Eugene Asti Vidéos
Dernière mise à jour
2024-05-13
Actualiser
Eugene Asti Johannes Brahms 2018
Provided to YouTube by The Orchard Enterprises Fantasien, Op. 116: VII. Capriccio: Allegro agitato · Eugene Asti · Johannes Brahms Johannes Brahms: Late Piano Works, Opp. 116, 117, 118 ℗ 2018 Lawo Classics Released on: 2018-04-03 Producer: Vegard Landaas Auto-generated by YouTube.
Nino Ederle Lombard Asti Fenton Brunswick Donizetti Teatro Sociale Teatro San Carlo Scala Fenice Teatro Carlo Felice Teatro Vittorio Emanuele Odeon 1892 1919 1925 1926 1928 1929 1931 1934 1936 1942 1951
Nino Ederle +••.••(...)) was an Italian lyric tenor whose career stretched across the two decades between the world wars. Born in Verona, Ederle made his debut as Ernesto in Don Pasquale at the Teatro Sociale in the Lombard city of Revere in 1919. Although he possessed an exceptionally beautiful lyric voice and cut a dashing figure on the stage, his ascent in the opera business was rather slow. In the five or six years following his debut, Ederle seemed stuck in the Italian provinces, with appearances in the smaller theaters of Asti, Verona, Genoa, Livorno and a few other cities. It wasn’t until the end of 1925 that he received an offer to sing at the Teatro San Carlo in Naples. After a successful series of performances at the celebrated theater…including the Duke in Rigoletto, Fenton in Falstaff, Elvino in La Sonnambula and Nemorino in L’Elisir d’Amore…Ederle’s star began to rise. Early in 1926 came the tenor’s first appearance at the Teatro dell’Opera in Rome as Almaviva in Il Barbiere di Siviglia followed by a summer tour in South America. 1929 saw Ederle’s debut at Milan’s famed La Scala as the Duke, followed by appearances in Modena, Turin, Ancona and Trieste. Although he spent the majority of his career in Italy, there were sporadic appearances in Madrid, Lisbon, Malta, London and Augsburg, and Ederle spent the entire 1931/32 season at the State Theater in Zurich. In 1934, Ederle set foot on the stage of Venice’s Teatro La Fenice for the first time as Fenton in Falstaff and sang Matteo in the first Italian performances of Strauss’ Arabella at the Teatro Carlo Felice in Genoa in January of 1936. This would prove to be Ederle’s last major assignment and he soon found himself relegated to the secondary provincial theaters once again. Following a final Almaviva at the Teatro Vittorio Emanuele in Turin early in 1942, the 49-year-old tenor retired from the stage and devoted himself to teaching. Nino Ederle passed away in Milan in 1951 at the age of 59. Nino Ederle was a gifted tenor whose nuanced interpretations…even in his day…harkened back to an earlier era. His sense of legato and his use of vocal ornamentation, not to mention his ravishing mezza voce, recall the art of 19th century bel canto. His repertoire of nearly thirty roles included leads in all the typical works…La Traviata, La Sonnambula, La Favorita, Lucia di Lammermoor, Die Entführung aus dem Serail (sung in Italian, of course), Mignon, Madama Butterfly and Gianni Schicchi…as well as many of the NOT so typical works… Crispino e la Comare, Papà Martin, Un Caso Singolar, I Quattri Rustighi, Le Preziose Ridicole and Le Furie di Arlecchino. Ederle was not terribly well known outside of Italy and is, unfortunately, practically forgotten today. The recorded legacy of Nino Ederle consists of over 50 discs made during the 1920s for such labels as Phonotype, Columbia, Parlophon, Fonotipia, Odeon and Brunswick. In this recording, Ederle sings "Una vergine, un angel di Dio" from Act I of Donizetti's La Favorita. This was recorded for the Parlophon label in Milan on May 11, 1928.
