Leopoldo Mugnone Vidéos
chef d'orchestre et compositeur d'opérettes et d'opéras
- royaume d'Italie
- compositeur ou compositrice, chef ou cheffe d'orchestre
Dernière mise à jour
2024-05-07
Actualiser
Bonini Francesco Maria Bonini Beniamino Carelli Carelli Mercadante Foggia Vargas Giuseppe Verdi Amilcare Ponchielli Jules Massenet Lina Cavalieri Cavalieri Francesco Cilea Solomiya Krushelnytska Umberto Giordano Ruggero Leoncavallo Leopoldo Mugnone Lorenzo Filiasi João Arroyo Arroyo Eschenbach Christoph Willibald Gluck Hans Sachs Costanzi Maschera Amazon Theatre Cairo Opera House Odessa Opera Ballet Theater Teatro Colón Teatro Massimo Scala Teatro Lirico Teatro San Carlo Teatro Nacional São Carlos Teatro Regio Teatro Regio Parma Teatro Real Madrid Teatro Costanzi Teatro Comunale Bologna Arena Verona Arena Verona Festival Fenice 1865 1896 1897 1898 1899 1900 1901 1902 1903 1905 1906 1907 1908 1909 1911 1912 1913 1918 1919 1922 1923 1927 1930
Francesco Bonini - Andrea Chenier - Son sessant'anni - Fonotipia 39740 enregistré le 30 juin 1906 Francesco Maria Bonini (1865 – 11 January 1930) was an Italian baritone who had a major international opera career from 1896 through 1927. He was one of the first wave of musicians to be recorded, having made a number of recordings with Fonotipia Records in Milan in 1905–1906. Born in Naples, Bonini studied singing with Beniamino Carelli at the Conservatory of San Pietro a Majella in his native city. He made his stage debut in 1896 at the Teatro Mercadante in Foggia as Don Carlo di Vargas in Giuseppe Verdi's La forza del destino. In 1897–1898 he made appearances at the Amazon Theatre in Brazil, the Valletta Royal Opera House in Malta and at the Cairo Opera House in Egypt. In 1899 Bonini returned to Italy to appear in operas in Brescia and Cremona. He sang at the Odessa Opera and Ballet Theater in 1900 and 1902 and in 1901 he was committed to the Teatro Colón in Buenos Aires. In 1903 he made his debuts at the Teatro Massimo in Palermo and at La Scala in Milan, the latter in the role of Arnoldo in Amilcare Ponchielli's I Lituani . On 17 October 1903 he portrayed the role of Athanaël in the Italian premiere of Jules Massenet's Thaïs at the Teatro Lirico Internazionale in Milan opposite Lina Cavalieri in the title role. On 19 December 1903, Bonini made his debut at the Teatro di San Carlo in Naples as Michonnet in that house's first staging of Francesco Cilea's Adriana Lecouvreur with Solomiya Krushelnytska in the title role. He remained committed to that theatre through 1905, portraying such roles as Walitzin/Commissario in Umberto Giordano's Siberia and Johannes Rathenow in the Italian premiere of Ruggero Leoncavallo's Der Roland von Berlin. He also made appearances in the world premiere of Leopoldo Mugnone's Vita Brettona and the Naples premiere of Lorenzo Filiasi's Manuel Menendez. From 1905–1907, Bonini was engaged at the Teatro Nacional de São Carlos in Lisbon. While there he appeared in the world of premiere of João Arroyo's Amor de Perdição. He sang at the Teatro Regio di Parma in 1907–1908, portraying such roles as Carlo Gérard in Andrea Chénier, David in L'amico Fritz, Kurwenal in Tristan und Isolde, and Rinaldo in Amica among others. From 1909–1911 he appeared mostly at the Teatro Regio in Turin in such roles as Kurwenal, Wolfram von Eschenbach in Tannhäuser, and the title roles in Boris Godunov, Falstaff, Hérodiade, and Rigoletto. In 1911–1912 Bonini returned to La Scala where he was seen as Hidraot in Christoph Willibald Gluck's Armide, King Raimondo in Isabeau, and Hans Sachs in Die Meistersinger von Nürnberg. He returned to the Teatro Regio in Turin in 1913 where he assailed the role of Friedrich of Telramund in Lohengrin for the first time. That same year he made a few appearances at the Teatro Real in Madrid. Bonini spent the latter part of his career working as a freelance artist, mainly in Italy. In 1918 he made his first appearance at the