At Columbia University she studied under Milton Smith, director of the Brander Matthews Theater, Herbert Graf, instructor of the Columbia Opera Workshop and a theatre director at the Metropolitan Opera, and silent screen and stage actress Getrude Keller. Cathy took courses in opera, voice and diction, stagecraft, pantomime, and radio writing. On other nights she went to La Meri’s Ethnologic Dance Center and studied Spanish and Hindu folk dancing to master the requisites to one day play the roles of Carmen and Lakmé.
Berberian’s parents consented to their daughter’s vocal pursuits in 1948 by supporting a short-term study in Paris with Marya Freund. In 1949, Cathy journeyed again abroad, this time to the Conservatorio di Musica Giuseppe Verdi in Milan and received vocal training from Giorgina del Vigo. Her studies with Del Vigo were a turning point, for under her tutelage Berberian retrained her voice as a mezzo-soprano and discovered a vast repertoire of chamber music that highlighted the multi-faceted qualities and texture of her voice. Del Vigo also instilled in her the importance of interpreting the music beyond technique through performance instinct. Cathy made plans to apply for a Fulbright Fellowship in order to continue her studies in Milan, and while looking for a pianist to play at her audition was introduced to Luciano Berio, at that time a composition student and vocal accompanist at the Conservatorio. According to Berberian, “He spoke no English and I spoke no Italian. We had no contact but music.”
Though Luciano was unable to accompany Cathy on the recording, by spring 1950 he proposed marriage and she received the Fulbright award. They married on 1 October 1950 and settled in Milan, where Berberian would make her permanent home, and on 1 November 1953 they welcomed a daughter, Cristina Luisa. The start of their personal and professional union was auspicious, and the collaborative relationship that burgeoned over the decades enabled some of their most significant achievements. Though her marriage to Berio ended in 1964, their professional relationship flourished during the 1960s, marked by a succession of groundbreaking works for voice that remain essential to the vocal repertoire today: Circles (1960) for voice, harp, and percussion, with which Berberian made her United States debut on August 1, 1960 at the Berkshire Music Festival at Tanglewood, Epifanie (1959-61; rev. 1965) for voice and orchestra, the electroacoustic work Visage (1961) created from Cathy’s vocal improvisations, Folk Songs (1964) arranged for voice and chamber ensemble, and Sequenza III (1965-66) for solo voice.
In 1966 Berberian composed her first musical work, Stripsody for solo voice, an exploration of the onomatopoeic sounds of comic strips, which she used to convey a succession of amusing vignettes, illustrated by Roberto Zamarin. She composed a second work in 1969, a piano composition entitled Morsicat(h)y, also illustrated by Zamarin. In later decades Berberian was actively involved in concert, recordings, and masterclass engagements, including an invitation in 1972 by stage director Peter Brook to the International Centre of Theatre Research in Paris to lead a three-week workshop on acting and improvisation.
Cathy Berberian died at age 57 on 6 March 1983 after suffering a heart attack in Rome. She was due to appear the following day on Italian television in a performance to commemorate the centennial death of Karl Marx. She had planned to sing a rendition of the Communist Party anthem “Internationale” in a ‘Marilyn Monroe’ style.
(Courtesy of Rebecca Y. Kim)