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Claramae Turner
Claramae Turner
Claramae Turner
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Claramae Turner (née Haas; October 28, 1920 – May 18, 2013)[1] was an American operatic contralto, perhaps best known for her appearance in the film Carousel (1956), adapted from the Rodgers and Hammerstein stage musical of the same name.

Key Information

Early life

[edit]

Born in the great Central Valley, outside Dinuba, California, she began her career at the Bush Street Music Hall in San Francisco, where she sang the contralto leads in Gilbert and Sullivan operettas; at the same time she joined the chorus of San Francisco Opera.[2]

Career

[edit]

She made her San Francisco Opera principal debut as The Voice in The Tales of Hoffmann in 1945, and sang with the Metropolitan Opera from 1946 to 1950, appearing in Faust (as Marthe, opposite Raoul Jobin), Boris Godunov (as the Hôtesse, with Ezio Pinza), Aida (as Amneris), Hansel and Gretel (as Gertrud), Roméo et Juliette (as Gertrude, with Jussi Björling and Bidu Sayão), The Marriage of Figaro (as Marcellina), Siegfried (as Erda, with Lauritz Melchior and Astrid Varnay), Cavalleria rusticana (as Lucia), The Barber of Seville (as Berta, opposite Giuseppe Valdengo and Lily Pons), Peter Grimes (as Auntie), and Gianni Schicchi (as Zita).

Turner then sang with the New York City Opera from 1953 to 1969, in The Medium, Hansel and Gretel (now as The Witch), Œdipus rex (as Jocasta, with Richard Cassilly, conducted by Leopold Stokowski), Suor Angelica (as the Zia Principessa, conducted by Julius Rudel), Carmen, Louise (as the Mère), The Ballad of Baby Doe (as Augusta, with Beverly Sills), Dialogues of the Carmelites (as Madame de Croissy), Bomarzo (as Diana Orsini, opposite Salvador Novoa, directed by Tito Capobianco), Iolanthe (as the Queen of the Fairies), Lady Jane in Patience[3] and The Mikado (as Katisha), among others.[2]

She created the role of Madame Flora in Gian Carlo Menotti's The Medium, in 1946 at its first performances at Columbia University. She reprised the role in an episode of Omnibus on television, conducted by Werner Torkanowsky (1959).[4] She also recorded the role of Ma Moss in Aaron Copland's The Tender Land (opposite Joy Clements and Norman Treigle, conducted by the composer, 1965), Bomarzo (1967), and Gertrud in an English version of Engelbert Humperdinck's Hansel and Gretel, starring Risë Stevens and Nadine Conner (1947).[5] This performance was one of the first Metropolitan Opera record albums of a complete opera ever released (by Columbia Masterworks Records). Miss Turner reprised the role on television in a performance on NBC Opera Theatre.

For radio, she sang the role of Ulrica in Arturo Toscanini's 1954 concert version of Verdi's Un ballo in maschera, co-starring Herva Nelli, Jan Peerce, and Robert Merrill, in the conductor's final complete operatic performance.[6] This performance was later released on LP and CD by RCA Victor.

In 1956, Turner appeared in her only film, Rodgers and Hammerstein's Carousel (with Shirley Jones), based on the successful stage musical. In the film, she played the role of Nettie Fowler.

She sang the role of Nettie again in a Command Records studio cast recording of Carousel, starring Alfred Drake and Roberta Peters, recorded in 1962.

The song "I Left My Heart in San Francisco" was written for Turner, and it was she, not Tony Bennett, who originally sang it. However, it was Bennett who first recorded it.[7]

In 1965 Turner sang the role of Ma Moss in an abridged recording of Aaron Copland's opera The Tender Land with the New York Philharmonic conducted by the composer (Columbia records MS6814).

In 1970, Turner collaborated with Scott McKenzie, making a cameo appearance while McKenzie was performing at the Great American Music Hall. Together, they sang "San Francisco (Be Sure to Wear Flowers in Your Hair)" as a duet. Fans praised Turner's version of the song, prompting her to record her own version in 1971, making it her first and only pop tune.

Albums have been released of Turner in complete live recordings of Verdi's La forza del destino, starring Zinka Milanov, Mario Del Monaco, and Leonard Warren, in a New Orleans performance conducted by Walter Herbert, and the Verdi Requiem, conducted by Guido Cantelli.

