Antonio Montagnana Video
basso italiano
Commemorazioni 2025 (Nascita: Antonio Montagnana)
- basso
- Repubblica di Venezia
- cantante lirico
Ultimo aggiornamento
2024-04-29
Aggiorna
Lionel Tertis Pugnani Alexander Mackenzie Oskar Nedbal Gerald Walenn Arnold Bax Frank Bridge Gustav Holst Benjamin Dale York Bowen Ralph Vaughan Williams William Walton Paul Hindemith Shore Montagnana Albert Sammons Edward Elgar Bohemian Quartet Griller Quartet Proms 1717 1876 1900 1906 1920 1928 1930 1937 1949 1950 1975
Lionel Tertis plays his own arrangement of Pugnani's 'Prelude and Allegro,' recorded on 8 December 1930 with piano by Ethel Hobday. From Wikipedia: Lionel Tertis, CBE (29 December 1876 – 22 February 1975) was an English violist. He was one of the first viola players to achieve international fame and a noted teacher. Tertis was born in West Hartlepool, the son of Polish-Jewish immigrants. He first studied violin in Leipzig, Germany and at the Royal Academy of Music (RAM) in London. There he was encouraged by the principal, Alexander Mackenzie, to take up the viola instead. Under the additional influence of Oskar Nedbal, he did so and rapidly became one of the best known violists of his time, touring Europe and the US as a soloist. As Professor of Viola at the RAM (from 1900), he encouraged his colleagues and students to compose for the instrument, thereby greatly expanding its repertoire. In 1906, Tertis was temporarily in the famous Bohemian Quartet to replace the violist/composer Oskar Nedbal and later he took the viola position in the Gerald Walenn Quartet. Composers such as Arnold Bax, Frank Bridge, Gustav Holst, Benjamin Dale, York Bowen, Ralph Vaughan Williams, and William Walton wrote pieces for him. The Walton piece was his Viola Concerto; however, Tertis did not give the world premiere as he found it difficult to comprehend at the time; that honour went to Paul Hindemith. His pupil Bernard Shore took on the second performance at the Proms in August 1930. Tertis first performed the work a month later at the International Society for Contemporary Music festival in Liège. Over the next three years he gave five more performances of the concerto. He owned a 1717 Montagnana from 1920 to 1937 which he found during one of his concert tours to Paris in 1920, and took a chance in acquiring. According to his memoirs, it was 'shown to me in an unplayable condition, without bridge, strings or fingerboard.... No case was available – it was such a large instrument 17 1/8 inches – so my wife came to the rescue by wrapping it in her waterproof coat, and that is how it was taken across the English Channel.' Tertis preferred a large viola to get an especially rich tone from his instrument. Knowing that some would find a 17-1/8-inch instrument too large he created his own Tertis model, which provides many of the tonal advantages of the larger instrument in a manageable 16-3/4-inch size. Tertis sold the 1717 Montegnana to his pupil Bernard Shore in 1937, who in turn passed it on to his pupil Roger Chase. Along with William Murdoch (piano), Albert Sammons, and Lauri Kennedy, Tertis formed the Chamber Music Players. He also encouraged and coached Sidney Griller as he worked to found the Griller Quartet in 1928, and influenced the Griller's enthusiasm for the first Viennese School. In 1937, while at the height of his powers, he announced his retirement from the concert platform to concentrate on teaching. He appeared as soloist only one more time, at a special concert in 1949 to an invited audience at the RAM to help raise money for his fund to encourage the composition of music for the viola. He was appointed a Commander of the Order of the British Empire (CBE) in the 1950 New Year's Honours. Tertis composed several original works and also arranged many pieces not originally for the viola, such as Edward Elgar's Cello Concerto. He was the author of a number of publications about string playing, the viola in particular, and his own life. They include Cinderella No More and My Viola and I. Lionel Tertis died on 22 February 1975 in Wimbledon, London. He was 98 years old. I transferred this side from Australian Columbia DOX 267.
