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

Guido Volpi (Tenor) (Cremona 1889 - ? 1944)

He studied in Cremona with Federico Caduana and in Milan with Arturo Cadore. He made his debut in 1913 at the Teatro Sociale of  Trino Vercellese in ‘’Sonnambula’’. Volpi’s career was relegated to appearances in provincial theatres (Cuneo. Teatro Toselli ‘’Cavalleria rusticana’’ 1919, Lecce. Politeama Greco ‘’Traviata’’ 1920). In 1925 he guested at the Teatro Municipale of Piacenza where he sang the role of Rodolfo in ‘’La Bohème’’. The next year, at the same theatre he performed as Shuisky in ‘’Boris Godunov’’. Guest performances led him to South America (Caracas, Panama) and Paris (Teatro Champs Elysees). He retired from the stage in 1933.

Chronology of some appearances

1913 Trino Vercellese Teatro Sociale Sonnambula (Elvino)
1918 Piacenza Politeama Boheme (Rodolfo)

1919 Cuneo Teatro Toselli Cavalleria rusticana (Turiddu)

1920 Lecce Politeama Greco Traviata (Alfredo)
1922 Bergamo Delle Societ Boheme (Rodolfo)
1924 Venezia   Teatro La Fenice Manon (De Grieux)

1925 Piacenza Teatro Municipale Bohème (Rodolfo)
1926 Piacenza Teatro Municipale Boris Godunov (Shuisky)

1927 Como Teatro Sociale Boris Godunov (Sciunsky)

1928 Lucca Teatro Del Giglio Mefistofele (Faust)

1930 Pisa Teatro Verdi Amico Fritz (Fritz)

1932 Milano Teatro Lirico Mefistofele (Faust)

1933 Piacenza Politeama Il Gatto Stivalato di G. Pallastrelli

RECORDINGS FOR SALE

 

Fonografia Nazionale, Milano
Rigoletto (Verdi): Ella mi fu rapita 5265

Rigoletto (Verdi): Parmi veder le lagrime 5266
Arlesiana (Ciliea): E' la solita storia 5270  
Amico Fritz (Mascagni): Duetto delle ciliegie  with Olga Poletti  5273, 5274    

Manon (Massenet): Sogno 5275  
Manon (Massenet): A Parigi noi andrem  with Olga Poletti 5276
Fedora (Giordano): Amor ti vieta   5284   
Traviata (Verdi): Libiamo with Olga Poletti 5285

Traviata (Verdi): Parigi, o cara  with Olga Poletti  5286   

Boheme (Puccini): Che gelida manina   5405   

Manon Lescaut (Puccini): Donna non vidi mai  5407       

Tosca (Puccini):  E lucevan le stelle 5408   

Dominion, London? 1929
Mefistofele (Boito): Dai campi, dai prati   B19  1407

Mefistofele (Boito): Giunto sul passo estremo  B19 1409
Manon Lescaut (Puccini): Donna non vidi mai B19 1414
Manon Lescaut (Puccini): Donna non vi di mai B19
Adriana Lecouvreur (Cilea): L 'anima ho stanca  B 25  1421
Fedora (Fedora): Amor ti vieta  B 25 1422
Manon (Massenet): Il sogno 1426

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

Celestino Sarobe (Baritone) (Orio, Guipuzcoa / province, Spain 1892 - Barcelona, Spain 1952)

His real name was Celestino Aguirre Sarobe Zadarain. He studied at first medicine, then, however, started to study singing and performed in concerts. The famous baritone Mattia Battistini heard him and invited him to Rome where he gave lessons to him. Sarobe made his debut in 1918 at the Teatro Liceo of Barcelona in ‘’Favorita’’ of Donizetti. In 1919 Spanish soprano Maria Llacer engaged him in her opera troop with which he undertook an Italy tour. In 1925 he sang at the Teatro Regio in Turin the role of Fanuele in ‘’Nerone’’ of Boito under the direction of Toscanini. After his retirement from stage he taught singing.

