Opera and Musical Theatre
Trained in opera and a former chorister at St Paul's Anglican Church, Vancouver, when she was a child, De Carlo possessed a powerful contralto voice. In 1951 she was cast in the role of Prince Orlovsky in a production of the opera Die Fledermaus at the Hollywood Bowl. De Carlo released an LP of standards called Yvonne De Carlo Sings in 1957. This album was orchestrated by the movie composer John Williams. She sang and played the harp on at least one episode of The Munsters.
From 1967 onward she became increasingly active in musicals, appearing in off-Broadway productions of Pal Joey and Catch Me If You Can (not to be confused with the 2002 movie, or the 2009/2011 musical). In early 1968 she joined Donald O'Connor in a 15-week run of Little Me staged between Lake Tahoe and Las Vegas, performing 2 shows per night. Her defining stage role came with her big break on Broadway in Stephen Sondheim's Follies, which ran from February 1971 until July 1, 1972. As "Carlotta Campion" she introduced the song "I'm Still Here", which would become an anthem of sorts. The show opened later in Los Angeles with the original Broadway cast on July 22, 1972, and closed 11 weeks later. She was the last lead female performer from the original production to die (having been predeceased by Alexis Smith, Dorothy Collins, Ethel Shutta, Mary McCarty, and Fifi D'Orsay). De Carlo received recognition for her work in various B-horror films and thrillers, such as The Power, The Seven Minutes, House of Shadows, Sorority House Murders, Cellar Dweller, The Man with Bogart's Face, Mirror, Mirror, Blazing Stewardesses, and American Gothic.
She also made a cameo appearance on The Late Show in 1988, which was hosted by comedian Ross Shafer, to talk about her book, Yvonne: An Autobiography, which she had written in 1987.
Read more about this topic: Yvonne De Carlo
Famous quotes containing the words opera, musical and/or theatre:
“Opera once was an important social instrument—especially in Italy. With Rossini and Verdi people were listening to opera together and having the same catharsis with the same story, the same moral dilemmas. They were holding hands in the darkness. That has gone. Now perhaps they are holding hands watching television.”
—Luciano Berio (b. 1925)
“That vast moth-eaten musical brocade
Created to pretend we never die ...”
—Philip Larkin (1922–1986)
“The poem of the mind in the act of finding
What will suffice. It has not always had
To find: the scene was set; it repeated what
Was in the script.
Then the theatre was changed
To something else. Its past was a souvenir.”
—Wallace Stevens (1879–1955)