Aureliano Pertile Montagnana Giovanni Martinelli Santa Maria Goldsmith Orefice Jean Nouguès Asti Maschera Henderson Arturo Toscanini Boito Wolf Ferrari Ettore Panizza Mascagni Verdi Moor Salerno Costanzi Scala Covent Garden Teatro Colón Teatro Costanzi Teatro Carlo Felice 1885 1894 1911 1913 1916 1921 1922 1924 1927 1929 1935 1942 1946 1952
Aureliano Pertile +••.••(...)) was a celebrated Italian tenor who enjoyed a 35 year career in major theaters on both sides of the Atlantic. The son of a poor shoemaker and his wife, Pertile was born in Montagnana…just a few blocks away and 18 days after the birth of fellow tenor Giovanni Martinelli. His vocal talents were apparent from a very early age. In 1894, Pertile began singing alto with the choir of the Cathedral of Santa Maria Assunta. At his parents’ insistence, he apprenticed as a goldsmith during his teens, but continued singing. At age 20, he was heard by composer Vittorio Orefice, who invited the young man to study with him in Padua. After five years of work, Pertile made his debut as Lionel in Martha at Vicenza’s Teatro Eretenio on February 16, 1911. In May, he sang the role of Vinicius in the Italian premiere of Jean Nouguès’ Quo Vadis? at Milan’s Teatro dal Verme. Reviews were stellar and the tenor’s career took off quickly. Over the next two years, Pertile made appearances in Brescia, Torino, Asti, Padua and Genoa, with his international debut occurring in Santiago as des Grieux in Manon Lescaut during the fall of 1913. While in South America, the tenor also sang in Buenos Aires and Valparaiso in such works as Un Ballo in Maschera, Mefistofele, Tosca, and La Traviata. Late in 1913, Pertile returned to Italy, where he spent the next few years appearing in Naples, Palermo, Florence, Bologna, and Rome. His La Scala debut occurred on February 22, 1916 as Paolo in Francesca da Rimini, leading to a lengthy association with the company. By 1921, Pertile had appeared at most of the major theaters of Italy, Spain and South America. Following his Mexico City debut as Faust in Mefistofele in August, Pertile began his only season at New York’s Metropolitan as Cavaradossi in Tosca on December 1. Henderson of the New York Sun reported, “His voice has a tendency toward whiteness, but in its fullest volume it is warmer and resonant. His acting was that of the everyday tenor.” …not exactly the definition of a glowing review. In addition to Cavaradossi, he also sang des Grieux in Manon Lescaut, Grigori in Boris Godunov, Turiddu in Cavalleria Rusticana, Canio in Pagliacci, Radames in Aïda, and Julien in Louise. Sadly, the New York public never quite warmed up to Pertile. After only 13 performances of the aforementioned roles, as well as a pair of Sunday Night Concerts, Pertile was finished in the U.S. His Met career had lasted exactly seven weeks. Pertile fared much better in his homeland. Arturo Toscanini, who had recently taken the reins at La Scala, invited the tenor to join him for a production of Mefistofele in March. This began a decade long alliance between the two, a highlight of which was Pertile’s creation of the title role of Boito’s Nerone at its premiere on May 1, 1924. Other world premieres entrusted to Pertile during his La Scala tenure were Wolf Ferrari’s Sly in 1927 (under Ettore Panizza) and Mascagni’s Nerone in 1935 (under the composer). The tenor was a superstar at La Scala, with “Pertile Nights” marketed to an adoring public. After Toscanini’s departure in 1929, however, Pertile’s importance in Milan began to diminish. Although the tenor would remain at La Scala until the early 1940s, he was no longer the central figure he had been during the 1920s. During the mid 1930s, Pertile began to curtail his appearances, sometimes singing fewer than 15 performances per season. He was now in his 50s and had added Verdi’s Otello to his vast repertoire. In the final years of his career, Pertile sang little else but the Moor, appearing in this role almost twice as often than his other roles