Speranza
---
Parmi veder le lagrime
scorrenti da quel ciglio,
quando fra il dubbio e l'ansia
del subito periglio,
dell'amor nostro memore,
dell'amor nostro memore,
il suo Gualtier chiamò.
Ned ei potea soccorrerti,
cara fanciulla amata,
ei che vorria coll'anima
far ti quaggiù beata;
ei che le sfere agli angeli,
ei che le sfere agli angeli
per te non invidiò,
ei che le sfere, le sfere agli angeli
per te, per te,
le sfere agli angeli
per te non invidiò,
ah! non invidiò per te.
---
Raffaele Mirate (Napoli, 3 September 1815 – Sorrento, November 1895) was a celebrated Italian operatic tenor who had an active career from the 1830s through the 1860s.
Known for his intelligent phrasing and bright and powerful vocal timbre, Raffaele Mirate was regarded as an outstanding interpreter of the tenor roles in the early and middle period operas of Giuseppe Verdi.
Raffaele Mirate notably created the role of the "Duca di Mantova" in the world premiere of Verdi's Rigoletto in 1851 at La Fenice in Venice.
He was also a highly regaurded interpreter of bel canto roles, excelling in the operas of Vincenzo Bellini, Gaetano Donizetti, and Gioachino Rossini.
Born in Naples, Raffaele Mirate was a pupil of Alessandro Busti and the famous castrato Girolamo Crescentini at the Regio Collegio di Musica.
His first opera performance was in a school production in 1834.
His official opera début came three years later at the Teatro Nuovo in Naples as the title hero in Donizetti's Torquato Tasso.
From 1836 through 1839 he worked primarily in Naples, although he did appear as a guest performer at the Teatro San Cassiano in Venice as Edgardo in Lucia di Lammermoor.
In 1839 Mirate arrived at the Théâtre Italien in Paris where he attracted wide acclaim singing roles in operas by Donizetti, Rossini, and Bellini.
He made his first appearance at La Scala in 1840 as Amenofi in Rossini's Mosè in Egitto to great success.
In 1844 he was again a guest at the Théâtre-Italien in Paris. In 1845 he was heard at the Teatro Argentina in Rome as Jacopo in I due Foscari and Charles VII in Giovanna d'Arco. The librettist Francesco Maria Piave, who was a frequent collaborator with Verdi, was in attendance at these Rome performances and likened Mirate's voice to the great lyric tenor, Napoleone Moriani.
During the late 1840s and early 1850s, Mirate was busy singing at the opera houses of Venice, Genoa and Milan. In 1848 he participated in the world premiere of Carlo Boniforti's Giovanna di Fiandra at La Scala.
By 1850, Raffaele Mirate was the highest paid singer at La Fenice.
It is at La Fenice that Raffaele Mirate portrayed the role with which he became most identified: "il Duca di Mantova" in Verdi's Rigoletto.
His performance of the bravura aria "La donna è mobile" was hailed as the highlight of the opera's premiere performance on 11 March 1851.
A more commanding Duke than some subsequent tenors, he went on to perform the role over 190 times during the rest of his career.
Raffaele Mirate sang at several more premieres at La Fenice, including portraying Don Carlo in Antonio Buzzolla's Elisabetta di Valois (1850), Don Alvaro in Francesco Malipiero's Fernando Cortez (1851), and Arminio in Giovanni Pacini's La punizione (1854).
Raffaele Mirate also appeared in numerous world premieres at the Teatro di San Carlo in Naples during the 1850s, including Admeto in Giuseppe Staffa's Alceste (1852), the title role in Nicola De Giosa's Guido Colmar (1852), Cassandro in Saverio Mercadante's Statira (1853), the title role in Ferdinando Tommasi's Guido Colmar (1855), and a role in the premiere of Giovanni Pacini's Margherita Pusterla (1856). In 1857 he portrayed Casimiro in the premiere of Emanuele Muzio's La sorrentina at the Teatro Comunale di Bologna.
From 1854-55, Mirate performed with great success at La Scala, notably singing Manrico in Verdi's Il trovatore to the approval of the composer. He sang in Boston and New York in 1856 and then at the Teatro Colón in Buenos Aires during that houses first season in 1857. He returned to Buenos Aires in 1860, also making appearances in Montevideo and Rio de Janeiro while he was in South America. He retired in 1861, but came out of retirement two year later to sing at the Teatro di San Carlo from 1863–1866. While there he sang in two world premieres, portraying Rodrigo in Errico Petrella's Celinda and Icilio in Mercadante's Virginia. He died in Sorrento in 1895 at the age of 80.
