Francesco Tamagno Vídeos
tenor italiano
Conmemoraciones 2025 (Muerte: Francesco Tamagno)
- tenor
- Reino de Italia
- cantante de ópera
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2024-04-29
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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.
Giuseppe Verdi Francesco Tamagno César Vezzani Renato Zanelli Victor Maurel Teatro Scala Odeon 1566 1887 1902 1903 1924 1928
Giuseppe Verdi - Otello - Ora e per sempre addio - Historic Collection vol. 1 Francesco Tamagno, Giovan Battista De Negri, César Vezzani, Renato Zanelli. Buy "Otello and Jago" on Amazon: (http•••) Find us on Facebook: (http•••) Follow us on Twitter: (http•••) Visit our Website: (http•••) Subscribe to our channel: (http•••) Listen to all the extracts from "Otello and Jago": (http•••) Listen to all the extracts from "Historic Collection": (http•••)/ ENG Otello and Jago is the firs volume of the prestigious Historic Collection, analyzing the interpretation of the two main characters of Verdi's work, evolving throughout the first half of the XX century. Otello is the only work by Verdi of which at least two of the premiere's protagonists (Francesco Tamagno and Victor Maurel, who inaugurated Otello and Jago at La Scala on February 5th 1887) left a recording of the roles that Verdi himself had given them. This extract includes four interpretations of "Ora e per sempre addio" in comparison from historical and fully restored recordings by Francesco Tamagno (the first Otello in history, handpicked by Verdi himself), Giovan Battista De Negri (in Verdi's opinion not artistically inferior to Tamagno. This particular interpretation is half a tone lower), a french version by Corsican tenor César Vezzani and an interpretation by the Chilean singer Renato Zanelli, who had started off his career as a baritone, which is a sign of how the conception of Otello as a pure tenor changed through the years./ ITA Otello e Jago è il primo volume della prestigiosa collezione storica HC / Historic Collection, che analizza i due protagonisti dell'opera verdiana nella loro evoluzione interpretativa lungo tutta la prima metà del XX secolo.L'Otello è l'unica opera di Verdi della quale almeno due protagonisti della prima assoluta (Francesco Tamagno e Victor Maurel, che tennero a battesimo Otello e Jago alla Scala il 5 febbraio 1887) abbiano lasciato testimonianza registrata dei ruoli che Verdi aveva loro affidato. Questo estratto comprende quattro interpretazioni di "Ora e per sempre addio" a confronto nelle registrazioni storiche e interamente ristrutturate di Francesco Tamagno (il primo Otello della storia, scelto personalmente da Verdi), Giovan Battista De Negri (che Verdi reputava artisticamente allo stesso livello di Tamagno. Questa particolare interpretazione è abbassata di mezzo tono), una versione in francese del tenore corso César Vezzani e infine un'interpretazione del cileno Renato Zanelli, che aveva iniziato la propria carriera come Baritono e testimonia come nel corso degli anni il personaggio di Otello si sia discostato da una concezione schiettamente tenorile./ DETAILS 1 - Ora e per sempre addio Francesco Tamagno Con accompagnamento di pianoforte 1903, 78 rpm (acoustic recording) G&T 052102 - Matrix: 12-W2-FT 2 - Ora e per sempre addio Giovan Battista De Negri esecuzione abbassata di mezzo tono Con accompagnamento di pianoforte 1902, 78 rpm (acoustic recording) Zonofono X-1566 3 - Ora e per sempre addio (French) César Vezzani Con accompagnamento di orchestra 1924, 78 rpm (acoustic recording) Odeon X 111338 4 - Ora e per sempre addio Renato Zanelli Orchestra del Teatro alla Scala Conductor: Carlo Sabajno 1928, 78 rpm (electric recording) Grammofono DB 1439 - Matrix: CM 9771/ HC - Historic Collection Casa della Musica - Sara Ferrari Edizioni Musicali www.edizionisfem.com Distributed by EMI Music Italy
Antonio Cotogni Gastaldon Francesco Tamagno 1903 1910
