Il Tenore Giulio Crimi Tra Disco E Voce

Total Page:16

File Type:pdf, Size:1020Kb

Il Tenore Giulio Crimi Tra Disco E Voce Il tenore Giulio crimi tra disco e voce Si contano 47 registrazioni raccolte in due gruppi tutte appartenenti al sistema acustico dei 78 giri della casa discografica Vocalion U.S.A. A) 1918 - 19 B) 1920 - 24 - 30013 Marta - M'apparì 30119 Manon Lescaut - Donna non vidi mai - 30015 Tosca - E lucean le stelle 30137 Tosca - Recondita armonia - 30019 Carmen - La fleure que tu m'avais Jetée 30151 Pagliacci - Vesti la giubba - 30024 Carmen - Ma fiere, je la vois (con Sundelius) 30154 Tosca - E lucean le stelle - 30031 Trovatore - Ah sì, ben mio 30158 Zazà - Canzone del Milio: e un riso gentil - 30033 Boheme (Leoncavallo) - Testa adorata 30170 Rigoletto - La donna è mobile - 30036 Trovatore - Deserto sulla terra 30174 Marta - M'apparì - 50000 Pagliacci - Vesti la giubba 30176 Manon - Il sogno - 50004 Boheme - O soave fanciulla (con Easton) 52004 Favorita - Spirto gentil - 50006 Gioconda - O grida di quest'anima (con Rimini) 52011 Trovatore - Ai nostri monti (con d'Aivarcz) - 51007 Boheme - Ah, Mimì, tu più (con Rimini) 52014 Butterfly - O quant'occhi Fissi (con Sundelius) - 54009 Boheme - Che gelida manina 52023 Aida - La fatal pietra (con Raisa) - 54012 Aida - Celeste Aida 52032 Aida - Celeste Aida - 54013 Gioconda - Cielo e mar 52042 Cavalleria Rusticana - Addìo alla madre - 54016 Elisir d'amore - Una furtiva lacrima 52043 Aida - O terra addio (con Raisa) - 54019 Andrea Chenier - Un dì all'azzurro spazio 52044 Africana - O paradiso - 54020 Forza del destino - Solenne in quest'ora (con Rimini) 52045 Boheme - Che gelida manina - 54022 Forza del destino - La vita è inferno all'infelice 55005 Africana - O paradiso (diverso dal 52044) - 74000 Cavalleria Rusticana - Addio alla madre. 55006 Zazà - O mio piccolo tavolo - - - 55007 Trovatore - Miserere (con Raisa) - - - 60044 Marta - M'appari - - - 60049 Trovatore - Ah, sì ben mio - - - 60049 Trovatore - Di quella pira - - - 70026 Boheme - Che gelida manina - - - 70026 Africana - O paradiso - In questo elenco discografico mancano quelle esecuzioni riguardanti le romanze da camera e canzoni. Fino a questo momento sono stati riversati in microsolco 33 giri molti brani di opere tratti da dischi 78 giri, mentre delle relative matrici, passate dalla Vocalion ad altre case minori, non né restano traccia, perchè in parte distrutte. Disponibili attualmente due dischi 33 giri il cui risultato non è del tutto soddisfacente. Il primo di questi è quello realizzato dalla TIMA CLUB di Roma mpv 2, con la collaborazione di Maurizio Tiberi èuna presentazione del baritono Tito Gobbi che ricorda Giulio Crimi, e quindi rievoca con poche parole la figura prestigiosa ed artistica del Cantore di matrice di ogni disco 78 cosicchè nel caso di varie esecuzioni dello stesso brano in epoche diverse, riesce difficile a stabilire quale di essi è stato scelto e riportato in microsolco; vi si comprendono dunque brani dell'Africana, Manon Lescaut, Boheme,Tosca, Zazà, Favorita, Rigoletto e Trovatore; in aggiunta «Ninna nanna» di Tirindelli, e la celebre canzone napoletana «O sole mio». L’ascolto di questo disco è molto precario anche se di più lo erano le antiche matrici e i relativi 78 giri; qui la voce del nostro Crimi risalta poco a causa del persistente fruscio e delle distorsioni che si manifestano in quasi tutta la gamma vocale cosicché l'unico elemento