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Patricia Brooks (b.1933, d. 1992), a lyric soprano, was an actress and opera singer in New York City. <ref>Patricia Brooks, 59, a Soprano Known for Acting Talent, Dies by BRUCE LAMBERT, New York Times,: January 24, 1993 [http://www.nytimes.com/1993/01/24/nyregion/patricia-brooks-59-a-soprano-known-for-acting-talent-dies.html link]</ref> |
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==Biography== |
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Patricia Brooks was an acclaimed actress and opera singer for the New York City. Brooks was born in Manhattan. Her father, Jerome, was an author (The Mighty Leaf, A History of Tobacco, The $30,000,000 Cup [America's Cup])as well as a rare book columnist for the New York Herald Tribune, and a book reviewer for The New York Times. Her mother, Eda, was an actress and singer who had been a vaudeville performer on the Keith and Pantages circuits and on Broadway. She was Patricia's first vocal coach. At age ninety she was still teaching voice and charge $15 an hour. |
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Brooks was born in Manhattan. Her mother, an actress and singer who had been a vaudeville performer on the Keith and Pantages circuits and on Broadway was her first vocal coach. She won g the WNYC Piano Competition at the age of ten; abd then attended the High School of Performing Arts, and sang with The Weavers. |
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==Performance history== |
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In grade school Patricia was an accomplished pianist, winning the WNYC Piano Competition at the age of ten; she was also a champion roller skater. She attended the High School of Performing Arts and sang with The Weavers. |
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| ⚫ | She was a member of Martha Graham's dance company as well as The New Dance Group. As an actor, she studied acting with Uta Hagen and appeared at Circle in the Square Theatre in Truman Capote's The Grass Harp and as Pearl in Eugene O'Neill's The Iceman Cometh, directed by Jose Quintero. After an injury, she turned to Opera. |
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* John Golden Award (1963)for most promising young performer for "Glitter & Be Gay" in Leonard Bernstein's Candide. |
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She was a member of Martha Graham's Company as well as The New Dance Group. |
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*original Broadway production of Rodgers and Hammerstein's The Sound of Music. |
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*world premiere of Lee Hoiby's Natalia Petrovna at The New York City Opera |
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* Violetta in Verdi's La Traviata with Placido Domingo, in the New York City Opera production directed by Frank Corsaro. 1969. Harold Schonberg of The New York Times wrote that she "moved with assurance, acting with delicacy and detail rare in opera, singing with a big, free voice." <ref>October 24, 1966, [http://select.nytimes.com/gst/abstract.html?res=FB0814FA3D5812718DDDAD0A94D8415B868AF1D3 abstract]</ref> Winthrop Sargeant wrote in the The New Yorker that Brooks was "a real Violetta - a superb actress and a woman with a large voice that can express passion and despair while singing the requisite fioratura with accuracy." |
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*She also performed leading roles for The New York City Opera in Lucia di Lammermoor, Manon, Pelleas et Melisande, Rigoletto, La Boheme (Mimi and Musetta), The Barber of Seville, Cosi fan tutte, Don Giovanni, The Crucible, Her last performance for the New York City Opera was Mozart's The Impresario. |
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*London's Covent Garden,: Rimsky- Korsakov's The Golden Cockerel. |
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In 1963, she won the John Golden Award for the most promising young performer for her performance of "Glitter & Be Gay" from Leonard Bernstein's Candide. Brooks also performed in the original Broadway production of Rodgers and Hammerstein's The Sound of Music. The following year, Julius Rudel, artistic director of The New York City Opera, invited her to perform her first opera, the world premiere of Lee Hoiby's Natalia Petrovna. In 1969 she sang the role of Violetta in Verdi's La Traviata opposite Placido Domingo, in the landmark New York City Opera production directed by Frank Corsaro. Known for her success in discovering the emotional truth in all of her roles, her performance of Violetta was hailed by the the public and the critics. Harold Schonberg of The New York Times wrote that Brooks "moved with assurance, acting with delicacy and detail rare in opera, singing with a big, free voice." And according to Winthrop Sargeant of The New Yorker, Brooks was "a real Violetta - a superb actress and a woman with a large voice that can express passion and despair while singing the requisite fioratura with accuracy." She also performed the leading role for The New York City Opera in productions of Lucia di Lammermoor, Manon, Pelleas et Melisande, Rigoletto, La Boheme (Mimi and Musetta), The Barber of Seville, Cosi fan tutte, Don Giovanni, The Crucible, as well as London's Covent Garden, where she sang Rimsky- Korsakov's The Golden Cockerel. Her las performance for the New York City Opera was in Mozart's The Impresario. |
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| ⚫ | After she retired from |
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In later years she became absorbed with painting and collages, and spent half of the year at her home in Carmel Valley, CA. Occasionally Mr. Mann would induce her to sing parts of an aria and "a magic box opened - the voice was still there!" |
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| ⚫ | After she retired from performing she taught voice and performance at The Circle in the Square Theatre School and then became an Associate Professor at SUNY Purchase where she directed Brecht/Weill's Little Mahagonny and also The Marriage of Figaro. She co-adapted and co-directed Offenbach's La Vie Parisienne with her husband for the Circle in the Square Workshop program. |
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== References == |
== References == |
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Revision as of 18:47, 25 May 2010
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Patricia Brooks (b.1933, d. 1992), a lyric soprano, was an actress and opera singer in New York City. [1]
Biography
Brooks was born in Manhattan. Her mother, an actress and singer who had been a vaudeville performer on the Keith and Pantages circuits and on Broadway was her first vocal coach. She won g the WNYC Piano Competition at the age of ten; abd then attended the High School of Performing Arts, and sang with The Weavers.
Performance history
She was a member of Martha Graham's dance company as well as The New Dance Group. As an actor, she studied acting with Uta Hagen and appeared at Circle in the Square Theatre in Truman Capote's The Grass Harp and as Pearl in Eugene O'Neill's The Iceman Cometh, directed by Jose Quintero. After an injury, she turned to Opera.
- John Golden Award (1963)for most promising young performer for "Glitter & Be Gay" in Leonard Bernstein's Candide.
- original Broadway production of Rodgers and Hammerstein's The Sound of Music.
- world premiere of Lee Hoiby's Natalia Petrovna at The New York City Opera
- Violetta in Verdi's La Traviata with Placido Domingo, in the New York City Opera production directed by Frank Corsaro. 1969. Harold Schonberg of The New York Times wrote that she "moved with assurance, acting with delicacy and detail rare in opera, singing with a big, free voice." [2] Winthrop Sargeant wrote in the The New Yorker that Brooks was "a real Violetta - a superb actress and a woman with a large voice that can express passion and despair while singing the requisite fioratura with accuracy."
- She also performed leading roles for The New York City Opera in Lucia di Lammermoor, Manon, Pelleas et Melisande, Rigoletto, La Boheme (Mimi and Musetta), The Barber of Seville, Cosi fan tutte, Don Giovanni, The Crucible, Her last performance for the New York City Opera was Mozart's The Impresario.
- London's Covent Garden,: Rimsky- Korsakov's The Golden Cockerel.
In 1953, she married Theodore Mann, Circle in the Square's Artistic Director, and gave birth Andrew in 1958 and Jonathan in 1961.
After she retired from performing she taught voice and performance at The Circle in the Square Theatre School and then became an Associate Professor at SUNY Purchase where she directed Brecht/Weill's Little Mahagonny and also The Marriage of Figaro. She co-adapted and co-directed Offenbach's La Vie Parisienne with her husband for the Circle in the Square Workshop program.
References
External links
www.patriciabrookssoprano.com