This is the third of the mystery baritone recordings made during Francesco Tamagno's sessions in Ospedaletti (the others are "O casto fior" from Roi de Lahore and the "Sì, pel ciel" duet with Tamagno himself). Various people have speculated about the baritone's identity and erroneously attributed these recordings to Antonio Cotogni. I've demonstrated in various comment threads why this cannot be, using very common-sense logic. But more importantly the sound of the voice itself is completely different from Cotogni's true voice and indeed of any first-rank baritone, especially of the Roman school. Many of the sounds this "baritone" makes would be considered total violations of basic vocal aesthetics for the baritone voice. The literature has also erroneously named this piece "Pecche/Pecchè/Perchè?," but it is in fact the sequel to Gastaldon's "Music proibita," entitled "Ti vorrei rapire." There are at least two published editions of it in multiple keys. While we still don't know the identity of the baritone, the best guess so far has been Tamagno's brother Giovanni, who had trained in singing alongside Francesco and apparently had had a minor career as a baritone. There are documents that prove that Giovanni Tamagno handled the negotiations with the Gaisberg brothers for his brother Francesco, which ultimately led to these recording sessions. Giovanni Tamagno died in 1910 in his villa somewhere in Piemonte. *The other mystery baritone recordings:* O casto fior – (http•••) Sì, pel ciel – (http•••) ..................................... This channel is primarily about vocal emission—aural examples of basically correct singing, correct impostazione—chiaroscuro, vowel clarity, firm and centered pitch, correct vibrato action, absence of throatiness or thickness, sounds free from constriction and from the acoustic noise that accompanies it—with occasional video examples that demonstrate what the body, face, mouth, jaw, and tongue look like when used with correct impostazione—the vocal emission of the one and only Italian school. Caveat: I'm biased in favor of baritones and baritone literature, but if you want to learn about and listen to all the greatest singers in the old-school tradition, explore this spreadsheet (voice parts are separated by tabs): (http•••)
Eugenia Mantelli Pietro Mascagni Gayarre Costanzi Adalgisa Gabbi José Oxilia Giuseppe Kaschmann Mattia Battistini Francesco Tamagno Teatro Costanzi Bolshoi Covent Garden 1860 1883 1887 1894 1896 1902 1905 1926
Pietro Mascagni - AVE MARIA (versione vocale liberamente tratta dall’intermezzo di CAVALLERIA RUSTICANA) - disco acustico Zonophone New York - matrice I 6492 - numero si catalogo 12618 - periodo dell’incisione 1905/07. Contralto italiano EUGENIA MANTELLI (Nata quasi certamente a Firenze nel o intorno al 1860 - morta a Lisbona il 3 marzo 1926). Debutta al São Carlos di Lisbona, il 20 novembre 1883 come Urbano in “Gli Ugonotti”. Intraprende poi un tour con il tenore Julian Gayarre in Germania, Italia e Brasile. Nel novembre del 1887 canta il ruolo di Adalgisa al Teatro Costanzi di Roma, poi al San Carlo di Napoli come Eboli in “Don Carlo” con Adalgisa Gabbi, José Oxilia e Giuseppe Kaschmann, Ha inaugurato il Teatro de la Opera di Buenos Aires, dando ulteriori rappresentazioni al Teatro Solis di Montevideo, cantando con Battistini in “La favorita, Amleto, La forza del destino, e Gli Ugonotti”. Nel marzo del 1896 canta al Teatro Bolshoi di Mosca in “Faust” e “Rigoletto” con Mattia Battistini, e nel ruolo di Fidès in “Il profeta” con Francesco Tamagno. Il 23 novembre 1894 debutta al Teatro Metropolitan di New York come Amneris in “Aida”, a fianco di Francesco Tamagno. Il 13 maggio 1896 debutta al Covent Garden di Londra come Leonora in “La favorita”. Nel mese di settembre 1902 partecipa ad un tour attraverso gli Stati Uniti con la “Mascagni Opera Company”. Dopo il ritiro dalle scene si dedica all’insegnamento. Ha insegnato fino al momento della sua morte causata da una malattia al fegato. È sepolta a Lisbona, in un mausoleo eretto per lei, con il contributo economico dei suoi allievi (che furono centinaia).
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- cronología: Cantantes líricos (Europa).
- Índices (por orden alfabético): T...