Death

[edit]

Turner retired in the 1980s and moved to a rural area, where she lived for the rest of her life. She died of natural causes on May 18, 2013, at her home in Santa Rosa, California. She was 92 years old.[8] Turner is buried in Eureka, California.[9]

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Claramae Turner

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Claramae Turner (October 28, 1920 – May 18, 2013) was an American operatic celebrated for her powerful voice and dramatic versatility across , musical theater, and film, with a career spanning more than three decades that included over 100 roles at the and notable appearances at the and New York City Opera. Born Claramae Haas in , and raised in Eureka, she is best remembered for her sole film role as Cousin Nettie Fowler in the 1956 adaptation of Rodgers and Hammerstein's , where she delivered the heartfelt rendition of "," a performance that showcased her rare true timbre. Turner began her professional journey in the early 1940s, joining the as a chorus member before making her solo debut there in 1945 as Nicklausse in Offenbach's Les Contes d'Hoffmann. She quickly rose to prominence, mastering 75 grand opera roles and performing with esteemed conductors such as , , and Kurt Adler, while also expanding to the Opera—where she debuted in 1952—and the , accumulating 105 performances with the latter. Her breakthrough in musical theater came in 1953 when she first performed "I Left My Heart in " at a San Francisco nightclub, a song she helped popularize years before Tony Bennett's famous 1962 recording. Among her most acclaimed operatic portrayals were the title role in Bizet's Carmen at the New York City Opera, Azucena in Verdi's Il Trovatore and Ulrica in Un ballo in maschera at the San Francisco Opera, and the creation of Madame Flora in Gian Carlo Menotti's The Medium during its 1946 world premiere. She also originated the role of Auntie in Benjamin Britten's Peter Grimes at its 1948 Metropolitan Opera premiere and performed Erda in Wagner's Siegfried alongside Lauritz Melchior and Astrid Varnay, as well as Augusta in the 1959 premiere of Douglas Moore's The Ballad of Baby Doe with Beverly Sills. Known as a "singing actress" for her commanding stage presence, Turner toured across three continents and retired after her final performance in 1974 at the San Francisco Opera as the Marquise de Berkenfield in Donizetti's La fille du régiment alongside Beverly Sills. She spent her later years in Santa Rosa, California, where she passed away at age 92, leaving a legacy as one of the foremost contraltos of her era.

Early life

Upbringing in California

Claramae Turner was born Claramae Haas on October 28, 1920, near Dinuba in , a rural farming community in the agriculturally rich . Her family later relocated from the Central Valley, and she was reared in Eureka, a small coastal town in Humboldt County known for its and industries, providing a modest, community-oriented upbringing in . In her late teens and early twenties, Turner moved to to access greater cultural and professional opportunities, marking the transition from her rural roots to the vibrant urban center that would shape her musical path.

Initial musical training

Turner's initial foray into professional music came after her move to around 1940, where she quickly immersed herself in the local performing arts scene. In , she received her initial vocal training, which prepared her for her operatic career. She joined the chorus of the that same year, serving as a chorister and gaining foundational experience in productions. This entry-level role provided her with exposure to professional and ensemble singing, marking her first paid musical engagement in the operatic world around 1940. Parallel to her chorus work, Turner participated in local theater by performing contralto leads in Gilbert and Sullivan operettas, which honed her dramatic delivery and vocal projection in lighter, more accessible repertoire. These informal productions, alongside emerging opportunities in radio shows and concerts, allowed her to blend self-directed practice with practical performance, influenced by San Francisco's vibrant community theater environment. By 1942, Turner had secured additional paid engagements in light opera and ensemble singing, building on her chorus foundation and G&S experience to develop a versatile technique suited for both ensemble and solo contexts.

Opera career

Debut at San Francisco Opera

Claramae Turner transitioned from chorus member to principal artist during the 1944-1945 season at the , marking the beginning of her prominent solo career with the company. She had initially joined the chorus in 1940, providing foundational experience that prepared her for leading roles. Her official principal debut occurred in 1945 as the Voice of the Mother in Jacques Offenbach's Les contes d'Hoffmann, a role that showcased her rich voice and dramatic presence in the company's production at the . This performance established her as a key figure in the ensemble, building on her earlier chorus contributions. Turner maintained a long association with the , performing in numerous roles from 1942 to 1974 across regular seasons at the . Among her key early roles were Marthe in Charles Gounod's and Gertrud in Engelbert Humperdinck's Hänsel und Gretel, which highlighted her versatility in supporting characters within the French and German repertoires.

