Stanislao Falchi Videos
italienischer Komponist und Musikpädagoge (1851–1922)
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Carlo Zecchi Platania Falchi Giovanni Sgambati Boisselot Franz Liszt Francesco Cilea Alfredo Casella Remigio Renzi Renzi Consolo Luigi Ferrari Trecate 1867 1884 1885 1893 1894 1926 1934
Francesco Bajardi ballata in C Minor pianista Carlo Zecchi registrazione del 1926 Francesco Bajardi nacque a Isnello (PA) il 23/4/1867. Fu allievo, a Palermo, del M.° Caracciolo (pianoforte) e del M.° Platania (composizione). A Roma studiò composizione con i M.i De Sanctis e Falchi e pianoforte con il grande M.° Giovanni Sgambati, allievo di Franz Listz. In qualche autorevole recensione si dice che lo stesso Bajardi fu allievo di Listz. Il Bajardi si esibì a Londra nel 1884, vinse il premio Casa musicale F. Boisselot nel 1885 e il premio pianistico Franz Liszt nel 1893. Nel 1894 diede un concerto a Pietroburgo. Partecipò attivamente alla vita musicale romana e italiana del periodo post-unitario insieme ad altri suoi importanti amici, allievi anch'essi del Maestro Sgambat. Francesco Bajardi fu docente di pianoforte al Conservatorio S. Cecilia in Roma e nel 1926 fu componente di una delle dieci commissioni ministeriali incaricate di redigere i programmi di esame di pianoforte e organo insieme a Francesco Cilea, Alfredo Casella, Remigio Renzi, Florestano Rossomandi, Ernesto Consolo e Luigi Ferrari-Trecate. Gli allievi del Bajardi hanno ricordato con affetto e grande dedizione il loro Maestro: Dante Alderighi da Taranto, Mario Bartoccini, Carlo Zecchi il quale giudicò sempre prezioso lo studio con Francesco Bajardi, e che riconosceva in quel suo primo maestro soprattutto una inclinazione poetica. Francesco Bajardi è autore di diverse composizioni per pianoforte solo e per pianoforte e orchestra. Morì a Roma il 17 settembre 1934. La casa natale di Isnello, in Corso Vittorio Emanuele, espone una targa commemorativa dei suoi natali madoniti e la storica Banda Musicale di Isnello è intitolata al suo nome.
Amelia Pinto Pinto Stanislao Falchi Puccini Giuseppe Borgatti Alberto Franchetti Enrico Caruso Mario Sammarco Tamagno Toscanini Teatro Grande Brescia Scala Teatro Colón Teatro Argentina 1878 1899 1900 1902 1903 1908 1914 1916 1946
One of the very great sopranos. Amelia Pinto (Soprano) (Palermo 1878 - Palermo 1946) She received her education at the Accademia di Santa Cecilia in Rome. There she studied with Zaira Cortini Falchi. She made her debut in 1899 at the Teatro Grande in Brescia in ''La Gioconda'' followed by ''Il trillo del diavolo'' by Stanislao Falchi. In 1900 she performed ar the Teatro Giglio in Lucca as Tosca in Puccini's opera of the same name. Already in 1900 she came to the Milan's La Scala where she appeared in ''Tristano e Isotta'' with Giuseppe Borgatti. At the same theatre, on 11. 3. 1902, she sang in Alberto Franchetti's ''Germania'' world premiere together with Enrico Caruso and Mario Sammarco. In 1908 she guested at the Teatro Colón in Buenos Aires. In 1903 she sang Desdemona in Tamagno's last performance of Otello at the Teatro Argentina in Rome. After she had married a Sicilian doctor, she finished her career, but in 1914 again sang at Scala as Isolde in ''Tristano e Isotta'' under Toscanini. In 1916 she accepted an engagement in Madrid appearing in ''La Gioconda'', ''Tristano e Isotta'' and ''La Walkiria''. After her daughter's death she retired from the stage and later lived in Palermo.