valido resta il timbro morbido e squillante, nonché la robustezza del fraseggio, soprattutto l'interpretazione molto ragguardevole che riesce spesso a commuovere l'ascoltatore; il numero dei suoni armonici degli acuti viene notevolmente ridotto così togliendo molto al colore della voce. Il secondo disco, invece, GV 521, realizzato in Inghilterra. sembra più felice nel risultato. Anzitutto vengono pubblicate alcune note biografiche di Eric Rees e inoltre il numero di ogni matrice del disco pubblicato e non solo di brani di opere ma anche di una romanza di Tosti. Più o meno tutte le romanze spiccano in maniera quasi sufficiente, specialmente quelle dell'Aida, Cavalleria rusticana, Marta, Zazà, Madama Butterfly, Trovatore.. Boheme; precario invece l'ascolto del “Vesti la giubba” dei Pagliacci dove Crimi riesce ad esprimere molto di più che non altrove. Particolarmente felice è stata «L'ultima canzone» di Tosti. A titolo orientativo apponiamo un asterisco ai riversamenti in microsolco del disco TIMA CLUB Roma, due asterischi al secondo microsolco inglese, mentre infine quelli senza asterisco si intendono non riversati in microsolco, fino a questo momento. Pare che esiste un 78 giri di «Santa Lucia lontana», cantata dall'indimenticabile tenore, che col suo canto ha onorato la sua patria in tutto il mondo. A livello discografico auguriamo altre registrazioni vengano fuori e nuove tecniche possano darci di più di quel tanto, tanto che ci è stato tolto. NINO CASERTA LIBRIZZI Il dott. Antonino Caserta Librizzi sta curando la pubblicazione di un libro su «Giulio Crimi» e prega chiunque avesse notizie, altre registrazioni, foto, ecc. di informarlo, indirizzandogli la corrispondenza in Via Emanuele Bellia, 242 - Paternò (95047). .
Recommended publications
  • VOCAL 78 Rpm Discs Minimum Bid As Indicated Per Item
    VOCAL 78 rpm Discs Minimum bid as indicated per item. Listings “Just about 1-2” should be considered as mint and “Cons. 2” with just the slightest marks. For collectors searching top copies, you’ve come to the right place! The further we get from the time of production (in many cases now 100 years or more), the more difficult it is to find such excellent extant pressings. Some are actually from mint dealer stocks and others the result of having improved copies via dozens of collections purchased over the past fifty years. * * * For those looking for the best sound via modern reproduction, those items marked “late” are usually of high quality shellac, pressed in the 1950-55 period. A number of items in this particular catalogue are excellent pressings from that era. * * * Please keep in mind that the minimum bids are in U.S. Dollars, a benefit to most collectors. * * * “Text label on verso.” For a brief period (1912-14), Victor pressed silver-on-black labels on the reverse sides of some of their single-faced recordings, usually with a translation of the text or similarly related comments. BESSIE ABOTT [s]. Riverdale, NY, 1878-New York, 1919. Following the death of her father which left her family penniless, Bessie and her sister Jessie (born Pickens) formed a vaudeville sister vocal act, accompanying themselves on banjo and guitar. Upon the recommendation of Jean de Reszke, who heard them by chance, Bessie began operatic training with Frida Ashforth. She subsequently studied with de Reszke him- self and appeared with him at the Paris Opéra, making her debut as Gounod’s Juliette.
