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Verdi Schonberg Antonio Scotti Wilfrid Pelletier Giovanni Martinelli Donizetti San Carlo Opera Company Chicago Opera Company Lyric Opera Chicago 1884 1914 1919 1921 1929 1934 1941 1942 1944
Here at last is the reverse side of a record I uploaded some weeks ago, a well-played and well-recorded version of a fantasy on 'Aida,' recorded on 11 February 1929. Harold Schonberg wrote that 'the marches and ballet music of the second act can be listened to, these days, at best with indulgence,' but the music remains popular! In transferring this disc, I have kept the sound rather open. The record is in remarkably good condition, and the only real problem is a small amount of not-too-distracting thumping right at the beginning of the disc. As an experiment, I will follow this upload with another transfer of the same recording! From Wikipedia: Carlo Peroni (1884, Rome - March 12, 1944, New York City) was an Italian opera conductor who served as the musical director of Fortune Gallo's San Carlo Opera Company (SCOC) from 1921 until his death 23 years later. With that company he performed in almost every major city in North America, typically conducting 8 opera performance a week eight months out of the year. In 1934, upon Peroni's 500th performance with the SCOC, The New York Times declared that he had conducted more grand opera performances in North America than any conductor in history. Peroni studied music at the Accademia Nazionale di Santa Cecilia. He began working as a musician and music teacher at a young age, and by the age of 13 his wages from teaching piano and harmony was the primary source of income for his family. At the age of 15 he began conducting, leading a 30 piece boys band in Rome. In 1914 he immigrated to the United States where his career was largely centered for the rest of his life. He served in the United States Navy during World War I, after which he worked as a conductor for Antonio Scotti's touring company the Scotti Opera Company from 1919-1921. Wilfrid Pelletier was notably his assistant at the Scotti Opera. Peroni was admired for his photographic memory. He often conducted without a score and was said to have completely memorized the complete scores to more than 70 operas. In 1929 he conducted several arias with Giovanni Martinelli for some of the last recordings made by Edison Records. He also served as director of the Chicago Opera Company from 1941-1942 and continued to collaborate with that company periodically up until his death. The last performance he conducted was an SCOC performance of Donizetti's Lucia di Lammermoor at the Academy of Music in Philadelphia in February 1944. After his death in a month later in New York City at the age of 59, he was succeeded by Nicola Rescigno, who later founded the Lyric Opera of Chicago, as musical director of the SCOC.
Richard Bonelli Bonelli Teschemacher Brunswick Jenkins Jean Reszke Gounod Catalani Carnevale Verdi Claudia Muzio Antonio Cortis Rossini Flotow Gatti Casazza Lily Pons Tito Schipa Ezio Pinza Rosa Ponselle Burke Armand Tokatyan Leoncavallo Ashton Donizetti Puccini Frank Guarrera Lucine Amara Norman Mittelmann Edward Johnson Titta Ruffo Robert Merrill Giovanni Martinelli Elisabeth Rethberg Brooklyn Academy Music Lincoln Center Music Academy West San Carlo Opera Company Chicago Opera Company San Francisco Opera Chicago Civic Opera Metropolitan Opera 1889 1915 1922 1923 1924 1925 1926 1927 1931 1932 1935 1936 1940 1941 1942 1945 1949 1966 1980
