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Nicola Zerola Verdi Rossetti Ruggero Leoncavallo Oscar Hammerstein I Hammerstein Mariette Mazarin Marguerite Alvarez Emma Trentini Giacomo Meyerbeer Maschera Henry Février Teatro Comunale Florence Teatro Comunale Bologna Philadelphia Opera House Scala Manhattan Opera Company Philadelphia Opera Philadelphia Opera Company Chicago Grand Opera Company Baltimore Opera Company Metropolitan Opera Philadelphia Grand Opera Company 1876 1898 1903 1907 1908 1909 1910 1911 1912 1920 1921 1928 1936
Nicola Zerola - Pagliaccio - Non Pagliaccio non son - Victor 74247 eenregistré le 10 mars 1911 Nicola Zerola (1876 – 21 July 1936) was an Italian operatic tenor who had an active international career from 1898-1928. He began his career in his native country, but was soon heard in concerts and operas internationally during the first years of the 20th century. In 1908 he relocated to the United States where he was active with important opera companies in New York, Chicago, and Philadelphia up into the late 1920s. In 1910 he recorded several selections from Verdi's Otello for the Victor Talking Machine Company. He also made 11 solo recordings and one duet for the Gramophone and Typewriter Company in 1910-1911 Born in Naples, Zerola began his career as a baritone and made his professional opera debut in 1898 at the Teatro Rossetti in Trieste as Tonio in Ruggero Leoncavallo's Pagliacci. This was soon followed by performances at the Teatro Comunale Florence and at other opera houses in the Italian provinces. He made his debut as a tenor in 1903 in the role of Canio in Pagliacci.[2] He soon after undertook performances in Belgium, Egypt, France, Spain, Holland, and South America.[2] In November 1908 he had a great success at the Teatro Comunale di Bologna as Radamès to the Aida of Lucia Crestani In 1907 Zerola traveled with a small touring company to the United States where he was lauded by critics and audiences. This led to his appointment to New York City's Manhattan Opera Company by Oscar Hammerstein I in 1908. He made his debut with the company in January 1909 at the Manhattan Opera House under conductor Giuseppe Sturani as Radames to the Aida of Mariette Mazarin and Amneris of Marguerite d'Alvarez. He remained there until the company went bankrupt in 1910; singing such roles as Manrico in Verdi's Il trovatore and the title role in Verdi's Otello. He also sang with Hammerstein's Philadelphia Opera Company in 1909-1910. He made his debut with that company as Canio in Pagliacci with Emma Trentini as Nedda at the Philadelphia Opera House on November 25, 1909. On 21 November 1910 Zerola sang Radames again for his debut with the Chicago Grand Opera Company with Jeanne Korolowicz as Aida. He actively performed with the company through May 1911 in performances in both Chicago and Philadelphia. His other roles with that company included Raoul de Nangis in Giacomo Meyerbeer's Les Huguenots, Manrico, and Otello. In January 1911 he opened the Baltimore Opera Company's new season as Radames. In 1911-1912 he was committed to the Royal Opera House in London where he performed the roles of Riccardo in Verdi's Un ballo in maschera, Canio, Manrico, Otello, Radames, and Raoul de Nangis. In 1920-1921 Zerola was heard at the Metropolitan Opera in New York City as Canio. and at the Philadelphia Grand Opera Company as Otello. He was also active with the Philadelphia La Scala Opera Company in the 1920s. In 1928 he sang the role of Prinzivalle in the New York premiere of Henry Février's Monna Vanna.[9] He died in New York City in 1936. Source: Wikipedia
Victor Capoul Alphonse Révial Gounod Drury Charles Lecocq Angot Pierre Gailhard Hammerstein Meyerbeer Méhul Offenbach Godard Camondo Opéra Comique Covent Garden Metropolitan Opera Manhattan Opera Company 1810 1839 1861 1871 1877 1879 1883 1891 1892 1896 1900 1905 1906 1924
