Gina Palmucci, 1891-1924. She took the stage name of Nera Marmora, and sang like a nightingale according to contemporary accounts. She was my grandmother..
The news that Luciano Pavarotti died last week made the rounds, reaching out so far as to impact my sister in Italy whose computer literacy is so low she doesn't really trust e-mails to arrive at their destination. Yet she was moved to send me one about that piece of news. She has never heard an opera sung in person or on a recording, she has no knowledge of the world outside her small village where she has lived for most of her sixty years and she only thought of me when Pavarotti died because she knows I have traveled far and wide to hear those roles my grandmother sang. Unlike Nera Marmora, Luciano Pavarotti sacrificed everything to bring his music, and himself to the masses, even unto those like my sister whose idea of music is nowhere near Cavalleria Rusticana,
even though she has practically lived the story herself...
.
My siblings and I grew up with the knowledge that we had a singer in our family but we knew next to nothing of her, just a stage name and some tidbits from her life: that she had sung with Enrico Caruso, a man who rivalled Pavarotti's ability to reach a non-operatic audience. Yet Gina Palmucci, my grandmother, who lived and died in the early part of the twentieth century never made a recording or gave an interview and would have vanished were it not for her niece who made available photos and posters and programs that allowed the city of Terni to create a book marking one of its most talented offspring.
Terni, an industrial city in the pastoral Umbrian region doesn't have many famous antecedents, its Roman roots in the city of Interamna are largely forgotten, and the city was bombed flat by the Americans in World War Two thanks to its steel mills and its Beretta arms factory. Apartment blocks and streets built to a grid, American style, mark the modern city nestled in a region famous for its medieval hill towns. 
My grandmother's brother Pasquale worked all his life as an accounts clerk in the steel mill, and I see the old man I knew inside the happy youth on the left in this picture, standing next to his already famous sister:
The city was moved to put up a monument to my grandmother where she lived in the city's old section which has been gentrified and rehabbed, as is the way worldwide in the twenty-first century. 
My mother, who died when I was a teenager, never ever spoke, as far as I can recall, of her mother, and I believe that was in large part because her father blamed her for his beloved wife's death. Nera Marmora retired from the stage to live the decorous life of a wife and mother in 1923, and she died in childbirth a year later.Her husband, my grandfather, never did recover from the blow of her sudden death and the secret family legend is he never learned to love his only child as a result of that misfortune. Now they are all dead and only we, the generation that remembers none of that drama, remain alive.
I am now older than my mother was when she died, and my own life has slipped into middle age alongside the career of the great Pavarotti whose talents were on display from when I can remember. I saw him sing in assorted theaters around the world and I heard the praise heaped upon his voice, the voice of a man who pumped his talent for all it was worth. He divorced his wife and settled down with his secretary, he ate prodigiously and sang as long as he could. I guess he enjoyed life. And now its done and he is no longer a living legend.Though still a household name even in farmhouses like my sister's where neither a book nor a libretto ever crosses the threshold. Thats a hell of an achievement, no matter what the cost we observed at the Maestro's two-family funeral.
My own sister in her e-mail reminded me of one night at La Scala in Milan, when the performance commemorated in the frontispiece of the program the first night decades before, in the same theater. And there she was, my grandmother, listed for all to see and none to know. I should have known better, because in the book I now own there is a reproduction of the front page of the score of a new performance of an opera by Giacomo Puccini, signed by the composer himself to the distinguished artist, suave voice of Mimi. 
In considering my grandmother's career one sees she had the seeds of greatness sown within her. She sang with Caruso and went on tour with him in South America in 1917. She was selected by Arturo Toscanini, a conductor who left his mark on the world at large, to sing in the premiere of the re-opening of La Scala after World War One, she was praised for her beauty and her voice wherever she went. And she gave it all up to get married to a country squire of little account and thence to sink into obscurity. He wasn't a bad man at all, and got a piazza named after him.
He also got his own monument put up after the war celebrating his bravery helping partisans and allied fliers escape the clutches of the Nazis.
A good man he may have been but not famous. My grandmother's choice to marry him was the sort of choice that in a media obsessed world would get one labeled insane.
He also got his own monument put up after the war celebrating his bravery helping partisans and allied fliers escape the clutches of the Nazis. A good man he may have been but not famous. My grandmother's choice to marry him was the sort of choice that in a media obsessed world would get one labeled insane. .
She was just insanely unlucky that her choice led to her premature death and the gradual dismemberment over two generations of the family that was to be descended from her. I suppose a stone plaque to mark the passing of a human life is no bad thing, especially when the life lived has been a perpetual struggle with unhappiness. But when all is said and done, how could I not be drawn, with all this pent up history of family sadness behind me, to the only land where the pursuit of happiness is enshrined in the rules to live by?
