Nelson Eddy (June 29, 1901 – March 6, 1967) was an American singer and actor who appeared in 19 musical films during the 1930s and 1940s, as well as in opera and on the concert stage, radio, television, and in nightclubs. A classically trained baritone, he is best remembered for the eight films in which he costarred with soprano Jeanette MacDonald. He was one of the first "crossover" stars, a superstar appealing both to shrieking bobby soxers and opera purists, and in his heyday, he was the highest paid singer in the world.^[1] During his 40-year career, he earned three stars on the Hollywood Walk of Fame (one each for film, recording, and radio), left his footprints in the wet concrete at Grauman's Chinese Theater, earned three gold records, and was invited to sing at the third inauguration of U.S. President Franklin D. Roosevelt in 1941. He also introduced millions of young Americans to classical music and inspired many of them to pursue a musical career. Eddy was born in Providence, Rhode Island, the only child of Caroline Isabel (née Kendrick) and William Darius Eddy. His father was a machinist and toolmaker whose work required him to move from town to town. Nelson grew up in Providence and Pawtucket, Rhode Island, and in New Bedford, Massachusetts. As a boy, he was a redhead and quickly acquired the nickname "Bricktop". As an adult, his red hair was streaked with silver, so his hair photographed as blond. He came from a musical family. His Atlanta-born mother was a church soloist, and his grandmother, Caroline Netta Ackerman Kendrick, was a distinguished oratorio singer. His father occasionally moonlighted as a stagehand at the Providence Opera House, sang in the church choir, played the drums, and performed in local productions such as H.M.S. Pinafore. His parents divorced when he was 14. Living in near poverty, Eddy was forced to drop out of school and moved with his mother to Philadelphia, where her brother, Clark Kendrick, lived. His uncle helped Eddy secure a clerical job at the Mott Iron Works, a plumbing supply company. He later worked as a reporter with the Philadelphia Press, the Evening Public Ledger, and the Philadelphia Evening Bulletin. He also worked briefly as a copywriter at N.W. Ayer Advertising, but was dismissed for constantly singing on the job. Eddy never returned to school, but educated himself with correspondence courses. Eddy developed his talent as a boy soprano in church choirs. Throughout his teens, Eddy studied voice and imitated the recordings of baritones such as Titta Ruffo, Antonio Scotti, Pasquale Amato, Giuseppe Campanari, and Reinald Werrenrath. He gave recitals for women's groups and appeared in society theatricals, usually for little or no pay. Having had a job in an iron works factory, he then spent ten years as a newspaper reporter, but was fired for paying more attention to music than to journalism. His first professional break came in 1922, when he was singled out by the press after an appearance in a society theatrical, The Marriage Tax, although his name had been omitted from the program. In 1924, Eddy won the top prize in a competition that included a chance to appear with the Philadelphia Opera Society. By the late 1920s, Eddy was appearing with the Philadelphia Civic Opera Company and had a repertoire of 28 operas,[2] including Amonasro in Aida, Marcello in La bohème, Papageno in The Magic Flute, Almaviva in The Marriage of Figaro, both Tonio and Silvio in Pagliacci, and Wolfram in Tannhäuser. Eddy performed in Gilbert and Sullivan operas with the Savoy Company, the oldest amateur theater company in the world devoted exclusively to the works of Gilbert and Sullivan in the traditional manner. With Savoy, Eddy sang the leading role of Strephon in Iolanthe at the Broad Street Theatre in Philadelphia in 1922. The next year, he played the role of Major-General Stanley in Savoy's production of The Pirates of Penzance. He reprised the role of Strephon with Savoy in 1927, when the theater group moved their performances to the famed Academy of Music. Thirty-one years later, he was asked by a Savoy lead playing the role of Strephon in 1958 for his thoughts and recommendations on how to play the role. Eddy wrote: I envy you. I'd like to play Strephon again, too! The one thing I suggest is to keep him gay, happy, and care-free. You can set the character with your first entrance. Dance in with a sort of cute abandon. Then in "Good morrow, good mother" act joyfully in love. The rest will fall right into line. The first time I did it – at the old Broad Street Theatre – was better than when I did it at the Academy. I let myself get impressed with the importance of the latter house and with my growing experience in opera – and I played it too grand. Don't fall into that trap. Good luck and my very best wishes – to you and all the Company. Sincerely, Nelson Eddy. Eddy studied briefly with the noted teacher David Scull Bispham, a former Metropolitan Opera singer, but when Bispham died suddenly, Eddy became a student of William Vilonat. In 1927, Eddy borrowed some money and