Notice bibliographique
Résumé
The subject of my paper is limited to women of Italian origin in Canada who have been deemed by their peers to have made a worthy contribution to the arts.The paper covers branches of the arts most commonly associated with Italy: namely, music, painting, photography, architecture, sculpture and installation art, either as individual occupations or in combinations.Following the order indicated above, it is worth noting that "Such appreciation of Opera as we have in Canada may be credited to the Italian" and that "Toronto has had two great teachers of operatic singing Giuseppe Carboni and Edoardo Ferrari-Fontana.! Although Carboni had many students, I have no record that any female artist of his made a name for herself in opera history.Different is the case of Edoardo Ferrari-Fontana, founder of the Music and Arts League of Toronto, who came from New York to teach singing here between the years 1926 to 1936.3 Noted as one of the best Wagnerian tenors in Italy and a Metropolitan Opera star, who presented operatic concerts annually at Eaton Auditorium or at Hart House, Maestro Ferrari-Fontana had special praise for one student, in particular, Dedena Morello.She was described in the 1931 Music and Arts League program of Toronto as "a gifted Italian dramatic actress, very active in dramatic productions with a lovely natural soprano voice that she manages with charm and ease."Born in the town of Susa in Piedmont, she came to Canada in 1924.Asked whether she had kept a file of her old press clippings, Dedena Morello regretted that they were lost in the course of the several moves from one house to another over the years.*She began studying voice with Ferrari-Fontana in 1930 and sang the role of Emilia in Ofello under his direction.She was active in the Women in the Arts post World War II period working under the direction of Giacomo Rosselino who founded the Rosselino Opera Company in Toronto in 1941.The name Rosselino was adopted by James R. Roessler, born in Regina in 1890, music master at Central Technical School who presented highlights of Italian opera at Eaton Auditorium, Central Tech and Harbord Collegiate.The demise of his company coincided with the rise of the Canadian Opera Company.Dedena Morello appeared as one of his star performers, in Rosselino's opera highlights presented in the Hart House Theatre in December 1942.Augustus Bridle, music critic for the Toronto Daily Star, has described Dedena's interpretation of the role of Santuzza in a scene from Cavalleria Rusticana.Morello, he wrote (December 2, 1942): displayed remarkable vibrance of dramatic soprano tone, somewhat after the style of Traubel, with excellent acting in a role that often puzzles professionals on what to do next.Some of the turns in the duet [sung with Rosselino] were quite thrilling.The aria "Now You Know, Good Mother," was done with considerable tonal magni-LICenCE,Helen Traubel to whom Dedena Morello was compared was a Metropolitan Wagnerian opera star.Rose MacDonald in the Evening Telegram of the same date wrote that Dedena Morello's was "the most completely satisfying" portion of the program.In a tribute to her singing teacher, Ferrari-Fontana, MacDonald continued:For operatic singing she has a natural flair which has been excellently trained.Her voice has ample range, a beautiful flexibility and rich emotional quality all of which showed handsomely in her recitative...This performance taken altogether was an effective keystone of the program's arch.
Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.
Comment cette classification a été obtenuedéplier
Prédiction machine sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Le volet Gemma est une étiquette directe du modèle pour chaque travail de la base, lue sur la notice réduite au titre. Le volet Codex est un classifieur appris des 10 348 étiquettes directes de Codex et calibré sur les taux pondérés de l'échantillon; les champs sans appui suffisant ne portent aucun appel Codex. Le mode candidate est l'union des deux volets; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont pas des étiquettes humaines.
Scores du classifieur distillé par catégorie (deux têtes)
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,002 | 0,002 |
| Méta-épidémiologie (sens strict) | 0,001 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,002 | 0,004 |
| Études des sciences et des technologies | 0,028 | 0,023 |
| Communication savante | 0,010 | 0,002 |
| Science ouverte | 0,001 | 0,003 |
| Intégrité de la recherche | 0,002 | 0,004 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,020 | 0,001 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule source (Gemma direct ou Codex distillé), pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».