Enzo De Muro Lomanto (Tenor) (Canosa di Puglia (Apulien) 1902 – Napoli 1952)

Born Vincenzo De Muro, he studied in Naples, adding "Lomanto" to his name to avoid confusion with another tenor, Bernardo De Muro. He made his debut at Catanzaro, as Alfredo, in 1925. Shortly afterwards, he appeared at the San Carlo in Naples, as Cavaradossi. He made his La Scala debut in 1928 as Tonio. He would sing there until 1943. He also appeared at the Paris Opéra in 1936, as Duca di Mantua, and at the Maggio Musicale Fiorentino in Florence, in The Tales of Hoffmann, in 1938. He also took part in the creation of Giordano's Il Re, at La Scala, in 1929. De Muro Lomanto made a number of records and can be heard in the first complete recording of Lucia di Lammermoor, opposite Mercedes Capsir. He married the lyric soprano Toti Dal Monte in Sydney, Australia, during a 1928 operatic tour. The wedding party created international headlines when it gave the Fascist salute on the steps of St Mary's Cathedral. He died in 1952, aged 49, in Naples, from undisclosed causes.

Chronology of some appearances

1925 Catanzaro Teatro Comunale  Barbiere di Siviglia (Almaviva)

1926 Napoli  Teatro San Carlo Barbiere di Siviglia (Almaviva)

1927 Basilea  Stadt Barbiere di Siviglia (Almaviva)

1927 Berna  Stadt Barbiere di Siviglia (Almaviva)

1928 Melbourne  His Majesty's Theater Barbiere di Siviglia (Almaviva)

1928 Melbourne Her Majesty's Don Pasquale (Ernesto)

1929 Parigi  Teatro di Torino Barbiere di Siviglia (Almaviva)

1930 Barcellona  Teatro Liceo Barbiere di Siviglia (Almaviva)

1930 Vienna  Un der Wien Barbiere di Siviglia (Almaviva)

1930 Milano Teatro alla Scala Don Pasquale (Ernesto)

1933 Como  Teatro Sociale Adriana Lecouvreur (Maurizio)

1933 Cagliari  Teatro Civico Barbiere di Siviglia (Almaviva)

1934 Napoli  Teatro San Carlo Barbiere di Siviglia (Almaviva)

1938 Napoli  Arenaccia Adriana Lecouvreur (Maurizio)

1938 Viterbo Teatro Unione Adriana Lecouvreur (Maurizio)

1938 Roma  Teatro dell'Opera Barbiere di Siviglia (Almaviva)

1939 Sanremo  Teatro Del Casinò Barbiere di Siviglia (Almaviva)

RECORDINGS FOR SALE

Columbia, Milano 1927-10-27

Sonnambula (Bellini) Prendi l'anel ti dono GQ7084 WB1578

Columbia, Milano 1927-11-03/07

Sonnambula (Bellini) Son geloso, pt 1 pt 2 with Maria Gentile GQ7077 WB1636

Sonnambula (Bellini) pt 2 with Maria Gentile GQ7077 WB1637

Columbia, Milano 1927-11

Barbiere di Siviglia (Rossini) Se il mio nome GQ7078 WB1651

Barbiere di Siviglia (Rossini) Ecco ridente in cielo GQ7078 WB1652

Columbia, Milano 1927-11-24

Manon (Massenet) Chiudo gli occhi GQ7084 WB1750

Columbia, Milano 1928-02-07/12

Bohème (Puccini) Che gelida manina GQX10251, WBX239

Columbia, Milano 1928-02-21

Tosca (Puccini) Recondita armonia D12581 B1711

Columbia, Milano 1928-03

Arlesiana (Cilea) È la solita storia GQX10251 WBX251

Columbia, Milano 1929-09

Lucia di Lammermoor (Donizetti) Tombe degli avi miei GQ7129 WB2761

Lucia di Lammermoor (Donizetti) Fra poco a me ricovero GQ7129 WB2764

Favorita (Donizetti) Spirto gentil GQX10209 WBX639

Columbia, Milano 1929-09-11
Don Pasquale (Donizetti): Sogno soave e casto DQ1044 WB2772

