Italo Montemezzi Vídeos
compositor italiano
Conmemoraciones 2025 (Nacimiento: Italo Montemezzi)
- ópera
- Italia, Reino de Italia
- compositor
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2024-04-29
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Ferroni Potenza Marie Emmanuel Augustin Savard Jules Massenet Amilcare Ponchielli Giuseppe Verdi Gianandrea Gavazzeni Italo Montemezzi Riccardo Pick Mangiagalli Franco Vittadini Ettore Pozzoli Felice Lattuada Renato Brogi Pietro Mascagni Nicola Spinelli Teatro Sociale Teatro Lirico Milano 1858 1870 1876 1883 1885 1888 1889 1890 1896 1900 1934
Ferroni Vincenzo +••.••(...)) Preludio, Sandro Carnelos all’organo Bazzani (1890) di S. Vendemiano (TV). Ferroni Vincenzo, nato a Tramutola, in provincia di Potenza, da Nicola e Rosa Cosenza, nel 1870 frequentò il Conservatorio di Parigi, studiando armonia con Marie Emmanuel Augustin Savard e, in seguito, composizione con Jules Massenet. Nello stesso conservatorio, divenne supplente di armonia tra il 1876 e il 1883. Nel 1885, vinse un concorso internazionale organizzato da Le Figaro, con il brano Hymne d'un pâtre italien eseguito al pianoforte. Nel 1888 tornò in Italia, sostituendo il defunto Amilcare Ponchielli come docente di composizione presso il Conservatorio "Giuseppe Verdi" di Milano, del quale fu anche vicedirettore per 24 anni e direttore per alcuni mesi. Durante la sua attività di insegnamento, formò numerosi musicisti tra cui Gianandrea Gavazzeni, Italo Montemezzi, Riccardo Pick-Mangiagalli, Franco Vittadini, Ettore Pozzoli, Felice Lattuada, Renato Brogi, Virgilio Mortari, Federico Caudana, Luigi Menegazzoli. Nel 1889, partecipò ad un concorso musicale organizzato da Edoardo Sonzogno, vincendo il terzo premio con la composizione Rudello, preceduto da Cavalleria rusticana di Pietro Mascagni e Labilia di Nicola Spinelli. Ferroni compose il dramma Ettore Fieramosca, presentato la prima volta il 25 gennaio 1896 presso il Teatro Sociale di Como, che riscosse un buon successo. Scrisse un altro dramma, Il Carbonaro, rappresentato al Teatro Lirico di Milano il 19 febbraio 1900.
Edoardo Garbin Antonio Selva Selva Orefice Aureliano Pertile Guevara Franchetti Fenton Verdi Angelo Masini Adelina Stehle Leoncavallo Spiro Samara Rhea Italo Montemezzi Giocondo Fino Cilea Teatro San Carlo Teatro Carlo Felice Scala Teatro Pergola 1860 1865 1889 1891 1892 1893 1900 1902 1904 1908 1909 1910 1912 1913 1918 1943 1945
Edoardo Garbin +••.••(...)) was an Italian lirico-spinto tenor who made a specialty of verismo roles during the late 19th and early 20th centuries. Born to a farming family in Padua, the young Garbin showed musical promise from an early age. He began working with celebrated bass Antonio Selva (creator of Silva in Ernani and Count Walter in Luisa Miller) in the mid-1880s. Following Selva’s death in 1889, Garbin continued his vocal studies with Vittorio Orefice (teacher of Aureliano Pertile), who continued to build the young tenor’s technique. Garbin’s debut occurred on September 6, 1891 at the Teatro Comunale in Vicenza as Don Alvaro in La Forza del Destino. Within four months, Garbin was singing the Duke in Rigoletto at the Teatro San Carlo in Naples and in October of 1892, he was entrusted with the role of Don Fernando Guevara in the world premiere of Franchetti’s much heralded Cristoforo Colombo at Genoa’s Teatro Carlo Felice. Garbin continued his meteoric rise. Less than a year and a half after his debut, he created the role of Fenton in the world premiere of Verdi’s final opera, Falstaff. Was the young tenor really ready to take on such an assignment, though? Verdi, it seems, had his doubts. The great composer had originally tried to secure Angelo Masini for the role of Fenton but had to settle on Garbin when the legendary tenor proved to be unavailable. Verdi coached the role with Garbin for a solid month, during which time the composer fired off a letter to publisher Ricordi, expressing his dissatisfaction. Verdi complained that the tenor was simply not picking up the part quickly enough. The composer stated that Garbin needed, “…a pedant who would teach him notes, tempo and clear words well.” Verdi also complained to Ricordi of Garbin’s habit of spreading his final vowels. “For example,” he wrote, “when he pronounces ‘che gli risponde alla sua parolaaa’, the ‘a’ is so open that his voice changes and seems to be somebody else’s.” Somehow, composer and tenor managed to find the right mutual wavelength and Garbin sang in the opera’s premiere at La Scala on February 9, 1893. Incidentally, the Nanetta to Garbin’s Fenton, Austrian born soprano Adelina Stehle +••.