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| Rigoletto |
| Verdi |
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| Gilda |
| Coloratura soprano role. Rigoletto's daughter. |
| Year |
| Artist |
| 1923 |
| Queena Mario |
| 1924 |
| 1926 |
| 1929 |
| 1932 |
| 1935 |
| 1936 |
| 1950 |
| 1939 |
| 1952 |
| 1940 |
| 1941 |
| 1946 |
| 1947 |
| 1948 |
| 1954 |
| Mado Robin |
| 1997-1998 |
| Giusy Devinu |
| 1961 |
| Mary Costa |
| 1966 |
| Izabella Nawe |
| 1966 |
| Reri Grist |
| 1981sum |
| 1990 |
| 1990 |
| Hei-Kyung Hong |
| San Francisco Opera Gilda History |
| * Reviews from Arthur Bloomfield's 1922-1978 The San Francisco Opera. |
| Josephine Tumminia |
| 1943 |
| 1945 |
| Luciana Serra |
| Lee Venora |
| 1973 |
| 1944 |
| 1951 |
| 1958 |
| Leyla Gencer |
| 1984 |
| Patricia Wise |
| Désirée Rancatore |
| 2001-2002 |
| 1937 |
| Emily Hardy |
| Luella Melius |
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| Queena Mario |
| Queena Mario |
| Josephine Tumminia |
| 1997-1998 |
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| Act One: Scene Two: Gualtier Malde!...Caro nome |
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| Aria Data Base for Gilda |
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| Act Two: Tutte le feste al tempio |
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| 1929 - The Gilda of that Opening Night was Merola's old favorite Queena Mario, a pure lyric soprano whom some connoisseurs consider to have gone through her career with rather less than the acclaim she deserved. |
| 1954 - Mado Robin, the French coloratura, made her American debut. It was well-known backstage that a B above high C was a specialty of hers,/. |
| 1966 - Lee Venora/s "Caro Nome" had its gingerly moments, but she looked adorable and sang for the most part with haunting tone. |
| 1973 - Izabelle Nawe, new to the U.S. from Poland, was a Gilda rather in the birdlike Pons tradition vocally, but more up-to-date in terms of dramatic acuity. A willing actress, she seemed visibly shaken by some of the action. |
| 2006 |
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| Mary Dunleavy - 06 and Gilda costume from SFO Retal Info. |
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| Right: 1939 - Lilly Pons |
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| 1990 - Ruth Ann Swenson- a splendid fusion of sumptuous vocal tone and limpid phrasing. The silvery, precisely etched strains of ``Caro nome'' may have been the high point, but there was much to savor throughout/ Review |
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| In Mary Dunleavy, San Francisco found a Gilda who could not only stand comparison with the beloved Ruth Ann Swenson of a decade ago, but who was also a strong partner for Gavanelli. Of course, the key with Gilda is absolute spontaneity. Dunleavy was as convincing in the part as anybody could be. Her phrases floated effortlessly on the breath, rising and falling with absolute naturalness. Her pure tone was bewitching, and even the most artfully controlled diminuendo was delivered with unaffected simplicity. She made clear the contradiction in her character — Gilda loves Rigoletto, but she needs to escape his control. And so she earned a measure of tragic dignity, rather than just seeming naive./ SFCV |
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