Enrico Delle Sedie Videos
italienischer Opernsänger
- Bariton
- Königreich Italien
- Opernsänger, Stimmtrainer
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2024-05-03
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Albani Sedie Oscar Hammerstein Hammerstein Maschera Puccini Teatro Municipal Santiago Odeon Opera Boston 1872 1901 1907 1908 1912 1924
Carlo Albani +••.••(...)) was born in Trieste to an Italian mother and a French father (the family name was actually Berquier). Following studies with Enrico Delle Sedie in Paris, Albani accepted a contract with the Teatro Municipal in Santiago, where he made his debut as Radames in 1901. He is probably best remembered for a bizarre occurrence which took place toward the end of 1907. After receiving a scathing review for his performance as Manrico in Il Trovatore at Oscar Hammerstein’s Manhattan Opera House, Albani skipped town and was charged in absentia with breach of contract. By the time deputies were able to track the tenor down, he was in the midst of another performance of Il Trovatore, this time with the San Carlo Opera in Boston. Following the first act, a constable arrested Albani and intended to haul him to the local lockup. After much arguing, a compromise was reached and the tenor was allowed to finish the performance with the policeman at his side on stage! Needless to, the performance was turned into a travesty…but San Carlo’s general manager DID post the tenor’s bail. Although this unfortunate debacle brought an end to Albani’s U. S. career (with the exception of an already contracted performance in Philadelphia in 1908), the tenor was quite busy elsewhere, appearing in the provincial houses of Paris, London, Lisbon, Madrid, St. Petersburg, Rome, Milan, Verona, Bologna, Turin, Venice, Naples, Bari, Santiago, Caracas and San Jose (Costa Rica). In a career that stretched over two decades, Albani sang over forty roles in Aïda, La Forza del Destino, Ernani, Un Ballo in Maschera, Pagliacci, Tosca, La Bohème, Guglielmo Tell, Norma, Poliuto, Carmen, Roméo et Juliette, Samson et Dalila and others. He made nearly 100 phonograph recordings for Pathé, Victor, Edison, Fonotipia, Odeon and other labels. Carlo Albani passed away in Rome in 1924 at the early age of 52. This recording of "Che gelida manina" from Puccini's La Bohème was made (on two separate discs) for Odeon in Paris in 1912.
Albani Sedie Oscar Hammerstein Hammerstein Maschera Meyerbeer Teatro Municipal Santiago Odeon Opera Boston 1872 1901 1907 1908 1910 1912 1924
Carlo Albani +••.••(...)) was born in Trieste to an Italian mother and a French father (the family name was actually Berquier). Following studies with Enrico Delle Sedie in Paris, Albani accepted a contract with the Teatro Municipal in Santiago, where he made his debut as Radames in 1901. He is probably best remembered for a bizarre occurrence which took place toward the end of 1907. After receiving a scathing review for his performance as Manrico in Il Trovatore at Oscar Hammerstein’s Manhattan Opera House, Albani skipped town and was charged in absentia with breach of contract. By the time deputies were able to track the tenor down, he was in the midst of another performance of Il Trovatore, this time with the San Carlo Opera in Boston. Following the first act, a constable arrested Albani and intended to haul him to the local lockup. After much arguing, a compromise was reached and the tenor was allowed to finish the performance with the policeman at his side on stage! Needless to, the performance was turned into a travesty…but San Carlo’s general manager DID post the tenor’s bail. Although this unfortunate debacle brought an end to Albani’s U. S. career (with the exception of an already contracted performance in Philadelphia in 1908), the tenor was quite busy elsewhere, appearing in the provincial houses of Paris, London, Lisbon, Madrid, St. Petersburg, Rome, Milan, Verona, Bologna, Turin, Venice, Naples, Bari, Santiago, Caracas and San Jose (Costa Rica). In a career that stretched over two decades, Albani amassed a repertoire of more than forty roles including Radames in Aïda, Don Alvaro in La Forza del Destino, Riccardo in Un Ballo in Maschera, Canio in Pagliacci, Cavaradossi in Tosca, Rodolfo in La Bohème, Arnoldo in Guglielmo Tell, Pollione in Norma, Don José in Carmen and the title roles in Ernani, Otello, Poliuto, Roméo et Juliette and Samson et Dalila. The tenor performed regularly into the 1920s, nearly until the time of his death, which occurred Rome in 1924 when he was only 52. Carlo Albani left a legacy of nearly 100 phonograph recordings made for Pathé, Victor, Edison, Fonotipia, Odeon and others between 1907 and 1912. These discs and cylinders showcase a sturdy lirico-spinto instrument with good legato and a very strong top. These records also reveal some very imaginative and thoughtful phrasing and wonderfully nuanced interpretations. Although some modern listeners may object to the tenor’s rapid vibrato, his performances on disc make for some very pleasurable listening. Here, Albani sings "O Paradiso" from Meyerbeer's L'Africana. This recording was made for the Odeon Fonotipia label in Milan around 1910.