Wednesday, April 4, 2012
Monday, April 2, 2012
Nikita Torna, il primo "Alvàro" ("Tu, che in seno agli angeli")
Speranza
Nikita Torna, aka "Enrico Tamberlik" (March 16, 1820 - March 13, 1889) was an Italian tenor who sang to great acclaim at Europe and America's leading opera venues.
Torna excelled in the heroic roles of the Italian and French repertories and was renowned for his powerful declamation and clarion high notes.
Born in Rome, some sources claim that Tamberlik might have been of Romanian descent and that his real (and stage, for a while) name was indeed Nikita Torna.
Nonetheless, his vocal training was entirely Italian.
He studied first in Naples with Zirilli and Borgna, then in Bologna with Guglielmi, and finally in Milan with De Abella.
The budding tenore robusto made his debut in concert in 1837, and later graced the operatic stage for the first time at the Teatro Apollo in Rome, as Gennaro in Lucrezia Borgia and as Arnoldo in Guglielmo Tell.
He subsequently appeared at the Teatro Fondo in Naples in 1841, under the name Enrico Danieli, as Tybalt in I Capuleti e i Montecchi.
During the 1842-43 season, made his debut at the Teatro San Carlo, under the name Enrico Tamberlik (which he used henceforth).
He appeared, too, in Madrid and Barcelona.
In 1850, Tamberlik debuted at the Royal Opera House in London's Covent Garden, as Masaniello in La muette de Portici. He was to appear regularly at Covent Garden until 1870, enjoying star billing each time.
Tamberlik sang often at the Mariinsky Theatre in St Petersburg from 1850 until 1863, creating the role of Alvaro in Verdi's La forza del destino on November 10, 1862. "Tu, che in seno agli angeli".
He made his initial guest appearance at the Théâtre-Italien in Paris in 1858, returning there many times until 1877.
Tamberlik portrayed Alfredo in La traviata to the Violetta of Sofia Vera Lorini for the opening of the original Teatro Colón opera house in Buenos Aires in 1857.
He also appeared in North America, singing at the Academy of Music in New York City during the 1873-74 season. He last singing engagements in London were at Her Majesty's Theatre in 1877.
He toured Spain again in 1881 and retired from the operatic stage shortly afterwards. Tamberlik's death occurred in Paris, three days before his 69th birthday.
Tamberlik succeeded Gaetano Fraschini (1816-1887) as Italy's leading tenore robusto, and he ranked behind only the more lyrical-voiced Mario as the most celebrated Italian tenor of the middle decades of the 19th century. (Indeed, he and Mario actually sang together in a production of Meyerbeer's Robert le diable at Covent Garden.)
According to contemporary accounts of his singing, Tamberlik possessed a big, incisive voice with a pervasive vibrato (for which he was criticised by some English music critics) and ringing top notes—including a potent top C-sharp delivered in full chest voice. These virile vocal attributes, coupled with an imposing appearance, made him an exceptionally exciting interpreter of dramatic roles, especially such parts as Jean in Le prophète, Arnoldo in Guglielmo Tell and Manrico in Il trovatore. Other notable roles of his included (Rossini's) Otello, Pollione, Arturo, Ernani, Robert le diable, Faust, Don Ottavio, Florestan, Max, Poliuto and Cellini.
The heroic tenor Francesco Tamagno (1850-1905) was regarded as being Tamberlik's foremost successor. Their careers overlapped slightly and an echo of Tamberlik's voice and style may be preserved in the acoustic recordings that Tamagno made in Italy in 1903-1904 for the Gramophone & Typewriter Company.
Sources
Grove Music Online, entry by Elizabeth Forbes, July 2008.
The Concise Oxford Dictionary of Opera, second edition, edited by Harold Rosenthal and John Warrack, Oxford University Press, London, 1980.
The Great Singers, revised edition, by Henry Pleasants, Macmillan Publishing, London, 1983.
Categories: 1820 births
1889 deaths
Italian opera singers
Operatic tenors
Nikita Torna, aka "Enrico Tamberlik" (March 16, 1820 - March 13, 1889) was an Italian tenor who sang to great acclaim at Europe and America's leading opera venues.
Torna excelled in the heroic roles of the Italian and French repertories and was renowned for his powerful declamation and clarion high notes.
Born in Rome, some sources claim that Tamberlik might have been of Romanian descent and that his real (and stage, for a while) name was indeed Nikita Torna.
Nonetheless, his vocal training was entirely Italian.
He studied first in Naples with Zirilli and Borgna, then in Bologna with Guglielmi, and finally in Milan with De Abella.
The budding tenore robusto made his debut in concert in 1837, and later graced the operatic stage for the first time at the Teatro Apollo in Rome, as Gennaro in Lucrezia Borgia and as Arnoldo in Guglielmo Tell.