    [Show full text]
  • Il Trittico Pucciniano
    GIACOMO PUCCINI IL TRITTICO PUCCINIANO Il trittico viene rappresentato per la prima volta al Teatro Metropolitan di New York il 14 dicembre 1918. Il tabarro - Luigi Montesanto (Michele); Giulio Crimi (Luigi), Claudia Muzio (Giorgetta); Suor Angelica - Geraldine Farrar (Suor Angelica), Flora Perini (Zia Principessa); Gianni Schicchi - Giuseppe de Luca (Gianni Schicchi), Florence Easton (Lauretta), Giulio Crimi (Rinuccio); direttore d'orchestra Roberto Moranzoni. La prima italiana ha luogo, meno d'un mese dopo, al Teatro Costanzi (odierno Teatro dell'opera di Roma) l'undici gennaio 1919, sotto la prestigiosa direzione di Gino Marinuzzi, fra gli interpreti principali: Gilda dalla Rizza, Carlo Galeffi, Edoardo de Giovanni, Maria Labia, Matilde Bianca Sadun. L'idea d'un "Trittico" - inizialmente Puccini aveva pensato a tre soggetti tratti dalla Commedia dantesca, poi a tre racconti di autori diversi - si fa strada nella mente del Maestro almeno un decennio prima, già a partire dal 1905, subito a ridosso di Madama Butterfly. Tuttavia, sia questo progetto sia quello d'una "fantomatica" Maria Antonietta (che, come si sa, non fu mai realizzata) vengono per il momento accantonati in favore della Fanciulla del West (1910). La fantasia pucciniana è rivisitata dall'immagine d'un possibile "trittico" nel 1913, proprio mentre proseguono - gli incontri con Gabriele D'Annunzio per una possibile Crociata dei fanciulli...... Infatti, proprio nel febbraio di quello stesso anno Puccini è ripreso dall'urgenza del "trittico": immediatamente avvia il lavoro sul primo dei libretti che viene tratto da La Houppelande, un atto unico, piuttosto grandguignolesco, di Didier Gold, cui il compositore aveva assistito, pochi mesi prima, in un teatro parigino: sarà Il tabarro, abilmente ridotto a libretto da Giuseppe Adami.
    [Show full text]
  • Enrico Caruso
    NI 7924/25 Also Available on Prima Voce ENRICO CARUSO Opera Volume 3 NI 7803 Caruso in Opera Volume One NI 7866 Caruso in Opera Volume Two NI 7834 Caruso in Ensemble NI 7900 Caruso – The Early Years : Recordings from 1902-1909 NI 7809 Caruso in Song Volume One NI 7884 Caruso in Song Volume Two NI 7926/7 Caruso in Song Volume Three 12 NI 7924/25 NI 7924/25 Enrico Caruso 1873 - 1921 • Opera Volume 3 and pitch alters (typically it rises) by as much as a semitone during the performance if played at a single speed. The total effect of adjusting for all these variables is revealing: it questions the accepted wisdom that Caruso’s voice at the time of his DISC ONE early recordings was very much lighter than subsequently. Certainly the older and 1 CAVALLERIA RUSTICANA, Mascagni - O Lola ch’ai di latti la cammisa 2.50 more artistically assured he became, the tone became even more massive, and Rec: 28 December 1910 Matrix: B-9745-1 Victor Cat: 87072 likewise the high A naturals and high B flats also became even more monumental in Francis J. Lapitino, harp their intensity. But it now appears, from this evidence, that the baritone timbre was 2 LA GIOCONDA, Ponchielli - Cielo e mar 2.57 always present. That it has been missed is simply the result of playing the early discs Rec: 14 March 1910 Matrix: C-8718-1 Victor Cat: 88246 at speeds that are consistently too fast. 3 CARMEN, Bizet - La fleur que tu m’avais jetée (sung in Italian) 3.53 Rec: 7 November 1909 Matrix: C-8349-1 Victor Cat: 88209 Of Caruso’s own opinion on singing and the effort required we know from a 4 STABAT MATER, Rossini - Cujus animam 4.47 published interview that he believed it should be every singers aim to ensure ‘that in Rec: 15 December 1913 Matrix: C-14200-1 Victor Cat: 88460 spite of the creation of a tone that possesses dramatic tension, any effort should be directed in 5 PETITE MESSE SOLENNELLE, Rossini - Crucifixus 3.18 making the actual sound seem effortless’.
