Forgotten Opera Singers

Forgotten Opera Singers
Forgotten Tenors: Leon Laffitte (2 photos), Richard Kubla, Luigi Marletta and William Miller

Apr 6, 2014

Tancredi Pasero (Bass) (Torino 1893 – Milano 1983)




He studied with Arturo Pessina (a former well-known br.) and made his debut in 1917 in Turin, the city of his birth, as Ramphis in ‘’Aida’’. The singer later considered the beginning of his artistic life on December 15, 1918 as Rodolfo in Bellini’s ‘’La Sonnambula’’. Shortly afterwards he repeated the role at La Scala. Pasero’s illustrious and unusually long career was mostly centered in Italy. His main house was La Scala, where Arturo Toscanini engaged him for leading roles. He made guest appearances at Covent Garden, and also in Paris, Brussels, Barcelona, Buenos Aires, Berlin and Hamburg. He was a member of the Met from 1929 until 1933. His most memorable roles were in ‘’Aida’’, ‘’Il Trovatore’’, ‘’Luisa Miller’’, ‘’La Gioconda’’, ‘’Norma’’, ‘’La Bohème’’, ‘’La Forza del Destino’’, ‘’Guglielmo Tell’’, ‘’Lucia di Lammermoor’’, ‘’Simon Boccanegra’’ and ‘’Don Giovanni’’ (as Leporello). At the Met he appeared opposite an amazing number of glorious voices. In 1933 he enjoyed an enormous success at the Maggio Musicale in Florence in Spontini’s ‘’La Vestale’’ opposite the great Rosa Ponselle . He often appeared at the Arena di Verona. In 1948 he sang at a concert commemorating the 100th anniversary of Donizetti’s deat, and in 1950 he appeared for the last time as Wotan in the ‘’Walkyrie’’. To Pasero’s most famous roles must be numbered the following roles: Rossini’s Mosè, Sarastro, Don Basilio, Philip, Boris Godunov and Escamillo as well as several important Wagner assumptions: King Heinrich, Gurnemanz, King Marke, Pogner and Hagen (in Italian). He also participitated in the world premières of several operas, among them Mascagni’s ‘’Nerone’’ at La Scala and Pinzetti’s ‘’Orseolo’’ in Florence. His voice impresses by its richness and the eveness of its quality from top to bottom of the wide range (Pasero added some br. roles at the end of his career). Pasero’s expression is not only distinguished by its lyrical qualities but also of great feeling and dignity. He avoids to exhibit the voice in the sort of overt emotionalism. In this, he is an antipode to Nazzareno de Angelis.

Chronology of some appearances

1917 Turin Opera House Aida (Ramfis)
1929-1933 New York Metropolitan Opera


RECORDINGS FOR SALE








Fonotipia, Milano 1927-01-14
Trovatore (Verdi): Abbietta zingara O-8902 XXPh5834
Barbiere di Siviglia (Rossini): La calunnia O-8902 XXPh5835


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