (Grove Online)