Metropolitan and New York City Opera tenures

Claramae Turner's tenure with the spanned from 1946 to 1950, during which she performed in 105 productions, marking her transition from West Coast engagements to national prominence. Her debut with the company occurred on November 16, 1946, as Marthe in Gounod's , a role she reprised multiple times, including in a February 11, 1950, performance. Another notable appearance was her initial portrayal of Erda in Wagner's on February 20, 1947, alongside in the title role and Astrid Varnay as Brünnhilde. These roles showcased her versatility in both comic and dramatic parts, contributing to her regular appearances at the Met over four seasons. Following her departure from the Metropolitan Opera in 1950, Turner joined the Opera in 1953, maintaining an affiliation there until 1969 and performing in a wide array of roles that highlighted her adaptability. Her engagements included contemporary works such as Gian Carlo Menotti's The Medium, in which she reprised the role of Madame Flora that she had originated earlier in her career. Among her performances was in Puccini's . This extended period at the New York City Opera allowed her to explore a broader repertoire, including characters in operas like , , and Hänsel und Gretel. Having established her career primarily with the , Turner's move to New York presented logistical challenges due to the cross-country travel and the competitive intensity of East Coast institutions, yet she achieved significant success in securing long-term contracts and diverse roles. Her ability to adapt to the demanding schedules and stylistic expectations of the Metropolitan and Opera companies solidified her reputation as a leading American during the late 1940s and 1950s.

Notable roles and premieres

Claramae Turner earned acclaim for her dramatic interpretations in a wide array of operatic roles, amassing over 75 characterizations across major American companies during her career. One of her signature portrayals was in Giacomo Puccini's , which she performed extensively with the in the 1940s under conductor Emil Cooper. Turner's rich, velvety tone and nuanced depiction of the loyal servant highlighted her early command of supporting parts in the Italian repertory. Turner achieved particular distinction in world and American premieres, beginning with her creation of Madame Flora in Gian Carlo Menotti's The Medium. She originated the role of the fraudulent spiritualist in the opera's world premiere on May 8, 1946, at Columbia University's Brander Matthews Hall, delivering a performance that captured the character's psychological unraveling with intense dramatic conviction. She reprised the role at the Opera in 1953 to further acclaim. She continued her association with contemporary works by creating Augusta Tabor in Douglas Moore's during its 1958 Opera premiere, opposite as Baby Doe; her portrayal of the resentful wife added depth to the opera's exploration of ambition and regret in Colorado's silver-rush era. In 1967, Turner originated Diana Orsini in Alberto Ginastera's at its world premiere with the Opera Society of Washington, conducted by Julius Rudel; her commanding presence as the scheming grandmother enhanced the opera's surreal, hallucinatory narrative. Among her most celebrated dramatic roles were those in the Verdi and verismo traditions, including the title role in Bizet's Carmen at the New York City Opera, Amneris in Aida, which she sang at the Metropolitan Opera in 1946—her first major assignment there—and later at the San Francisco Opera in 1955. Turner also excelled as Auntie in Benjamin Britten's Peter Grimes, debuting the role in the Metropolitan Opera's 1948 company premiere, where her gritty, world-weary characterization underscored the opera's themes of isolation and community judgment. Her Ulrica in Giuseppe Verdi's Un ballo in maschera drew widespread praise, notably in Arturo Toscanini's 1954 NBC radio concert broadcast, where her prophetic intensity in the fortune-teller's scenes was a highlight. These performances exemplified Turner's versatility in embodying complex, authoritative female figures across the operatic canon.

Media appearances and recordings

Claramae Turner was cast as Nettie Fowler in the 1956 film adaptation of Rodgers and Hammerstein's , marking her sole major appearance in cinema. Directed by Henry King and produced by 20th Century Fox, the musical drama starred as Billy Bigelow and as Julie Jordan, with Turner portraying the supportive cousin and confidante to Jones's character. Turner's performance of the anthem "" became her most iconic non-operatic contribution, delivering the song's emotional climax with her powerful voice during a pivotal scene consoling the grieving Julie. She performed her vocals on-screen without , leveraging her operatic training to infuse the number with depth and resonance. The filming process involved close collaboration with co-stars MacRae and Jones, who later recalled Turner's extraordinary talent as a highlight that initially made her hesitant about taking the lead role. Shot primarily on location in to capture the story's setting, the production adapted the 1945 Broadway musical with some structural changes, allowing Turner to blend her classical background into the ensemble dynamics. Critics and audiences praised Turner's rendition for its heartfelt authenticity, which stood out amid the film's lush and score. The role significantly broadened her visibility beyond opera houses, introducing her robust voice to mainstream viewers and solidifying her as a versatile artist in American musical theater.