    [Show full text]
  • ARSC Journal
    HISTORIC VOCAL RECORDINGS STARS OF THE VIENNA OPERA (1946-1953): MOZART: Die Entfuhrung aus dem Serail--Wer ein Liebchen hat gafunden. Ludwig Weber, basso (Felix Prohaska, conductor) ••.• Konstanze ••• 0 wie angstlich; Wenn der Freude. Walther Ludwig, tenor (Wilhelm Loibner) •••• 0, wie will ich triumphieren. Weber (Prohaska). Nozze di Figaro--Non piu andrai. Erich Kunz, baritone (Herbert von Karajan) •••• Voi che sapete. Irmgard Seefried, soprano (Karajan) •••• Dove sono. Elisabeth Schwarzkopf, soprano (Karajan) . ..• Sull'aria. Schwarzkopf, Seefried (Karajan). .• Deh vieni, non tardar. Seefried (Karajan). Don Giovanni--Madamina, il catalogo e questo. Kunz (Otto Ackermann) •••• Laci darem la mano. Seefried, Kunz (Karajan) • ••• Dalla sua pace. Richard Tauber, tenor (Walter Goehr) •••• Batti, batti, o bel Masetto. Seefried (Karajan) •.•• Il mio tesoro. Tauber (Goehr) •••• Non mi dir. Maria Cebotari, soprano (Karajan). Zauberfl.Ote-­ Der Vogelfanger bin ich ja. Kunz (Karajan) •••• Dies Bildnis ist be­ zaubernd schon. Anton Dermota, tenor (Karajan) •••• 0 zittre nicht; Der Holle Rache. Wilma Lipp, soprano (Wilhelm Furtwangler). Ein Miidchen oder Weibchen. Kunz (Rudolf Moralt). BEETHOVEN: Fidelio--Ach war' ich schon. Sena Jurinac, soprano (Furtwangler) •••• Mir ist so wunderbar. Martha Modl, soprano; Jurinac; Rudolf Schock, tenor; Gottlob Frick, basso (Furtwangler) •••• Hat man nicht. Weber (Prohaska). WEBER: Freischutz--Hier im ird'schen Jammertal; Schweig! Schweig! Weber (Prohaska). NICOLAI: Die lustigen Weiher von Windsor--Nun eilt herbei. Cebotari {Prohaska). WAGNER: Meistersinger--Und doch, 'swill halt nicht gehn; Doch eines Abends spat. Hans Hotter, baritone (Meinhard von Zallinger). Die Walkilre--Leb' wohl. Hotter (Zallinger). Gotterdammerung --Hier sitz' ich. Weber (Moralt). SMETANA: Die verkaufte Braut--Wie fremd und tot. Hilde Konetzni, soprano (Karajan). J. STRAUSS: Zigeuner­ baron--0 habet acht.
    [Show full text]
  • 12-15-2018 Trittico Eve.Indd
    GIACOMO PUCCINI il trittico conductor Il Tabarro Bertrand de Billy Opera in one act with a libretto by production Giuseppe Adami, based on the play Jack O’Brien La Houppelande by Didier Gold set designer Suor Angelica Douglas W. Schmidt Opera in one act with a libretto by costume designer Jess Goldstein Giovacchino Forzano lighting designers Gianni Schicchi Jules Fisher and Opera in one act with a libretto Peggy Eisenhauer by Giovacchino Forzano, based on revival stage directors a passage from the narrative poem Gregory Keller and J. Knighten Smit Divina Commedia by Dante Alighieri Saturday, December 15, 2018 8:30 PM–12:35 AM Last time this season The production of Il Trittico was made possible by a generous gift from Karen and Kevin Kennedy Additional funding for this production was received from the Gramma Fisher Foundation, general manager Peter Gelb Marshalltown, Iowa, The Annenberg Foundation, Hermione Foundation, Mr. and Mrs. William R. jeanette lerman-neubauer music director Miller, and M. Beverly and Robert G. Bartner Yannick Nézet-Séguin 2018–19 SEASON The 87th Metropolitan Opera performance of GIACOMO PUCCINI’S il tabarro conductor Bertrand de Billy in order of vocal appearance giorget ta Amber Wagner michele George Gagnidze luigi Marcelo Álvarez tinca Tony Stevenson* talpa Maurizio Muraro a song seller Brian Michael Moore** frugol a MaryAnn McCormick young lovers Ashley Emerson* Yi Li Saturday, December 15, 2018, 8:30PM–12:35AM 2018–19 SEASON The 81st Metropolitan Opera performance of GIACOMO PUCCINI’S suor angelica conductor
    [Show full text]
  • VERDI Also Available Simon Boccanegra
