Giuseppe Borgatti Video
tenore italiano (1871-1950)
- tenore
- Italia, Regno d'Italia
- cantante lirico
Ultimo aggiornamento
2024-04-28
Aggiorna
William Heddle Nash Verdi Steane Enrico Caruso Giuseppe Borgatti Carcano Rossini Ferrando Joan Hammond Sir Edward Elgar Scala Covent Garden Three Choirs Festival British National Opera Company Carl Rosa Opera Company 1894 1923 1924 1925 1926 1929 1930 1931 1932 1934 1937 1938 1948 1950 1958 1961 1994
Heddle Nash sings 'Questa o quella' (in English as 'In my heart, all are equally cherished,') with orchestra conducted by Clarence Raybould, recorded on 4 April 1932. I hear a little 'bird' intrude in the introduction! From Wikipedia: William Heddle Nash (14 June 1894 – 14 August 1961) was an English lyric tenor who appeared in opera and oratorio. He made numerous recordings that are still available on CD reissues. Nash's voice was of the light tenor class known as 'tenore di grazia.' The critic J. B. Steane referred to him as 'the English lyric tenor par excellence, without equal then or now...' Nash was born in the South London district of Deptford on 14 June 1894... The family was musical, and listening at home to a gramophone record by Enrico Caruso prompted Nash to apply for a scholarship at the Blackheath Conservatoire of Music. He was accepted, but a week later World War I broke out. Nash joined the army, serving in France, Salonika, Egypt and Palestine. The Blackheath scholarship was held open until after the war; Nash took it up on his return. He had some experience of concert and oratorio work, and then he accepted an offer to sing with Podrecca and Feodora's Italian Marionettes. Unseen, standing in the orchestra pit of the Scala and Coliseum theatres, he sang the tenor roles in many Italian operas while on the stages the puppets mimed the action. After the London season, the marionette company secured a contract to appear in New York; Nash went with them. On his return to London a friend advanced the money for him to study in Milan with Giuseppe Borgatti. On 7 April 1923 Nash married Florence Emily Violet Pearce, daughter of a sign manufacturer. They had two sons, John Dennis Heddle Nash +••.••(...)), who became an operatic baritone, and David L Heddle Nash (b. 1930). While studying with Borgatti, Nash made his operatic debut in 1924 at the Teatro Carcano in Milan, when he replaced an indisposed tenor in the role of Almaviva in Rossini's Il Barbiere di Siviglia. It was a notable success. After singing at Turin, Bologna and Genoa, Nash returned to England with his wife in 1925. He had developed an Italianate style of singing that remained with him: it was said of him that he sang everything as though it were by Verdi. On his return to London Nash was engaged by the Old Vic Company under Lilian Baylis to sing tenor roles in English. Success was instantaneous. The Musical Times said that it was a pleasure to welcome a very beautiful tenor voice, praised his clarity of diction, and predicted that Nash would be one of the eminent lyric tenors of the future... At the end of the Old Vic season he joined the British National Opera Company, going on tour with the company after a short London season... In 1929, Nash made his debut at the Royal Opera House, Covent Garden... He sang leading tenor roles in Italian and French operas at Covent Garden until World War II... The critic Alan Blyth called Nash the leading British lyric tenor of the 20th century, and considered him 'ideal casting for the heroes of French 19th-century Romantic opera.' Nash had a repertoire of twenty-four operas, and sang fluently in English, French, German and Italian. He was proud of being the first Englishman to sing David in Die Meistersinger in the International Season at Covent Garden. In the first Glyndebourne season, in 1934, Nash played Basilio in Le Nozze di Figaro at the inaugural performance, Pedrillo, and Ferrando in Così fan Tutte. He sang these three roles every year until 1938, adding Ottavio in Don Giovanni in 1937. The critic Richard Capell wrote, 'Hardly another tenor of his time has sung Mozart with such elegance and at the same time such a minstrel-like effect of spontaneity.' Nash also sang in lighter musical stage works... During the war Nash toured with the Carl Rosa Opera Company, often singing opposite the Australian soprano Joan Hammond... His last appearance at Covent Garden was in Die Meistersinger in April 1948. He continued to appear on stage until July 1958... Nash's career was not restricted to opera; he gave many song recitals, made radio broadcasts and performed in concerts and oratorio productions all over Britain. In 1931, he was chosen by Sir Edward Elgar to sing the title role in The Dream of Gerontius, in a performance conducted by Elgar himself. Henceforth, Nash was closely associated with the part, singing it at every Three Choirs Festival from 1934 to 1950... Nash sang regularly in Messiah, and other oratorios... In his later years, Nash was appointed professor of singing at the Royal College of Music. He sang in his last Messiah a few months before his death from lung cancer on 14 August 1961. On his tombstone in Chislehurst Cemetery are carved the opening words of part two of The Dream of Gerontius: 'I went to sleep and now I am refreshed...'' I transferred this side from Australian Columbia DO 863.
