Manfredi Polverosi Vidéos
chanteur d'opéra italien
Commémorations 2025 (Décès: Manfredi Polverosi)
- ténor
- opéra
- Italie, royaume d'Italie
- artiste lyrique, acteur ou actrice
Dernière mise à jour
2024-05-30
Actualiser
Luisa Tetrazzini Claudia Muzio Lehmann Caruso Schipa Verdi Manfredi Manfredi Polverosi Ventura Fausta Labia Labia Lucrezia Bori Mercedes Capsir Giuseppe Anselmi Anselmi Rosina Storchio Riccardo Stracciari Sobinov Carpi Mattia Battistini Attilio Salvaneschi Angelis Cara Giovanni Zenatello Ferruccio Corradetti Frasi Potenza Scala 1815 1905 1906 1909 1910 1911 1913 1914 1917
------------------------------------- Enjoy these glimpses into the Belle Époque of a century ago - with LA TRAVIATA! More LA TRAVIATA 78 rpm records (Luisa Tetrazzini, Claudia Muzio, Lilly Lehmann, de Lucia, Caruso, Schipa, de Luca): (http•••) / LA TRAVIATA (Verdi) ATTO I 0:00 Libiamo, libiamo ne' lieti calici - Manfredi Polverosi with Maria Perosio (1917) Fonotipia 69302 3:20 Un dì, felice, eterea - Elvino Ventura with Fausta Labia (Milano 1905-09-01) Fonotipia 39332 xPh 343 6:21 Ah, fors'è lui... Sempre libera - Lucrezia Bori (1910) Act 1 finale, sung by Lucrezia Bori in 1910 for Edison Records 13:03 Sempre libera - Mercedes Capsir (Barcelona 1914) Disco Odéon - Muestra regalo ATTO II 16:08 Lunge da lei... De' miei bollenti spiriti - Giuseppe Anselmi (Milano 1910-01-17) Fonotipia 62470 XPh 1257 19:43 Pura siccome un angelo - Rosina Storchio with Riccardo Stracciari (Milano 1906-02-19) Fonotipia, unpublished (XPh1625) Questo è il celeberrimo duetto della Traviata con Rosina Storchio , opera della quale furono leggendari protagonisti alla Scala nel 1906 (con Sobinov) e nel 1913 (con Carpi) 23:14 Pura siccome un angelo - Fernanda Chiesa with Riccardo Stracciari (Milano 1914-06-08) Fonotipia: 23:14 Pura siccome un angelo 69159 XPh5084 26:40 È grave il sacrificio 69160 XPh5085 30:15 Dite alla giovine 69161 XPh5086 34:02 Imponete... Morrò, la mia memoria 69162 XPh5087 37:54 Di Provenza il mar - Riccardo Stracciari (Milano 1906-04-20) Fonotipia 39625 XPh1810 41:12 Di Provenza il mar - Mattia Battistini +••.••(...)) His Master's Voice 052317 44:47 Ogni suo aver tal femmina ("Scena della Borsa") - Attilio Salvaneschi with Fernanda Chiesa and Filippo Biancofiore (1910?) Odéon 110251/52 51:35 Invitato a qui seguirmi ("Scena della Borsa") - Fernando De Lucia with Angela De Angelis (Napoli 1917-09-16) Phonotype 1815 M ATTO III 55:45 Addio, del passato - Lucrezia Bori (1914) Victor 58:58 Parigi, o cara... Ah, non più, a un tempio... Gran Dio! morir sì giovane - Giovanni Zenatello with Linda Cannetti (Milano 1911-05-24) Fonotipia: Parigi, o cara 92813 XPh4687 Gran Dio! morir sì giovane 92814 XPh4688 1:05:53 Prendi; quest'è l'immagine - Giorgina Caprile with Giuseppe Krismer and Ferruccio Corradetti (Milano 1909-07-01) Fonotipia 92598 / Traviata è un titolo che non è mai uscito dal repertorio e anzi ha sempre attratto schiere di cantanti riconducibili alle più svariate categorie e tipologie vocali, dai soprani leggeri a quelli di coloratura, fino ai lirici e ai lirico-spinti, in alcuni casi anche ai drammatici. Un'autentica diva, perfettamente a proprio agio nel canto di agilità quanto nell'adesione musicale ed espressiva alle richieste della partitura, risolve senza eccessivi problemi la parte di Violetta, e anzi trionfavi, dimostrando la grandezza della propria arte, libera di estrinsecarsi attraverso qualità del legato, brillantezza della gamma acuta, precisione nell'esecuzione delle ornamentazioni, eleganza nel porgere le frasi, capacità di fraseggio e quant'altro costituisca il bagaglio della grande primadonna di ascendenza belcantistica alle prese con la figura dell'infelice cortigiana parigina. Cantare con voce squillante e sicura sui primi acuti, oppure con timbro malioso e malinconico al centro, costituisce condizione necessaria, ma non sufficiente, per risolvere con successo una parte come quella di Violetta. L'unione di potenza e ampiezza vocale, nobiltà di fraseggio, varietà e pertinenza di accento, congiunta alla capacità di fronteggiare un tessuto orchestrale spesso denso e una scrittura vocale all'insegna della massima tensione, è l'unico strumento che permetta di venire a capo di un simile, davvero "traviato" personaggio. /
Giulietta Simionato Manfredi Manfredi Polverosi Hen Mascagni Teatro San Carlo Maggio Musicale Fiorentino Arena Verona Opéra Comique 1909 1910 1934 1951 1983 2010
