Vittorio Rieti Vidéos
compositeur italien, naturalisé américain en 1944
Commémorations 2024 (Décès: Vittorio Rieti)
- Italie, royaume d'Italie
- chorégraphe, compositeur ou compositrice, professeur ou professeure de musique
Dernière mise à jour
2024-05-02
Actualiser
Mattia Battistini Jules Massenet Rieti Thomas Hampson 1856 1902 1911 1928 1999 2004
Jules Massenet - WERTHER "Ah! non mi ridestar" (Pourquoi me reiveller) - disco acustico Gramophone Company matrice 263ai / numero di catalogo 52308 / data dell'incisione 2 giugno 1911. Baritono italiano MATTIA BATTISTINI (Roma 27 febbraio 1856 - Rieti 7 novembre 1928) Tale era il prestigio di MATTIA BATTISTINI da permettersi di chiedere al compositore Jules Massenet, di approntargli una versione per baritono per il ruolo di Werther. Richiesta che il compositore accolse, curando personalmente un nuovo adattamento dell’opera con il ruolo dello sfortunato protagonista in chiave di baritono. L’opera nella nuova trasposizione fu presentata per la prima volta nel 1902 a San Pietroburgo, con il grande baritono come protagonista. Questa versione, detta appunto del “1902”, è stata ripresa anche se raramente in epoca moderna. Possiamo ad esempio qui ricordare due produzioni con il baritono statunitense Thomas Hampson (Metropolitan N.Y. 1999 e Parigi Teatre du Chatelet 2004) di quest’ultima produzione esiste anche una registrazione in DVD.
Mattia Battistini Tosti Luigi Mancinelli Augusto Rotoli Antonio Cotogni Donizetti Rossini Vincenzo Bellini Marcella Sembrich Francesco Marconi Reszke Adelina Patti Mario Ancona Giuseppe Campanari Antonio Scotti Pasquale Amato Jules Massenet Rieti Liceo Teatro Argentina Covent Garden Teatro San Carlo Scala Mariinsky Bolshoi Metropolitan Opera 1856 1878 1881 1883 1886 1888 1892 1902 1905 1906 1907 1908 1911 1914 1918 1924 1927 1928
Battistini sings 'La Serenata,' recorded in Milan on 7 June 1911. From Wikipedia: Mattia Battistini (27 February 1856 – 7 November 1928) was an Italian operatic baritone. He was called 'King of Baritones.' Battistini was born in Rome...[He] attended the Collegio Bandinelli and later the Istituto dell' Apollinare. Battistini dropped out of law school to study with Emilio Terziani (who taught composition) and with Venceslao Persichini (professor of singing) at the Accademia Nazionale di Santa Cecilia—then the Liceo Musicale of Rome. [He] worked with conductor Luigi Mancinelli and the composer Augusto Rotoli, and he consulted with baritone Antonio Cotogni, in an effort to refine his technique... A 22-year-old Battistini made his operatic début at the Teatro Argentina, Rome, as Alfonso in Donizetti's La Favorita on...9 November 1878... During the first three years of his professional career he toured Italy... In 1881 he went to Buenos Aires for the first time, touring South America for more than 12 months. On his return trip, he appeared in Barcelona and Madrid where he sang Figaro in Rossini's comic masterpiece Il Barbiere di Siviglia. His success in this was enormous and it marked the beginning of his ascent to major operatic stardom. In 1883, he undertook his first visit to the Royal Opera House at London's Covent Garden, where he appeared as Riccardo in Vincenzo Bellini's I Puritani in a stellar cast containing Marcella Sembrich, Francesco Marconi and Edouard de Reszke. He also sang opposite Adelina Patti, the leading soprano of her era, in other Covent Garden productions. In such exulted and entrenched company there was not much attention paid to a new, unheralded young baritone! However, he would receive much greater réclame in London during subsequent Covent Garden appearances in 1905–1906, when the now mature performer established himself as a darling of Edwardian-era high society due to his dashing vocalism and polished off-stage demeanour. Unlike his initial London experience, when Battistini made his debut at the important Teatro San Carlo in Naples in 1886, he scored an immediate triumph. Two years later, he once more sailed to Buenos Aires to fulfil a series of singing engagements; but this proved to be his last trans-Atlantic excursion, and he never appeared again in South America. He avoided North America, too, despite receiving overtures from the management of the New York Metropolitan Opera, where Battistini's core repertoire was allocated in his absence to the Italian baritones Mario Ancona, Giuseppe Campanari, Antonio Scotti and, after 1908, Pasquale Amato... 