    8.110119-20 bk Boccanegra_EU 12/12/08 1:42 PM Page 12 VERDI Also Available Simon Boccanegra O GOB TIT BI 8.111334-35 8.111240-41 1 g 957 Recordin Tito Gobbi • Boris Christoff Victoria de los Angeles • Giuseppe Campora 8.111284-85 8.111332-33 Rome Opera House Chorus and Orchestra Gabriele Santini 8.110119-20 12 8.110119-20 bk Boccanegra_EU 12/12/08 1:42 PM Page 2 Great Opera Recordings pleads for death and Amelia is moved by his great love, whom he had thought dead. Boccanegra forgives him, seeking to heal old enmities. £ He returns, as a ghost, to avenge outrage. The lights & Shouts are heard outside and calls to arms, the start of begin to go out in the piazza outside. Boccanegra, Giuseppe the rebellion against the Doge, who bids Gabriele join his however, is relieved at Fiesco’s appearance and can friends. The latter demurs, now loyal to Boccanegra and announce peace between them. He tells him that his own VERDI rewarded with the hand of Amelia. daughter and Fiesco’s grand-daughter is Amelia Grimaldi. (1813 - 1901) Act 3 ¢ Fiesco weeps at the revelation. He hears in Boccanegra’s words the voice of Heaven. Boccanegra * From the Doge’s palace Genoa can be seen, seeks to embrace him, the father of his beloved Maria. Simon Boccanegra illuminated as for a festival. The shouts of the crowd are Fiesco tells Boccanegra of the poison. The latter is Opera in a Prologue and Three Acts heard, praising the Doge. growing weaker and collapses onto a seat, as Amelia, Text by Franceso Maria Piave as modified by Arrigo Boito ( A captain of the bowmen gives Fiesco back his sword Gabriele, ladies, gentlemen, senators and pages with and tells him he is free.
    [Show full text]
  • 11-30-2018 Trittico Eve.Indd
    GIACOMO PUCCINI il trittico conductor Il Tabarro Bertrand de Billy Opera in one act with a libretto by production Giuseppe Adami, based on the play Jack O’Brien La Houppelande by Didier Gold set designer Suor Angelica Douglas W. Schmidt Opera in one act with a libretto by costume designer Jess Goldstein Giovacchino Forzano lighting designers Gianni Schicchi Jules Fisher and Opera in one act with a libretto Peggy Eisenhauer by Giovacchino Forzano, based on revival stage directors a passage from the narrative poem Gregory Keller and J. Knighten Smit Divina Commedia by Dante Alighieri Friday, November 30, 2018 7:30–11:20 PM The production of Il Trittico was made possible by a generous gift from Karen and Kevin Kennedy Additional funding for this production was received from the Gramma Fisher Foundation, general manager Peter Gelb Marshalltown, Iowa, The Annenberg Foundation, Hermione Foundation, Mr. and Mrs. William R. jeanette lerman-neubauer music director Miller, and M. Beverly and Robert G. Bartner Yannick Nézet-Séguin 2018–19 SEASON The 83rd Metropolitan Opera performance of GIACOMO PUCCINI’S il tabarro conductor Bertrand de Billy in order of vocal appearance giorget ta Amber Wagner michele George Gagnidze luigi Marcelo Álvarez tinca Tony Stevenson* talpa Maurizio Muraro a song seller Brian Michael Moore** frugol a MaryAnn McCormick young lovers Ashley Emerson* Yi Li Friday, November 30, 2018, 7:30–11:20PM 2018–19 SEASON The 77th Metropolitan Opera performance of GIACOMO PUCCINI’S suor angelica conductor Bertrand de Billy in order of
    [Show full text]
  • VOCAL 78 Rpm Discs Minimum Bid As Indicated Per Item
    VOCAL 78 rpm Discs Minimum bid as indicated per item. Listings “Just about 1-2” should be considered as mint and “Cons. 2” with just slight marks. For collectors searching top copies, you’ve come to the right place! The further we get from the era of production (in many cases now 100 years or more), the more difficult it is to find such excellent extant pressings. Some are actually from mint dealer stocks and others the result of having improved copies via dozens of collections purchased over the past fifty years. * * * For those looking for the best sound via modern reproduction, those items marked “late” are usually of high quality shellac, pressed in the 1950-55 period. A number of items in this particular catalogue are excellent pressings from that era. Also featured are many “Z” shellac Victors, their best quality surface material (later 1930s) and PW (Pre-War) Victor, almost as good surface material as “Z”. Likewise laminated Columbia pressings (1923- 1940) offer particularly fine sound. * * * Please keep in mind that the minimum bids are in U.S. Dollars, a benefit to most collectors. * * * “Text label on verso.” For a brief period (1912-‘14), Victor pressed silver-on-black labels on the reverse sides of some of their single-faced recordings, usually featuring translations of the text or similarly related comments. VERTICALLY CUT RECORDS. There were basically two systems, the “needle-cut” method employed by Edison, which was also used by Aeolian-Vocalion and Lyric and the “sapphire ball” system of Pathé, also used by Rex. and vertical Okeh.