Victor Capoul +••.••(...)) was a French lyric tenor whose thirty-five-year career spanned the latter part of the 19th century. Born Joseph Victor Amédée Capoul in Toulouse, he received his musical education at the Paris Conservatory, where he studied with renowned French tenor Alphonse Révial +••.••(...)). Following his graduation, Capoul made his debut at the Opéra-Comique as Daniel in Adam’s Le Châlet in 1861. The young tenor became a popular artist with the theater and remained a regular member of the company for the next nine seasons. In 1871 he made his first appearance in London as Gounod’s Faust at Drury Lane and made his American debut later that year at the New York Academy of Music as Wilhelm Meister in Mignon. In 1877, Capoul made his Covent Garden debut as Auber’s Fra Diavolo, also singing Almaviva in Barbiere di Siviglia, Ernesto in Don Pasquale and Elvino in La Sonnambula that same season. Capoul returned to New York in 1879 to sing the role of the poet Ange-Pitou in Charles Lecocq’s La Fille de Madame Angot at Grau’s French Opera Company. The tenor’s Metropolitan Opera debut occurred during the company’s inaugural season, on October 27, 1883 as Faust. Capoul sang 25 performances of six roles during his first season with the Met…the aforementioned Faust, Wilhelm Meister, Almaviva, Alfredo in La Traviata, Edgardo in Lucia di Lammermoor and (although one wonders how he negotiated the demands of the role) Enzo in La Gioconda. Although his acting and stage deportment were praised, critics complained of the tenor’s “almost inaudible half voice” and remarked that “ his singing was often short of the enjoyable.” It is not surprising that when Capoul returned to the Met for the 1891/92 season, he was relegated to the secondary roles of Tybalt in Roméo et Juliette and Cassio in Otello. His final appearance with the company was a concert on April 24, 1896. During a Testimonial Performance to Henry E. Abbey and Maurice Grau, Capoul sang as part of the Soldiers’ Chorus from Gounod’s Faust. Considering that he had made his debut with the company in the title role of this same opera some thirteen years previously, this seems something of a sad comedown. Capoul remained in New York for several years, having been appointed opera coach and professor of voice at The National Conservatory of Music of America in 1892. His singing days now behind him, Capoul returned to Paris in January of 1900, making a bid for the position of General Director of the Opéra-Comique. When he was declined, his old friend and colleague Pierre Gailhard appointed him Director of Theatrical Studies at the Opéra de Paris. Now regarded as one of the leading stage directors for French and Italian opera, Capoul returned to New York in 1906 to direct productions for Hammerstein’s Manhattan Opera Company. Sadly, he was plagued by increasing deafness that greatly hampered his artistic activities. He retired to the south of France and lived quite comfortably until wartime investments stripped him of his fortune. To raise a bit of capital, the tenor tried to auction off some of the mementos from his career. When there were no takers, he angrily burned all of his costumes, scores and photographs. Capoul lived out his final years on his little farm near the village of Pujaudran-du-Gers, subsisting on a small pension. Penniless, bitter and forgotten, he passed away on February 18, 1924, just a week shy of his 85th birthday, a tragic end for such a great artist. Victor Capoul boasted a diverse repertoire of nearly 40 roles in opera and operetta, including Tonio in La Fille du Régiment, Georges in La Dame Blanche, The Duke in Rigoletto, des Grieux in Manon, Lionel in Martha and the title roles in Meyerbeer’s Robert le Diable and Méhul’s Joseph. He created the tenor leads in a number of works such as Gounod’s La Colombe and Offenbach’s Vert-Vert. In addition to Paris, London and New York (the cities where he spent most of his career), Capoul travelled to Monte Carlo, Brussels, Moscow, St. Petersburg, Vienna and Quebec. He also co-authored the librettos for Godard’s opera Jocelyn and Camondo’s operetta Le Clown. Although the tenor never possessed an extraordinary voice, he did cultivate a remarkable technique and built his reputation on artistry, musicality and magnetism. His recorded legacy consists of a single aria, “Oh! Ne t'éveille pas encore” from Godard’s Jocelyn. Four takes were recorded for Fonotipia in Paris in 1905, two of which are known to survive. Although Capoul’s vocal resources are greatly diminished…not to mention the fact that he was nearly stone deaf…he manages to give a fascinating performance, leaving us something of a time capsule from the world of 19th century French opera. This recording is the 4th and final take that has been in circulation for many years. It differs from take 2 in that it contains the preceding recitative.