Columbia, Mialno 1930-01-27

Le Furie di Arlecchino (Lualdi): O Colombina pt 1 DQ1126 WB3082

Le Furie di Arlecchino (Lualdi): pt 2 DQ1126 WB3083

Columbia, Milano 1938-04-23

Don Giovanni (Mozart) Il mio tesoro DQ2667 CB8727

Linda di Chamounix (Donizetti) Se tanto in ira agli uomini DQ2667 CB8728

Columbia, Milano 1940-03-16

Silvano (Mascagni) S'è spento il sol DQ3190 CB9738

Charles Fontaine (Tenor) (Antwerp 1878 - ?1955)

Like Fernand Ansseau, another Belgian tenor Charles Fontaine was a pupil  of Demest at the Brussels Conservatory. He was born in Antwerp and after making a successful debut there was invited to Covent Garden for the season of 1909, where his roles included Faust, Samson and Renaud in a solitary performances of Gluck's "Armide". The engagement was, however, premature and the best notices he secured spoke well only of his acting. During the next two seasons he remained in relative obscurity in the French provinces. In 1911 he appeared for the first time in Paris, at the Opera as Raous in "Les Huguenots", in which "his powerful voice, the manner in which he deployed it, easy and vibrant" made a suitable impression. In the course of the next three yerars he divided his time between Paris and appearances at various Belgian theatres. At Antwerp in 1914 with Yvonne Gall in "Romeo et Juliette", he sang "with a force that quite subjugated the crowds", the same season at Liege he was Arnold in "Guillaume Tell" with another leading Belgian Singer, the baritone Jean Note'. After the German invasion of Beltium in September he moved to Paris. At the end of the same year he made his debut at the Opera-Comique as Don Jose', after which came: Dominique in "L'Attaque du moulin", Gerald, Pinkerton, the title role in "Le Jongleur de Notre Dame", Des Grieux, Canio, Danielo in Leroux's "La Reine Fiammette", Mylio in "Le Roi d'Ys", Jean in "Sapho", Cavaradossi, Rodolfo, Werther, Hoffmann, Armand in Massenet's "Therese". He created Almerio in Fevrier's "Gisomonda" with Fanny Heldy and Henri Albers. By this time his singing seems to have much improved and "Le Menestral" picked out for special praise "his beautiful voice and restrained playing" in Faure's "Penelope". In the autumn of 1917 he sang in a special gala evening of excerpts from French opera at La Scala. In December 1918 he became a member of the Chicago Opera. During his first season in which, as a result of the presence of Mary GArden as principal prima donna, fourteen of the twenty-nine works in the repertory were French, he sharedthe principal tenor roles with Lucient Muratore and John O'Sullivan. Although unable to produce the high notes that made the latter celebrated and without Muratore's charm of manner or good looks, he secured a repeat engagement the following season and appeared with Garden in "Carmen", "Louise", "Gismonda", "Cleopatre", and "Thais". He took the role of Toliak in Gunsbourg's "Le Vieil Aigle" with Baklanov, and Pierre in Messager's "Madame Chrysantheme" with the Japanese soprano Tamaki Miura. When it was repeated on tour at the Lexington Theatre in New York, Aldrich noted that:  [Fontaine] as Pierre showed an agreeable tenor voice, a little uneven in quality, and sometimes a little disposed to flat but with plenty of power, and in his impersonation was vigorous and  manly. [This sounds like a description of Jose Cura!] He remained active through the 1920s in Paris and, the French provinces at Bordeaux, Nice (with Rittter-Ciampi in "Les Contes d'Hoffmann") and elsewhere. A comparison between Ansseau and Fontaine in "O Paradis" reveals obvious similarities in voice production but Fontaine is a cruder singer; the intervals are not as clearly defined, the voice is rather throaty and when he piles on the pressure, the top notes become strained. Throughout there are signs of the disagreeable effects of the diphthonged French vowels, and he has a tendency to articulate the words at the expense of the quality of the tone. Next to Ansseau, or Franz, this is dry and lacking in sonority. When a less scrupulous delivery does not come amiss, in Sigurd's "Esprits gardiens", he makes a brazen effect sweeping easily through the high tessitura.

http://www.bruceduffie.com/

Chronology of some appearances

1918 Chicago  Civic Opera House Carmen (Don Jose)
1919 Chicago  Civic Opera House Carmen (Don Jose)

RECORDINGS FOR SALE

Pathe, Paris 1912

Complete Trovatore (Verdi) with Morlet, Lapeyrette and Note

Pathe, Paris 1917?