Richard Bonelli sings 'Calling Me Home to You,' recorded for Brunswick on 11 October 1927. Bonelli had an excellent voice, but Brunswick's 'light ray' method of recording was temperamental. Sometimes, it produced quite good results. At other times, the sound was intermodulated and distorted. In general terms, the process improved with time, until it was quietly dropped in favour of more conventional recording methods.Regrettably, this relatively late example of the process is a good advertisement for its defects, but it is still worth listening to. From Wikipedia: Richard Bonelli (February 6, 1889 – June 7, 1980) was an American operatic baritone active from 1915 to the late 1970s. Bonelli was born George Richard Bunn to Martin and Ida Bunn of Port Byron, New York. His family later moved to Syracuse and soon George preferred to be called Richard. Prior to deciding on a career in music, Bonelli was a friend of race car driver and later mayor of Salt Lake City, Ab Jenkins. Bonelli studied at Syracuse University and his voice teachers included Arthur Alexander in Los Angeles, Jean de Reszke and William Valonat in Paris. Bonelli's operatic debut came on April 21, 1915 at the Brooklyn Academy of Music as Valentin in Gounod's Faust. He toured with the San Carlo Opera Company between 1922 and 1924. In 1923 he made his European debut as Dardano in Catalani's Dejanice during the Carnevale season in Modena, Italy. He returned to Europe in 1924 to sing at the Monte Carlo Opera and was eventually engaged by the Théâtre de la Gaîté in Paris. Between 1925 and 1931 Bonelli performed with the Chicago Opera Company and between 1926 and 1942 frequently performed at the San Francisco Opera. His Chicago debut in 1925 was in the role of Germont in Verdi's La Traviata with Claudia Muzio (Violetta) and Antonio Cortis (Alfredo). His debut role in San Francisco was Figaro in Rossini's Il Barbiere di Siviglia, after appearing in Flotow's Martha at the Los Angeles Grand Opera earlier in September 1926. Seizing the opportunity of a one-year collapse of Chicago Civic Opera, the Met impresario Giulio Gatti-Casazza quickly engaged Bonelli for leading baritone roles in New York. His first performance with the Metropolitan Opera was on 29 November 1932, again as Rossini's Figaro, at the company's tour to Philadelphia. (It was also the role for his last Met stage performance on 14 March 1945.) The cast included Lily Pons (Rosina), Tito Schipa (Count Almaviva), and Ezio Pinza (Don Basilio). Bonelli's New York Metropolitan Opera debut came on December 1, 1932 as Giorgio Germont in Verdi's La traviata opposite Rosa Ponselle as Violetta and Tito Schipa as Alfredo. He remained on the Met's active roster until 1945, making his final performance as Rossini's Figaro on March 14 that year. He was the Tonio in the first ever live telecast of opera, from the Met on March 10, 1940 alongside Hilda Burke and Armand Tokatyan. He returned to the Met in 1966 as an honored guest at the 'Gala Farewell' marking the last performance by the Metropolitan Opera in the old opera house at Broadway and 39th Street, before moving to the Lincoln Center. Of his many roles, Bonelli was known best for his Verdi repertory as Giorgio Germont, Di Luna, Renato, Rigoletto and Amonasro, and also for his portrayals of Valentin in Gounod's Faust, Wolfram in Wanger's Tannhäuser, Tonio in Leoncavallo's Pagliacci, Rossini's Figaro, Enrico Ashton in Donizetti's Lucia and Sharpless in Puccini's Madama Butterfly. In Italy, he performed under the name Riccardo Bonelli. He also appeared in two movies; a supporting role in 1935's Enter Madame and a cameo appearance in 1941's The Hard-Boiled Canary. After retiring from singing, Bonelli became a successful voice teacher at the Curtis Institute of Music in Philadelphia, the Music Academy of the West in Santa Barbara, and in New York. Among his students were Frank Guarrera, Enrico Di Giuseppe, Lucine Amara, and Norman Mittelmann. In 1949 when Edward Johnson retired from his position of general manager of the Metropolitan Opera, Bonelli was a contender for the job though it ultimately went to Rudolf Bing. Bonelli's favorite baritone was Titta Ruffo. American baritone Robert Merrill had stated that Bonelli was his inspiration to study singing, after hearing him perform the Count di Luna at the Met alongside Giovanni Martinelli and Elisabeth Rethberg in 1936. Even after retiring from teaching, he periodically performed on stage into his 80s. His later appearances were more on the West Coast of the United States. He was actor Robert Stack's uncle. Bonelli died in Los Angeles on June 7, 1980 at the age of 91.