combined. Following one last Pagliacci in Salerno in 1946, the aging tenor retired from the stage. Pertile spent his final years teaching at the Milan Conservatory, dying on January 11, 1952 at the age of 66. During his lengthy career, Pertile sang at most of the major houses of Europe and South America, among them London’s Covent Garden, the Teatro Colón in Buenos Aires, Madrid’s Teatro Reale, Rome’s Teatro Costanzi and Teatro dell’ Opera, Genoa’s Teatro Carlo Felice and the San Carlo in Naples. His vast repertoire of nearly 70 roles included the leads in La Gioconda, Andrea Chénier, Isabeau, Fedora, La Bohème, La Fanciulla del West, Salome, Carmen, Samson et Dalila, Werther, Norma, Lucia di Lammermoor, La Favorita, Poliuto, L’Amore dei Tre Re, La Rondine, Loreley, Fra Diavolo, Lohengrin, Die Meistersinger, Iris, Rigoletto, Il Trovatore and La Forza del Destino. Pertile’s recorded legacy, made between 1922 and 1942 for Columbia, Fonotipia, Pathé, HMV and Telefunken, reveals a sturdy spinto instrument. Although his was not a voice that was often described as beautiful, he used it to great effect, always imbuing the music with tremendous artistry and intensity. Here, Pertile sings “Vedi, io piango” from Giordano’s Fedora. This was recorded in Milan for Columbia in 1922.
Aureliano Pertile Montagnana Giovanni Martinelli Santa Maria Goldsmith Orefice Jean Nouguès Asti Maschera Henderson Arturo Toscanini Boito Wolf Ferrari Ettore Panizza Mascagni Verdi Moor Salerno Costanzi Scala Covent Garden Teatro Colón Teatro Costanzi Teatro Carlo Felice 1885 1894 1911 1913 1916 1921 1922 1924 1927 1929 1935 1942 1946 1952
Aureliano Pertile +••.••(...)) was a celebrated Italian tenor who enjoyed a 35 year career in major theaters on both sides of the Atlantic. The son of a poor shoemaker and his wife, Pertile was born in Montagnana…just a few blocks away and 18 days after the birth of fellow tenor Giovanni Martinelli. His vocal talents were apparent from a very early age. In 1894, Pertile began singing alto with the choir of the Cathedral of Santa Maria Assunta. At his parents’ insistence, he apprenticed as a goldsmith during his teens, but continued singing. At age 20, he was heard by composer Vittorio Orefice, who invited the young man to study with him in Padua. After five years of work, Pertile made his debut as Lionel in Martha at Vicenza’s Teatro Eretenio on February 16, 1911. In May, he sang the role of Vinicius in the Italian premiere of Jean Nouguès’ Quo Vadis? at Milan’s Teatro dal Verme. Reviews were stellar and the tenor’s career took off quickly. Over the next two years, Pertile made appearances in Brescia, Torino, Asti, Padua and Genoa, with his international debut occurring in Santiago as des Grieux in Manon Lescaut during the fall of 1913. While in South America, the tenor also sang in Buenos Aires and Valparaiso in such works as Un Ballo in Maschera, Mefistofele, Tosca, and La Traviata. Late in 1913, Pertile returned to Italy, where he spent the next few years appearing in Naples, Palermo, Florence, Bologna, and Rome. His La Scala debut occurred on February 22, 1916 as Paolo in Francesca da Rimini, leading to a lengthy association with the company. By 1921, Pertile had appeared at most of the major theaters of Italy, Spain and South America. Following his Mexico City debut as Faust in Mefistofele in August, Pertile began his only season at New York’s Metropolitan as Cavaradossi in Tosca on December 1. Henderson of the New York Sun reported, “His voice has a tendency toward whiteness, but in its fullest volume it is warmer and resonant. His acting was that of the everyday tenor.” …not exactly the definition of a glowing review. In addition to Cavaradossi, he also sang des Grieux in Manon Lescaut, Grigori in Boris Godunov, Turiddu in Cavalleria Rusticana, Canio in Pagliacci, Radames in Aïda, and Julien in Louise. Sadly, the New York public never quite warmed up to Pertile. After only 13 performances of the aforementioned roles, as well