João Guilherme Bell Daddi Vídeos
pianista, compositor
- piano
- Portugal
Última actualización
2024-05-09
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Ruggero Leoncavallo Becchi Fiorello Giraud Giraud Adelina Stehle Victor Maurel Francesco Daddi Roussel Arturo Toscanini Pietro Mascagni 1890 1892 1958
I Pagliacci è un'opera lirica in due atti su libretto e musica di Ruggero Leoncavallo che fu rappresentata per la prima volta al Teatro dal Verme di Milano il 21 maggio 1892, con Fiorello Giraud (Canio), Adelina Stehle (Nedda), Victor Maurel (Tonio), Francesco Daddi (Beppe), Mario Roussel (Silvio)[2] e la direzione di Arturo Toscanini. Fin da poco tempo dopo la prima esecuzione è di frequente rappresentata insieme a Cavalleria rusticana di Pietro Mascagni (1890), con la quale è considerata una delle più rappresentative opere veriste. Dopo un'introduzione strumentale, la rappresentazione inizia a sipario calato, con un baritono, in genere quello che interpreta Tonio, solitamente nel costume che vestirà più avanti come Taddeo, che si presenta al proscenio come "Prologo" (Si può?, si può? - Al minuto 3:25), fungendo da portavoce dell'autore ed enunciando i principi informatori e la poetica dell'opera. Dopo un intermezzo sinfonico, Canio/Pagliaccio deve impersonare nella farsa un marito tradito, ma la realtà prende il sopravvento sulla finzione (No, Pagliaccio non son) ed egli riprende il discorso interrotto poco prima, rinfacciando a Nedda/Colombina la sua ingratitudine e dicendole che il suo amore è ormai mutato in odio per la gelosia. La donna, intimorita, cerca di mantenere un tono da commedia, ma poi, minacciata, reagisce con asprezza. Beppe vorrebbe intervenire, ma Tonio, eccitato dalla situazione, di cui è responsabile con la sua delazione, glielo impedisce, mentre gli spettatori, dapprima attratti dalla trasformazione della farsa in dramma, comprendono troppo tardi che ciò che stanno vedendo non è più finzione. Di fronte al rifiuto di Nedda di dire il nome del suo amante, Canio accoltella a morte prima lei e poi Silvio, presente tra il pubblico, accorso sul palco per soccorrerla. ("Un nido di memorie" Al minuto 7:46) A tragedia compiuta, secondo la partitura originale, Tonio/Taddeo esclama beffardo e compiaciuto, rivolgendosi al pubblico: "La commedia è finita!". Tale battuta passò precocemente a Canio, divenendo la prassi esecutiva abituale.
Francesco Daddi Daddi Sole Mio Covent Garden 1864 1900 1901 1907 1911 1920 1943
Francesco Daddi +••.••(...)) was a multi-faceted creature of the theater, perhaps rather like a song and dance man, from a very long time ago. He started out as an Italian tenor, born in Naples. He was trained not only as a singer, but also as a pianist. He would seem to have been a rather successful comic actor, in addition. His debut was in Milan in 1901. The following year he was Beppe in the world premiere of Pagliacci. He was at Covent Garden for the 1900 season, and then returned to Italy where he made a name for himself as a comprimario tenor. He performed at the Manhattan Opera in 1907, and after singing tenor a few more years, switched to basso buffo roles in Chicago from 1911 to 1920, probably a more promising outlet for his comic talents.
Pré Coutinho Correia Miro Leite Nunes Teixeira Parra Ferreira Lobo Barros Daddi Oliveira Teatro Nacional São João 2019
1º single do álbum "Na Memória da Paisagem" (2019) Álbum já disponível para pré-venda em (http•••) (http•••) créditos vídeo realização, direção de fotografia e edição de Mimi Sá Coutinho câmara Eduardo Breda e Mimi Sá Coutinho argumento de Tiago Correia figurinos de Sara Miro interpretação Maria Leite e Miguel Nunes figuração especial Les Saint Armand (André Teixeira, Aníbal Beirão, António Parra e Tiago Correia) fotografia de cena Eduardo Breda agradecimento especial Henrique Chaves produção Tiago Correia créditos álbum Captação, Mistura e Masterização Tiago Ralha Músicos Alex Lazaro (bateria), André Júlio Teixeira (guitarras, sopros, piano e voz), Aníbal Beirão (contrabaixo), António Parra (piano, cavaquinho, sopros, percussão, voz) e Tiago Correia (guitarra e voz) Design Gráfico Inês Gomes Ferreira Making Of Francisco Lobo Les Saint Armand são artistas associados d'A Turma e apresentam-se ao vivo com André Júlio Teixeira (guitarras, sopros, piano e voz), Aníbal Beirão (contrabaixo), António Parra (piano, cavaquinho, sopros, percussão, voz), Luís Barros (bateria) e Tiago Correia (guitarra e voz) desenho de luz Rui Monteiro cenografia Ana Gormicho figurinos Sara Miro agradecimentos especiais Ana Pedro (Zumbido Studio), Artur Parra, Departamento de Áudio do Teatro Municipal do Porto, Ludovica Daddi, Missom - Instrumentos Musicais, Lda., Ricardo Cabral (Quarto Escuro), Sofia Oliveira e Tiago Candal coprodução Teatro Nacional São João parceria Município de Freixo de Espada à Cinta produção A Turma / Estrutura financiada pela República Portuguesa - DGArtes
Francesco Daddi Daddi Gounod Barbiere Leoncavallo Hammerstein Rossini Hoffmann Benoit Capua Ravinia Festival Civic Opera House 1864 1888 1891 1892 1901 1907 1913 1914 1918 1919 1920 1938 1945
