Giovanni Battista Costanzi Vidéos
compositeur italien
Commémorations 2024 (Naissance: Giovanni Battista Costanzi)
- violoncelle
- opéra, musique classique, musique liturgique
- Italie
- compositeur ou compositrice, violoncelliste, professeur ou professeure de musique
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Dernière mise à jour
2024-04-28
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Gabriella Besanzoni Brizzi Costanzi Verdi Maschera Torri Alberto Gasco Zandonai Enrico Caruso Marinuzzi Teatro Costanzi Teatro Regio Torino Teatro Colón Teatro Scala Terme Caracalla Metropolitan Opera 1888 1911 1913 1914 1918 1919 1920 1921 1922 1923 1924 1932 1935 1939 1962 2016
Gabriella Besanzoni - Il Trovatore - Stride la vampa - Victor 541 enregistré le 9 mars 1920 Gabriella Besanzoni (Mezzo-Soprano) (Roma, Italia 20. 9. 1888 † Roma, Italia 8. 7. 1962) She was trained at the Accademia di Santa Cecilia in Roma under Alessandro Maggi and Ibilda Brizzi. She made her debut as soprano in 1911 at Viterbo. Then she retrained and made her debut as mezzo-soprano in 1913 at the Teatro Costanzi in Roma as Ulrica in G. Verdi’s ‘’Un Ballo in maschera’’. The same year she appeared there in the premiere of the opera ‘’La Leggenda delle sette Torri’’ by Alberto Gasco. Now she had a successful career in Italy and Spain. In 1914 she sang at the Teatro Regio of Torino in the premiere of the opera ‘’Francesca da Rimini’’ by R. Zandonai. In the 1919-1920 season she appeared at the Metropolitan Opera in New York (debut: Amneris in ‘’Aida’’), where she also sang the part of Isabella in ‘’L'Italiana in Algeri’’. In 1920, during a guest performance in Havana, she sang the part of Amneris opposite Enrico Caruso and while she stood in the second act a bomb exploded in the auditorium. In the 1920-1921 season she performed with success at the Chicago Opera, in the 1921-1922 season at the Teatro Costanzi in Roma as Carmen and Dalila. Since 1918 almost annually she appeared as a guest at the Teatro Colón of Buenos Aires, where she was highly acclaimed, among other things as Carmen, Mignon, Amneris, Dalila in ’’Samson et Dalila’’ and as Glorianda in the premiere of the opera ‘’Jacquerie’’ of G. Marinuzzi +••.••(...)). She had similar success in other operatic theaters of South America, above all at the Opera House of Rio de Janeiro, where she appeared from 1922 to 1935. In the 1923-1924 season she performed at the Teatro alla Scala as Orpheus and Amneris, in 1932 as Carmen and Mignon. In 1939 she retired from the stage appearing for the last time during the festival of the Terme de Caracalla in Roma as Carmen. She lived temporarily in Rio de Janeiro. Later she taught singing in Roma. Source : (http•••)
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
Verdi Gallignani Arturo Melocchi Carlo Bergonzi Giacinto Prandelli Costanzi Tommasini Navia Muro Franco Lo Giudice Renato Zanelli Fernand Faniard Giovanni Voyer Francesco Merli Teatro Sociale Teatro Costanzi Teatro Regio Teatro Fenice 1908 1910 1916 1926 1929 1933 1934
He studied singing at the Milan Conservatory under the vocal pedagogue Joseph Gallignani and then with Arturo Melocchi in Pessaro. He made his debut in 1908 at the Teatro Sociale of Crema in ‘’Traviata’’. After his retirement he taught singing in Brescia. Carlo Bergonzi and Giacinto Prandelli belonged to his pupils. Chronology of some appearances 1910 Roma Teatro Costanzi La nave rossa (Ardì) with Giovanni Genzardi as Rimuel 1910 Roma Teatro Costanzi Pagliacci (Tonio) with Gaetano Tommasini as Canio 1916 Parma Teatro Regio Favorita (Alfonso) with Pietro Navia as Fernando 1916 Parma Teatro Regio Isabeau (re Raimondo) with Antonio Saludas as Folco 1916 Parma Teatro Regio Aida (Amonasro) with Bernardo De Muro/Amador Famadas/Antonio Saludas as Radames 1926 Torino Teatro Regio La cena delle beffe (Neri Chiaramantesi) with Franco Lo Giudice as Giannetto Malaspini 1929 Venezia Teatro alla Fenice Otello (Jago) with Renato Zanelli/Domenico Apostolescu as Otello 1933 Parma Teatro Regio Lohengrin (Telrampondo) with Fernand Faniard/Giovanni Voyer as Lohengrin 1933 Parma Teatro Regio Aida (Amonasro) with Luigi Marletta/Francesco Merli as Radames 1934 Parma Teatro Regio La cena delle beffe (Neri Chiaramantesi) with Nino Bertelli as Giannetto Malaspini
Pietro Floridia Beniamino Cesi Lauro Lauro Rossi Arrigo Boito Giulio Ricordi Malibran Costanzi Arturo Toscanini Paul Jones Rupert Hughes Scala Teatro Costanzi Opera Colonia 1626 1860 1873 1882 1885 1888 1894 1896 1897 1899 1900 1904 1906 1908 1910 1913 1932