as a pair of Sunday Night Concerts, Pertile was finished in the U.S. His Met career had lasted exactly seven weeks. Pertile fared much better in his homeland. Arturo Toscanini, who had recently taken the reins at La Scala, invited the tenor to join him for a production of Mefistofele in March. This began a decade long alliance between the two, a highlight of which was Pertile’s creation of the title role of Boito’s Nerone at its premiere on May 1, 1924. Other world premieres entrusted to Pertile during his La Scala tenure were Wolf Ferrari’s Sly in 1927 (under Ettore Panizza) and Mascagni’s Nerone in 1935 (under the composer). The tenor was a superstar at La Scala, with “Pertile Nights” marketed to an adoring public. After Toscanini’s departure in 1929, however, Pertile’s importance in Milan began to diminish. Although the tenor would remain at La Scala until the early 1940s, he was no longer the central figure he had been during the 1920s. During the mid 1930s, Pertile began to curtail his appearances, sometimes singing fewer than 15 performances per season. He was now in his 50s and had added Verdi’s Otello to his vast repertoire. In the final years of his career, Pertile sang little else but the Moor, appearing in this role almost twice as often than his other roles combined. Following one last Pagliacci in Salerno in 1946, the aging tenor retired from the stage. Pertile spent his final years teaching at the Milan Conservatory, dying on January 11, 1952 at the age of 66. During his lengthy career, Pertile sang at most of the major houses of Europe and South America, among them London’s Covent Garden, the Teatro Colón in Buenos Aires, Madrid’s Teatro Reale, Rome’s Teatro Costanzi and Teatro dell’ Opera, Genoa’s Teatro Carlo Felice and the San Carlo in Naples. His vast repertoire of nearly 70 roles included the leads in La Gioconda, Andrea Chénier, Isabeau, Fedora, La Bohème, La Fanciulla del West, Salome, Carmen, Samson et Dalila, Werther, Norma, Lucia di Lammermoor, La Favorita, Poliuto, L’Amore dei Tre Re, La Rondine, Loreley, Fra Diavolo, Lohengrin, Die Meistersinger, Iris, Rigoletto, Il Trovatore and La Forza del Destino. Pertile’s recorded legacy, made between 1922 and 1942 for Columbia, Fonotipia, Pathé, HMV and Telefunken, reveals a sturdy spinto instrument. Although his was not a voice that was often described as beautiful, he used it to great effect, always imbuing the music with tremendous artistry and intensity. Here, Pertile sings “Dio! Mi potevi scagliar” from Verdi’s Otello. This was recorded in Milan for Telefunken in the summer of 1942.
Aureliano Pertile Montagnana Giovanni Martinelli Santa Maria Goldsmith Orefice Jean Nouguès Asti Maschera Henderson Arturo Toscanini Boito Wolf Ferrari Ettore Panizza Mascagni Verdi Moor Salerno Costanzi Donizetti Scala Covent Garden Teatro Colón Teatro Costanzi Teatro Carlo Felice 1885 1894 1911 1913 1916 1921 1922 1924 1927 1929 1930 1935 1942 1946 1952
Aureliano Pertile +••.••(...)) was a celebrated Italian tenor who enjoyed a 35 year career in major theaters on both sides of the Atlantic. The son of a poor shoemaker and his wife, Pertile was born in Montagnana…just a few blocks away and 18 days after the birth of fellow tenor Giovanni Martinelli. His vocal talents were apparent from a very early age. In 1894, Pertile began singing alto with the choir of the Cathedral of Santa Maria Assunta. At his parents’ insistence, he apprenticed as a goldsmith during his teens, but continued singing. At age 20, he was heard by composer Vittorio Orefice, who invited the young man to study with him in Padua. After five years of work, Pertile made his debut as Lionel in Martha at Vicenza’s Teatro Eretenio on February 16, 1911. In May, he sang the role of Vinicius in the Italian premiere of Jean Nouguès’ Quo Vadis? at Milan’s Teatro dal Verme. Reviews were stellar and the tenor’s career took off quickly. Over the next two years, Pertile made appearances in Brescia, Torino, Asti, Padua and Genoa, with