    [Show full text]
  • EDISON CYLINDERS Blue Amberols Are Housed in Fine Quality Reproduction Edison Orange Boxes Or in Original Boxes
    EDISON CYLINDERS Blue Amberols are housed in fine quality reproduction Edison orange boxes or in original boxes. Wax cylinders are in padded boxes, either original or appropriately protective. Any mold on wax cylinders is always described. All grading is visual and refers to the cylinders rather than the boxes. 4354. 2-M 17139. CÉCILLE MERGUILLIER [s]. DOMINO NOIR: Un fée (Auber). Just about 1-2. $40.00. 4355. 2-M 15897. FRANZISKA KRUG-ELFGEN [s]. SCHLARAFFENDLAND: Walzerlied (Schleif- fahrt). Just about 1-2. $40.00. 4356. 2-M 18070. PIERRE CORNUBERT [t]. LA DAME BLANCHE: Ah! quel plaisir d’être soldat (Boieldieu). Just about 1-2. $75.00. 4353. 4-M Wax Amberol B-152. LEO SLEZAK [t] STÄNDCHEN (Schubert). Just about 1-2. $75.00. 4351. 4-M Wax Amberol B-165. FLORENCIO CONSTANTINO [t]. TOSCA: Recondita armonia (Puccini). Just about 1-2. $75.00. 4348. 4-M Wax Amberol B-166. BLANCHE ARRAL [s]. MIGNON: Polonaise (Thomas). Just about 1-2. $40.00. 4350. 4-M Wax Amberol B-174. ADELINA AGOSTINELLI [s], ATTILIO PAROLA [t]. LA BOHÈME: O soave fanciulla (Puccini). Just about 1-2. $75.00. 4349. 4-M Wax Amberol 30044. MARIE RAPPOLD [s]. CHANSON PROVENÇALE (Dell’Acqua) Just about 1-2. $40.00. 4352. 4-M Wax Amberol 844. HENRI SCOTT [bs]. O’ER THE FRESH GREEN FIELDS (Chami- nade). Just about 1-2. $20.00. 4363. 4-M Blue Amberol 2388. CLEMENTINE DE VERE SAPIO [s], VERNON ARCHIBALD [b]. ROSE OF THE MOUNTAIN TRAIL (Brennan). Archibald sings the main tune about Rose, who we hear vocalizing in the distance on the Mountain Trail.