Nino Ederle Lombard Asti Fenton Brunswick Donizetti Teatro Sociale Teatro San Carlo Scala Fenice Teatro Carlo Felice Teatro Vittorio Emanuele Odeon 1892 1919 1925 1926 1928 1929 1931 1934 1936 1942 1951
Nino Ederle +••.••(...)) was an Italian lyric tenor whose career stretched across the two decades between the world wars. Born in Verona, Ederle made his debut as Ernesto in Don Pasquale at the Teatro Sociale in the Lombard city of Revere in 1919. Although he possessed an exceptionally beautiful lyric voice and cut a dashing figure on the stage, his ascent in the opera business was rather slow. In the five or six years following his debut, Ederle seemed stuck in the Italian provinces, with appearances in the smaller theaters of Asti, Verona, Genoa, Livorno and a few other cities. It wasn’t until the end of 1925 that he received an offer to sing at the Teatro San Carlo in Naples. After a successful series of performances at the celebrated theater…including the Duke in Rigoletto, Fenton in Falstaff, Elvino in La Sonnambula and Nemorino in L’Elisir d’Amore…Ederle’s star began to rise. Early in 1926 came the tenor’s first appearance at the Teatro dell’Opera in Rome as Almaviva in Il Barbiere di Siviglia followed by a summer tour in South America. 1929 saw Ederle’s debut at Milan’s famed La Scala as the Duke, followed by appearances in Modena, Turin, Ancona and Trieste. Although he spent the majority of his career in Italy, there were sporadic appearances in Madrid, Lisbon, Malta, London and Augsburg, and Ederle spent the entire 1931/32 season at the State Theater in Zurich. In 1934, Ederle set foot on the stage of Venice’s Teatro La Fenice for the first time as Fenton in Falstaff and sang Matteo in the first Italian performances of Strauss’ Arabella at the Teatro Carlo Felice in Genoa in January of 1936. This would prove to be Ederle’s last major assignment and he soon found himself relegated to the secondary provincial theaters once again. Following a final Almaviva at the Teatro Vittorio Emanuele in Turin early in 1942, the 49-year-old tenor retired from the stage and devoted himself to teaching. Nino Ederle passed away in Milan in 1951 at the age of 59. Nino Ederle was a gifted tenor whose nuanced interpretations…even in his day…harkened back to an earlier era. His sense of legato and his use of vocal ornamentation, not to mention his ravishing mezza voce, recall the art of 19th century bel canto. His repertoire of nearly thirty roles included leads in all the typical works…La Traviata, La Sonnambula, La Favorita, Lucia di Lammermoor, Die Entführung aus dem Serail (sung in Italian, of course), Mignon, Madama Butterfly and Gianni Schicchi…as well as many of the NOT so typical works… Crispino e la Comare, Papà Martin, Un Caso Singolar, I Quattri Rustighi, Le Preziose Ridicole and Le Furie di Arlecchino. Ederle was not terribly well known outside of Italy and is, unfortunately, practically forgotten today. The recorded legacy of Nino Ederle consists of over 50 discs made during the 1920s for such labels as Phonotype, Columbia, Parlophon, Fonotipia, Odeon and Brunswick. Here, Ederle sings "Una furtiva lagrima" from Donizetti's L'Elisir d'Amore. This recording was made in Milan for Parlophon in May of 1928.