Pecheurs de perles (Bizet): Au fond du temple saint with Jean Note 2547 2540
Muette de Portici (Auber): Amour sacre with Jean Note 2548 2541
Reine de Chypre (Halevy): Duo with Jean Note 2548 2542
Guillaume Tell (Rossini): Ah, Mathilde with Jean Note 2547 2543

Pathe, Paris 1919?

Lakme (Delibes): Fantaisie 59080
Guillaume Tell (Rossini): Asile héréditaire 59077
Attaque du Moulin (Bruneau): Adieux а la foret 0221 1971
Mignon (Thomas): Elle ne croyait pas 0221 2113

Pathe, Paris 1920?
Dimitri (Joncières): Invocation 0285
Dimitri (Joncières): Romance 0281
Juive (Halévy): Dieu, que ma voix tremblante 0281

Juive (Halevy): Rachel, quand du Seigneur 0285
Roma (Massenet): Scène de Lentulus 0283

Jongleur de Notre-Dame (Massenet): O liberté 0284
Bohème (Puccini): Air de Rudolphe 0283

Pathé, Paris 1923?
Aida (Verdi): O céleste Aida 0376

Lohengrin (Wagner): Récit du Graal 0376

Giuseppe Oppezzo (Tenor) (Stoppiana /Vercelli 1875 - USA 1918)

                                                               Radames

He made his debut in 1900 at the Teatro Sociale of Pallanza in ‘’Lucia di Lammermoor’’. The next year Opezzo performed at the Teatro Rossi in Pisa as Roberto in ‘’Congedo’’. In 1905 he made guest appearance in Barcelona, where at the Teatro Tivoli he sang the role of Radames in ‘’Aida’’. In 1906 he arrived in Odessa and sang there  in ‘’Aida’’ and  ‘’Trovatore’’. In 1908 Opezzo went to USA singing in Philadelphia and Washington. The same year, he was in Alessandria, where he performed at the Teatro Parisiana. In 1914 he agan sang in USA, this time in Boston. He sang also in Mexico City. It happened in 1918. Probably he retired from the stage in 1920.

Chronology of some appearances

1900 Pallanza Teatro Sociale Lucia di Lammermoor (Edgardo)
1903 Lugano Teatro Apollo Cavalleria Rusticana (Turiddu)

1901 Pisa Teatro Rossi Congedo (Roberto)

1905 Barcelona Teatro Tivoli Aida (Radames)

1906 Odessa Trovatore (Manrico)

1907 Caltagirone Teatro Garibaldi Norma (Pollione)

1909 Vercelli   Politeama Facchinetti   Ballo in Maschera (Riccardo)

1911 Torino Teatro Balbo Ernani (Ernani)

1914 Boston Teatro Boston Stagione Compagnia Bevani

1917 Tampa Centro Asturiano Trovatore (Manrico)

1918 Citt  del Messico Teatro Virginia Fabregas Stagione

RECORDINGS FOR SALE

 

Columbia, Milano 1911 - 1914

Ernani (Verdi): Come rugiada al cespite D 4251 10947

Andrea Chenier (Giordano): Improvviso P.I° D 9256 10983

Andrea Chenier (Giordano): Improvviso P.II° D 9256 10984

Pagliacci (Leoncavallo): No pagliaccio non son D9257 10989

Otello (Verdi): Esultate!...Ora e per sempre addio D 9263  11013
Otello (Verdi): Niun mi tema 74710