Television, radio, and discography

Turner made notable appearances on early television opera broadcasts, bringing her voice to a broader audience through live and studio productions. In the Television Opera Theatre's 1950 adaptation of Humperdinck's , she portrayed the witch with a sprightly style, tailored for the intimate medium to avoid overly frightening young viewers during close-ups. She later reprised her signature role as Madame Flora, the fraudulent medium, in a 1959 Omnibus presentation of Gian Carlo Menotti's The Medium, conducted by Werner Torkanowsky; the production highlighted her vivid depiction of the character's psychological unraveling through eerie lighting and intense close-ups. On radio, Turner participated in one of Arturo Toscanini's final operatic broadcasts, singing the role of the fortune-teller Ulrica in Verdi's during live performances at on January 17 and 24, 1954, with the and Robert Shaw Chorale. Toscanini selected her for this nationwide transmission, capturing her dramatic intensity in the opera's supernatural scenes. Her discography includes several landmark recordings that preserved her interpretations of maternal and character roles. Turner debuted commercially as Gertrud, the mother, in the Metropolitan Opera's 1947 Columbia studio album of Humperdinck's Hansel and Gretel, conducted by Max Rudolf, marking one of the first complete opera recordings by the company. She revisited her celebrated stage portrayal of Nettie in the 1962 Command Records studio cast of Rodgers and Hammerstein's Carousel, opposite Alfred Drake and Roberta Peters, under Enoch Light's direction. In Aaron Copland's The Tender Land, she recorded the role of Ma Moss in a 1965 abridged version with the New York Philharmonic, conducted by the composer himself, alongside Joy Clements and Norman Treigle. Turner created the character of Diana Orsini in the 1967 world-premiere recording of Alberto Ginastera's Bomarzo for CBS Masterworks, conducted by Julius Rudel with the Opera Society of Washington. Beyond , Turner introduced the standard "I Left My Heart in ," composed specifically for her in 1953 by George Cory (music) and Douglass Cross (lyrics), in its first live performance on January 11, 1954; she used it as an encore in her appearances, though it gained worldwide fame through Tony Bennett's 1962 recording.

Personal life and later years

Marriages and family

Claramae Haas adopted the surname Turner upon her first to Robert Turner, which provided the professional name she used throughout her opera career. The marriage ended in . In 1950, Turner married Frank Hoffmann, an industrial engineer who spent much of his career with . Their union lasted 45 years, until Hoffmann's death in 1995. The couple balanced Turner's demanding performance schedule with personal stability, as Hoffmann supported her travels for operas and recordings across the and . Post-retirement, they relocated to the Oakmont retirement community in , where they shared a quiet life involving , , and travel. Turner and Hoffmann had no children, allowing her to focus intensely on her professional commitments while nurturing their partnership amid frequent relocations and tours.

Teaching and retirement

Following her final operatic performance as the Marquise de Berkenfield in Donizetti's The Daughter of the Regiment with the in 1974, Claramae Turner retired from the stage, marking the end of a three-decade career that encompassed over 75 roles across major American opera companies. In the years after her retirement, Turner shifted her focus to education and mentorship within the vocal arts. She offered private voice lessons, providing personalized guidance to aspiring singers on technique and performance preparation. Additionally, she served as head of the Opera Workshop at Stanford University for two terms, directing productions of Verdi's Falstaff and Mozart's The Marriage of Figaro, where she emphasized dramatic interpretation and stagecraft for emerging artists. Turner also contributed to the development of young talent by judging regional auditions for the Metropolitan Opera, evaluating vocal potential and offering constructive feedback to contestants. Seeking a more serene lifestyle, Turner relocated to the Santa Rosa area in the late 1970s, settling in the Oakmont with her , Frank Hoffmann. There, she continued her informally, on her expertise as a to advise younger singers on the nuances of low-voice repertoire and operatic presence, while enjoying personal pursuits such as , , and organ playing. Her later years reflected a deliberate withdrawal from public performance, prioritizing quiet reflection and the nurturing of the next generation of performers.

Death and legacy

Circumstances of death

Claramae Turner passed away on May 18, 2013, at the age of 92, in her longtime home in , where she had resided since the late . In the years leading up to her death, Turner experienced a general decline associated with advanced age, living with a nurse companion for the final three years of her life, though no specific illnesses were publicly detailed. At Turner's request, no public funeral services were held following her death. She was buried privately at Ocean View Cemetery in . While no direct statements from family members were reported, initial tributes from the opera community highlighted her enduring impact. Actress , who co-starred with Turner in the 1956 film , described her as "a wonderful lady and a wonderful singer" whose "talent was extraordinary." San Francisco Opera music director Patrick Summers remembered her voice as a "big, burnished ... just absolute liquid gold," calling her "a real link to a fabled past."