Alessandro Bonci Rossini Tamagno Carlo Pedrotti Giuseppe Capponi Coen Sedie Fenton Franchetti Hammerstein Caruso Maschera Carcano Verdi Bizet Teatro Regio Scala Liceu 1870 1893 1896 1897 1905 1906 1907 1910 1924 1926 1937 1940
Alessandro Bonci +••.••(...)) was a renowned lyric tenor who appeared in major international theaters during his 30 year career. Born in the northern Italian town of Cesena, he grew up in poverty, beginning his working life as a bootmaker’s apprentice. Bonci sang in local choirs from an early age, attracting attention for his alto voice. At 18, he applied for admission to Pesaro’s Rossini Conservatory, reportedly making the 45 mile journey on foot! He received a scholarship and studied with Tamagno’s teacher, Carlo Pedrotti. One of Bonci’s few professional engagements during his student days was in the choir of The Basilica della Santa Casa in Loreto. Upon the death of celebrated tenor Giuseppe Capponi, the 19 year old Bonci assumed the post of principal tenor with the choir. The salary of nearly 40,000 lire per month gave a boost to the impoverished student’s finances. Following Pedrotti’s retirement in 1893, Bonci began working with Felice Coen and later with Enrico Delle Sedie in Paris. Bonci’s official debut was as Fenton in Falstaff at Parma’s Teatro Regio on January 25, 1896. The tenor’s success was tremendous, and he took Italy by storm with appearances in Milan, Rome and Bologna. His La Scala debut took place on April 10, 1897 as Eraste in the world premiere of Franchetti’s comic opera Il Signor di Pourceaugnac. Appearances in Warsaw, St. Petersburg, London, Barcelona, Lisbon and Buenos Aires followed, with Bonci’s North American debut occurring on December 3, 1906 as Arturo in I Puritani at Hammerstein’s Manhattan Opera House. Bonci became a favorite of New York audiences and the press hailed him as a worthy rival of Caruso...despite a very public scandal that was brewing. Bonci, who was a married man with four children, reportedly eloped with the teenage daughter of a close friend. The tenor faced charges of abduction of a minor but maintained his innocence all along. Bonci’s defense was that the two had been for a ride in the country when the girl professed her love for him. “What was I to do?”, explained Bonci. “It is the fate of the artist who wins fame”. The tenor also claimed that Caruso’s associates had cooked up the tale to divert the public’s attention away from the great Neapolitan, whose own scandal at the Brooklyn Zoo was making headlines. This explanation falls apart when one realizes that Bonci’s scandal first became public in Italy in the fall of 1905…well before Caruso’s peccadillo! Bonci managed to keep the details of the affair relatively quiet and settled out of court with the girl’s parents. The Met lured Bonci away from Hammerstein and the tenor made his debut there as the Duke in Rigoletto on November 22, 1907. During his three seasons with the company, Bonci sang fourteen operas, including La Sonnambula, Lucia di Lammermoor, Elisir d’Amore, Don Pasquale, Barbiere di Siviglia, Don Giovanni, La Bohème, Tosca, Faust, Mignon, Martha, La Traviata and the U.S. premiere of Le Villi. His final Met performance was as the Duke during a company tour in Louisville on April 30, 1910. Following his departure from The Met, Bonci undertook a concert tour, with appearances in Boston, Baltimore, St. Louis, Detroit, Chicago, Pittsburg, Nashville and other U.S. cities. Although the tenor’s career was interrupted by WWI, he returned to the U.S. at the war’s end to resume his activities. During the 1920s, Bonci’s public appearances were becoming sparse and by 1924 he had opened a singing school in New York. In 1926, he returned to Barcelona’s Liceu to sing Ballo in Maschera and gave his final stage performance in the same opera at Milan’s Teatro Carcano the following year. A Verdi Requiem followed at his hometown theater in September, after which Bonci bid farewell to the public (although he occasionally appeared in recital as late as 1937). The aging tenor divided his time between his New York and Milan voice studios, but eventually returned to Italy for good. Bonci died at his villa in Rimini on August 10, 1940 at age 70. Alessandro Bonci enjoyed a stellar career that took him to major opera centers of Europe and the Americas. His repertoire of over 30 roles included such works as Fra Diavolo, Manon, Les Pêcheurs de Perles, Mefistofele, Il Matrimonio Segreto, La Fanciulla del West, Lucrezia Borgia. La Favorita, Lodoletta and Loreley. His legacy of over 125 discs made for Fonotipia, Columbia and Edison between 1905 and 1926, reveals an outstanding singer with a caressing voice and an easy top. Although the rapid vibrato may not agree with modern listeners, the tenor’s impeccable artistry and expert facility with florid singing demonstrate why he was celebrated as the ideal interpreter of 19th century Bel Canto. In this recording, Bonci gives a ravishing performance of “Je crois entendre encore” (or “Mi par d’udir ancora” in Italian) from Bizet’s Les Pêcheurs de Perles. This was recorded in Milan for Fonotipia Records in 1905.