    [Show full text]
  • Bitewn.Y^______| Ofbce Vmin»^^ ^CT>Sçînï>V' Retta, Uamlin Pleno
    PER HISTORY PAST AN PRESENTi less to attend the opera in its fashion¬ fortune to a monastery, much against able home than it. does not to enjoy Cost of Production in the the hopes of his relatives, who had j the moat modest, theatrical entertain¬ Opera gathered around his deathbed. Schicchi ments.barring tho moving picture German Period «ays there is one remedy only; he can shows. the of Music impersonate the dead dan -whose de¬ When Academy 1887-'89. 1888-'89. was in Max Maretzek rented l»886-'87. mise has not yet been announced and When both parties in the course of the new, 18f>4, Serge Prokofieff, the latest because he had lost his temper. By H. E. Krehbiel strug¬ Salaries of artist«.$121,000 $10S,132.82 $135,498.32 dictate a new will, assuring tho reía- gle between the Metropolitan the house for a space to Mr, Hackett, j musical apparition from Russia, who "Japan is full of Russians and As a to the of history Company Orchestra . 40,000 42,408.75 46,206.00 lives that each of them will get just; Amer¬ sequel chapter and Mr. Hammerstein when the then manager of an opera company will appear as pianist, conductor and icans, and so I heard almost concerned with the increase in prices rivalry headed Grisi and 23,962.75 26,295.00 what he wants. The relativos arc de¬ noting between the Metropolitan and Manhat¬ by Mme. Signor Mario, Chorus. 25,000 composer at the concerts of the Russian hut Russian and English spoken in ol admission in 1911, I purpose now to two of the most refulgent stara that 17,869.00 lighted at this idea, and send for a y, tan houses was at its When Bullet.
    [Show full text]
  • 17.5 Vocal Olivero-Z; Potpou.; Cho. 124-169
    VOCAL 78 rpm Discs MAGDA OLIVERO [s] 3181. 12” Orange Cetra BB 25049 [2-70329/2-70330-II]. MEFISTOFELE: L’altra notte (Boïto) / ADRIANA LECOUVREUR: Poveri fiori (Cilèa). Orch. dir. A. La Rosa Parodi. Just about 1-2. $35.00. BERNARDO OLSHANSKY [b]. Russia, 1885-Union City, NJ, 25 Jan. 1933. Olshansky left Russia around 1905 as a result of political persecution. He studied in New York City with Giacomo Ginsberg (name changed later to Giacomo Bourg) and subsequently with Louis Simions (?) and made his debut in Monza (Italy) in 1910 as Rigoletto. He appears to subsequently having sung in Torino, 1911, although there is some confusion here. A result of a recital in Boston upon his return (likely in 1910 but possibly 1911) was his being engaged by the Boston Opera for the 1911 season and being sent by a wealthy patroness to Paris for preliminary studies with André Caplet, the noted composer and a conductor with the Boston Opera. Olshansky appeared in Boston in about a dozen roles for two seasons (these including the Jailer in Tosca, Yakuside in Madama Butterfly and Valentin in Faust) and performed in a similar capacity with the Montreal Opera around the same time. After that experience, he seems to have left opera in favor of the recital stage and was heard in New York as a concert singer on a fairly regular basis, mainly at Aeolian and Town Halls. He also appeared successfully in various concert venues throughout the country. The last traced such program was at Town Hall, March 25, 1932.
    [Show full text]
  • Edizione Digitale Del Libretto D'opera Il Tabarro Di Giacomo Puccini E
    Université Grenoble Alpes - UFR de Langues Etrangères Università degli Studi di Padova – Dipartimento di Studi Linguistici e Letterari Edizione digitale del libretto d’opera Il Tabarro di Giacomo Puccini e Giuseppe Adami Master Langues, littératures et civilisations étrangères et régionales Parcours: Etudes françaises - Etudes italiennes Corso di Laurea Magistrale in Filologia Moderna Percorso binazionale, Curriculum in Francesistica e Italianistica Relatrici Candidata Prof.ssa Elena Pierazzo Clara Justel N°étudiant: 10383754 Prof.ssa Anna Laura Bellina N°matricola: 1133702 Anno Accademico 2016/2017 2 SOMMARIO Introduzione ...................................................................................................................... 5 PARTE 1: Il libretto d’opera del Tabarro: autori e contenuto ................................ 8 CAPITOLO 1: I due autori dell’opera: Giacomo Puccini e Giuseppe Adami .......... 9 I. Giacomo Puccini e Giuseppe Adami .................................................................... 9 1.1- Giacomo Puccini ............................................................................................ 9 1.2- Giuseppe Adami ............................................................................................. 13 1.3-L’importanza delle corrispondenze e dei carteggi: l’esempio dell’ Epistolario di Giacomo Puccini di Giuseppe Adami (1928) .......................... 15 II. Giuseppe Adami, librettista di Giacomo Puccini ................................................ 19 2.1 – La figura del librettista
    [Show full text]