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La Boheme (Giacomo Puccini) Premiere, 1 February 1896. Cesira Ferrani (Mimi) and Evan Gorga (Rodolfo)

Apr 23, 2014

Giuseppe Tisci Rubini (Bass) (Naples 1867 – Naples 1936)



Probably his stage debut took place in 1892 at Naples and for more than 40 years he sang at the famous Italian opera houses, later appeared, however, only as comprimario. Already in 1898 he made guest appearance at the Opera House of Monte Carlo as Lodovico in Verdi’s ‘’Otello’’. On 22. 11. 1898 he performed at the Teatro Costanzi in Rome in the premiere of Mascagni’s opera ‘’Iris’’ as Cieco and repeated the same part in 1899 at La Scala, Milan. In 1917 he was to be heard at the Teatro Dal Verme in Milan. He was especially successful at the Teatro Massimo in Palermo in the 1901-05 seasons. at the Teatro San Carlo of his hometown Naples, he belonged till 1934 to the most popular singers. Here he also appeared in the premiere of the Felice Lattuada’s opera ‘’Don Giovanni’’ (1929) and Franco Alfano’s ‘’L'ultimo lord’’ (1930). After ending of his career he was a song pedagogue in Naples.

Chronology of  some appearances

1890 Torino Teatro Vittorio Emanuele Ruy Blas (Guritano)
1894 Napoli Teatro San Carlo Aida (Ramfis)
1896 Genova Teatro Carlo Felice Guglielmo Ratcliff (Tom)
1898 Bari Teatro Piccinni Mefistofele (Mefistofele)
1901 Trieste Teatro Verdi Iris (Cieco)
1903 Palermo  Teatro Massimo Aida (Ramfis)
1905 Palermo  Teatro Massimo Norma (Oroveso)
1908 Napoli Teatro San Carlo Africana (Don Diego)
1912 Faenza Teatro Masini Mignon (Lotario)
1914 Roma Teatro Costanzi Parsifal (Titurel)
1916 Milano Teatro Carcano   Manon (Conte)
1918 Pesaro Teatro Rossini Guglielmo Ratcliff (Tom)
1921 Napoli Teatro San Carlo Le Donne Curiose di E.Wolf Ferrari
1926  Palermo Teatro Biondo Boheme (Colline)
1929 Palermo  Politeama Garibaldi Africana (Inquisitore) 
1933 Palermo  Politeama Garibaldi Madama Butterfly (Bonzo)


RECORDINGS FOR SALE








G&T, Milano 1903-10
Barbiere di Siviglia (Rossini): La calunnia 052018 Con614

Gramophone, Milano 1912-09-19
Mefistofele (Boito): Giunto sul passo estremo with Luca Botta 054407 481aj


Apr 20, 2014

Pierre Fouchy (Tenor)



In the 1930's he appeared with success at the Opera-Comique in Paris.

Chronology of  appearance

1930 Paris Opera-Comique Les armaillis (Fritz)

RECORDINGS FOR SALE









Parlophone 
Paillasse (Leoncavallo): Sérénade d’Arlequin 29007
Le Roi d’Ys (Lalo): Aubade 29007
Mirelle (Gounod): Anges du Paradis  29009


Apr 10, 2014

Elza Szamosi (Soprano) (Budapest 1884 – Budapest 1924)



Her real name was Elza Szamek. She was a pupil of the pedagogue Quirino Merli. In 1904 she sang at the Budapest National Opera the role of Dalila in the première of the opera ‘’Samson et Dalila’’of Saint-Saëns and had a shining success. The next year in this opera house she appeared as Carmen. Already in 1906 she began to take over soprano parts; thus she sang in 1906 at the Budapest première in Puccini’s ‘’Madama Butterfly’’ in the title role. In 1904 and 1905 she was staying at the Vienna  Court Opera. In 1906 she took part in a tour through North America with the Savage Opera Company. In 1906 with this opera troupe she appeared in the première of Puccini’s ‘’Madama Butterfly’’ also in North America and Washington. Her last big role which she interpreted in Budapest was the Martha in ‘’Tiefland’’ of E. d'Albert. Already in 1913 she retired from the stage.

Chronology of some appearances

1904 Budapest National Opera Samson et Dalila (Dalila)
1905 Budapest National Opera Carmen (Carmen)

RECORDING FOR SALE








Da Capo, Budapest 1908?
Carmen (Bizet): Habanera 3604


Gina Moretti Stefani (Soprano) (? 1874 - Milano 1914)



Her husband was the baritone Guido Stefani. Probably she made her debut in 1902 at the Teatro Umberto I° as Elvira in Bellini’s ‘’Puritani’’. In the 1905-1906 season she made guest appearances at the Teatro San Martin in Buenos Aires performing in ‘’Boheme’’, ‘’Rigoletto’’, ‘’Ballo in maschera’’, ‘’Mignon’’, ‘’Faust’’ and ‘’Carmen’’. In 1911 she sang at Warsaw. She retired from the stage in 1912.

Chronology of some appearances

1902 Oneglia Teatro Umberto I° Puritani (Elvira)
1904 Colorno Teatro Sociale Lucia di Lammermoor (Lucia)
1906 Buenos Aires Teatro San Martin Faust (Margherita)
1908 Torino Teatro Vittorio Emanuele Barbiere di Siviglia (Rosina)
1910 Tunisi Politeama Rossini Boheme (Musetta)
1912 Faenza Teatro Comunale Manon (Manon)

RECORDINGS FOR SALE








Odeon Fonotipia, Milano
Traviata (Verdi); Ah! Forse è lui 82537
Traviata (Verdi):  Sempre libera with unknown tenor 82538


Olga Carrara-Pescia (Soprano) (Firenze 1888 - ?)




