gruppo musicale statunitense
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Vanni Marcoux Puccini Piero Coppola Verdi Boyer Gounod Rossini Barber Meyerbeer Massenet Raoul Gunsbourg Max Ollone Henry Février Honegger Ibert Debussy Offenbach Tales Hoffmann Mary Garden Scala Opéra Comique Teatro Colón Boston Opera Company Chicago Grand Opera Company Opera Chicago 1877 1894 1899 1905 1906 1908 1910 1912 1913 1914 1919 1927 1938 1948 1951 1962 1979
Vanni Marcoux sings 'Vecchia zimarra,' with orchestra conducted by Piero Coppola, recorded in Paris on 12 October 1927. From Wikipedia: Jean-Émile Diogène Marcoux (June 12, 1877 – October 22, 1962) was a French operatic bass-baritone, known professionally as Vanni Marcoux (sometimes hyphenated as Vanni-Marcoux). He was particularly associated with the French and Italian repertories. His huge repertoire included an estimated 240 roles and he won renown as one of the most memorable singing-actors of the 20th century. Jean-Émile Diogène Marcoux was born to a French father and an Italian mother in Turin, Italy. His mother gave him the nickname 'Vanni,' short for Giovanni, the Italian equivalent of Jean. After completing law studies, he decided to devote himself to music. He studied with Collini at the music conservatory in his hometown. He made his operatic debut in 1894, at the age of 17, as Sparafucile in Verdi's Rigoletto, in Turin. After further studies in Paris with Frédéric Boyer, he made his first stage appearance in France, at Bayonne, as Frère Laurent in Gounod's Roméo et Juliette, in 1899. Thereafter he toured a number of provincial theatres, which led to his debut at the Royal Opera House in London, as Basilio in Rossini's The Barber of Seville, in 1905, and at La Monnaie in Brussels, as Bertram in Meyerbeer's Robert le diable, in 1906. Vanni Marcoux made his Paris Opéra debut in 1908 as Méphisto in Gounod's Faust, and at La Scala in 1910, as the Old Hebrew in Saint-Saëns' Samson and Delilah. The same year, 1910, he sang for the first time Massenet's Don Quichotte at the 'Gaieté Lyrique' in Paris, a part that would soon become his signature role. For nearly 40 years, Vanni Marcoux was a familiar and much admired figure in Parisian musical life, mainly at the Opéra and the Opéra-Comique, where he created a number of roles in contemporary operas such as Raoul Gunsbourg's Lysistrata, Max d'Ollone's L'Arlequin, Henry Février's Monna Vanna and La Femme nue, Massenet's Panurge, and Honegger's and Ibert's L'Aiglon. Word of his many successes crossed the Atlantic, and he was invited to join the Boston Opera Company, where he made his debut in 1912 as Golaud in Debussy's Pelléas et Mélisande. This was followed by his debut at the Chicago Grand Opera Company in 1913, as the four villains in Offenbach's The Tales of Hoffmann, which is considered one of his greatest histrionic achievements. His success in America was partly due to the soprano Mary Garden, who had popularized French opera in Chicago, thus laying the groundwork for his visit. In October 1914, in the early stages of World War I, it was erroneously reported in the press that he had been killed on active service as a member of the French Army. In 1919, Vanni Marcoux appeared at the Teatro Colón in Buenos Aires, the most important opera house in South America. Among his more notable interpretations were Philippe II in Don Carlos, Rafaele in The Jewels of the Madonna, Iago in Otello, and the title character in Gianni Schicchi. Vanni Marcoux began teaching at the Paris Conservatory in 1938. He retired from the stage in 1948 and became director of the Grand Théâtre de Bordeaux. He held that post from 1948 to 1951. His death occurred in 1962. Vanni Marcoux's career was impressive for its longevity and the remarkably wide variety of operatic roles which it embraced. He possessed a clear, although not especially large voice, with a characteristic vibrato and a weight and timbre of almost tenor quality (see Scott, Record of Singing 1979). His French diction was praised for its clarity, and he was also acclaimed by music critics for the quality of his musicianship and his outstanding dramatic intelligence. He married Madeleine Morlay, an actress, in 1914. His wife was portraited by Antonio de La Gandara and one of the two works painted is exhibited in the Beauvais Museum (France) and on display on the website dedicated to La Gandara. I transferred this side from HMV VA 50.
