Alberto Franchetti Vídeos
compositor
- piano
- ópera
- Reino de Italia
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2024-05-13
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Renato Bruson Alberto Franchetti Marco Berti Guevara Marcello Viotti Viotti 1936 1991
Renato Bruson [Bariton, Ks. *1936 Granze bei Padóva / Padua - Italien] Komponist: Alberto Franchetti Oper: / Cristoforo Colombo / Cristopher Kolumbus Szene und Arien: "Notturno" È la luna... Dunque ho sognato... No! ti presento nell'aura... (atto II) (mit Marco Berti = Guevara & Vicente Ombuena = Matheos) Dirigent: Marcello Viotti Orchester: Frankfurt RSO konzertant / in concert Radioübertragung / Broadcast Aufnahme: Live-Montage 30.08+ß2.09.1991
Arturo Toscanini Vieuxtemps Franchetti Enesco William Horne Horne Nbc Symphony Orchestra 1940
December 14, 1940 Franck: Symphony In D Minor Vieuxtemps: Ballade and Polonaise Franchetti: Cristoforo Colombo: Nocturne (William Horne, tenor) Enesco: Roumanian Rhapsody No. 1 NBC Symphony Orchestra ARTURO TOSCANINI Purtroppo il suono della registrazione del concerto non è troppo buono, soprattutto nelle musiche di Vieuxtemps e di Franchetti.
Padova Boroni Donizetti Costanzi Carlos Gomes Alberto Franchetti Verdi Francesco Navarrini Toscanini Pietro Mascagni Teatro Comunale Ferrara Teatro San Carlo Scala Teatro Costanzi Teatro Carlo Felice 1855 1876 1881 1883 1887 1891 1892 1894 1898 1900 1901 1902 1907 1912 1923 2013
Francesco Navarini - La Juive - Voi, che dio vivente -Fonotipia 62029 enrgistré le 4 février 1907 Francesco Navarini (Bass) (Cittadella presso Padova 1855 - Milano 1923) He studied singing under Carlo Boroni and Giuseppe Felix in Milan and made his debut in 1876 at the Teatro Comunale of Ferrara as Alfonso in ‘’Lucrezia Borgia’’ of Donizetti. He made guest appearances in Malta, Venice, Trieste, Florence and Turin and sang in the 1881-83 seasons at the Teatro San Carlo in Lisbon. In 1883 he made his debut at La Scala; sang with success also at the Teatro Costanzi of Rome. He sang at La Scala in the premieres of the operas ‘’Condor’’ of Carlos Gomes +••.••(...)) and ‘’Fior d'Alpe’’ of Alberto Franchetti +••.••(...)). In 1894 he sang at La Scala in the premiere of the revised version of Verdi’s ‘’Don Carlos’’. He took part at the Teatro Carlo Felice, Genoa in the premiere of Alberto Franchetti's opera ‘’Cristoforo Colombo’’ +••.••(...)). He made guest appearances in London (1887), Monte Carlo (1900), Prague (1901), St. Petersburg, Madrid, Barcelona, Buenos Aires, Moscow, Odessa and Seville. Especially in Russia Navarrini achieved shining success. In the 1898-99 season he performed at La Scala in Wagner’s ‘’Meistersinger’’ under Toscanini. In 1902 tour through the USA with an opera troupe under the direction of Pietro Mascagni and he excited sensation especially as an Il Cieco in ‘’Iris’’. He retired from the stage in 1912. He spent his old age in Rossano Veneto. Source : forgottenoperasingers.blogspot.com/2013/06/francesco-navarrini-bass-cittadella.html
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.
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- cronología: Compositores (Europa).
- Índices (por orden alfabético): F...