Girolamo Fantini News
Italian composer and trumpeter (1600-after 1675)
Commemorations 2025 (Death: Girolamo Fantini)
- trumpet
- Papal States
- composer, trumpeter
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2024-04-25
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2024-04-11 15:24:18
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Royal Opera House
2016-09-08 13:02:28
Remembering Johan Botha (1965–2016)
[…] the Emperor in Strauss ’s Die Frau ohne Schatten under Christoph von Dohnányi in a cast that also included Deborah Voigt as the Empress. The following year Botha returned for more Strauss, singing Apollo in two concert performances of Daphne with Alexandra von der Weth in the title role and conducted by Stefan Soltesz . In 2003 Botha sang Radames in Robert Wilson ’s new production of Aida , conducted by Antonio Pappano with Norma Fantini in the title role. Botha next returned to the Royal Opera House in 2009 to sing Calaf in Turandot opposite Jennifer Wilson in the title role, conducted by Nicola Luisotti . A few months later he was back to sing the title role in Lohengrin, conducted by Semyon Bychkov and with Edith Haller as Elsa. Botha’s final appearances with The Royal Opera were in new productions, again conducted by Bychkov. In 2010 Botha sang […]
2015-11-21 01:00:00
Italian Baroque Trumpet Music (Bronze Series)
Italian Baroque Trumpet Music Alessandro Stradella, Vincenzo Albrici, Giralomo Fantini, Carolo Pallavacino, Nicola Matteis, Francesco Mancini, Petronio Francescini, Mauricio Cazatti, Giovanni Buonaventura Viviani, Arcangelo Corelli & Giovanni Bunoncini Stephen Keavey, Crispian Steele-Perkins, Trumpets The Parlay of Instruments - Period Instruments Hyperion CDA66255 (1988) [Flac & Scans]
2013-03-06 00:55:48
[…] opera is not an easy one to cast, even for a house with Met-like resources, so in the less adequately endowed Semperoper a few shortcomings were anticipated. Unfortunately they turned out to be in the two principal roles. The Semperoper's own Christoph Pohl as Lescaut and Giorgio Berrugi as Edmondo could have graced any stage in the world, as could Maurizio Muraro, guesting as Geronte (as he will at Covent Garden: 'later'). But Norma Fantini's vibrato-thick vocals, matronly appearance and instinctively self-regarding stage persona lent little credibility to her Manon. Puccini wants us to sympathise with his hard done-by heroine; all I could do was wonder whether she likes to refer to herself in the third person singular or the first person plural. For her impressive volume and general musical accuracy she deserved the warm applause she received, but in every dramatic sense she's several years past it. […]
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