Norma (Bellini): Me protegge D 5525 11150

Trovatore (Verdi):  Desserto sulla terra D 5525 11148

Trovatore (Verdi):  Di quella pira D 5525 11149

Norma (Bellini): Mecco all'altar D 5525 11147

Germania (Franchetti): Studenti udite E2081 11363

Giuseppe Paganelli (Tenor) (Forli 1882 - Cape Town 1956)

http://www.lavoceantica.it/

Displaying exceptional gifts at an early age, Giuseppe Paganelli learned to play the cornet during his school years, and obtained a professional diploma at a music school in Venice at the age of seventeen. In 1902 he enrolled at the Academia de Santa Cecilia in Rome and studied the theory of music and composition, until his harmony lecturer advised him to study voice production with the famous teacher, Antonio Cotogni. He was accepted as a student and trained for four years. After an Academy concert he was engaged by a Roman concert impresario to sing the tenor role in The Barber of Seville, and subsequently scored one opera success after another in Italy, North and South America, Greece, Spain, Australia and New Zealand. In 1926 he accompanied the Sistine Chapel Choir as a solo tenor on a world tour. After their successful performance in Cape Town, Prof. W. H. Bell offered him the position of singing master and opera producer at the S.A. College of Music. He accepted and his first presentation was The barber of Seville, in which he and Timothy Farrell sang the leading roles. This was followed by other operas like Don Pasquale, La traviata, The secret marriage (Cimarosa), The marriage of Figaro and La sonnambula (Bellini). He was seriously ill in 1945; shortly afterwards he composed a passion-play based on Da Vinci’s Last supper, which he directed, with Dirk Lourens singing the tenor role. Among his students were his wife Eva Gain, and the soprano Albina Bini, who regularly took part in his productions. After the Second World War, Fiasconaro joined the College as an instructor in singing and started a school of opera under the supervision of Prof. E. Chisholm, thus continuing Paganelli’s pioneering work.

Chronology of some appearances

1905 Milan  Teatro Fossati  Don Pasquale (Malatesta)

1906 Venezia  Teatro Rossini Barbiere di Siviglia (Almaviva)

1907 Forli Teatro  Comunale  Don Pasquale (Ernesto)

1908 Genova Teatro Margherita Don Pasquale (Ernesto)

1909 Caracas Teatro Municipal Favorita (Fernando)

1910 Milano Teatro Lirico Mignon (Guglielmo)

1911 Puerto Rico Teatro Municipal Manon (De Grieux)

1912 Cinfuegos Teatro Municipal Rigoletto (Duca)

1913 Torino Teatro Regio Don Pasquale (Ernesto)

1914 Havana Teatro Payret Favorita (Fernando)

1915 Genova Teatro Carlo Felice Don Pasquale (Ernesto)

1916 Parma Teatro Regio Favorita (Fernando)

1917 Modena Teatro Storchi Mignon (Guglielmo)

1918 Milano Teatro Lirico Barbiere di Siviglia (Almaviva)

1919 Bologna Teatro Apollo Barbiere di Siviglia (Almaviva)

1920 Pesaro Teatro Rossini Barbiere di Siviglia (Almaviva)

1921 Cairo Kursaal Dalbagni Sonnambula (Elvino)

1922 Cairo Kursaal Dalbagni Mignon (Guglielmo)

1923 Roma Teatro Nazionale Matrimonio segreto (Paolino)

1924 Catania Teatro Bellini Adriana Lecouvreur (Maurizio)

RECORDINGS FOR SALE

 

Columbia, Milano 
Mignon (Thomas): Ah, non credevi tu D 4460 41901
Favorita (Donizetti): Spirto gentil  D4545

Barbiere di Siviglia (Rossini): Se il mio nome D4413 11461 

Barbiere di Siviglia (Rossini): Ecco ridente in cielo D4413 11470

Roberto Vanni (Tenor) (Milan 1861 – ? 1941)

