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Aureliano Pertile Montagnana Giovanni Martinelli Santa Maria Goldsmith Orefice Jean Nouguès Asti Maschera Henderson Arturo Toscanini Boito Wolf Ferrari Ettore Panizza Mascagni Verdi Moor Salerno Ines Maria Ferraris Luisa Bertana Righetti Scala Covent Garden Teatro Colón Teatro Carlo Felice 1885 1894 1911 1913 1916 1921 1922 1924 1926 1927 1929 1935 1942 1946 1952
Aureliano Pertile +••.••(...)) was a celebrated Italian tenor who enjoyed a 35 year career in major theaters on both sides of the Atlantic. The son of a poor shoemaker and his wife, Pertile was born in Montagnana…just a few blocks away and 18 days after the birth of fellow tenor Giovanni Martinelli. His vocal talents were apparent from a very early age. In 1894, Pertile began singing alto with the choir of the Cathedral of Santa Maria Assunta. At his parents’ insistence, he apprenticed as a goldsmith during his teens, but continued singing. At age 20, he was heard by composer Vittorio Orefice, who invited the young man to study with him in Padua. After five years of work, Pertile made his debut as Lionel in Martha at Vicenza’s Teatro Eretenio on February 16, 1911. In May, he sang the role of Vinicius in the Italian premiere of Jean Nouguès’ Quo Vadis? at Milan’s Teatro dal Verme. Reviews were stellar and the tenor’s career took off quickly. Over the next two years, Pertile made appearances in Brescia, Torino, Asti, Padua and Genoa, with his international debut occurring in Santiago as des Grieux in Manon Lescaut during the fall of 1913. While in South America, the tenor also sang in Buenos Aires and Valparaiso in such works as Un Ballo in Maschera, Mefistofele, Tosca, and La Traviata. Late in 1913, Pertile returned to Italy, where he spent the next few years appearing in Naples, Palermo, Florence, Bologna, and Rome. His La Scala debut occurred on February 22, 1916 as Paolo in Francesca da Rimini, leading to a lengthy association with the company. By 1921, Pertile had appeared at most of the major theaters of Italy, Spain and South America. Following his Mexico City debut as Faust in Mefistofele in August, Pertile began his only season at New York’s Metropolitan as Cavaradossi in Tosca on December 1. Henderson of the New York Sun reported, “His voice has a tendency toward whiteness, but in its fullest volume it is warmer and resonant. His acting was that of the everyday tenor.” …not exactly the definition of a glowing review. In addition to Cavaradossi, he also sang des Grieux in Manon Lescaut, Grigori in Boris Godunov, Turiddu in Cavalleria Rusticana, Canio in Pagliacci, Radames in Aïda, and Julien in Louise. Sadly, the New York public never quite warmed up to Pertile. After only 13 performances of the aforementioned roles, as well as a pair of Sunday Night Concerts, Pertile was finished in the U.S. His Met career had lasted exactly seven weeks. Pertile fared much better in his homeland. Arturo Toscanini, who had recently taken the reins at La Scala, invited the tenor to join him for a production of Mefistofele in March. This began a decade long alliance between the two, a highlight of which was Pertile’s creation of the title role of Boito’s Nerone at its premiere on May 1, 1924. Other world premieres entrusted to Pertile during his La Scala tenure were Wolf Ferrari’s Sly in 1927 (under Ettore Panizza) and Mascagni’s Nerone in 1935 (under the composer). The tenor was a superstar at La Scala, with “Pertile Nights” marketed to an adoring public. After Toscanini’s departure in 1929, however, Pertile’s importance in Milan began to diminish. Although the tenor would remain at La Scala until the early 1940s, he was no longer the central figure he had been during the 1920s. During the mid 1930s, Pertile began to curtail his appearances, sometimes singing fewer than 15 performances per season. He was now in his 50s and had added Verdi’s Otello to his vast repertoire. In the final years of his career, Pertile sang little else but the Moor, appearing in this role almost twice as often than his other roles combined. Following one last Pagliacci in Salerno in 1946, the aging tenor retired from the stage. Pertile spent his final years teaching at the Milan Conservatory, dying on January 11, 1952 at the age of 66. During his lengthy career, Pertile sang at most of the major houses of Europe and South America, among them London’s Covent Garden, Teatro Colón in Buenos Aires, Madrid’s Teatro Reale, Rome’s Teatro dell’ Opera, Genoa’s Teatro Carlo Felice and the San Carlo in Naples. His vast repertoire of nearly 70 roles included the leads in La Gioconda, Andrea Chénier, Fedora, La Bohème, La Fanciulla del West, Salome, Carmen, Samson et Dalila, Werther, Norma, Lucia di Lammermoor, La Favorita, Poliuto, L’Amore dei Tre Re, Loreley, Fra Diavolo, Lohengrin, Iris, Rigoletto, Il Trovatore and La Forza del Destino. Pertile’s recorded legacy, made between 1922 and 1942 for Columbia, Fonotipia, Pathé, HMV and Telefunken, reveals a sturdy spinto instrument. Although his was not a voice that was often described as beautiful, he used it to great effect, always imbuing the music with tremendous artistry and intensity. Here, Pertile joins Ines Maria Ferraris, Luisa Bertana, Antonio Righetti and Cesare Baromeo for “È scherzo od è follia” from Verdi’s Un Ballo in Maschera. This was recorded in Milan for Fonotipia on April 2, 1926.