Giacomo Rimini Maschera Giuseppe Verdi Conti Foroni Bizet Massenet Costanzi Arturo Toscanini Rosa Raisa Rossini Amilcare Ponchielli Amelita Galli Curci Galli Puccini Teatro Regio Teatro Massimo Teatro Costanzi Teatro Scala Ravinia Festival Chicago City Opera Company Chicago Civic Opera Chicago Opera Company Städtische Oper Berlin 1887 1910 1915 1916 1920 1923 1924 1926 1931 1932 1933 1937 1939 1946 1952
Giacomo Rimini - Un Ballo in maschera - Alla vita - Vocalion A 600651 enregistré en 1920-1924 Giacomo Rimini (March 22, 1887 – March 6, 1952) was an Italian-born, naturalized-American operatic baritone. He was most admired for his interpretations of the works of Giuseppe Verdi. Giacomo Rimini was born and raised in Verona, Italy. His father, Riccardo Rimini, descended from Sephardic Jews long resident in Verona; his mother, Giulia Sottopera, was Catholic. Rimini studied at the Verona Music Conservatory with Amelia Conti Foroni. He began his operatic career in Italy in his early twenties. His first lead role was as Escamillo in Bizet's Carmen at the age of 22. In 1910 he sang the role of Albert in Massenet's Werther at the municipal theatre of Desenzano. He sang with many notable Italian opera houses over the next several years including the Teatro Regio (Turin), the Teatro Massimo in Palermo, and at the Teatro Costanzi in Rome. In 1915, Rimini was chosen by Arturo Toscanini to sing the title role in Verdi's Falstaff at the Teatro del Verme in Milan. He reprised the role later that year with Toscanini at La Scala in the presence of King Victor Emmanuel III. Also in 1915, Rimini met in Bologna Polish Jewish opera singer Rosa Raisa and the two of them fell in love with each other. They moved to Chicago, Illinois in 1916 where they would both establish a long association with the Chicago City Opera Company, the Chicago Civic Opera, and the Ravinia Festival. Rimini had been married once previously to a woman from Rome, Raffaella Bettei. Rimini and Raisa married in 1920 after moving to Chicago and became naturalized citizens of the United States in 1923. Rimini and Raisa had one daughter, Rosa Giulietta (Jolly) Segala, who was born in July 1931. In addition to Falstaff and Escamillo, Rimini was admired for his portrayals of the title role in Verdi's Rigoletto, Iago in Verdi's Otello, Amonasro in Verdi's Aida, Renato in Verdi's Un ballo in maschera, Figaro in Rossini's Il barbiere di Siviglia, Tonio in Pagliacci, Barnaba in Amilcare Ponchielli's La Gioconda among others. In addition to frequently singing opposite his wife on the operatic and concert stage, Rimini also performed frequently with Amelita Galli-Curci. The two of them sang their first Figaro and Rosina in Il barbiere di Siviglia together with the Chicago Opera Company among many other performances. Although Rimini primarily worked in Chicago, he and his wife did occasionally travel to other parts of the United States and in South America for performances, usually performing together. They also maintained a villa in Verona where they would spend their summers and occasionally appear in operas. Most notably, Rimini originated the role of Ping in Puccini's Turandot at La Scala in 1926 opposite his wife in the title role. He also was the first person to completely record the role of Falstaff, which he also did with La Scala forces in 1932. In 1933 the Riminis appeared in a European tour with Teatro alla Scala's singers, which included a one-week series of performances at the Städtische Oper in Berlin, Germany. It was controversial due to the Jewish Raisa’s participation, and Rimini’s half-Jewish ‘racial’ status. In the following years, while Raisa preferred to concentrate on her Chicago engagements, Rimini appeared frequently in Italy having the opportunity to sing with many of the Italian operatic luminaries of the time. Rimini and his wife both announced their retirement from the operatic stage in 1937. Due to the Fascist Racial Laws and the Second World War they stayed away from Italy from 1939 to 1946.[2] In Chicago, they decided to concentrate their time to teaching the next generation of opera singers. They had opened a voice/opera school in Chicago which they ran for two decades. As a part of the school, students would travel to Italy with Rimini and his wife to study in Verona, often staying at their teacher's villa Giacomo Rimini died in his sleep on March 6, 1952 at his home in Chicago. Source: Wikipedia