Victor Capoul Alphonse Révial Gounod Drury Charles Lecocq Angot Pierre Gailhard Hammerstein Meyerbeer Méhul Offenbach Godard Camondo Opéra Comique Covent Garden Metropolitan Opera Manhattan Opera Company 1810 1839 1861 1871 1877 1879 1883 1891 1892 1896 1900 1905 1906 1924
Victor Capoul +••.••(...)) was a French lyric tenor whose thirty-five-year career spanned the latter part of the 19th century. Born Joseph Victor Amédée Capoul in Toulouse, he received his musical education at the Paris Conservatory, where he studied with renowned French tenor Alphonse Révial +••.••(...)). Following his graduation, Capoul made his debut at the Opéra-Comique as Daniel in Adam’s Le Châlet in 1861. The young tenor became a popular artist with the theater and remained a regular member of the company for the next nine seasons. In 1871 he made his first appearance in London as Gounod’s Faust at Drury Lane and made his American debut later that year at the New York Academy of Music as Wilhelm Meister in Mignon. In 1877, Capoul made his Covent Garden debut as Auber’s Fra Diavolo, also singing Almaviva in Barbiere di Siviglia, Ernesto in Don Pasquale and Elvino in La Sonnambula that same season. Capoul returned to New York in 1879 to sing the role of the poet Ange-Pitou in Charles Lecocq’s La Fille de Madame Angot at Grau’s French Opera Company. The tenor’s Metropolitan Opera debut occurred during the company’s inaugural season, on October 27, 1883 as Faust. Capoul sang 25 performances of six roles during his first season with the Met…the aforementioned Faust, Wilhelm Meister, Almaviva, Alfredo in La Traviata, Edgardo in Lucia di Lammermoor and (although one wonders how he negotiated the demands of the role) Enzo in La Gioconda. Although his acting and stage deportment were praised, critics complained of the tenor’s “almost inaudible half voice” and remarked that “ his singing was often short of the enjoyable.” It is not surprising that when Capoul returned to the Met for the 1891/92 season, he was relegated to the secondary roles of Tybalt in Roméo et Juliette and Cassio in Otello. His final appearance with the company was a concert on April 24, 1896. During a Testimonial Performance to Henry E. Abbey and Maurice Grau, Capoul sang as part of the Soldiers’ Chorus from Gounod’s Faust. Considering that he had made his debut with the company in the title role of this same opera some thirteen years previously, this seems something of a sad comedown. Capoul remained in New York for several years, having been appointed opera coach and professor of voice at The National Conservatory of Music of America in 1892. His singing days now behind him, Capoul returned to Paris in January of 1900, making a bid for the position of General Director of the Opéra-Comique. When he was declined, his old friend and colleague Pierre Gailhard appointed him Director of Theatrical Studies at the Opéra de Paris. Now regarded as one of the leading stage directors for French and Italian opera, Capoul returned to New York in 1906 to direct productions for Hammerstein’s Manhattan Opera Company. Sadly, he was plagued by increasing deafness that greatly hampered his artistic activities. He retired to the south of France and lived quite comfortably until wartime investments stripped him of his fortune. To raise a bit of capital, the tenor tried to auction off some of the mementos from his career. When there were no takers, he angrily burned all of his costumes, scores and photographs. Capoul lived out his final years on his little farm near the village of Pujaudran-du-Gers, subsisting on a small pension. Penniless, bitter and forgotten, he passed away on February 18, 1924, just a week shy of his 85th birthday, a tragic end for such a great artist. Victor Capoul boasted a diverse repertoire of nearly 40 roles in opera and operetta, including Tonio in La Fille du Régiment, Georges in La Dame Blanche, The Duke in Rigoletto, des Grieux in Manon, Lionel in Martha and the title roles in Meyerbeer’s Robert le Diable and Méhul’s Joseph. He created the tenor leads in a number of works such as Gounod’s La Colombe and Offenbach’s Vert-Vert. In addition to Paris, London and New York (the cities where he spent most of his career), Capoul travelled to Monte Carlo, Brussels, Moscow, St. Petersburg, Vienna and Quebec. He also co-authored the librettos for Godard’s opera Jocelyn and Camondo’s operetta Le Clown. Although the tenor never possessed an extraordinary voice, he did cultivate a remarkable technique and built his reputation on artistry, musicality and magnetism. His recorded legacy consists of a single aria, “Oh! Ne t'éveille pas encore” from Godard’s Jocelyn. Four takes were recorded for Fonotipia in Paris in 1905, two of which are known to survive. Although Capoul’s vocal resources are greatly diminished…not to mention the fact that he was nearly stone deaf…he manages to give a fascinating performance, leaving us something of a time capsule from the world of 19th century French opera. This recording (take 2) was not known to exist until relatively recently. Capoul's performance here is actually superior to the issued take, demonstrating the 66 year old tenor's artistry and breath control.