Alessandro Bonci Rossini Carlo Pedrotti Francesco Tamagno Coen Sedie Fenton Giuseppe Verdi Vincenzo Bellini Enrico Caruso Costanzi Metropolitan Opera Manhattan Opera Company New York City Opera Scala Covent Garden Teatro Regio Teatro Costanzi 1870 1896 1900 1903 1905 1906 1907 1908 1910 1913 1914 1920 1922 1923 1925 1926 1935 1940
Alessandro Bonci sings 'Amor ti vieta,' recorded in Milan on 7 July 1906. From Wikipedia: Alessandro Bonci (February 10, 1870 – August 9, 1940) was an Italian lyric tenor known internationally for his association with the bel canto repertoire. He sang at many famous theatres, including New York's Metropolitan Opera, Milan's La Scala and London's Royal Opera House, Covent Garden. A native of Cesena, Romagna, Bonci started out as an apprentice shoemaker. He secured a music scholarship to the Rossini Conservatory in Pesaro, working for five years with Carlo Pedrotti (the teacher of the heroic tenor Francesco Tamagno) and then Felice Coen. He also had private singing lessons in Paris with the retired baritone Enrico Delle Sedie. Alessandro Bonci made his debut in Parma in 1896, singing the role of Fenton in Giuseppe Verdi's Falstaff at the Teatro Regio. Before the end of his first season he was engaged to sing at La Scala, Milan, where he debuted in Vincenzo Bellini's I Puritani. Appearances elsewhere in Europe followed, including at London's Royal Opera House, Covent Garden. He first sang at Covent Garden in 1900 and he would return there in 1903 and 1907-08. On December 3, 1906, Bonci made his American debut with the Manhattan Opera Company in New York City; again the opera was I Puritani. He stayed two seasons with the company, becoming a popular competitor to Enrico Caruso, who was the rival Metropolitan Opera's major drawcard. Bonci himself joined the Metropolitan Opera in 1908 and, in 1914, the Chicago Opera. He also made a transcontinental tour of America in 1910-11, giving song recitals. Bonci served in the Italian army during World War I, returning to America to tour for three seasons after the end of the conflict. He appeared again at the Metropolitan Opera, and sang in Chicago during the 1920-21 season. In 1922 and 1923 he served as the principal tenor of the Teatro Costanzi in Rome and conducted master classes across the United States the following year. After 1925, Bonci entered into partial retirement, devoting himself primarily to teaching in Milan. He still sang occasionally in public as late as 1935. He died in Viserba, Rimini, in 1940, at the age of 70. Bonci's artistry was captured on disc by the Fonotipia, Edison and Columbia companies. His first recordings were made in 1905 and his last in 1926, with a handful produced between these dates (in 1913)... Bonci was a demure man and his voice was not overly large. It was sweet-toned, stylish and supple, with excellent high notes and an easy high C. He sang with what at the time would have been considered a standard vibrato, though later generations (until our own) preferred a slower one. I transferred this side from an original Fonotipia pressing.
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- Zeitleiste: Lyrische Sänger (Europa).
- Indizes (in alphabetischer Reihenfolge): D...