Chronology of some appearances

1918 Barcelona  Teatro Liceo Favorita (Alfonso)

1919 Valencia  Teatro Apollo Barbiere di Siviglia (Figaro)

1919 Valencia  Teatro Apollo Tannhauser (Wolfram)

1919 Milano Teatro Lirico Favorita (Alfonso)

1920 Genova  Politeama Genovese Gioconda (Barnaba)

1920 Lisbon  Teatro San Carlo Puritani (Riccardo)

1920 Lisbon  Teatro San Carlo Tosca (Scarpia)

1920 Lisbon  Teatro San Carlo Traviata (Germont)

1920 Genova  Politeama Genovese Ernani (Don Carlo)

1920 Genova  Politeama Genovese Tosca (Scarpia)

1920 Genova  Politeama Genovese Traviata (Germont)

1921 Bologna Teatro Comunale Loreley (Hermann)

1921 Firenze Teatro Della Pergola Tosca (Scarpia)

1921 Firenze Teatro Della Pergola Traviata (Germont)

1921 Milano Teatro Carcano Tosca (Scarpia)

1921 Milano Teatro Carcano Traviata (Germont)

1922 San Sebastian Teatro Victoria Eugenia Favorita (Alfonso)

1922 San Sebastian Teatro Victoria Eugenia Traviata (Germont)

1922 Barcelona  Teatro Liceo Favorita (Alfonso)

1922 Barcelona Teatro Liceo Pagliacci (Tonio)

1922 Torino Teatro Regio Puritani (Riccardo)

1922 Napoli Teatro San Carlo Favorita (Alfonso)

1922 Napoli Teatro San Carlo Tosca (Scarpia)

1922 Napoli Teatro San Carlo Traviata (Germont)

1922 San Sebastian Teatro Victoria Eugenia Tosca (Scarpia)

1923 Valencia Teatro Principal Favorita (Alfonso)

1923 Napoli  Teatro Mercadante Rigoletto (Rigoletto)

1924 Madrid Teatro Reale Favorita (Alfonso)

1924 Madrid  Teatro Reale Otello (Jago)

1924 Madrid  Teatro Reale Rigoletto (Rigoletto)

1924 Madrid  Teatro Reale Tosca (Scarpia)

1924 Madrid  Teatro Reale Traviata (Germont)

1924 Trieste Teatro Verdi Tosca (Scarpia)

1925 Torino Teatro Regio Favorita (Alfonso)

1925 Torino Teatro Regio Rigoletto (Rigoletto)

1925 Ginevra Grand Theatre Rigoletto (Rigoletto)

1925 Ginevra Grand Theatre Tosca (Scarpia)

1925 Venezia Teatro La Fenice Tannhauser (Wolfram)

1926 Venezia Teatro La Fenice Tosca (Scarpia)

1926 Il Cairo  Kursaal Dalbagni Barbiere di Siviglia (Figaro)

1926 Il Cairo  Kursaal Dalbagni Tosca (Scarpia)

1926 Valencia Teatro Principal Favorita (Alfonso)

1926 Il Cairo Kursaal Dalbagni Favorita (Alfonso)

1926 Palma di Majorca  Teatro Principal Favorita (Alfonso)

1926 Padova Teatro Verdi Tannhauser (Wolfram)

1927 Cannes Opera Tosca (Scarpia)

1935 Madrid  Teatro Calderon Rigoletto (Rigoletto)

1935 Madrid  Teatro Reale Tosca (Scarpia)

RECORDINGS FOR SALE

Polydor

Otello (Verdi): Credo J22209  785Bi I

Pagliacci (Leoncavallo): Prologo J22208  786Bi I

Traviata (Verdi): Di Provenza J22210  787Bi I

Africaine (Meyerbeer): Figlia di Regi  bJ22211
La Paloma (Yradier)  62676 438 BT

Grammophon
Ideale (Tosti)  30023B
Ave Maria (Tosti) 30023A

Giuseppe Tricario (Tenor) (Sparanise, Caserta 1866 - ?)

Otello

lavoceantica.it

                                           Nixon – Return  of Opera Company

The return engagement of a section of San Carlo Grand Opera Company at the Nixon this week will give Pittsburgh opera lovers their last chance this season of hearing grand opera in italian. The company brings with it most of the stars who made its performaces such a success here before, and will present several singers new to this city. Sig. Giuseppe Tricario, a dramatic tenor who was formerly with the Boston Opera Company, will appear in ''Aida'' and ''Pagliacci'', in which roles his acting is said to be remarkably fine.

The Gazette Times – Apr 18, 1915 

 Chronology of some appearances

1900 Napoli Teatro Bellini Lucia di Lammermoor (Edgardo)

1903 Torino Teatro Balbo Africana (Vasco de Gama)

1905 Amsterdam Palais Voor Volksvkijt Trovatore (Manrico)

1908 Barletta Teatro Curci Jone di E. Petrella (Glauco)

1912 Cremona Teatro Ponchielli Otello (Otello)

1914 New York Lexington Opera House Aida (Radames)

1920 Philadelphia Teatro Metropolitan Forza del destino (Alvaro)

COMPLETE PUBLISHED RECORDINGS

 

Columbia, Milano?
Samsone e Dalila (Saint-Saens): Figli miei v'arrestate D 4420 41766

Otello (Verdi): Ora e per sempre addio  D 9292 41767
Otello (Verdi): Niun mi tema D 9292 41768

Samsone e Dalila (Saint-Saens): Spezza i ceppi  D 4420 41771