Probably he made his debut in 1885 at the Teatro Comunale of Ferrara as Macduff in ‘’Macbeth’’. From 1889 to 1891 he made guest appearances in Montevideo appearing in ‘’Aida’’, ‘’Africana’’, ‘’Mefistofele’’, ‘’Rigoletto’’ and ‘’Fra’ Diavolo’’.  In 1893 Vanni sang at the Teatro Doria in Buenos Aires. Here he performed in ‘’Ruy Blas’’, ‘’Faust’’, ‘’Falastaff’’ and ‘’Pagliacci’’. He sang with Henry Abbey's Italian Grand Opera Company, starring Patti and Tamagno, on tour in 1889-90. At the Metropolitan Opera for seven seasons, he made his debut as the Fisherman in ''William Tell''. November 21, 1894. In 1902-03, his last season, he appeared sixty-eight times between Roderigo in the opening-night ''Otello'', on November 24, and Vogelgesang in the ''Meistersinger'' that closed the tour on April 25 in Pittsburgh. His other roles that season were the Sergeant in ''Barbiere di Siviglia'', the Messenger in ''Aida'', Gaston in ''Traviata'', Borsa in ''Rigoletto'', a Peasant and a Herald in ''Prophète'', Alcindoro and Parpignol in ''Bohème'', De Cossé in ''Huguenots'', Remendado in ''Carmen'', Don Riccardo in ''Ernani'', a Servant in ''Ballo in maschera'', a Priest in The ''Magic Flute'', the Notary in ''Don Pasquale'', and Ruiz in ''Trovatore''. He was paid $40 per week, $880 for the season.

Chronology of some appearances

1885 Ferrara Teatro Comunale Macbeth (Macduff)

1889 Montevideo Teatro Ciblis Aida (Messaggero)

1891 Montevideo Teatro Solis Rigoletto (Duca)

1893 Buenos Aires Teatro Doria Ruy Blas (Ruy Blas)

1895 Boston Opera House Pagliacci (Arlecchino)

1897 New York Teatro Metropolitan Ugonotti (Coss¨)

1899 New York Teatro Metropolitan Aida (Messaggero)

1901 New York Teatro Metropolitan Don Pasquale (Notaro)

1903 New York Teatro Metropolitan Ernani (Don Riccardo)

1909 Boston Opera House Lucia di Lammermoor (Normanno)

1910 Chicago  Auditorium Faust (Wagner)

RECORDINGS FOR SALE

 

Bettini cylinders, New York 1899?

Otello (Verdi): Esultate & Sante memorie 1

Columbia, New York 1903
Non e ver (Mattei)  1231

Mario Ancona (Baritone) (Livorno 1860 - Florence 1931)

Originally, he studied social sciences and law, and became a diplomat. However, after vocal studies, he made his debut as Scindia (Roi de Lahore) in Trieste in 1890 and his debut at La Scala as the King (Le Cid) in 1890. He created Silvio in Pagliacci at the Teatro Dal Verme, Milan, in 1892 and the same year sang Alphonse (La favorite) at the New Olympic Theatre, London. Also sang for 17 seasons at Covent Garden starting in 1892. He made his Met debut in 1893, and in three seasons sang 91 performances of 17 roles. He also appeared with the Manhattan Opera (1906-08), in Boston (1913-14), Chicago (1915-16), Paris, Lisbon, Barcelona, Warsaw, and Buenos Aires. Ancona appeared in a wide repertory embracing W. A. Mozart ( Don Giovanni , Figaro), Giuseppe Verdi (Germont, Rigoletto, Renato, Amonasro, Iago, Don Carlo in Ernani), Richard Wagner (Wolfram, Telramund, Hans Sachs), Giacomo Puccini (Lescaut, Marcello), Pietro Mascagni (Alfio, David in L'amico Fritz) and many French roles, including Nevers (Les Huguenots), Escamillo and Valentin (Faust). After retirement in 1916, he taught in Florence, Italy.. Ancona, in his singing, coupled old-fashioned  elegance with an effortless technique. He was undoubtedly one of the most important baritones of his period.