••(...)), was to become the tenor’s frequent singing partner, as well as his wife. Garbin built a major career in Italy, but was never invited to sing in North America. In fact, the English-speaking world seemed to have little use for Edoardo Garbin. His one season in London (1908) was a total disaster, with one critic describing his Cavaradossi as “miserable”. Luckily, much of Europe, including Germany, Austria, Russia, Poland, Spain and Portugal (not to mention South America) had a much greater appreciation for the tenor’s talents. His repertoire included leading roles in such works as La Bohème, Tosca, Madama Butterfly, Manon Lescaut, Fedora, Adriana Lecouvreur, Andrea Chénier, Cavalleria Rusticana, Iris, Loreley, Mefistofele, La Gioconda, La Traviata, Rigoletto, Carmen, Manon and Lohengrin. Garbin created the role of Milio Dufresne in the world premiere of Leoncavallo’s Zazà in Milan in November of 1900. He also had the honor of creating four roles in operas which never entered the standard repertoire, Spiro Samara’s Rhea (Florence, 1908), Héllera by Italo Montemezzi (Turin, 1909), Giocondo Fino’s La Festa del Grano (Turin, 1910) and La Dubarry by Ezio Camussi (Milan, 1912). After passing the age of 50, Garbin began to curtail his operatic performances. After a final La Bohème at Florence’s Teatro Pergola in 1918, Garbin left the stage for good. He retired to Brescia, where he passed away in 1943 at the age of 78. Edoardo Garbin’s death marked the end of an era. The tenor was the last surviving male singer to have premiered a Verdi opera. Edoardo Garbin made dozens of recordings between 1902 and 1913 for The Gramophone and Typewriter Company, Fonotipia and Columbia. The tenor runs the gamut from truly stellar to almost hopelessly inept in these discs. Some of Garbin’s recordings reveal careless musicianship (late entrances abound), a dull and colorless timbre (bringing to mind Verdi’s complaint about overly spread vowels) and painfully flat notes. During introductions or between phrases he can frequently be heard coughing or clearing his throat. When he is at his best, however (which is much of the time, to be fair), the tenor offers phrases of vocal and artistic eloquence that are truly breathtaking. In this recording, Garbin offers a stunning rendition of "No, più nobile" from Cilea's Adriana Lecouvreur. This was recorded in Milan for Fonotipia in the Fall of 1904.
Carlo Galeffi Maria Gentile Giuseppe Verdi Arturo Toscanini Rossini Mascagni Puccini Leoncavallo Costanzi Montemezzi Boito Scala Teatro Verdi Metropolitan Opera Lyric Opera Chicago 1882 1902 1903 1910 1911 1912 1913 1919 1921 1924 1925 1928 1938 1961 1993
Carlo Galeffi et et Maria Gentile - Rigoletto - Si vendetta - Enregistrement de 1928 Carlo Galeffi (June 4, 1882, Malamocco (Venice) - September 22, 1961, Rome) was a leading Italian baritone, particularly associated with the operatic works of Giuseppe Verdi and the various verismo composers. The young Galeffi studied with Di Como and Sbriscia. According to The Concise Oxford Dictionary of Opera, he made his professional debut in 1903, aged 21, at Rome's Teatro Adriano, as Enrico in Lucia di Lammermoor. Galeffi sang throughout Italy before reaching Italy's premier opera house, La Scala, Milan, in 1912. He would remain at La Scala until 1938, becoming a favorite of the conductor Arturo Toscanini. Galeffi made his American debut in Boston in 1910. He sang at the New York Metropolitan Opera only once, on November 29 of that same year, as Verdi's Rigoletto (which was often considered to be his greatest role). Galeffi sang, too, at the Lyric Opera of Chicago from 1919 to 1921, and also appeared in South America on a number of occasions. The bulk of Galeffi's career, however, took place in Italy, especially at La Scala, where he was much acclaimed for his performances of Verdi roles that ranged from Nabucco, through Renato, Di Luna, Amonasro and Simon Boccanegra, to Iago. Other parts that he sang included Tell in