followed his teacher to Dresden for European study, which was then considered essential for serious American singers. He was offered a job with a small German opera company. Instead, he decided to return to America, where he concentrated on his concert career, making only occasional opera appearances during the next seven years. In 1928, his first concert accompanist was a young pianist named Theodore (Ted) Paxson, who became a close friend and remained his accompanist until Eddy's death 39 years later. In the early 1930s, Eddy's principal teacher was Edouard Lippé, who followed him to Hollywood and appeared in a small role in Eddy's 1935 film Naughty Marietta. In his later years, Eddy frequently changed teachers, constantly trying new vocal techniques. He also had a home recording studio, where he studied his own performances. It was his fascination with technology that inspired him to record three-part harmonies (tenor, baritone, & bass) for his role as a multiple-voiced singing whale in the animated Walt Disney feature, "The Whale Who Wanted to Sing at the Met", the concluding sequence in the 1946 feature film Make Mine Music. With the Philadelphia Civic Opera, Eddy sang in the only American performance of Feuersnot by Richard Strauss (December 1, 1927) and in the first American performance of Strauss's Ariadne auf Naxos (November 1, 1928) with Helen Jepson. In Ariadne, Eddy sang the roles of the Wigmaker and Harlequin in the original German. He performed under Leopold Stokowski as the Drum Major in the second American performance of Alban Berg's Wozzeck on November 24, 1931. At Carnegie Hall in New York City, Christmas 1931, he sang in the world premiere of Maria Egiziaca (Mary in Egypt), unexpectedly conducted by the composer Ottorino Respighi himself when famed conductor Arturo Toscanini fell ill at the last minute. Years later, when Toscanini visited the MGM lot in California, Eddy greeted him by singing a few bars of Maria Egiziaca. Eddy continued in occasional opera roles until his film work made it difficult to schedule appearances the requisite year or two in advance. Among his final opera performances were three with the San Francisco Opera in 1934, when he was still "unknown". Marjory M. Fisher of the San Francisco News wrote of his December 8, 1934, performance of Wolfram in Tannhäuser, "Nelson Eddy made a tremendously fine impression ... he left no doubt in the minds of discerning auditors that he belongs in that fine group of baritones which includes Lawrence Tibbett, Richard Bonelli, and John Charles Thomas and which represents America's outstanding contribution to the contemporary opera stage." He also sang Amonasro in Aida on November 11, 1934 to similar acclaim. Elisabeth Rethberg, Giovanni Martinelli, and Ezio Pinza were in the cast. However, opera quietly faded from Eddy's schedule as films and highly lucrative concerts claimed more and more of his time. When he resumed his concert career following his screen success, he made a point of delivering a traditional concert repertoire, performing his hit screen songs only as encores. He felt strongly that audiences needed to be exposed to all kinds of music. Eddy was "discovered" by Hollywood when he substituted at the last minute for the noted diva, Lotte Lehmann, at a sold-out concert in Los Angeles on February 28, 1933. He scored a professional triumph with 18 curtain calls, and several film offers immediately followed. After much agonizing, he decided that being seen on screen might boost audiences for what he considered his "real work", his concerts. (Also, like his machinist father, he was fascinated with gadgets and the mechanics of the new talking pictures.) Eddy's concert fee rose from $500 to $10,000 per performance. Eddy signed with Metro-Goldwyn-Mayer (MGM), where he made the first 15 of his 19 feature films. His contract guaranteed him three months off each year to continue his concert tours. MGM was not sure how to use him, and he spent more than a year on salary with little to do. His voice can be heard singing "Daisy Bell" on the soundtrack of the 1933 Pete Smith short, Handlebars. He appeared and sang one song each in Broadway to Hollywood and Dancing Lady, both in 1933, and Student Tour in 1934. Audience response was favorable, and he was cast as the male lead opposite the established star Jeanette MacDonald in a film version of Victor Herbert's 1910 operetta Naughty Marietta. Naughty Marietta was the surprise hit of 1935. Its key song, "Ah! Sweet Mystery of Life", became a hit and earned Eddy his first gold record. He also sang "Tramp, Tramp, Tramp" and "I'm Falling in Love with Someone". The film was nominated for an Oscar as Best Picture, received the Photoplay Gold Medal Award as Best Picture, and was voted one of the Ten Best Pictures of 1935 by the New York film critics. Critics singled out Eddy for praise: Eddy appeared in seven more MGM films with Jeanette MacDonald: 摘自：https://en.wikipedia.org/wiki/'>https://en.wikipedia.org/wiki/Nelson Eddy

尼尔森·艾迪 (Nelson Eddy)

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