He subsequently appeared at the Teatro Fondo in Naples in 1841, under the name Enrico Danieli, as Tybalt in I Capuleti e i Montecchi.
During the 1842-43 season, made his debut at the Teatro San Carlo, under the name Enrico Tamberlik (which he used henceforth).
He appeared, too, in Madrid and Barcelona.
In 1850, Tamberlik debuted at the Royal Opera House in London's Covent Garden, as Masaniello in La muette de Portici. He was to appear regularly at Covent Garden until 1870, enjoying star billing each time.
Tamberlik sang often at the Mariinsky Theatre in St Petersburg from 1850 until 1863, creating the role of Alvaro in Verdi's La forza del destino on November 10, 1862. "Tu, che in seno agli angeli".
He made his initial guest appearance at the Théâtre-Italien in Paris in 1858, returning there many times until 1877.
Tamberlik portrayed Alfredo in La traviata to the Violetta of Sofia Vera Lorini for the opening of the original Teatro Colón opera house in Buenos Aires in 1857.
He also appeared in North America, singing at the Academy of Music in New York City during the 1873-74 season. He last singing engagements in London were at Her Majesty's Theatre in 1877.
He toured Spain again in 1881 and retired from the operatic stage shortly afterwards. Tamberlik's death occurred in Paris, three days before his 69th birthday.
Tamberlik succeeded Gaetano Fraschini (1816-1887) as Italy's leading tenore robusto, and he ranked behind only the more lyrical-voiced Mario as the most celebrated Italian tenor of the middle decades of the 19th century. (Indeed, he and Mario actually sang together in a production of Meyerbeer's Robert le diable at Covent Garden.)
According to contemporary accounts of his singing, Tamberlik possessed a big, incisive voice with a pervasive vibrato (for which he was criticised by some English music critics) and ringing top notes—including a potent top C-sharp delivered in full chest voice. These virile vocal attributes, coupled with an imposing appearance, made him an exceptionally exciting interpreter of dramatic roles, especially such parts as Jean in Le prophète, Arnoldo in Guglielmo Tell and Manrico in Il trovatore. Other notable roles of his included (Rossini's) Otello, Pollione, Arturo, Ernani, Robert le diable, Faust, Don Ottavio, Florestan, Max, Poliuto and Cellini.
The heroic tenor Francesco Tamagno (1850-1905) was regarded as being Tamberlik's foremost successor. Their careers overlapped slightly and an echo of Tamberlik's voice and style may be preserved in the acoustic recordings that Tamagno made in Italy in 1903-1904 for the Gramophone & Typewriter Company.
Sources
Grove Music Online, entry by Elizabeth Forbes, July 2008.
The Concise Oxford Dictionary of Opera, second edition, edited by Harold Rosenthal and John Warrack, Oxford University Press, London, 1980.
The Great Singers, revised edition, by Henry Pleasants, Macmillan Publishing, London, 1983.
Categories: 1820 births
1889 deaths
Italian opera singers
Operatic tenors
Nikita Torna, "Tu, che in seno agli angeli" (1862), "Don Alvàro; ossia, la potenza del fato"
Speranza
Nikita Torna, "Enrico Tamberlik"(Roma, 16 marzo 1820 – Parigi, 13 marzo 1889) è stato un tenore italiano.
Nato a Roma, Tamberlik potrebbe aver avuto origini rumene e il suo vero nome essere Nikita Torna.
Studiò dapprima a Napoli con Zirilli e Borgna, quindi a Bologna con Giacomo Guglielmi, infine a Milano con De Abella. Debuttò nel 1837 nel ruolo di Arnoldo nel Guglielmo Tell di Rossini, quindi si esibì al Teatro Apollo di Roma nel ruolo di Gennaro in Lucrezia Borgia di Donizetti e di nuovo Arnoldo. Tamberlik cantò poi al Teatro Fondo di Napoli nel 1841, con lo pseudonimo di Enrico Danieli, come Tebaldo in I Capuleti e i Montecchi di Bellini.
Nella stagione 1842-1843 fece il suo debutto al Teatro San Carlo, col nome di Enrico Tamberlik. Cantò anche a Madrid e Barcellona.
Nel 1850 fu per la prima volta alla Royal Opera House al Covent Garden di Londra, nel ruolo di Masaniello in La muta di Portici di Auber: si esibì al teatro londinese fino al 1869. Fu anche ospite fisso al Teatro Mariinsky di San Pietroburgo dal 1850 al 1863, dove fu il primo Alvaro ne La forza del destino di Verdi, la cui prima rappresentazione andò in scena il 10 novembre 1862. Fece la sua prima apparizione al Théâtre-Italien di Parigi nel 1858, e vi tornò regolarmente fino al 1877.