Rossini's Guglielmo Tell, Douglas in Mascagni's Guglielmo Ratcliff, Scarpia in Puccini's Tosca, Tonio in Leoncavallo's Pagliacci, Gerard in Giordano's Andrea Chénier, Amfortas in Wagner's Parsifal and Telramund in Wagner's Lohengrin. At the Costanzi theatre in Rome in 1919, Galeffi gave Europe's first performances of the roles of Gianni Schicchi in Gianni Schicchi and Michele in Il tabarro, both composed by Puccini. He also created Manfredo in Montemezzi's L'amore dei tre re and Fanuel in Boito 's Nerone (at La Scala in 1913 and 1924 respectively), and Raimondo in Mascagni's Isabeau (at Buenos Aires in 1911). Galeffi possessed a beautiful voice supported by an excellent technique. He is considered to have been one of the finest operatic baritones active during the period between the outbreak of World War I and the onset of World War II, despite the fact that his singing could become over-emotional on occasion. Source Wikipédia Maria Gentile, soprano, born 1902 and died 1993 in Catania. She made her debut in 1925 at the Teatro Verdi in Pisa as Gilda. She made guest appearances in Havana, Mexico City, Rio de Janeiro, Buenos Aires, Germany, the Netherlands and Sweden. Her roles covered the coloratura repertoire. When she retired from the stage she taught in Catania. Source: (http•••)
Carlo Galeffi Maria Gentile Giuseppe Verdi Arturo Toscanini Rossini Mascagni Puccini Leoncavallo Costanzi Montemezzi Boito Scala Teatro Verdi Metropolitan Opera Lyric Opera Chicago 1882 1902 1903 1910 1911 1912 1913 1919 1921 1924 1925 1928 1938 1961 1993
Carlo Galeffi et Maria Gentile - Rigoletto - Si vendetta - Enregistrement de 1928 Carlo Galeffi (June 4, 1882, Malamocco (Venice) - September 22, 1961, Rome) was a leading Italian baritone, particularly associated with the operatic works of Giuseppe Verdi and the various verismo composers. The young Galeffi studied with Di Como and Sbriscia. According to The Concise Oxford Dictionary of Opera, he made his professional debut in 1903, aged 21, at Rome's Teatro Adriano, as Enrico in Lucia di Lammermoor. Galeffi sang throughout Italy before reaching Italy's premier opera house, La Scala, Milan, in 1912. He would remain at La Scala until 1938, becoming a favorite of the conductor Arturo Toscanini. Galeffi made his American debut in Boston in 1910. He sang at the New York Metropolitan Opera only once, on November 29 of that same year, as Verdi's Rigoletto (which was often considered to be his greatest role). Galeffi sang, too, at the Lyric Opera of Chicago from 1919 to 1921, and also appeared in South America on a number of occasions. The bulk of Galeffi's career, however, took place in Italy, especially at La Scala, where he was much acclaimed for his performances of Verdi roles that ranged from Nabucco, through Renato, Di Luna, Amonasro and Simon Boccanegra, to Iago. Other parts that he sang included Tell in Rossini's Guglielmo Tell, Douglas in Mascagni's Guglielmo Ratcliff, Scarpia in Puccini's Tosca, Tonio in Leoncavallo's Pagliacci, Gerard in Giordano's Andrea Chénier, Amfortas in Wagner's Parsifal and Telramund in Wagner's Lohengrin. At the Costanzi theatre in Rome in 1919, Galeffi gave Europe's first performances of the roles of Gianni Schicchi in Gianni Schicchi and Michele in Il tabarro, both composed by Puccini. He also created Manfredo in Montemezzi's L'amore dei tre re and Fanuel in Boito 's Nerone (at La Scala in 1913 and 1924 respectively), and Raimondo in Mascagni's Isabeau (at Buenos Aires in 1911). Galeffi possessed a beautiful voice supported by an excellent technique. He is considered to have been one of the finest operatic baritones active during the period between the outbreak of World War I and the onset of World War II, despite the fact that his singing could become over-emotional on occasion. Source Wikipedia Maria Gentile,Italian soprano, born 1902 and died 1993 in Catania. She made her debut in 1925 at the Teatro Verdi in Pisa as Gilda. She made guest appearances in Havana, Mexico City, Rio de Janeiro, Buenos Aires, Germany, the Netherlands and Sweden. Her roles covered the coloratura repertoire. When she retired from the stage she taught in Catania. Source: (http•••)
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- cronología: Compositores (Europa).
- Índices (por orden alfabético): M...