Brusa Riva Bertana Marchetti Albanesi Bianchi
NO VENDETTA NO PARTY Un film di Ivan Brusa DISPONIBILE SU AMAZON PRIME VIDEO: (http•••) Una produzione Toro! Cinematografica-Innovazione2-Sq Kids Cast:Michela Maridati, Roberta Nicosia, Selene Feltrin, Alessandro Davoli, Paolo Riva, Claudio Abbiati, Nunzia Raia, Gianmaria Villani, Davide Artiko, Vincenzo Corso, Noemi Bertoldi, Davide Clerici, Sabrina Semeraro, Paolo Muzio, Doris De Palo, Ivan Brusa con Ruth Morandini e Daniele Giulietti D.O.P. Nicola Crucinio Make-up Marco Bertana-Carla Curione Musiche di Armando Marchetti e Tony Polo sceneggiatura Ivan Brusa-Francesco Carrà montaggio Nicola Crucinio-Ivan Brusa Collaboratori associati Roberto Albanesi-Giuseppe Brusa-Marina Boetti Trama: Eleonora Bianchi, una ragazza pluri-laureata di 27 anni, fa un lavoro part-time che non la soddisfa per niente (distribuisce sconti per materassi) ed ha un rapporto di amore/odio con il padre con il quale è costretta a vivere. Per sfogare la propria frustrazione decide di vendicarsi del mondo uccidendo tutte quelle ragazze che, senza aver studiato, hanno soldi e fama ottenuti (a suo modo di vedere) in modo immeritato.
Aureliano Pertile Giuseppe Verdi Maschera Ines Maria Ferraris Luisa Bertana Righetti Arturo Toscanini Carissimo Mirabile Corelli Donizetti Fischer Fischer Dieskau Steane Scala Metropolitan Opera 1882 1885 1888 1892 1906 1911 1916 1922 1926 1933 1952 1971 1973
THIS PART IS FOR YOUR FAVORITES! Famous italian tenor Aureliano Pertile in this favorite-collection? Do you agree? Aureliano Pertile, Tenor +••.••(...)) Giuseppe Verdi - Un Ballo in Maschera E scherzo od è follia With Ines Maria Ferraris, Soprano +••.••(...)) Cesare Baromeo, Bass-Baritone +••.••(...)) Luisa Bertana, Mezzo-Soprano and Contalto +••.••(...)) Antonio Righetti, Bass (?) (Recorded 1926) My personal opinion: "Cantare, cantare come canta Pertile", Arturo Toscanini commanded his orchestra, and to his beloved tenor he wrote: "Al mio carissimo Pertile, all´interprete fedele, all´artista mirabile". No doubt, italian born Aureliano Pertile was "Il Tenore di Toscanini", maybe a dubious blessing. It was a double-edged compliment: On one hand Pertile was the favorite artist of the great italian maestro, on the other hand Pertile was the devoted creature of an autocratic patriarch. Pertiles singing always was strong, robust and linear. But in contrast to some of his successors, Pertile was a precise singer, and with this he was far superior to Corelli or del Monaco. Well, time relativized itself and today Arturo Toscanini´s hectic driven conducting oftentimes was rejected. Pertile with his qualities indeed was the perfect Toscanini-Tenor, but he changed Belcanto into Verismo. Pertiles performance of "Una furtiva lagrima" is far from Donizetti´s intention, much to loud, much to harsh, tearfully sentimental - Nemorino with the voice and heart of Canio! But the Final-"Cadence" is imposing, straightaway from the melody without any ornaments. Pertile was born 1885 in Northern Italy, first he sang in a Boy-Choir and from 1906 he studied singing near Padua, later in Milan. His 1911 debut as Lyonel in Vicenza was a big success and soon he became famous with his extraordinary voice, made a tour through South America and already in 1916 he became a star at La Scala. During the years of WWI, Pertile sang at the Metropolitan Opera, returned to Scala in 1922 (after Carusos death) and became a favored member of Toscanini´s company. Many said, Pertiles voice was "ugly", without sensuality, warmth and mellowness. But it was again Toscanini, who praised: "Finalmente sento cantare a modo mio!" However, some loved his expressivo-style, some don´t. For Fischer-Dieskau, he was a "Master-Singer", John Steane reduced him in his book "The Grand Tradition" - Chapter is named "The Decline of Singing!" German critic Ulrich Schreiber wrote about my chosen rendition from "Ballo": "The rhythmic precision, for instance, with wich Pertile sings the interjected laughs in the quintet is unattainable for a present-day tenor!" In my own opinion, Pertile was a master of dynamic singing with explosive Crescendi and perfect Diminuendi. The extraordinary style of his singing forced his listeners, and sometimes exhaust them. A tenor, who broke a fly on the wheel. 36 nominations and position 23 for him. THE COMPLETE OVERVIEW: GO TO ALL SINGERS IN THIS LIST (http•••)
Aureliano Pertile Maschera Giuseppe Verdi Montagnana Padova Luisa Bertana Ines Maria Ferraris Righetti 1885 1926 1952
Giuseppe Verdi - UN BALLO IN MASCHERA "La rivedrò nell'estasi" Tenore italiano AURELIANO PERTILE (Montagnana, Padova 9.11.1885 - Mlano 11.1.1952) Con: Luisa Bertana, Ines Maria Ferraris, Cesare Baromeo, Antonio Righetti e Coro. Direttore
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