Antonio Magini Coletti Coletti Tosti Giuseppe Verdi Richard Wagner Francesco Marconi Mattia Battistini Titta Ruffo Costanzi Gounod Puccini Meyerbeer Lilli Lehmann Lehmann Jean Reszke Alfio Mascagni Pizarro Beethoven Bizet Rossini Francesco Tamagno Weber Arturo Toscanini Giuseppe Borgatti Donizetti Maschera Berlioz Delibes Conservatorio Santa Cecilia Teatro Costanzi Scala Opéra Monte Carlo Covent Garden Metropolitan Opera 1855 1880 1887 1888 1889 1891 1892 1900 1901 1905 1912
Antonio Magini-Coletti - Non t'ama piu (Tosti) - Fonotipia 39375 enregistré le 11 novembre 1905 Antonio Magini-Coletti (17 February 1855 - 21 July 1912) was a leading Italian baritone who had a prolific career in Europe and the United States during the late 19th century and the early part of the 20th century. A versatile artist, he appeared in several opera world premieres but was particularly associated with the works of Giuseppe Verdi, Richard Wagner and the verismo composers. He was also an accomplished exponent of the bel canto repertoire.[1] Magini-Coletti was born in 1855 in the medieval town of Jesi (or Iesi), which is situated inland from Ancona on central Italy's east coast. Published details of his early life are scant but sources agree that he studied singing during the 1870s with the distinguished pedagogue Venceslao Persichini at Rome's Conservatorio di Santa Cecilia. (Persichini's other students included the lyric tenor Francesco Marconi and Magini-Coletti's fellow baritones Mattia Battistini, Giuseppe De Luca and Titta Ruffo.) In 1880, Magini-Colleti made his operatic debut at Rome's Teatro Costanzi, as Valentin in Gounod's Faust.[2] He continued to perform regularly at that opera house for the next seven years, in addition to making guest appearances in Venice, Florence, Naples and other Italian cities. In 1887 he joined the roster at La Scala, Milan, remaining there for three seasons and singing a variety of leading baritone roles. Most notably, he appeared as the character Frank in the world premiere of Puccini's second opera, Edgar, in 1889. A year later, he performed his first Count Di Luna in Verdi's Il trovatore at La Scala. This part became an especial favourite of his, and he reprised it in numerous houses during the remainder of his career.[1] Between 1888 and 1891, Magini-Coletti sang to acclaim in Spain, Portugal, Germany, Austria and France. He also crossed the Atlantic for a series of operatic engagements in Argentina, receiving further plaudits. In 1891 he joined the stellar roster of singers at the New York Metropolitan Opera, participating to begin with in a two-month North American tour. His first performance with the Met touring company occurred on November 9, in Chicago, as Telramund in Wagner's Lohengrin.[1] His other roles on the 1891 tour included Hoël in Meyerbeer's Dinorah, Count de Nevers in Meyerbeer's Les Huguenots and Amonasro in Verdi's Aida (opposite soprano Lilli Lehmann and tenor Jean de Reszke), not to mention the title part in Mozart's Don Giovanni. On December 14, 1891, Magini-Coletti made a successful debut at the Metropolitan Opera's headquarters in New York City, singing Capulet in Gounod's Roméo et Juliette. He performed numerous roles at that house over the next 12 months, including Count Di Luna, Alfio in Mascagni's Cavalleria rusticana, Don Pizarro in Beethoven's Fidelio, Escamillo in Bizet's Carmen and Figaro in Rossini's Il barbiere di Siviglia, among others.[2] Magini-Coletti left America in 1892. He proceeded to pursue a busy schedule of operatic performances in Italy and other European countries, venturing as far afield as Russia and becoming a frequent guest artist at both the Opéra de Monte-Carlo in Monaco and the Royal Opera, Covent Garden, in London.