Lucien Muratore Levine Reynaldo Hahn Hahn Lully Opéra Comique Palais Garnier Teatro Colón Boston Opera Company Chicago Grand Opera Company Chicago Civic Opera 1876 1902 1904 1913 1914 1915 1921 1922 1954
Lucien Muratore - Sérénade - M.Levine et A.Arnoux - extrait du film La Voix sans Visage - Pathé X 94397 Lucien Muratore (29 August 1876 - 16 July 1954, Paris) was a French actor and operatic tenor, particularly associated with the French repertory. He made his operatic debut in 1902, at the Opéra-Comique, creating the King in Reynaldo Hahn's La carmélite. He made his debut at La Monnaie in 1904, as Werther, and the following year at the Palais Garnier, as Renaud in Lully's Armide. He became principal French tenor with the Boston Opera Company, the Chicago Grand Opera Company (1913–1914), the Chicago Opera Association (1915–1921), and the Chicago Civic Opera (1922). He also appeared at the Teatro Colón in Buenos Aires.
Giovanni Zenatello Giacomo Puccini Enrico Caruso Francesco Tamagno Giuseppe Verdi Lily Pons Maria Gay Maria Callas Amilcare Ponchielli Scala Covent Garden Verona Arena Metropolitan Opera Boston Opera Company 1850 1876 1898 1904 1905 1906 1907 1908 1909 1910 1913 1914 1926 1931 1933 1936 1943 1947 1949
Giovanni Zenatello - Otello - Niun mi tema - Fonotipia 74103 enregistré le 09 juillet 1908 Giovanni Zenatello (2 February 1876 - 11 February 1949) was an Italian opera singer. Born in Verona, he enjoyed an international career as a dramatic tenor of the first rank. Otello became his most famous operatic role but he sang a wide repertoire. In 1904, he created the part of Pinkerton in Madama Butterfly. Zenatello showed musical promise from a young age. His singing teacher in Verona originally trained him as a baritone but he never felt comfortable in this range and later switched to the higher tenor register. Nonetheless, it was as a baritone that he made his professional debut at Belluno in 1898. His tenor debut—as Canio—did not come until the following year, at Naples. Zenatello's operatic career gathered momentum during the early years of the 20th century, and on February 17, 1904, he created the role of Pinkerton in the world premiere of Giacomo Puccini's Madama Butterfly at La Scala, Milan. La Scala was Italy's leading opera house, and he remained a member of its company of singers until 1907. He also sang at the Royal Opera House, Covent Garden, London, in 1905-06 and 1908–09; at the Manhattan Opera House in 1907-1910; and with the New York Metropolitan Opera company, on tour, replacing Enrico Caruso, in 1909. He was a member of the Boston Opera Company from 1909-1914 and sang often, too, in South America and Mexico and in various cities of Continental Europe. Zenatello's voice had matured into that of a clarion-voiced dramatic tenor during his La Scala years, and he succeeded Francesco Tamagno (1850–1905) as the world's greatest exponent of Giuseppe Verdi's Otello. He performed this extremely taxing role more than 300 times, beginning in 1908, and recorded highly acclaimed extracts from the work on 78-rpm discs. Zenatello returned to Covent Garden in 1926, singing Otello in a series of performances which were partly recorded live by HMV. After a final stage appearance (in New York City) in 1933, he retired from opera and taught singing and dabbled in the management of promising young singers. The coloratura soprano Lily Pons was a notable 'discovery' of Zenatello's in the twilight of his on-stage career. He took Pons under his wing and arranged for her an audition before the Met's general manager, which resulted in the young French-born singer making a successful New York debut in 1931. Later, however, they fell out. As to his private life, Zenatello lived with the Spanish mezzo-soprano Maria Gay from 1906 until her death in 1943. They were often described as husband and wife although they may never have actually married. He and Gay performed opposite each other on many occasions and settled down together in Manhatten in 1936. Back in 1913, Zenatello had been instrumental in having the Verona Arena, built originally by the ancient Romans, restored and turned into a world famous open-air venue for operatic performances. That same year the arena was used to mount a grand production of Aida, marking the centenary of Verdi's birth. In 1947, Zenatello arranged for a promising young soprano named Maria Callas to appear at the arena's Summer Festival in Amilcare Ponchielli's operatic masterpiece, La Gioconda. This appearance would give Callas invaluable exposure in Italy and help set her on the path to future stardom. Zenatello died of natural causes in New York City in 1949, aged 73. Source Wikipedia