Hector Dufranne Demest Charles Gounod Vincent Indy Indy Richard Wagner Jan Blockx Christoph Willibald Gluck Engelbert Humperdinck Ermanno Wolf Ferrari Alfred Bruneau Henri Rabaud Gustave Doret Xavier Leroux André Messager Raoul Laparra Maurice Ravel Giacomo Puccini Richard Strauss Jules Massenet Léandre Sergei Prokofiev Manuel Falla Edmond Polignac Polignac Sachs Opéra Comique Opéra Monte Carlo Covent Garden Notre Dame Théâtre Champs Élysées Manhattan Opera Company Chicago Grand Opera Company 1870 1896 1897 1898 1900 1901 1902 1904 1906 1907 1908 1909 1910 1911 1912 1913 1914 1921 1922 1923 1924 1935 1939 1951
Hector Dufranne Manon A quoi bon l'économie Pre dog 3 32767 enregistré en 1907 Hector Dufranne (25 October 1870 – 4 May 1951) was a Belgian operatic bass-baritone Dufranne was born in Mons. He studied at the Brussels Conservatory with Désirée Demest before making his professional opera debut in 1896 at La Monnaie as Valentin in Charles Gounod's Faust. He returned to that opera house several times to sing such roles as Grymping in Vincent d'Indy's Fervaal (1897), Alberich in Richard Wagner's Das Rheingold (1898), Thomas in Jan Blockx's Thyl Uylenspiegel (1900), Thoas in Christoph Willibald Gluck's Iphigénie en Tauride (1902), the Innkeeper in Engelbert Humperdinck's Königskinder (1912), and Rocco in Ermanno Wolf-Ferrari's I gioielli della Madonna (1913). Dufranne sang at the Opéra-Comique in Paris from 1900 to 1912, making his first appearance as Thoas. He appeared in several world premieres with the company including creating the roles of Saluces in Griselidis (1901), the title role in Alfred Bruneau's L' Ouragan (1901), Golaud in Pelléas et Mélisande (1902), Amaury-Ganelon in La Fille de Roland by Henri Rabaud (1904), Koebi in Gustave Doret's Les Armaillis (1906), the title role in Xavier Leroux's Le Chemineau, Clavaroche in Fortunio by André Messager (1907), the fiancé in Raoul Laparra's La Habanéra (1908), and Don Iñigo Gomez in Maurice Ravel's L'Heure espagnole (1911). He also sang Scarpia in the Opéra-Comique’s first production of Giacomo Puccini's Tosca (1909). Dufranne also appeared periodically at the Paris Opera beginning in 1907. He notably portrayed the role of John the Baptist in their first production of Richard Strauss's Salome (1910). He also sang at the Opéra de Monte-Carlo in 1907 where he took part in the creation of two world premieres, the role of André Thorel in Jules Massenet's Thérèse and the title role in Bruneau's Naïs Micoulin. In 1914 he sang the role of Golaud in his only appearance at the Royal Opera, Covent Garden in London. In 1908 Dufranne went to the United States for the first time to sing with the Manhattan Opera Company in the American premiere of Pelléas et Mélisande. He returned for several more productions through 1910, appearing as le Prieur in Le jongleur de Notre-Dame (1909), Caoudal in Sapho (1909), Rabo in Jan Blockx's Herbergprinses (performed in Italian as La Princesse d'Auberge, 1909), John the Baptist in Richard Strauss's Salome (1910), and Saluces in Massenet's Griselidis (1910). He also sang with the Chicago Grand Opera Company and the Chicago Opera Association from 1910 to 1922, creating there Léandre in The Love for Three Oranges (in French) by Sergei Prokofiev, in 1921. In 1922, Dufranne returned to Paris where he continued to appear in operas in all the major houses in addition to appearing in other opera houses in France. He also spent a brief time performing in Amsterdam in 1935. In 1923 he created the part of Don Quixote in the stage première of El retablo de maese Pedro under the baton of the composer, Manuel de Falla. The performance was for a private audience and was held in the private theatre of Winnaretta Singer, Princess Edmond de Polignac. In 1924, he appeared at the Théâtre des Champs-Élysées in the world premiere of Léon Sachs's Les Burgraves. With the outbreak of World War II in 1939, Dufranne retired from the stage, with his last performance being the role of Golaud at the opera house in Vichy. He lived in Paris where he taught singing for many years before his death in 1951. Source Wikipedia
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