Not a great deal of information is available regarding the career of the Italian dramatic tenor Achille Braschi +••.••(...)). Born in Rome, he began studying with Manfredi Polverosi at the age of 21 and made his official debut in Bari as Don Alvaro in La Forza del Destino in 1934. He seems to have bounced around the Italian provinces for quite a number of years with appearances in Trieste, Naples, Palermo, Rome, Milan, Florence, Leghorn and Verona. Braschi’s international career didn’t begin to build until after he passed the age of 40. By the 1950s, he found himself in demand throughout the European continent, appearing in Paris, Lyon, Bordeaux, Nice, Marseille, Brussels, London, Vienna, Graz, Geneva, Madrid, Coruña and Barcelona. His vast repertoire of over 50 roles included Radames in Aïda, Manrico in Il Trovatore, Cavaradossi in Tosca, Calaf in Turandot, Raoul in Les Huguenots, Arnoldo in Guillaume Tell, Eléazar in La Juive, Canio in Pagliacci, Turiddu in Cavalleria Rusticana, Osaka in Iris, Enzo in La Gioconda and the title roles in Andrea Chénier, Il Piccolo Marat and Otello. He also appeared successfully throughout his career in concert and recital. Following his retirement from the stage in the late 1960s, he became a respected vocal coach in his native Rome, where he passed away in 1983. By today’s standards (as well as the standards of Braschi’s day), the tenor’s rapid, machine-gun vibrato may seem like the product of a bygone era. His interpretations might sound provincial and unsubtle. There may be too little nuance in his singing for some tastes. However, the fact remains that Achille Braschi possessed a massive instrument with ringing top notes that must have been absolutely thrilling in the theater. He was an exciting and reliable singer (he frequently went on at short notice for indisposed colleagues) whose sturdy voice kept him before the public until he was nearly 60. Sadly, Braschi is barely remembered today. Although he appeared at such major operatic venues as Naples’ Teatro San Carlo, Maggio Musicale Fiorentino, Rome’s Teatro dell’Opera, the Arena di Verona and the Opéra-Comique, Braschi’s was primarily a provincial career. On top of that, his recordings are as scarce as hen’s teeth. A complete Cavalleria Rusticana, a partial Aïda and an impossible to find album of arias for the obscure French label Orbis are the extent of Braschi’s recorded legacy. Here, Braschi joins mezzo-soprano Giulietta Simionato +••.••(...)) for the duet, "Tu qui, Santuzza?", from Mascagni's Cavalleria Rusticana. This recording was made for the Cetra label in Milan in 1951. Arturo Basile conducts the Cetra Orchestra.
Manfredi Manfredi Polverosi Hen Mascagni Teatro San Carlo Maggio Musicale Fiorentino Arena Verona Opéra Comique 1909 1934 1951 1983
Not a great deal of information is available regarding the career of the Italian dramatic tenor Achille Braschi +••.••(...)). Born in Rome, he began studying with Manfredi Polverosi at the age of 21 and made his official debut in Bari as Don Alvaro in La Forza del Destino in 1934. He seems to have bounced around the Italian provinces for quite a number of years with appearances in Trieste, Naples, Palermo, Rome, Milan, Florence, Leghorn and Verona. Braschi’s international career didn’t begin to build until after he passed the age of 40. By the 1950s, he found himself in demand throughout the European continent, appearing in Paris, Lyon, Bordeaux, Nice, Marseille, Brussels, London, Vienna, Graz, Geneva, Madrid, Coruña and Barcelona. His vast repertoire of over 50 roles included Radames in Aïda, Manrico in Il Trovatore, Cavaradossi in Tosca, Calaf in Turandot, Raoul in Les Huguenots, Arnoldo in Guillaume Tell, Eléazar in La Juive, Canio in Pagliacci, Turiddu in Cavalleria Rusticana, Osaka in Iris, Enzo in La Gioconda and the title roles in Andrea Chénier, Il Piccolo Marat and Otello. He also appeared successfully throughout his career in concert and recital. Following his retirement from the stage in the late 1960s, he became a respected vocal coach in his native Rome, where he passed away in 1983. By today’s standards (as well as the standards of Braschi’s day), the tenor’s rapid, machine-gun vibrato may seem like the product of a bygone era. His interpretations might sound provincial and unsubtle. There may be too little nuance in his singing for some tastes. However, the fact remains that Achille Braschi possessed a massive instrument with ringing top notes that must have been absolutely thrilling in the theater. He was an exciting and reliable singer (he frequently went on at short notice for indisposed colleagues) whose sturdy voice kept him before the public until he was nearly 60. Sadly, Braschi is largely forgotten today. Although he appeared at such major operatic venues as Naples’ Teatro San Carlo, Maggio Musicale Fiorentino, Rome’s Teatro dell’Opera, the Arena di Verona and the Opéra-Comique, Braschi’s was primarily a provincial career. On top of that, his recordings are as scarce as hen’s teeth. A complete Cavalleria Rusticana, a partial Aïda and an impossible to find album of arias for the obscure French label Orbis are the extent of Braschi’s recorded legacy. Here, Braschi sings Turiddu's opening serenade, "O Lola" from Mascagni's Cavalleria Rusticana. This recording was made in Milan for the Cetra label in 1951 with Arturo Basile at the podium.
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