Chronology of some appearances

1890 Livorno Teatro Goldoni Cavalleria rusticana (Alfio)

1892 Catania Teatro Bellini Carmen (Escamilio)

1892 Catania Teatro Bellini Ernani (Don Carlo)

1893 Mantova Teatro Sociale Barbiere di Siviglia (Figaro) 

1897 New York Metropolitan Opera Cavalleria rusticana (Alfio)

1898 Lisbon Teatro San Carlo Andrea Cheneir (Gerard)

1898 Lisbon Teatro San Carlo Ernani (Don Carlo)

1899 London Covent Garden Boheme (Marcello)

1902 Napoli  Teatro San Carlo Barbiere di Siviglia (Figaro) 

1902 Napoli  Teatro San Carlo Ernani (Don Carlo)

1902 Buenos Aires Opera Ernani (Don Carlo)

1902 Buenos Aires Opera Favorita (Alfonso)

1902 Torino Teatro Vittorio Emanuele Ernani (Don Carlo)

1903 Lisbon Teatro San Carlo Ernani (Don Carlo)

1904 Madrid Teatro Reale Ernani (Don Carlo)

1904 Madrid Teatro Reale Ballo in maschera (Riccardo)

1904 Madrid Teatro Reale Favorita (Alfonso)

1904 Lisbon Teatro San Carlo Ballo in maschera (Riccardo)

1904 Lisbon Teatro San Carlo Boheme (Marcello)

1904 Lisbon Teatro San Carlo Favorita (Alfonso)

1905 Lisbon Teatro San Carlo Don Carlo (Rodrigo)

1906 Napoli  Teatro San Carlo Barbiere di Siviglia (Figaro) 

1906 Napoli  Teatro San Carlo Cavalleria rusticana (Alfio)

1906 New York Manhattan Opera Carmen (Escamilio)

1907 New York Manhattan Opera House Barbiere di Siviglia (Figaro) 

1907 New York Manhattan Opera House Cavalleria rusticana (Alfio)

1907 New York Manhattan Opera House Ernani (Don Carlo)

1907 Parigi Casa de Reszke Barbiere di Siviglia (Figaro) 

1909 Lisbon Teatro San Carlo Ballo in maschera (Riccardo)

1913 Boston Opera House Ballo in maschera (Riccardo)

1914 Parigi Teatro Champs Elysees Ballo in maschera (Riccardo)

1914 Boston Opera House Boheme (Marcello)

1914 Parigi Teatro Champs Elysees Boheme (Marcello)

1915 Torino Teatro Regio Ballo in maschera (Riccardo)

1915 Chicago Civic Opera House Boheme (Marcello)

1917 Firenze  Teatro Verdi Favorita (Alfonso)

Guy Cazenave (Tenor) (Hasparren/Bayonne (Lapurdi) 1883 - Algiers 1937)

He made debut at the Grand Opéra in ‘’Aida’’ (1912). Then he appeared there also in  ‘’Samsón and Dalila’’. Three years later at the same theatre he sang in ‘’Henry VIII’’ and ‘’Ascanio’’ of Saint-Saëns and ‘’Hérodiade’’ of Massenet. At the Opera-Comique he performed in ‘’Tosca’’ and ‘’Pagliacci’’ (1928). Also he sang at the theaters of Marseilles, Nice and Lyons. When he retired from the stage, he devoted himself to teaching and to his business in Algiers. Probably he was killed there.

Chronology of some appearances

1912 Paris Grand Opera
1928 Paris Opera-Comique

RECORDINGS FOR SALE

 

Ideal, Paris 1914?

Le Trouvere (Verdi): Exile sur la terre 7265

Gramophone, Paris 1927-10-04

Walkure (Wagner): Plus d'hiver  W910 032490

Reine de Saba (Gounod): Faiblesse de la race humaine P737 4-32776

Reine de Saba (Gounod): Inspirez-moi, race divine P737 4.32777

Edoardo Mario Pagani (Tenor)