1888... proved to be the year of his début at Italy's foremost opera house—La Scala, Milan. La Scala's audiences acclaimed him and he was re-engaged for the next season. From 1892 onwards, Battistini established himself as an immense favourite with audiences at Russia's two imperial theatres in Saint Petersburg and Moscow: the Mariinsky and the Bolshoi respectively. He returned to Russia regularly, appearing there for 23 seasons in total, and touring extensively elsewhere in eastern Europe, using Warsaw as his stepping-stone. He would journey to Warsaw, Saint Petersburg, Moscow and Odessa like a prince, travelling in his own private rail coach with a retinue of servants and innumerable trunks containing a vast stage wardrobe renowned for its elegance and lavishness. Indeed, the composer Jules Massenet was prepared to adjust the role of Werther for the baritone range, when Battistini elected to sing it in Saint Petersburg in 1902, such was the singer's prestige. The industrious Battistini also appeared with some regularity in Milan, Lisbon, Barcelona, Madrid, Berlin, Vienna, Prague, Budapest and Paris (where he sang for the first time in 1907). But his many social connections in Russia, and the favour that he enjoyed with the imperial family and the nobility, ensured that Russia—more than perhaps even Italy—became his artistic home prior to the outbreak of the First World War, in 1914... [His]career after the war's conclusion in 1918 was confined to Western Europe. Battistini formed his own company of singers following the 1914–1918 war. He toured with them and appeared frequently in concerts and recitals. He sang in England for the final time in 1924, and gave his last concert performance one year before his death. His voice was reportedly still steady, responsive and in good overall condition. His last singing engagement occurred in Graz, Austria, on 17 October 1927. He withdrew to his estate at Collebaccaro di Contigliano, Rieti, dying there from heart failure on 7 November 1928. Battistini also taught voice in later years... I transferred this side from a 1920s DGG 'Grammophon' pressing
Robert Thompson Darius Milhaud Nadia Boulanger Arthur Honegger Vittorio Rieti Rudolph Ganz Kyle Gann Kenneth Schermerhorn Rubin London Symphony Orchestra Milwaukee Symphony Orchestra 1930 1976 1978 1980 1994
00:00 - I. "The Edge of Space" Fantasy / Bassoon: Robert Thompson Conductor: Geoffrey Simon Orchestra: London Symphony Orchestra Year of Recording: 1994 / "John Downey was born in Chicago where he received his early music education which included a healthy exposure to American jazz. He went on to study with Darius Milhaud, Nadia Boulanger, Arthur Honegger, Vittorio Rieti, and Rudolph Ganz. He has an impressive list of grants, awards, and commissions to his credit, not the least of which was being named Chevalier de l'Ordre des Arts et des Lettres by the French government, in 1980. Downey's music is characterized by free-flowing sections that evolve from one another, frequently imbued with what he calls "undercurrent jazz." In his orchestral compositions, he shows a strong feeling for instrumental color, a pervasive sense of structure, and a rich harmonic palette. His output encompasses music for a wide variety of media, from songs and unaccompanied solos to electronic tape pieces with light sculpture and partially controlled improvisation. In the words of Fanfare reviewed, Kyle Gann, "Downey is a musician for whom "isms" seem not to exist. His music is both tonal and dissonant, lyrical and yet too thorny to fall into categories of either conservatism, new romanticism, or post-minimalism. There are no gimmicks here, no systems, and little to indicate whether the pieces were written in 1930, 1980, or yesterday ... his music is filled with solid musicianship." The Fantasy was commissioned by the National Endowment for the Arts in cooperation with The Milwaukee Symphony in 1978, and received its premiere on 17 September of that year by the Milwaukee Symphony Orchestra with Kenneth Schermerhorn as conductor and Stephen Basson, its