César Vezzani Vidéos
artiste lyrique
- ténor
- France
Dernière mise à jour
2024-04-30
Actualiser
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
César Vezzani Agnès Borgo Grétry Louis Musy Opéra Comique Toulon Opera Odeon 1879 1888 1911 1912 1914 1919 1925 1933 1946 1948 1951 1958
César Vezzani +••.••(...)) was a Corsican tenor, born into an impoverished family in the town of Bastia and raised in Toulon, France. Vezzani, an avid singer from an early age, traveled to Paris at age twenty in search of a voice teacher. He auditioned for the Conservatory there, greatly impressing the faculty with his fine natural instrument. In spite of the fact that he was barely literate and spoke French in an accent of the lowest class, he was awarded a scholarship. Vezzani was placed in the class of soprano and fellow Corsican Agnès Borgo +••.••(...)). Under the tutelage of Borgo, the young tenor solidified his technique, polished his diction and began to master the great operatic roles. Within three years, he completed his coursework and began auditioning for work. He was offered a contract by the Opéra-Comique, where he made his debut in the title role of Grétry’s Richard Coeur de Lion on December 17, 1911. Vezzani became quite popular at the Opéra-Comique and spent the next three seasons there in a variety of roles. In the summer of 1914, Vezzani and Borgo (now husband and wife) were invited for a series of guest appearances with Boston Opera, followed by a U.S. tour. Unfortunately, this opportunity was never realized. In late July, war broke out in Europe and Vezzani was called to serve in the French army. He was deployed to the front, was wounded in action and spent a good part of the war recuperating in an army hospital. In 1919, the tenor returned to the Opéra-Comique after a five-year absence and went about picking up his career. What should have been a major international career wound up being a primarily provincial affair. After leaving the Opéra-Comique in the mid-1920s, Vezzani launched into a series of appearances in the theaters of such cities as Marseille, Bordeaux, Toulon, Brussels, Beziers, Oran and Algiers. However, the tenor found himself appearing in secondary venues most of the time and was never able to resume the momentum of his early career. Over the course of the next two decades, Vezzani crisscrossed the European and North African provinces, singing the most demanding repertoire…Manon, Werther, Faust, Herodiade, Sigurd, Dinorah, L’Africaine, Les Huguenots, La Juive, Carmen, Guillaume Tell, La Favorite, Pagliacci, Cavalleria Rusticana, Tosca, Il Trovatore, Aïda, Otello…sometimes barely taking a day between engagements. Yet, the voice never showed signs of flagging and remained amazingly intact. In 1946, the fifty-eight-year-old tenor was invited back to the Opéra-Comique by Louis Musy, Vezzani’s former colleague and now director of the theater. The invitation was not to appear with the company, however, but to audition on the stage of his early triumphs. The veteran tenor swallowed his pride, accepted the invitation and sang the audition for Musy and a panel of administrators. Vezzani was not engaged. Following his disappointing reception in Paris, Vezzani was given a contract as principal tenor at the Toulon Opera. During a rehearsal of Sigurd in the fall of 1948, the sixty year old tenor collapsed and was taken to a local hospital. Vezzani had suffered a massive and debilitating stroke, one from which he never recovered. He was taken to his birthplace, Bastia, where he lingered, totally paralyzed, for three years. His meager savings were soon depleted and he found himself destitute. Former colleagues came to his aid and helped to support him during his illness. Eventually, he was moved to the hospital in Marseille where he passed away on November 11, 1951 at the age of 63. There are many possible reasons that Vezzani never had the career he deserved. The outbreak of WWI caused a lengthy interruption in his career during a crucial early phase. With very few exceptions, the tenor’s entire repertoire was deeply rooted in mid-19th century French opera, which made him seem old fashioned and out of vogue. Vezzani could also be touchy, obstinate and difficult to get along with (a fact that his three ex-wives probably could have attested to). Vezzani did, however, enjoy a lengthy and productive career in the recording studio. Between 1912 and 1933, the tenor recorded some 170 sides for Odeon and H.M.V. These recordings showcase a remarkable instrument. Vezzani’s voice was a true dramatic tenor with an easy, ringing top, yet capable of sustained lyricism. His artistry, while not always subtle, is precise. There is no scooping or slurring of notes, no overly long held top notes, and yet, Vezzani’s performances are never anything short of thrilling. Here, Vezzani sings “Vois ma misère, hélas!” from Saint-Saëns’ opera Samson et Dalila. This recording was made in Paris for H.M.V. in February of 1925.