Artistic influence and preservation

Claramae Turner's voice and interpretive depth left a significant mark on American , particularly in the demanding roles of and Puccini, where she excelled in portraying complex characters with dramatic intensity and vocal richness. She performed the role of Amneris in 's Aida. Her work in these repertory staples underscored the versatility of the true timbre, bridging traditional European with American performance traditions. Turner's legacy endures through the preservation and reissuance of her recordings, which capture her vocal prowess and have been made accessible to new generations via compilations. Notable examples include reissues of her performance as the in Humperdinck's from the 1947 Metropolitan Opera broadcast, highlighting her dark, resonant tone in ensemble scenes, and her creation of the title role in Menotti's The Medium (1946), where her dramatic delivery of Madame Flora's psychological unraveling remains a benchmark for the opera's American premiere. These recordings, originally preserved from live radio and stage performances, have been remastered and distributed by labels such as VAI and Preiser, ensuring her contributions to the repertoire are not lost to time. Obituaries in major publications underscored Turner's extensive career, noting her mastery of over 75 roles across major houses and her iconic film role as Nettie Fowler in , where she sang "" with operatic gravitas. hailed her as a "great American ," emphasizing her community acclaim and the rarity of her voice type in bridging the worlds of and musical theater, despite the absence of major awards like Grammys. This recognition highlights her role in expanding the contralto's presence in American , fostering appreciation for its dramatic potential beyond formal accolades.

References

  1. https://variety.com/2013/music/news/claramae-turner-who-sang-in-carousel-dies-at-92-1200495056/
  2. https://www.pressdemocrat.com/2013/05/31/claramae-turner-2/
  3. https://www.allmusic.com/artist/claramae-turner-mn0001927494
  4. https://www.sfcv.org/articles/music-news/rip-claramae-turner
  5. https://www.sfgate.com/bayarea/article/Claramae-Turner-Hoffmann-opera-star-dies-4590404.php
  6. https://www.nytimes.com/2013/06/07/arts/claramae-turner-opera-singer-dies-at-92.html
  7. https://www.pressdemocrat.com/article/news/claramae-turner-2/
  8. https://www.latimes.com/world/asia/la-me-passings-20130605-story.html
  9. https://www.nytimes.com/1947/01/25/archives/singher-is-figaro-1st-time-this-year-takes-title-role-in-mozart.html
  10. https://archives.metopera.org/MetOperaSearch/search.jsp?q=%2522Claramae%2520Turner%2522&PERF_ROLE=Marcellina&src=browser&sort=PDATE
  11. https://www.nytimes.com/1947/02/21/archives/varnay-sings-in-siegfried.html
  12. https://www.nytimes.com/1968/09/21/archives/city-opera-offers-puccinis-trittico.html
  13. https://www.sfchronicle.com/bayarea/article/claramae-turner-hoffmann-opera-star-dies-4590404.php
  14. https://archive.org/details/ginastera-bomarzo
  15. https://www.nytimes.com/1946/12/05/archives/svanholm-sings-radames-in-aida-swedish-tenor-makes-debut-in-verdi.html
  16. https://www.nytimes.com/1955/09/16/archives/aida-opens-season-in-san-francisco.html
  17. https://www.vaimusic.com/product/1283.html
  18. https://www.imdb.com/title/tt0049055/
  19. https://www.imdb.com/title/tt0049055/soundtrack/
  20. https://rodgersandhammerstein.com/production/carousel/1956-motion-picture/
  21. https://www.nytimes.com/1950/12/26/archives/hansel-on-video-proves-a-success-n-b-c-presentation-of-opera-for.html
  22. https://www.nytimes.com/1959/02/16/archives/-medium-offered-on-tv-omnibus-menotti-opera-in-stunning-performance.html
  23. https://www.pristineclassical.com/products/paco032
  24. https://musicwebinternational.com/wp-content/uploads/2024/12/hansel-gretel-survey-ld.pdf
  25. https://www.wfmt.com/2024/05/30/aaron-copland-conducts-the-tender-land/
  26. https://www.discogs.com/release/3421886-Alberto-Ginastera-The-Opera-Society-Of-Washington-Julius-Rudel-Bomarzo
  27. https://www.loc.gov/static/programs/national-recording-preservation-board/documents/ILeftMyHeartInSanFran.pdf
  28. https://www.sfgate.com/news/article/OBITUARY-Frank-Hoffman-3032508.php
  29. https://www.findagrave.com/memorial/111291066/claramae-turner
  30. https://www.amazon.com/Claramae-Turner-VARIOUS-ARTISTS/dp/B000X44DB0
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