She made her debut in 1910 at  the Teatro Sociale of Comacchio as Amelia in Verdi’s ‘’Ballo in Maschera’’. In 1920 she made guest appearance at San Francisco, perfomring in Puccini’s ‘’Boheme’’. Then she continued career at the famous Italian opera houses. In 1924 she toured through Cuba and Central America with an opera troupe to which belonged also Titta Ruffo and Antonio Cortis. She sang in Havana, Caracas and Bogotà appearing in ‘’Bohème’’, ‘’Andrea Chénier’’ and ‘’Tosca’’ and ‘’Aida’’. In 1925 at the Teatro Liceo in Barcelona she sang in Puccini’s ‘’Tosca’’. In 1925 she sang at the Arena di Verona in Rossini’s ‘’Mosè’’ as a partner of Nazzareno de Angeles. In 1930 she sang at the Teatro Massimo in Palermo in the premiere of the opera ‘’Dafni’’ of Giuseppe Mulè. She retired from the stage in 1931.

Chronology of some appearances

1910 Comacchio Teatro Sociale Ballo in Maschera (Amelia)
1913 Padova Teatro Verdi  Amore Dei Tre Re (Flora)
1920 San Francisco Teatro Curran   Boheme (Mimì)
1922 San Josè Teatro Nacional Boheme (Mimì)
1924 Havana  Teatro Nacional Aida (Aida)
1926 Venezia  Teatro La Fenice Ugonotti (Valentina)
1928 Milano  Teatro Dal Verme Turandot (Turandot)
1930 Palermo Teatro Massimo Turandot (Turandot)
1931 Roma Teatro Costanzi Aida (Aida)

RECORDINGS FOR SALE








Odeon, Milano
Tosca (Puccini): Vissi d'arte 82518

Pathe, Milano
Cavalleria Rusticana (Mascagni): Voi lo sapete 40183


Emma Longhi (Mezzo-Soprano)



In 1905 at the Teatro Dal Verme she appeared in the premiere of  F. Medina’s opera ‘’Nadia d'Algernon’’. She retired from the stage in 1916.

Chronology of some appearances

1895 Brescia Teatro Guillaume Al Canto di R. Romanini
1897 Jassy Teatro Nazionale   Gioconda (Cieca)
1899 Odessa Teatro Municipale Carmen (Frasquita)
1901 Lima Teatro Forero La Resurrezione di Lazzaro di L. Perosi
1903 Torino Teatro Vittorio Emanuele Gioconda (Laura)
1905 Biella Teatro Sociale Carmen (Carmen)
1907 Roma Teatro Quirino Carmen (Carmen)
1909 Costantinopoli Teatro Petit Champs Aida (Amneris)
1916 Milano Teatro Dal Verme Matrimonio Segreto (Fidalma)


RECORDINGS FOR SALE








G&T, Milano 1903-10/11
Huguenots (Meyerbeer): Vaga donna 053023 Con524R

Gramophone, London 1907
Huguenots (Meyerbeer): Rondò del paggio 053024 Con626

Apr 6, 2014

Tancredi Pasero (Bass) (Torino 1893 – Milano 1983)




He studied with Arturo Pessina (a former well-known br.) and made his debut in 1917 in Turin, the city of his birth, as Ramphis in ‘’Aida’’. The singer later considered the beginning of his artistic life on December 15, 1918 as Rodolfo in Bellini’s ‘’La Sonnambula’’. Shortly afterwards he repeated the role at La Scala. Pasero’s illustrious and unusually long career was mostly centered in Italy. His main house was La Scala, where Arturo Toscanini engaged him for leading roles. He made guest appearances at Covent Garden, and also in Paris, Brussels, Barcelona, Buenos Aires, Berlin and Hamburg. He was a member of the Met from 1929 until 1933. His most memorable roles were in ‘’Aida’’, ‘’Il Trovatore’’, ‘’Luisa Miller’’, ‘’La Gioconda’’, ‘’Norma’’, ‘’La Bohème’’, ‘’La Forza del Destino’’, ‘’Guglielmo Tell’’, ‘’Lucia di Lammermoor’’, ‘’Simon Boccanegra’’ and ‘’Don Giovanni’’ (as Leporello). At the Met he appeared opposite an amazing number of glorious voices. In 1933 he enjoyed an enormous success at the Maggio Musicale in Florence in Spontini’s ‘’La Vestale’’ opposite the great Rosa Ponselle . He often appeared at the Arena di Verona. In 1948 he sang at a concert commemorating the 100th anniversary of Donizetti’s deat, and in 1950 he appeared for the last time as Wotan in the ‘’Walkyrie’’. To Pasero’s most famous roles must be numbered the following roles: Rossini’s Mosè, Sarastro, Don Basilio, Philip, Boris Godunov and Escamillo as well as several important Wagner assumptions: King Heinrich, Gurnemanz, King Marke, Pogner and Hagen (in Italian). He also participitated in the world premières of several operas, among them Mascagni’s ‘’Nerone’’ at La Scala and Pinzetti’s ‘’Orseolo’’ in Florence. His voice impresses by its richness and the eveness of its quality from top to bottom of the wide range (Pasero added some br. roles at the end of his career). Pasero’s expression is not only distinguished by its lyrical qualities but also of great feeling and dignity. He avoids to exhibit the voice in the sort of overt emotionalism. In this, he is an antipode to Nazzareno de Angelis.

Chronology of some appearances

1917 Turin Opera House Aida (Ramfis)
1929-1933 New York Metropolitan Opera


RECORDINGS FOR SALE








Fonotipia, Milano 1927-01-14
Trovatore (Verdi): Abbietta zingara O-8902 XXPh5834
Barbiere di Siviglia (Rossini): La calunnia O-8902 XXPh5835