Alessandro Bonci Maria Pia Pagliarini Maschera Rossini Carlo Pedrotti Francesco Tamagno Coen Sedie Fenton Giuseppe Verdi Vincenzo Bellini Enrico Caruso Costanzi Donizetti Gluck Puccini Vezzani Celestina Boninsegna Niccolò Paganini Metropolitan Opera Manhattan Opera Company New York City Opera Scala Covent Garden Teatro Regio Teatro Costanzi Liceo 1870 1896 1900 1902 1903 1905 1906 1907 1908 1910 1913 1914 1920 1921 1922 1923 1925 1926 1930 1935 1940
Alessandro Bonci et Maria Pia Pagliarini - Un Ballo in Maschera - Non sai tu - Columbia GQX 10223 enregistré le 15 décembre 1926 Alessandro Bonci (February 10, 1870 – August 10, 1940) was an Italian lyric tenor known internationally for his association with the bel canto repertoire. He sang at many famous theatres, including New York's Metropolitan Opera, Milan's La Scala and London's Royal Opera House, Covent Garden. A native of Cesena, Romagna, Bonci started out as an apprentice shoemaker. Luckily he secured a music scholarship to the Rossini Conservatory in Pesaro, working for five years with Carlo Pedrotti (the teacher of the heroic tenor Francesco Tamagno) and then Felice Coen. He also had private singing lessons in Paris with the retired baritone Enrico Delle Sedie. Bonci made his debut in Parma in 1896, singing the role of Fenton in Giuseppe Verdi's Falstaff at the Teatro Regio. Such was his success that before the end of his first season he was engaged to sing at La Scala, Milan, where he debuted in Vincenzo Bellini's I Puritani. Appearances elsewhere in Europe followed, including at London's Royal Opera House, Covent Garden. He first sang at Covent Garden in 1900 and he would return there in 1903 and 1907-08. On December 3, 1906, Bonci made his American debut with the Manhattan Opera Company in New York City; again the opera was I Puritani. He stayed two seasons with the company, becoming a popular competitor to Enrico Caruso, who was the rivalMetropolitan Opera's major drawcard. Bonci himself joined the Metropolitan Opera in 1908 and, in 1914, the Chicago Opera. He also made a transcontinental tour of America in 1910-11, giving song recitals. Bonci served in the Italian army during World War I, returning to America to tour for three seasons after the end of the conflict. He appeared again at the Metropolitan Opera, and sang in Chicago during the 1920-21 season. In 1922 and 1923 he served as the principal tenor of the Teatro Costanzi in Rome and conducted master classes across the United States the following year. After 1925, Bonci entered into partial retirement, devoting himself primarily to teaching in Milan. He still sang occasionally in public as late as 1935, however, and died in Viserba, Rimini, in 1940, at the age of 70. Bonci's artistry was captured on disc by the Fonotipia, Edison and Columbia companies. His first recordings were made in 1905 and his last in 1926, with a handful produced between these dates (in 1913). On them, he is heard to best advantage in operatic arias by Bellini, Rossini, Donizetti and Gluck, but he was also renowned in Europe and the United States for his Rodolfo in Puccini's La boheme, his Riccardo in Verdi's Un ballo in maschera and his Duke of Mantua in Verdi's Rigoletto. Bonci was a small man and his voice was not overly large, either; but it was sweet-toned, stylish and supple, with excellent high notes and an easy high C. He also sang with a marked vibrato which present-day listeners to CD transfers of his records might not find appealing. Source : Wikipédia Maria Pia Pagliarini (Modena, 1902 – 1935) è stata un soprano italiana. Fu allieva di Alessandro Vezzani al Liceo musicale di Bologna e poi di Celestina Boninsegna a Milano. Debuttò probabilmente nel 1921 al Conservatorio Niccolò Paganini di Genova in una rappresentazione dei Pagliacci (nel ruolo di Nedda). Sposatasi nel 1930 con il maestro Fugazzola, decise il ritiro dalle scene. Morì nel 1935
Juan Encina Yetzabel Arias Fernandez Vezzani Morini
Ensemble Triagonale beim Festival Trigonale - live "Más vale trocar" (Juan del Encina) aus "Cancionero de Palacio" Sopran - Yetzabel Arias Fernandez Countertenor - Paolo Costa Tenor - Vincenzo di Donato Bass - Ulfried Staber Zink - Josué Melendez Bombarde - Stefano Vezzani Renaissanceposaune - Mauro Morini Dulzian - Paolo Tognon Laute/Spanische Gitarre - Michele Pasotti Renaissanceperkussion - Alberto Macchini Orgelpositiv - Anton Gansberger Leitung - Michael Paumgarten Kontakt: •••@•••
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