Cavaradossi

Probably he made his debut in 1897. Already in the 1899-1900 season he appeared in Spain (Valencia. Teatro Principal, Barcelona. Teatro Tivoli, Madrid. Teatro Buen Retiro). In 1901 he made guest appearance at the Politeama Argentino in Buenos Aires. Here he performed in ‘’Gioconda’’, ‘’Manon Lescaut’’ and ‘’Boheme’’. In the 1902-1903 season he again sang at the Teatro Tivoli of Barcelona in ‘’Lucia di Lammermoor’’, ‘’Faust’’ and ‘’Boheme’’. Then he went to sing in Alessandria. In 1904 he arrived in Lisbon, where at the Coliseo Recrejos appeared in ‘’Zaza’’, ‘’Boheme’’, Cavalleria rusticana’’, ‘’Lucia di Lammermoor’’, ‘’Traviata’’, ‘’Rigoletto’’ and ‘’Faust’’. Guest appearances followed in Alessandria (1904), Valencia (1906), Rio de Janeiro (1908), San Paolo (1908), Madrid (1909) and Oporto (1909). In his native Italy Pagani sang in Messina (Teatro Vittorio Emanuele. ‘’Tosca’’, 1901), Venezia (Teatro Rossini. ‘’Boheme’’, 1902), Pistoia (Teatro Manzoni. ‘’Manon  Lescaut’’, 1902), Milan (Teatro Dal Verme. ‘’Cavalleria rusticana’’, 1905). Probably his last appearance was at the Teatro Ciscutti in Pola, where he sang the role of Turiddu in P. Mascagni’s ‘’Cavalleria rusticana’’. Edoardo Mario Pagani made only one record for Odeon Fonotipia.

Chronology of some appearances

1899 Valencia Teatro Principal Boheme (Rodolfo)

1900 Barcelona Teatro Tivoli Cavalleria rusticana (Turiddu)

1904 Alessandria Teatro Abbas Carmen (Don  Jose)

1904 Lisbon Coliseo Recrejos Gioconda (Enzo)

1905 Milan Teatro Dal Verme Cavalleria rusticana (Turiddu)

1906 Valencia Teatro Principal Tosca (Cavaradossi)

RECORDING FOR SALE

 

Odeon Fonotipia, Milano

Conte di Lussemburgo (Lehar): Duetto del Trefile with Bianca Besalu  82599

Morgan Kingston (Tenor) (Wednesbury, Staffordshire 1881 – London 1936)

Alfred Webster Kingston was born at Sparrows Forge, Wednesbury, Staffordshire but his family soon moved to Beardall Street in Hucknall, Notts. At ten years of age, Alfred followed his father down the pit at Hucknall Colliery but spent his leisure hours in music with the St. John's Church choir and later with the Byron Quartette which included his brother William and two friends, William Holland and H.G.M. Henderson. Alfred married in 1895 and moved to the newly-sunk Crown Farm Colliery in Mansfield where his colleagues clubbed together to send him to London two days a week for speech and singing lessons with Hugo Hinds. The Rev. Stainer of Warsop Church, impressed with his singing, arranged for Alfred to have permanent lessons in London with Evelyn Edwardes. In 1909 he made his first appearance under his stage name of Morgan Kingston one Sunday at the Queens Hall in London and continued these appearances whilst still working at the pit to pay his way. A tall athletic man with a good stage presence, he was singing more and more at the important festivals of the day. In 1912, he was heard at a concert by Campini and Dippel and was engaged to perform with the Chicago Philharrnonic Opera but Dippel then moved to another company and Morgan found himself singing with the Century Opera Company. He successfully sang in Lohengrin, Samson and Delilah, La Boheme, Tosca, Pagliacci and Carmen - all in English, the normal policy of the Century Opera Company though he had mastered French, Italian and German. He could take the tenor role in 50 different operas. In 1913, Kingston sang at the White House for President and Mrs. Woodrow Wilson and was presented with a model of a Welsh harp with an American eagle at its base in solid gold. Kingston was very proud of his present and left it in his will to his son Bert. Kingston was engaged by the New York Metropolitan alongside Caruso performing most notably Manrico in Il Travatore - Campanini called him 'the greatest Manrico of his day.' He had come a long way from singing 'Nirvana' at the opening of the new drill hall in Mansfield.  Now in his forties, Kingston worked harder than ever touring with the Scotti Opera Company as well as becoming a noted oratario and concert singer while performing in First World War fund-raising events. In 1924 he returned to England to appear at Covent Garden and undertaking concert work. He sang at a Stephenson subscription concert in Mansfield and his final performance was at the Philharmonic Hall, Liverpool in November 1928. Kinston's health was failing and he finally moved to Stoke Poges - his family were now living in Canada. He died in a London Hospital on August 4 1936. 