Nicola Fusati Apollo Granforte Rieti Falchi Quaranta Verdi Lombardi Hen Teatro Petruzzelli Scala Teatro Carlo Felice 1876 1886 1901 1904 1908 1913 1914 1915 1916 1920 1929 1932 1956 1975
Nicola Fusati +••.••(...)) was born Nicola Fusacchia in Rieti. The future tenor earned his medical degree at the University of Rome in 1901 and was appointed chief surgeon at Norcia Hospital in 1904. Always fond of singing, the young man began vocal studies with retired soprano Zaira Falchi during the early years of his medical practice. Impressed by the aspiring tenor’s voice, Zaira encouraged her pupil to pursue a career on the stage. After a few concerts and recitals, Dr. Fusacchia…now calling himself Nicola Fusati…made his stage debut as Radames in Aïda at the prestigious Teatro Petruzzelli in Bari in April of 1908. Among the glowing reviews was a notice from the Bari Independent, stating that Fusati showed, "…forceful high notes, extraordinary strength, a clear voice…” He was also praised for his intense acting. So, at the relatively late age of thirty-two, Fusati began building a second career as a dramatic tenor. Over the course of the next several years, he took Italy by storm, with appearances at the principal theaters of Bologna, Palermo, Genoa, Parma, Piacenza, Padua, Naples and Venice. In 1913, he made his North American debut as part of a tour with Antonio Quaranta’s "Italian Artists’ Company". This tour of the U.S. and Canada included performances of Carmen, Cavalleria Rusticana and La Gioconda. By 1914, Fusati was back in Europe, singing the same three operas with Quaranta’s company in Budapest. The year 1915 saw only two performances before Fusati’s career was interrupted by the First World War. Conscripted into the Italian 3rd Army, Fusati served as a medic and rose to the rank of Captain. He was wounded in 1916 and returned to Rome to recuperate. During his convalescence, Fusati took the opportunity to make his La Scala debut in the title role of Verdi’s Ernani. According to a contemporary review, Fusati, “…has a voice of beautiful dramatic quality, but spoiled it rather by forcing”. The review also makes reference to the tenor’s military service, noting, “When his term of convalescence expires, he must return. In the meantime, he is singing at La Scala”. Fusati apparently returned to military service, for more than a year passed before he set foot on the opera stage again. Interestingly, Fusati left the operatic stage again…this time of his own volition. Following a performance of Aïda in Genoa in January of 1920, the tenor Fusati again became Dr. Fusacchia and returned to his medical practice. The good doctor must have grown restless, for after five years of practicing surgery in Rome, Fusati returned to the stage. In all, Fusati collected a repertoire of less than twenty roles from such operas as Tosca, La Fanciulla del West, Loreley, La Wally, Andrea Chenier, Carmen, Pagliacci, Cavalleria Rusticana, Nerone, La Gioconda, L’Africana, Il Trovatore, I Lombardi and Simon Boccanegra. He essayed his final operatic role, Verdi’s Otello, at Genoa’s Teatro Carlo Felice in January, 1929 when he was already fifty-two years of age. It was in this role that Fusati brought down the curtain on his career at the Teatro Municipale in Modena in January of 1932. He returned to his medical practice in Rome, retiring in the early 1950s. Nicola Fusati passed away in Rome on January 21, 1956 in his eightieth year. In some ways, it is amazing that Nicola Fusati is remembered at all. He was something of a “part time” operatic tenor who seemed unable to choose between singing and surgery. He was able to accomplish the almost impossible by successfully returning to an interrupted stage career…more than once. When added up over the course of his entire career, his performances on the operatic stage number less than a hundred. During the final years of his career…the period of a singer’s artistic life that most people tend to recall…the reviews were not always kind. His recordings are as scarce as hen’s teeth and the most recent retrospective of his recorded art has been out of print for nearly thirty years. In spite of these seemingly insurmountable obstacles, Nicola Fusati IS remembered. Nicola Fusati left a relatively small but impressive recorded legacy that spanned the entire length of his career, including titles made for Fonotipia, Edison and Columbia. Fusati's final recording, made shortly after his retirement from the stage, was the very first complete recording of Verdi's Otello from February, 1932. Although the tenor was already fifty-five when this recording was made, he is delivers a powerful performance. Here, Fusati joins forces with massive voiced Verdi baritone Apollo Granforte +••.••(...)) for an impressive performance of "Sì, pel ciel" from the end of Act II. Carlo Sabajno conducts the La Scala Opera Orchestra.
