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OPERA: Metropolitan Opera Company, leading soprano roles.

Paris, Opera Comique / Basle / Prague / New York City Center / Vichy / Brussels / Montreal / Hollywood Bowl.

CONCERTS: Concert tours coast-to-coast throughout United States and Canada.
Soloist with: Philadelphia Orchestra, New York Philharmonic, and other leading orchestras in United States, France, Sweden, Norway and Denmark. Guest Artist at Venice Festival; recitals in France, Italy, Sweden and Denmark.

RADIO:Six-minth weekly series on National Broadcasting Company; guest appearances on programs such as The Kraft Music Hall, The Celanese Hour, Book of the Month Club Opera Programs, etc. Metropolitan Opera Broadcasts.

OTHER: Operetta Performances: St. Louis Municipal Operetta, New York Opera Comique, Newark Light Opera Company. Radio City Music Hall, with Jan Peerce.

The magic aura of the "golden age" of singing is irrevocably bound up with the career of Natalie Bodanya. Although she is an American product (she reversed the age-old custom and did not even sing in Europe until she had made her Metropolitan debut), Miss Bodanya is o e of the last pupils to come under the tutelage of the great
Marcella Sembrich, famed coloratura of the period of Caruso, Melba, Fremstad, de Reszke and Emma Eames.

After early musical training at the Manhattan School of Music, Miss Bodanya was awarded the Sembrich Scholarship at the Curtis Institute of Music. The training she received there, and from Madame Sembrich herself at her Lake George Studio for four summers, was rounded out by vocal and operatic studies with Queena Mario of the Metropolitan Opera, and vocal studies with Sidney Dietsch of New York City.

When Edward Johnson, director of the Metropolitan Opera, heard Miss Bodanya he signed her for the leading soprano role of Micaela in "Carmen". The day after her debut she was acclaimed by critics as "the talk of the operatic world". Other leading roles were immediately assigned to her, and she created that of Lizetta in the American premiere of "The Clandestine Marriage."


NY Herald-Tribune: "A sensation for the Metropolitan Opera Company."

The New Yorker: " Miss Bodanya bowled over most of the attendants with her remarkable high B-flat in the third act."

Olin Downs, New York Times: "It was a pleasure to see her qualities triumph."

New York Post: "Miss Bodanya stopped - as they say - the show."

Hartford Courant: "...the exquisite singing of Madame Bodanya in the Bird role - a rare, sheer and pure delight in tone and style."

Montreal Gazette:"Natalie Bodanya scored a triumph."

Allentown, PA:"...captivated her audience completely and was given ovation after ovation as her program progressed. She possesses a lyric soprano voice of wide range, beautiful rich tones, and her diction is flawless."

Brattleboro, VT:"Incomparable charm and dramatic ability with a voice of great beauty."


Nedda, Mimi, Musetta, Gretel, Micaela and Papagena

Many recordings of Natalie Bodanya's radio broadcasts are available from D. Sharples, a collector in England. Follow this link to view three pages of "THOSE RADIO DAYS, his
current list of available radio programs. If you wish to contact him directly to ORDER COPIES copies of programs, you may e-mail him at

As of April 2002, he has located many of her broadcasts, including:

CELANESE HOUR: "Die Fledermaus" with Robert Weede (1945)

with Charles Danfield and Gene Connolly (1946)
"Samson and Delilah" (1946)
"Music of Noel Coward" with Jan Peerce and Robert Weede, (1945)

"The Bartered Bride" (1937)


Natalie Bodanya in Massenet's Manon with Bidu Sayao

Natalie Bodanya sings with Mario Lanza

Thank you for visiting this page about my former teacher.
Dr. Vivian Dettbarn