http://myweb.tiscali.co.uk/

Chronology of some appearances

1909 London Queens Hall Concert

1928  Liverpool Philharmonic Hall  Concert

RECORDING FOR SALE

 

Columbia, New York 1914-01
Boheme (Puccini): O Mimi tu piu non torni with Louis Kreidler  45546

Giuseppe Sinatra (Tenor)

I know, that in 1906 he performed at the Teatro Sociale of Stradella as Enzo in ''Gioconda’’. His other appearances was in Quistello (Teatro Sociale) and Montecarlo di Lucca (Teatro Rinnovati). In this two theatres he sang the role of  Edgardo in ''Licia di Lammermoor''. He made only one record for Beka.

Chronology of some appearances

1906 Stradella Teatro Sociale Gioconda (Enzo)

1910 Montecarlo di Lucca Teatro Rinnovati Lucia di Lammermoor (Edgardo)

 

RECORDING FOR SALE

Beka

Fedora (Giordano): Amor ti vieta 42024

Gilmo Zampieri (Tenor)

He studied in Milan with Vincenzo Villani and probably made his debut in 1907. Already in 1909 he arrived in Istanbul, Turkey, where at the Teatro Petit Champs he performed in ‘’Ruy Blas’’, ‘’Trovatore’’ and ‘’Andrea Chenier’’. In the 1911-1912 season Zampieri made guest appearances at the Paleis Voor Volksvlijt of Amsterdam. Here he sang in  ‘’Rigoletto’’, ‘’Fedora’’, ‘’Pagliacci’’, ‘’Carmen’’ and ‘’Traviata’’. From Amsterdam he went to Bucharest, where at the Teatro Blandazic he sang in ‘’Cavalleria rusticana’’, ‘’Tosca’’, ‘’Pagliacci’’ and ‘’Ballo in maschera’’. His last appearance was at the Teatro Delle Varietà of Abbiategrasso, where he sang the role of Pollione in ‘’Norma’’. In Italy he performed in Palermo (Teatro Massimo, 1909), Naples (Teatro Bellini, 1908), Pistoia (Teatro Manzoni, 1911). Zampieri made 3 records for Odeon Fonotipia.

Chronology of some appearances

1909 Istanbul Teatro Petit Champs Ruy Blas (Ruy Blas)

1911 Amsterdam Paleis Voor Volksvlijt Fedora (Loris)

1912 Bucharest Teatro Blandazic Cavalleria rusticana (Turiddu)

1920 Abbiategrasso Teatro Delle Varietà Norma (Pollione)

COMPLETE RECORDINGS FOR SALE

Odeon Fonotipia, Milan 1913-01-01
Lucia di Lammermoor (Donizetti): Chi mi frena with Filippo Biancofiore and Luigi  Manfrini  82392, 82393

Africana (Meyerbeer): Di tua più bella immagine with Maria Wrobelnska 82392

Africana (Meyerbeer): O mia Selika with Maria Wrobelnska  82393

Mario Zoli (Tenor) (Ravenna 1879 - ?)

lavoceantica.it

Probably he made his debut in 1898. In 1901 Zoli appeared at the Teatro Sociale in Cittadella as Alvaro in ‘’Forza del destino’’. In 1909 he sang the role of Andrea Chenier at the Teatro Cavour in Porto Maurizio. The next year he went to Savona, where at the Teatro Chiabrera he again sang in ‘’Forza del destino’’. Probably his last appearance was at the Teatro Apollo in Lugano, where he performed in ‘’Wally’’. It happened in 1914. His career was interrupted by the First World War. He made only one record for Phonodisc Mondial.

Chronology of some appearances

1901 Cittadella Teatro Sociale Forza del destino (Alvaro)

1909 Porto Maurizio Teatro Cavour Andrea Chenier (Andrea Chenier)

1910 Savona Teatro Chiabrera Forza del destino (Alvaro)

1914 Lugano Teatro Apollo Wally (Hagenbach)

RECORDING FOR SALE

Phonodisc Mondial, Milano 1913/1914

Aida (Verdi): Nume custode vindice with Carlo Scattola and  Rosita Medini 850