Nicola Fusati Apollo Granforte Rieti Falchi Quaranta Verdi Lombardi Hen Teatro Petruzzelli Scala Teatro Carlo Felice 1876 1886 1901 1904 1908 1913 1914 1915 1916 1920 1929 1932 1956 1975
Nicola Fusati +••.••(...)) was born Nicola Fusacchia in Rieti. The future tenor earned his medical degree at the University of Rome in 1901 and was appointed chief surgeon at Norcia Hospital in 1904. Always fond of singing, the young man began vocal studies with retired soprano Zaira Falchi during the early years of his medical practice. Impressed by the aspiring tenor’s voice, Zaira encouraged her pupil to pursue a career on the stage. After a few concerts and recitals, Dr. Fusacchia…now calling himself Nicola Fusati…made his stage debut as Radames in Aïda at the prestigious Teatro Petruzzelli in Bari in April of 1908. Among the glowing reviews was a notice from the Bari Independent, stating that Fusati showed, "…forceful high notes, extraordinary strength, a clear voice…” He was also praised for his intense acting. So, at the relatively late age of thirty-two, Fusati began building a second career as a dramatic tenor. Over the course of the next several years, he took Italy by storm, with appearances at the principal theaters of Bologna, Palermo, Genoa, Parma, Piacenza, Padua, Naples and Venice. In 1913, he made his North American debut as part of a tour with Antonio Quaranta’s "Italian Artists’ Company". This tour of the U.S. and Canada included performances of Carmen, Cavalleria Rusticana and La Gioconda. By 1914, Fusati was back in Europe, singing the same three operas with Quaranta’s company in Budapest. The year 1915 saw only two performances before Fusati’s career was interrupted by the First World War. Conscripted into the Italian 3rd Army, Fusati served as a medic and rose to the rank of Captain. He was wounded in 1916 and returned to Rome to recuperate. During his convalescence, Fusati took the opportunity to make his La Scala debut in the title role of Verdi’s Ernani. According to a contemporary review, Fusati, “…has a voice of beautiful dramatic quality, but spoiled it rather by forcing”. The review also makes reference to the tenor’s military service, noting, “When his term of convalescence expires, he must return. In the meantime, he is singing at La Scala”. Fusati apparently returned to military service, for more than a year passed before he set foot on the opera stage again. Interestingly, Fusati left the operatic stage again…this time of his own volition. Following a performance of Aïda in Genoa in January of 1920, the tenor Fusati again became Dr. Fusacchia and returned to his medical practice. The good doctor must have grown restless, for after five years of practicing surgery in Rome, Fusati returned to the stage. In all, Fusati collected a repertoire of less than twenty roles from such operas as Tosca, La Fanciulla del West, Loreley, La Wally, Andrea Chenier, Carmen, Pagliacci, Cavalleria Rusticana, Nerone, La Gioconda, L’Africana, Il Trovatore, I Lombardi and Simon Boccanegra. He essayed his final operatic role, Verdi’s Otello, at Genoa’s Teatro Carlo Felice in January, 1929 when he was already fifty-two years of age. It was in this role that Fusati brought down the curtain on his career at the Teatro Municipale in Modena in January of 1932. He returned to his medical practice in Rome, retiring in the early 1950s. Nicola Fusati passed away in Rome on January 21, 1956 in his eightieth year. In some ways, it is amazing that Nicola Fusati is remembered at all. He was something of a “part time” operatic tenor who seemed unable to choose between singing and surgery. He was able to accomplish the almost impossible by successfully returning to an interrupted stage career…more than once. When added up over the course of his entire career, his performances on the operatic stage number less than a hundred. During the final years of his career…the period of a singer’s artistic life that most people tend to recall…the reviews were not always kind. His recordings are as scarce as hen’s teeth and the most recent retrospective of his recorded art has been out of print for nearly thirty years. In spite of these seemingly insurmountable obstacles, Nicola Fusati IS remembered. Nicola Fusati left a relatively small but impressive recorded legacy that spanned the entire length of his career, including titles made for Fonotipia, Edison and Columbia. Fusati's final studio project was HMV's epic recording of Verdi's Otello in February of 1932. Here, Fusati is joined by Apollo Granforte +••.••(...)) for an exchange between Otello and Jago from Act II, Scene III, "Mio signore". Even though the tenor was nearly fifty-six and recently retired from the stage, he is quite effective here, impressively delivering the exposed B natural that has brought so many tenors to grief. Carlo Sabajno conducts the La Scala Opera Orchestra.
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- Zeitleiste: Komponisten (Europa).
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