Francesco Daddi +••.••(...)) was a gifted Italian-American stage artist who became one of the most celebrated character singers and comedians of his generation. Born in Naples, Daddi studied both voice and cello at the conservatory there. He seems to have begun his career in the late 1880s as a recitalist. Daddi’s first documented appearance was a February 1888 concert in Naples where he was singled out for his interpretation of various arie antiche. He made his stage debut in Messina in 1891 as Gounod’s Faust and seemed to be headed toward a career as a leading lyric tenor. During the early years of his provincial career, Daddi essayed such roles as Almaviva in Barbiere di Siviglia, Don Ottavio in Don Giovanni, Ernesto in Don Pasquale, Nemorino in L’Elisir d’Amore and the title roles in Damnation of Faust and Fra Diavolo. However, his diminutive stature (he was barely five feet tall) and smallish voice made the possibility of a career as a romantic tenor in the major theaters of Europe quite remote. In addition, the budding tenor’s comedic gifts suggested that buffo roles might be better suited to his talents. His portrayal of Beppe in the world premiere of Leoncavallo’s Pagliacci in Milan in 1892 was astonishing. In early performances of the work, Daddi typically had to repeat Harlequin’s Serenade (three times in one instance!) for enthusiastic audiences. Perhaps it was the amazing response to his portrayal that led Daddi to start adding more and more character roles to his repertoire. Daddi continued to divide his time between leading roles and character parts throughout the 1890s and early 1900s, frequently visiting the stages of Milan, Rome, Palermo, Genoa, Parma, Sanremo, Trieste, Turin, Florence, Bari, Bologna, Florence, Lisbon, Vienna and Odessa. An offer from Hammerstein’s Manhattan Opera brought the busy tenor to the U.S. in 1907. After a season in New York, Daddi decided that his stay in America would be a permanent one. Now exclusively concentrating on buffo roles, he was a fixture on the stages of New York, Philadelphia, Baltimore and Washington D.C. By 1913, Daddi had settled in Chicago where his reputation as a comedic actor became legendary. A beloved figure at the Chicago Grand Opera and especially at the Ravinia Festival, the veteran singer was always singled out for praise, even in the smallest of roles. Of his Remendado in Carmen, Music News reported on August 14, 1914 that, “Daddi could not be beat in the part allotted him in this opera. You have to be wide awake to catch all he has to offer.” Critics also took note of how easily Daddi reduced his colleagues to hysterics with his onstage antics. He was an important part of Ravinia’s children’s concerts and his programs of his native Neapolitan songs…usually performed in costume…were always highlights of the season. There is a persistent claim that Daddi switched exclusively to bass roles later in his career. Research has proven this to be untrue. As early as 1901 Daddi took on the bass role of Alidoro in Rossini’s Cenerentola and he was still singing such tenor roles as Beppe in Pagliacci as late as 1919. This versatile artist was, quite simply, the quintessential all-purpose stage performer. His repertoire eventually grew to nearly 50 roles, including Goro in Madama Butterfly, Spoletta in Tosca, Normanno in Lucia di Lammermoor, Nick in La Fanciulla del West, Bartolo in Il Barbiere di Siviglia, Third Jew in Salome, Dean of the Faculty in Cendrillon, Biaso in Gioielli della Madonna, Incredibile in Andrea Chénier, the Servants in Les Contes d’Hoffmann, Benoit and Alcindoro in La Bohème, Arlecchino in Le Maschere and Bricoleur in Louise. Daddi began curtailing his appearances as he reached his mid-fifties and retired from the stage in 1920. There was, however, a single performance in 1938 when the 74-year-old singer returned to the stage of the Civic Opera House as Bricoleur in Louise. Apart from that appearance, Daddi spent his time at his voice studio, located on the 7th floor of Chicago’s Fine Arts Building. The retired performer became one of America’s leading opera coaches and continued working with young singers for the next two decades. Francesco Daddi passed away at his Chicago home on October 22, 1945 at the age of 81. Daddi made over 170 recordings for such labels as Edison, Zonophone, G&T, Victor and Columbia between 1901 and 1918. These recordings run the gamut from operatic arias and ensembles to Neapolitan street songs. Daddi’s discs and cylinders demonstrate that he was not the typical white voiced character tenor. Rather, these records provide evidence that Daddi’s was a well produced full lyric tenor, capable of remarkable artistry. Here, Daddi sings di Capua's "'A serenata d''e rrose". This recording was made in Milan for Edison Records in 1907.
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- cronología: Compositores (Europa). Intérpretes (Europa).
- Índices (por orden alfabético): G...