his international debut occurring in Santiago as des Grieux in Manon Lescaut during the fall of 1913. While in South America, the tenor also sang in Buenos Aires and Valparaiso in such works as Un Ballo in Maschera, Mefistofele, Tosca, and La Traviata. Late in 1913, Pertile returned to Italy, where he spent the next few years appearing in Naples, Palermo, Florence, Bologna, and Rome. His La Scala debut occurred on February 22, 1916 as Paolo in Francesca da Rimini, leading to a lengthy association with the company. By 1921, Pertile had appeared at most of the major theaters of Italy, Spain and South America. Following his Mexico City debut as Faust in Mefistofele in August, Pertile began his only season at New York’s Metropolitan as Cavaradossi in Tosca on December 1. Henderson of the New York Sun reported, “His voice has a tendency toward whiteness, but in its fullest volume it is warmer and resonant. His acting was that of the everyday tenor.” …not exactly the definition of a glowing review. In addition to Cavaradossi, he also sang des Grieux in Manon Lescaut, Grigori in Boris Godunov, Turiddu in Cavalleria Rusticana, Canio in Pagliacci, Radames in Aïda, and Julien in Louise. Sadly, the New York public never quite warmed up to Pertile. After only 13 performances of the aforementioned roles, as well as a pair of Sunday Night Concerts, Pertile was finished in the U.S. His Met career had lasted exactly seven weeks. Pertile fared much better in his homeland. Arturo Toscanini, who had recently taken the reins at La Scala, invited the tenor to join him for a production of Mefistofele in March. This began a decade long alliance between the two, a highlight of which was Pertile’s creation of the title role of Boito’s Nerone at its premiere on May 1, 1924. Other world premieres entrusted to Pertile during his La Scala tenure were Wolf Ferrari’s Sly in 1927 (under Ettore Panizza) and Mascagni’s Nerone in 1935 (under the composer). The tenor was a superstar at La Scala, with “Pertile Nights” marketed to an adoring public. After Toscanini’s departure in 1929, however, Pertile’s importance in Milan began to diminish. Although the tenor would remain at La Scala until the early 1940s, he was no longer the central figure he had been during the 1920s. During the mid 1930s, Pertile began to curtail his appearances, sometimes singing fewer than 15 performances per season. He was now in his 50s and had added Verdi’s Otello to his vast repertoire. In the final years of his career, Pertile sang little else but the Moor, appearing in this role almost twice as often than his other roles combined. Following one last Pagliacci in Salerno in 1946, the aging tenor retired from the stage. Pertile spent his final years teaching at the Milan Conservatory, dying on January 11, 1952 at the age of 66. During his lengthy career, Pertile sang at most of the major houses of Europe and South America, among them London’s Covent Garden, the Teatro Colón in Buenos Aires, Madrid’s Teatro Reale, Rome’s Teatro Costanzi and Teatro dell’ Opera, Genoa’s Teatro Carlo Felice and the San Carlo in Naples. His vast repertoire of nearly 70 roles included the leads in La Gioconda, Andrea Chénier, Isabeau, Fedora, La Bohème, La Fanciulla del West, Salome, Carmen, Samson et Dalila, Werther, Norma, Lucia di Lammermoor, La Favorita, Poliuto, L’Amore dei Tre Re, La Rondine, Loreley, Fra Diavolo, Lohengrin, Die Meistersinger, Iris, Rigoletto, Il Trovatore and La Forza del Destino. Pertile’s recorded legacy, made between 1922 and 1942 for Columbia, Fonotipia, Pathé, HMV and Telefunken, reveals a sturdy spinto instrument. Although his was not a voice that was often described as beautiful, he used it to great effect, always imbuing the music with tremendous artistry and intensity. Here, Pertile sings “Una furtiva lagrima” from Donizetti’s L’Elisir d’Amore. This was recorded in Milan for HMV on January 28, 1930.
o
- cronologia: Cantanti lirici (Europa).
- Indici (per ordine alfabetico): M...