Aureliano Pertile Montagnana Giovanni Martinelli Santa Maria Goldsmith Orefice Jean Nouguès Asti Maschera Henderson Arturo Toscanini Boito Wolf Ferrari Ettore Panizza Mascagni Verdi Moor Salerno Costanzi Scala Covent Garden Teatro Colón Teatro Costanzi Teatro Carlo Felice 1885 1894 1911 1913 1916 1921 1922 1924 1927 1929 1935 1942 1946 1952
Aureliano Pertile +••.••(...)) was a celebrated Italian tenor who enjoyed a 35 year career in major theaters on both sides of the Atlantic. The son of a poor shoemaker and his wife, Pertile was born in Montagnana…just a few blocks away and 18 days after the birth of fellow tenor Giovanni Martinelli. His vocal talents were apparent from a very early age. In 1894, Pertile began singing alto with the choir of the Cathedral of Santa Maria Assunta. At his parents’ insistence, he apprenticed as a goldsmith during his teens, but continued singing. At age 20, he was heard by composer Vittorio Orefice, who invited the young man to study with him in Padua. After five years of work, Pertile made his debut as Lionel in Martha at Vicenza’s Teatro Eretenio on February 16, 1911. In May, he sang the role of Vinicius in the Italian premiere of Jean Nouguès’ Quo Vadis? at Milan’s Teatro dal Verme. Reviews were stellar and the tenor’s career took off quickly. Over the next two years, Pertile made appearances in Brescia, Torino, Asti, Padua and Genoa, with his international debut occurring in Santiago as des Grieux in Manon Lescaut during the fall of 1913. While in South America, the tenor also sang in Buenos Aires and Valparaiso in such works as Un Ballo in Maschera, Mefistofele, Tosca, and La Traviata. Late in 1913, Pertile returned to Italy, where he spent the next few years appearing in Naples, Palermo, Florence, Bologna, and Rome. His La Scala debut occurred on February 22, 1916 as Paolo in Francesca da Rimini, leading to a lengthy association with the company. By 1921, Pertile had appeared at most of the major theaters of Italy, Spain and South America. Following his Mexico City debut as Faust in Mefistofele in August, Pertile began his only season at New York’s Metropolitan as Cavaradossi in Tosca on December 1. Henderson of the New York Sun reported, “His voice has a tendency toward whiteness, but in its fullest volume it is warmer and resonant. His acting was that of the everyday tenor.” …not exactly the definition of a glowing review. In addition to Cavaradossi, he also sang des Grieux in Manon Lescaut, Grigori in Boris Godunov, Turiddu in Cavalleria Rusticana, Canio in Pagliacci, Radames in Aïda, and Julien in Louise. Sadly, the New York public never quite warmed up to Pertile. After only 13 performances of the aforementioned roles, as well as a pair of Sunday Night Concerts, Pertile was finished in the U.S. His Met career had lasted exactly seven weeks. Pertile fared much better in his homeland. Arturo Toscanini, who had recently taken the reins at La Scala, invited the tenor to join him for a production of Mefistofele in March. This began a decade long alliance between the two, a highlight of which was Pertile’s creation of the title role of Boito’s Nerone at its premiere on May 1, 1924. Other world premieres entrusted to Pertile during his La Scala tenure were Wolf Ferrari’s Sly in 1927 (under Ettore Panizza) and Mascagni’s Nerone in 1935 (under the composer). The tenor was a superstar at La Scala, with “Pertile Nights” marketed to an adoring public. After Toscanini’s departure in 1929, however, Pertile’s importance in Milan began to diminish. Although the tenor would remain at La Scala until the early 1940s, he was no longer the central figure he had been during the 1920s. During the mid 1930s, Pertile began to curtail his appearances, sometimes singing fewer than 15 performances per season. He was now in his 50s and had added Verdi’s Otello to his vast repertoire. In the final years of his career, Pertile sang little else but the Moor, appearing in this role almost twice as often than his other roles combined. Following one last Pagliacci in Salerno in 1946, the aging tenor retired from the stage. Pertile spent his final years teaching at the Milan Conservatory, dying on January 11, 1952 at the age of 66. During his lengthy career, Pertile sang at most of the major houses of Europe and South America, among them London’s Covent Garden, the Teatro Colón in Buenos Aires, Madrid’s Teatro Reale, Rome’s Teatro Costanzi and Teatro dell’ Opera, Genoa’s Teatro Carlo Felice and the San Carlo in Naples. His vast repertoire of nearly 70 roles included the leads in La Gioconda, Andrea Chénier, Isabeau, Fedora, La Bohème, La Fanciulla del West, Salome, Carmen, Samson et Dalila, Werther, Norma, Lucia di Lammermoor, La Favorita, Poliuto, L’Amore dei Tre Re, La Rondine, Loreley, Fra Diavolo, Lohengrin, Die Meistersinger, Iris, Rigoletto, Il Trovatore and La Forza del Destino. Pertile’s recorded legacy, made between 1922 and 1942 for Columbia, Fonotipia, Pathé, HMV and Telefunken, reveals a sturdy spinto instrument. Although his was not a voice that was often described as beautiful, he used it to great effect, always imbuing the music with tremendous artistry and intensity. Here, Pertile sings “Vedi, io piango” from Giordano’s Fedora. This was recorded in Milan for Columbia in 1922.
ou
- chronologie: Interprètes.
- Index (par ordre alphabétique): A...