Teatro Costanzi in Rome as Falstaff. That same year he had a major success at the Teatro Comunale di Bologna as Germont in La traviata with Ester Mazzoleni as Violetta. He returned to Bologna numerous times through 1922 in such roles as Comte de Nevers in Les Huguenots, Rigoletto, and Wolfram. In 1919 he portrayed Amenofi in Amilcare Ponchielli's Il figliuol prodigo at the Arena di Verona Festival. In 1922 he sang Germont at La Fenice and in 1923 he sang Nevers and Germont at the Teatro Municipale Piacenza. He also made several appearances at the Teatro Regio di Parma in the 1920s. Bonini retired from the stage in 1927, after which he lived in Milan where he taught singing. Other roles which he performed during his career included Alfonso in La favorita, Amonasro in Aida, Barnaba in La Gioconda, Nélusko in L'Africaine, Renato in Un ballo in maschera, Scarpia in Tosca, and Valentin in Faust. He died in Milan at the age of 65. Source : wikipedia
Leopoldo Mugnone Giuseppe Anselmi 1858 1890 1920 1941
Leopoldo Mugnone (29 September 1858 in Naples – 22 December 1941 in Capodichino, Naples) was an Italian conductor, especially of opera, whose most famous work was done in the period 1890-1920, both in Europe and South America. Performers: Giuseppe Anselmi. Piano: ? Painting: Bazille, Frédéric - Retrato de Edmond Maitre.
Leopoldo Mugnone Adamo Didur 1906
Fonotipia № A 1343 (39490). Canzone di Papà Silvestro «Vivea nel tempo». Basso Adamo Didur, Milano. Con accompagnamento di Violino. Recorded in Milan, Italy. February 26, 1906
Donizetti Bellini Pietro Mascagni Leopoldo Mugnone Dino Borgioli Grieg Verdi Mendelssohn Lippi 1885 1900 1926 1929 1949 2019
COMPOSER Giovanni Giovale +••.••(...)) In Sicily, around 1900, there were many amateurs and professionals capable of astonishing an audience with their musical capabilities. These performers learned the art of music in their own guild, neighbourhood or club and played for occasional listeners rather than in great concert halls. They were sometimes named ‘orecchisti’ because they played by ear only and without sheet music. Giovale +••.••(...)) was brought up in this cultural background and within a short time he became one of the greatest. Giovale began learning to play mandolin at 10 years old. It is said he was captured by the beauty of the instrument after attending one of the short concerts performed at a barbershop in Via Plebiscito (Sicily – Catania) around closing time. Later on, he learnt playing banjo, guitar and also violin at the boarding school of Cruciferi Street. As a violinist, he became a member of the Orchestra of Bellini Theatre. Although a multi-instrumentalist, Giovale preferred the mandolin above all. During his musical career he played before and/or collaborated with many great maestri such as composer Pietro Mascagni, director Leopoldo Mugnone and tenor Dino Borgioli; all were amazed by his musical skills on the mandolin. Borgioli even invited Giovale to go on a tour with him to Spain. His fame as a musician and his love for travelling brought him all over the world: besides Spain, he also went to Austria, England, Africa, and the United States. From 1926 to 1929 he resided in New York. During this period he attained a high reputation for his concerts and recordings. MUSIC His repertoire included works by Mozart, Grieg, Bellini, Verdi, Mendelssohn, Mascagni and many works of his own. He wrote many works for mandolin, mostly polkas, waltzes and mazurkas. Many recordings have survived but his sheet music is hard to find. His cultural background is reflected in his style of playing as well as his way of composing: famous melodies such as ‘Chi me frena’ from Donizetti’s Opera ‘Lucia di Lammermoor’ were used by adding resourceful accompaniments and beautiful variations. MANDOLIN Sebastiaan de Grebber plays a Lorenzo Lippi mandolin from 2019. INFO (http•••) (http•••) (http•••)
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