[1] In 1900, he rejoined the La Scala company, performing numerous roles there for three seasons. Most notably, he appeared in the premiere of Mascagni's Le maschere in 1901. Also in 1901, he sang at La Scala in a memorial concert held to mark the recent death of Verdi, partnering the heroic tenor Francesco Tamagno in a scene from La forza del destino. The following year, he participated in La Scala's first ever production of Weber's Euryanthe.[2] Magini-Colleti sang often under the baton of Arturo Toscanini, La Scala's principal conductor, during this period. Toscanini was an ardent advocate of Wagner's music and he conducted Magini-Coletti in performances of Tristan und Isolde, Die Walküre and Lohengrin. These landmark Wagnerian productions often featured Magini-Coletti's La Scala colleague Giuseppe Borgatti—Italy's best heldentenor. Other significant operas in which Magini-Coletti appeared during the course of his 30-year European and American career were Donizetti's Lucia di Lammermoor, L'elisir d'amore, La Favorita, Poliuto and Lucrezia Borgia, Verdi's Otello, Falstaff, Rigoletto, La forza del destino, Un ballo in maschera, Luisa Miller and La traviata, Puccini's La bohème, Berlioz's La Damnation de Faust and Delibes' Lakmé. He died in Rome, aged 57. Source Wikipedia
Golinelli Verdi Borgatti Teatro Comunale Ferrara
Introduzione al Concerto Verdiano Dario Favretti - Dir. Art. Teatro Comunale M.L.Carrà Borgatti - Presidente Dante Alighieri Teatro Comunale - Ferrara
Willi Domgraf Fassbaender Brigitte Fassbaender Mozart Verdi Paul Bruns Bruns Giuseppe Borgatti Heddle Nash Deutsche Oper Berlin Staatstheater Stuttgart Berlin Staatsoper Staatsoper Salzburg Festival 1897 1922 1923 1925 1927 1930 1934 1937 1938 1948 1953 1954 1962 1978
Willi Domgraf-Fassbaender (February 19, 1897, Aachen - February 13, 1978, Nuremberg) was a German operatic baritone, particularly associated with Mozart and Verdi roles. He is considered to have been one of the best lyric baritones of the inter-war period. Domgraf-Fassbaender studied first in Berlin with Jacques Stuckgold and Paul Bruns, and later in Milan with the prominent Italian dramatic tenor Giuseppe Borgatti (who also taught the English tenor Heddle Nash). His stage debut occurred in 1922 in his native Aachen, as Almaviva in Nozze di Figaro. He sang at the Deutsche Oper Berlin from 1923 to 1925, at the Düsseldorf opera house from 1925 to 1927, at the Staatstheater Stuttgart from 1927 to 1930, and finally at the Berlin Staatsoper from 1930 until 1948. Domgraf-Fassbaender was invited regularly to sing at the Glyndebourne Festival in England from the festival's foundation in 1934 until 1937, performing Mozart roles. He also appeared at the Salzburg Festival in Austria in 1937, as Papageno in The Magic Flute. After the Second World War, he performed mostly in Vienna, Munich, Hannover, and Nuremberg, where he was resident producer at the latter city's opera house from 1953 to 1962. In 1954 he began teaching at the Music Conservatory of Nuremberg, where he trained his daughter, the mezzo-soprano Brigitte Fassbaender. Domgraf-Fassbaender had a beautiful voice which he used with sensitive musicianship and an excellent technique. He was an accomplished singer-actor as well, appearing in a few musical films. Domgraf-Fassbaender left a sizeable legacy of audio recordings, many of which are available on CD reissues.
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- cronologia: Cantanti lirici (Europa).
- Indici (per ordine alfabetico): B...