Cantò al Teatro Colón di Buenos Aires nel 1857 nel ruolo di Alfredo in La traviata di Verdi, e all'Academy of Music di New York durante la stagione 1873-1874. La sua ultima apparizione alla Royal Opera House è datata 1870: andò in tournée in Spagna nel 1881 e poco dopo si ritirò dalle scene. Morì nel 1889 a Parigi, a 69 anni.
Secondo le testimonianze dell'epoca, Tamberlik possedeva una robusta voce tenorile con un vibrato molto marcato e note acute molto sonore. Queste qualità, unite a un aspetto imponente, lo rendevano particolarmente adatto ai ruoli eroici, ad esempio Jean in Le prophète di Meyerbeer, Arnoldo in Guglielmo Tell e Manrico ne Il trovatore di Verdi. Altri ruoli notevoli che si trovò a interpretare furono Otello, Pollione, Arturo, Ernani, Roberto il diavolo, Faust, Don Ottavio, Florestano, Max, Poliuto e Benvenuto Cellini.
Francesco Tamagno (1850-1905) fu considerato il più grande successore di Tamberlik fra i tenori eroici: un'eco della voce di Tamberlik si può ricavare dalle incisioni che Tamagno registrò nel 1903 e 1904.
Categorie: Tenori italiani
Nati nel 1820
Morti nel 1889
Nati il 16 marzo
Morti il 13 marzo
Nati a Roma
Morti a Parigi
Gruppi e musicisti del Lazio
Nikita Torna, "Enrico Tamberlik"(Roma, 16 marzo 1820 – Parigi, 13 marzo 1889) è stato un tenore italiano.
Nato a Roma, Tamberlik potrebbe aver avuto origini rumene e il suo vero nome essere Nikita Torna.
Studiò dapprima a Napoli con Zirilli e Borgna, quindi a Bologna con Giacomo Guglielmi, infine a Milano con De Abella. Debuttò nel 1837 nel ruolo di Arnoldo nel Guglielmo Tell di Rossini, quindi si esibì al Teatro Apollo di Roma nel ruolo di Gennaro in Lucrezia Borgia di Donizetti e di nuovo Arnoldo. Tamberlik cantò poi al Teatro Fondo di Napoli nel 1841, con lo pseudonimo di Enrico Danieli, come Tebaldo in I Capuleti e i Montecchi di Bellini.
Nella stagione 1842-1843 fece il suo debutto al Teatro San Carlo, col nome di Enrico Tamberlik. Cantò anche a Madrid e Barcellona.
Nel 1850 fu per la prima volta alla Royal Opera House al Covent Garden di Londra, nel ruolo di Masaniello in La muta di Portici di Auber: si esibì al teatro londinese fino al 1869. Fu anche ospite fisso al Teatro Mariinsky di San Pietroburgo dal 1850 al 1863, dove fu il primo Alvaro ne La forza del destino di Verdi, la cui prima rappresentazione andò in scena il 10 novembre 1862. Fece la sua prima apparizione al Théâtre-Italien di Parigi nel 1858, e vi tornò regolarmente fino al 1877.
Cantò al Teatro Colón di Buenos Aires nel 1857 nel ruolo di Alfredo in La traviata di Verdi, e all'Academy of Music di New York durante la stagione 1873-1874. La sua ultima apparizione alla Royal Opera House è datata 1870: andò in tournée in Spagna nel 1881 e poco dopo si ritirò dalle scene. Morì nel 1889 a Parigi, a 69 anni.
Secondo le testimonianze dell'epoca, Tamberlik possedeva una robusta voce tenorile con un vibrato molto marcato e note acute molto sonore. Queste qualità, unite a un aspetto imponente, lo rendevano particolarmente adatto ai ruoli eroici, ad esempio Jean in Le prophète di Meyerbeer, Arnoldo in Guglielmo Tell e Manrico ne Il trovatore di Verdi. Altri ruoli notevoli che si trovò a interpretare furono Otello, Pollione, Arturo, Ernani, Roberto il diavolo, Faust, Don Ottavio, Florestano, Max, Poliuto e Benvenuto Cellini.
Francesco Tamagno (1850-1905) fu considerato il più grande successore di Tamberlik fra i tenori eroici: un'eco della voce di Tamberlik si può ricavare dalle incisioni che Tamagno registrò nel 1903 e 1904.
Categorie: Tenori italiani
Nati nel 1820
Morti nel 1889
Nati il 16 marzo
Morti il 13 marzo
Nati a Roma
Morti a Parigi
Gruppi e musicisti del Lazio
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