Giacomo Rimini Maschera Giuseppe Verdi Conti Foroni Bizet Massenet Costanzi Arturo Toscanini Rosa Raisa Puccini Rossini Amilcare Ponchielli Amelita Galli Curci Galli Teatro Regio Teatro Massimo Teatro Costanzi Scala Ravinia Festival Chicago City Opera Company Chicago Civic Opera Chicago Opera Company 1887 1910 1915 1916 1921 1926 1931 1932 1938 1952
Giacomo Rimini - Un Ballo in maschera - Eri tu - Vocalion 70033 enregistré en mars 1921 Giacomo Rimini (March 22, 1887–March 6, 1952) was an Italian-born, naturalized-American operatic baritone. He was most admired for his interpretations of the works of Giuseppe Verdi Born and raised in Verona, Rimini studied at the Verona Music Conservatory with Conti Foroni. He began his operatic career in Italy in his early twenties. His first lead role was as Escamillo in Bizet's Carmen at the age of 22. In 1910 he sang the role of Albert in Massenet's Werther at the municipal theatre of Desenzano. He sang with many notable Italian opera houses over the next several years including the Teatro Regio (Turin), the Teatro Massimo in Palermo, and at the Teatro Costanzi in Rome. In 1915, Rimini was chosen by Arturo Toscanini to sing the title role in Verdi's Falstaff at the Teatro del Verme in Milan. He reprised the role later that year with Toscanini at La Scala in the presence of King Victor Emmanuel III. Also in 1915, Rimini met Polish opera singer Rosa Raisa and the two of them fell in love with each other. They married in 1916 and moved to Chicago, Illinois shortly thereafter where they would both establish a long association with the Chicago City Opera Company, the Chicago Civic Opera, and the Ravinia Festival. Rimini had been married once previously to a woman from Rome, Rafaelle Bettei. Rimini and Raisa became naturalized citizens of the United States a few years after moving to Chicago. Although Rimini primarily worked in Chicago, he and his wife did occasionally travel to other parts of the United States for performances, usually performing together. They also maintained a villa in Verona where they would spend their summers and occasionally appear in operas. Most notably, Rimini originated the role of Ping in Puccini's Turandot at La Scala in 1926 opposite his wife in the title role. He also was the first person to completely record the role of Falstaff, which he also did with La Scala forces in 1932. In addition to Falstaff and Escamillo, Rimini was admired for his portrayals of the title role in Verdi's Rigoletto, Iago in Verdi's Otello, Amonasro in Verdi's Aida, Renato in Verdi's Un ballo in maschera, Figaro in Rossini's Il barbiere di Siviglia, Tonio in Pagliacci, Barnaba in Amilcare Ponchielli's La Gioconda among others. In addition to frequently singing opposite his wife on the operatic and concert stage, Rimini also performed frequently with Amelita Galli-Curci. The two of them sang their first Figaro and Rosina in Il barbiere di Siviglia together with the Chicago Opera Company among many other performances. Rimini and his wife both retired from the operatic stage in 1938, deciding to dedicate their time to teaching the next generation of opera singers. They opened a voice/opera school in Chicago which they ran for two decades. As a part of the school, students would travel to Italy with Rimini and his wife to study in Verona, often staying at their teacher's villa. Rimini and Raisa had one daughter, Rosa Guilietta Segala, who was born in July 1931. Giacomo Rimini died in his sleep on March 6, 1952 at his home in Chicago. Source: Wikipedia
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