Giovanni Zenatello Giacomo Puccini Enrico Caruso Francesco Tamagno Giuseppe Verdi Lily Pons Maria Gay Maria Callas Amilcare Ponchielli Scala Covent Garden Verona Arena Metropolitan Opera Boston Opera Company 1850 1876 1898 1904 1905 1906 1907 1908 1909 1910 1913 1914 1926 1931 1933 1936 1943 1947 1949
Giovanni Zenatello - Otello - Credo in una possanza - Fonotipia 92757 enregistré le 2 octobre 1909 Giovanni Zenatello (2 February 1876 - 11 February 1949) was an Italian opera singer. Born in Verona, he enjoyed an international career as a dramatic tenor of the first rank. Otello became his most famous operatic role but he sang a wide repertoire. In 1904, he created the part of Pinkerton in Madama Butterfly. Zenatello showed musical promise from a young age. His singing teacher in Verona originally trained him as a baritone but he never felt comfortable in this range and later switched to the higher tenor register. Nonetheless, it was as a baritone that he made his professional debut at Belluno in 1898. His tenor debut—as Canio—did not come until the following year, at Naples. Zenatello's operatic career gathered momentum during the early years of the 20th century, and on February 17, 1904, he created the role of Pinkerton in the world premiere of Giacomo Puccini's Madama Butterfly at La Scala, Milan. La Scala was Italy's leading opera house, and he remained a member of its company of singers until 1907. He also sang at the Royal Opera House, Covent Garden, London, in 1905-06 and 1908–09; at the Manhattan Opera House in 1907-1910; and with the New York Metropolitan Opera company, on tour, replacing Enrico Caruso, in 1909. He was a member of the Boston Opera Company from 1909-1914 and sang often, too, in South America and Mexico and in various cities of Continental Europe. Zenatello's voice had matured into that of a clarion-voiced dramatic tenor during his La Scala years, and he succeeded Francesco Tamagno (1850–1905) as the world's greatest exponent of Giuseppe Verdi's Otello. He performed this extremely taxing role more than 300 times, beginning in 1908, and recorded highly acclaimed extracts from the work on 78-rpm discs. Zenatello returned to Covent Garden in 1926, singing Otello in a series of performances which were partly recorded live by HMV. After a final stage appearance (in New York City) in 1933, he retired from opera and taught singing and dabbled in the management of promising young singers. The coloratura soprano Lily Pons was a notable 'discovery' of Zenatello's in the twilight of his on-stage career. He took Pons under his wing and arranged for her an audition before the Met's general manager, which resulted in the young French-born singer making a successful New York debut in 1931. Later, however, they fell out. As to his private life, Zenatello lived with the Spanish mezzo-soprano Maria Gay from 1906 until her death in 1943. They were often described as husband and wife although they may never have actually married. He and Gay performed opposite each other on many occasions and settled down together in Manhatten in 1936. Back in 1913, Zenatello had been instrumental in having the Verona Arena, built originally by the ancient Romans, restored and turned into a world famous open-air venue for operatic performances. That same year the arena was used to mount a grand production of Aida, marking the centenary of Verdi's birth. In 1947, Zenatello arranged for a promising young soprano named Maria Callas to appear at the arena's Summer Festival in Amilcare Ponchielli's operatic masterpiece, La Gioconda. This appearance would give Callas invaluable exposure in Italy and help set her on the path to future stardom. Zenatello died of natural causes in New York City in 1949, aged 73. Source Wikipedia
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