dedicatee, as soloist. No other work in the repertoire displays the bassoon in so opulent a setting. Scale and proportion play an important role in this work of nearly twenty minutes length calling for a full symphonic accompaniment. Problems of balance in such a score are enormous, and presented a great challenge for the composer which he met head on. His success in this regard may be measured by the commission he received subsequently for an equally challenging work, his Concerto for Double Bass and Orchestra. Both works are enjoying a vigorous artistic existence. An Introduction opens the work with dark, sweeping gestures in the low strings that quickly envelop the entire orchestra. A rocking triplet figure gradually comes to the fore in the winds and the section closes with a massive eight-note chord spread over five octaves. The solo bassoon is put through all its paces, with wide leaps, flowing melodies and repeated-note passages in every register presenting a wide range of bassoonist's techniques while always continuing the organic growth of the musical material. A broad maestoso in the winds is then completed by the strings. At this point a marvellous sound occurs, one that makes the hairs stand on edge and is undoubtedly the impetus for the title, The Edge of Space. Over a pyramided B-D sharp-F sharp sustained in the strings (who are directed to insert mutes progressively during these bars), a chord is sounded by eight tuned crystal glasses resonated by the players running their fingers around the rims. Against that ethereal curtain of mystical sound a haunting tune is projected by the bassoon. There are too few such moments in music not to savour this exquisite colouristic timbre. The following section, transparent as chamber music, features a duo for solo violin and oboe supported by harp, woodwinds and strings. That gives way in turn to a section for woodwinds alone, one for massed brass homophony and a busy, random flurry through the orchestral choirs. A new mood (Jazzy-Cool') is set by a three-piece combo of bassoon, vibes and bass, which then passes to a melody marked Lyrico that is reminiscent of the bassoon's initial entry. The addition of an electric guitar to the score changes the colour yet again and leads back to the bassoon's last, haunting solo, marked Misterioso, accompanied by the celeste. The material grows and broadens and the thick chords heard earlier in the piece are restated at ever more subdued levels until the Fantasy ends in a dark, hushed whisper." (Emanuel Rubin & Irusha Czuszakivina) / Note: The score from the thumbnail (piano reduction) is not the one used for this video. The thumbnail was chosen to make the video more accessible, as opposed to a full-length vertical page. / COPYRIGHT Disclaimer, Under Section 107 of the Copyright Act 1976. Allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.
Vittorio Rieti Respighi Casella 1898 1917 1925 1939 1940 1944 1948 1950 1957 1958 1960 1994
Vittorio Rieti (Italian: [ˈrjeːti] (About this sound listen); January 28, 1898 – February 19, 1994) was a Jewish-Italian composer. Born in Alexandria, Egypt, Rieti moved to Milan to study economics. He subsequently studied in Rome under Respighi and Casella, and lived there until 1940. In 1925, he temporarily moved to Paris and composed music for George Balanchine's ballet for Diaghilev's Ballets Russes, Barabau.[2] He met his wife in Alexandria, Egypt. He was a cousin of actor Vittorio Rietti. He emigrated to the United States in 1940, becoming a naturalized American citizen on the 1st of June 1944. He taught at the Peabody Conservatory of Music in Baltimore (1948–49), Chicago Musical College (1950–54), Queens College, New York (1958–60), and New York College of Music (1960–64). He died in New York on 19 February 1994. His music is tonal and neo-classical with a melodic and elegant style. ヴィットリオ・リエティ(Vittorio Rieti, 1898年1月28日 – 1994年2月19日)は、イタリアの作曲家。 エジプトのアレクサンドリアにイタリア移民の第3世代として生れる。1917年にイタリアに渡り、ミラノで経済学を学ぶかたわら、ピアノをジュゼッペ・フルガッタに、作曲をオットリーノ・レスピーギやジャン・フランチェスコ・マリピエロ、アルフレード・カゼッラに師事した。1925年にパリに留学して知見を広める。 1939年に戦火を避けてニューヨーク・シティに渡り、1944年にアメリカ合衆国に帰化した。ニューヨーク州のハンター・カレッジやボルチモア、シカゴなどで教鞭を執った。 フランス六人組に感化されて新古典主義音楽を信奉し、調的で旋律的魅力に富む優雅な作曲様式を貫いた。
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