This unknown composer was born in Módica, where my name comes from, and this is his Symphony. Enjoy! 0:00 - I, Introduzione ed allegro 16:26 - II, Scherzo 22:07 - III, Andante sostenuto 30:10 - IV, Allegro festoso ma moderato Huge thanks to S.P.'s score videos ((http•••) for cutting the score for me, please subscribe to him! :) Pietro Floridia (5 May 1860 in Modica – 16 August 1932 in New York City) was an Italian composer of classical music. Pietro Floridia Napolino was born in Modica on May 5, 1860. As a young boy he began to study the piano and the passion he demonstrated in his studies was such that his parents in 1873 agreed to his enrollment at the Conservatory of S. Pietro a Majella (Naples), one of the most famous musical institutes of the time. There he studied piano under the guidance of Beniamino Cesi, of whom he was a favorite pupil; counterpoint and composition with Lauro Rossi. Still a student of the Conservatory, some compositions he had published by the Lucca publishing house in Milan made him known, obtaining national resonance. At the age of 19 he obtained a diploma in composition and orchestral conducting. Carlotta Clepier's first opera in 1882 is brilliant work for music, divided into three acts, with libretto by Antonio De Lerma dei Castelmezzano. The work performed in Naples on 7 May achieved a success beyond all expectations. In a subsequent period of study, which lasted three years, Floridia achieved a more solid expertise both as a concert performer and conductor and as a composer. At the end of 1885 he began a tour of Italy and abroad, performing piano pieces of his own composition. He was invited to Paris to conduct concerts, but was forced to decline the invitation, due to more pressing and important engagements in Italy. In 1888, for artistic merits, the Royal Conservatory of Palermo assigned him the chair of first piano professor. The following year, with the symphony in D minor, he won the first prize in a competition organized by the Quartet Society of Milan. Shortly after Floridia went to Molano where his friend Arrigo Boito favors the meeting with the publisher Giulio Ricordi who wrote it for an opera, of which the composer also intended to write the libretto. Thus was born the composition that will make Floridia famous in Italy: the opera Maruzza, whose subject is set in Modica. In 1894 the opera was staged at the Malibran in Venice. All the press rejoiced for the work, defining it worthy of the best Italian tradition.In 1896 he was commissioned by the municipality of Bergamo an overture in honor of Donizzetti, whose centenary of his birth would fall the following year. The overture, premiered on November 27, 1897 at the Scala in Milan, it was another triumph for the Modica musician. His masterpiece came in 1899 with La colonia libero, with a libretto by Luigi Illica, staged on May 8 at the Teatro Costanzi (now Teatro dell'Opera) in Rome, in the presence of the Royal Court. In 1900 Floridia is grappling with the rhythmic translation of Wagner's "Tristan and Isolde", also performed at the Scala in Milan, under the direction of Arturo Toscanini. Since then many Italian and foreign theaters will be Floridia's destination. In return for this, in the "Giornale di Sicilia" of 9/10 November 1904 (before Floridia left for the United States) signed by Vetere, one can read: "... Milan 8, 1 pm Last night at the Dal theater Verme performed the opera "Colonia Libera" by the Sicilian master Pietro Floridia. The press unanimously believes that Floridia is an excellent musician and that his work must be considered the best of all the Italian productions of recent years .... ". In America, from 1906 to 1908 he taught at the College of Music in Cincinnati, and it was also in Cincinnati that in 1910 another opera was born, based on an English text by Paul Jones: Paoletta. After his time at college, he moved to New York where in 1913 he organized and conducted an Italian symphony orchestra. In 1904, the American critic and writer Rupert Hughes wrote about him in the "Italian-American Supplement to Christopher Columbus": a cloak of silence and oblivion descended on the figure of Pietro Floridia. On August 16, 1932, in New York, in room 554 of the Harkness Presbiterian Hospital, the Sicilian musician, after a delicate surgery, closed his eyes forever. Until the end he fought and hoped for his artistic resurrection, or at most, that his music would survive him. Performance by Orchestra Sinfonica dell'Opera di Donetsk, under the baton of Silvano Frontalini.
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