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Don Giovanni - Mattia Battistini - Great Voices Of The Century - Mattia Battistini Baritone

Label: Everest Records/Scala - SCALA 831 • Format: Vinyl LP, Album, Mono • Country: US • Genre: Classical • Style: Opera
Download Don Giovanni - Mattia Battistini - Great Voices Of The Century - Mattia Battistini Baritone

Mattia Battistini 27 February — 7 November was an Italian operatic baritone. He was called "King of Baritones". Battistini was born in Rome and brought up largely at Collebaccaro di Contigliano, a village near Rietiwhere his parents had an estate.

His grandfather, Giovanni, and uncle, Raffaele, were personal physicians to the Pope and his father, Cavaliere Luigi Battistini, was a professor of anatomy at the University of Rome. Battistini attended the Collegio Bandinelli and later the Istituto dell' Apollinare.

Battistini dropped out of law school to study with Emilio Terziani who taught composition and with Venceslao Persichini professor of singing at Don Giovanni - Mattia Battistini - Great Voices Of The Century - Mattia Battistini Baritone Accademia Nazionale di Santa Cecilia —then the Liceo Musicale of Rome. Battistini worked with conductor Luigi Mancinelli and the composer Augusto Rotoli, and he consulted with baritone Antonio Cotogniin an effort to refine his technique.

However, this date is erroneously given by many reference books and articles as correct, but reveals careless and repeated copying from faulty sources. It has been proven by the painstaking research of Jacques Chuilon that the date should Sensual Sickness - Decapitated - Humans Dust (DVD) likely be replaced by Saturday, 9 November Thomas Glasow; also to be found on page 17 of the author's original French edition Battistini, le dernier divo, Editions Romillat, Paris.

In he went to Buenos Aires for the first time, touring South America for more than 12 months. His success in this was enormous and it marked the beginning of his ascent to major operatic stardom. He also sang opposite Adelina Pattithe leading soprano of her era, in other Covent Garden productions.

In such exulted and entrenched company there was not much attention paid to a new, unheralded young baritone! Unlike his initial London experience, when Battistini made his debut at the important Teatro San Carlo in Naples in Quatre Preludes - Erik Satie - Jean-Pierre Armengaud With Dominique Merlet - LOeuvre Pour Piano - C, he scored an immediate triumph.

Two years later, he once more sailed to Buenos Aires to fulfil a series of singing engagements; but this proved to be his last trans-Atlantic excursion, and he never appeared again in South America. He avoided North America, too, despite receiving overtures from the management of the New York Metropolitan Operawhere Battistini's core repertoire was allocated in his absence to the Italian baritones Mario AnconaGiuseppe CampanariAntonio Scotti and, afterPasquale Amato. Battistini is said to have developed a permanent horror of oceanic travel due to his adverse experiences on that particularly rough voyage to Buenos Aires.

La Scala's audiences acclaimed him and he was re-engaged for the next season. From onwards, Battistini established himself as an immense favourite with audiences at Russia's two imperial theatres in Saint Petersburg and Moscow: the Mariinsky and the Bolshoi respectively. He returned to Russia regularly, appearing there for 23 seasons in total, and touring extensively elsewhere in eastern Europe, using Warsaw as his stepping-stone. He would journey to Warsaw, Saint Petersburg, Moscow and Odessa like a Go West - Various - The Mad Scene, travelling in his own private rail coach with a retinue of servants and innumerable trunks containing a vast stage wardrobe renowned for its elegance and lavishness.

But his many social connections in Russia, and the favour that he enjoyed with the imperial family and the nobility, ensured that Russia—more than perhaps even Italy—became his artistic home prior to the outbreak of the First World Warin The war led to the destruction, by the Bolsheviks inof the Tsarist regime and the aristocratic society which had enriched touring Italian opera stars like Battistini and his tenor compatriots Francesco TamagnoFrancesco Marconi and Angelo Masini.

This history-shaping political development, coupled with Battistini's refusal to sing in the Americas, meant that his career after the war's conclusion in was confined to Western Europe. Battistini formed his own company of singers following the Don Giovanni - Mattia Battistini - Great Voices Of The Century - Mattia Battistini Baritone war.

He toured with them and appeared frequently in concerts and recitals. He sang in England for the final time inand gave his last concert performance one year before his death.

His voice was reportedly still steady, responsive and in good overall condition. His last singing engagement occurred in GrazAustria, on 17 October He withdrew to his estate at Collebaccaro di Contigliano, Rieti, dying there from heart failure on 7 November Battistini's initial sequence of records were cut in Warsaw in for the Gramophone and Typewriter Company.

He then, in the — period, recorded extensively for the Gramophone Co Ltd and its associated companies. His records were issued in the USA by Victor.

Red Hawthorn Tree - Current Ninety Three* - Sleep Has His House last recording session took place during February The earliest of his discs feature a piano accompanist but his later sung offerings were backed by a small band of orchestral musicians and, occasionally, a few choristers.

EMIthe original producer, issued a complete Battistini collection late in the LP era, skillfully remastered from the original rpm shellac discs by audio technician Keith Hardwick.

Mattia Battistini was esteemed as one of the greatest of singers and even a cursory acquaintance Once Upon A Time In The Projects - Ice Cube - AmeriKKKas Most Wanted his many discs will make it clear why he was so celebrated by his contemporaries.

Amongst the arsenal of vocal weapons that he displays on record were the perfect blending of his registers coupled with the sophisticated use of ornamentation, portamento and fil di voceas well as an array rubato and legato effects. Fortunately the sound of Battistini's clear, high-placed and open-throated baritone voice took well to the primitive acoustic recording process with only his very lowest notes sounding pallid.

He also handled the trying conditions of the early sound 'studios', with their boxy confines and wall-mounted recording funnel, much better than did many of his contemporaries, who often felt inhibited or intimidated by their uninspiring surroundings. His singing was considered to be 'old-fashioned', even in the circa era.

Consequently, his discs provide a retrospective guide to Italian singing practice of the early-to-midth century the era of Gaetano Donizetti and Vincenzo Bellini —as well as exemplifying the "grand manner" style of vocalism for which much Romantic operatic music was written. Battistini delivers this kind of music in a virile, bold and patrician way.

He is not averse, however, to showing off his voice by prolonging top notes or embellishing the written score with a liberality that might surprise 21st-century listeners who are imbued with the modern notion that a composer's work is sacrosanct.

For some inexplicable reason he eschews on disc one of the key vocal ornaments at the disposal of all thoroughly schooled 19th-century bel canto singers: the trill.

Perhaps Battistini's most historically illuminating recording is that of "Non mi ridestar", the Italian version of "Pourquoi me reveiller", a tenor aria from Massenet 's Werther.

Massenet transposed the protagonist's role downwards for baritone in a special version made especially for Battistini, harking back to an age when composers tailored their musical parts to fit the talents of one singer, and a singer of Battistini's stature could make almost any modifications seem acceptable.

Elsa Boscardini, of the Istituto Eugenio Cirese in Rieti, has published a number of pamphlets about Battistini, namely:. Moran, editor, New York, Arno Press. From Wikipedia, the free encyclopedia. This article has multiple issues. Please help improve it or discuss these issues on the talk page. Learn how and when to Something Wonderful - Al Goodman And His Orchestra With Susan Shaute And Richard Torigi - King And I these template messages.

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See Don Giovanni - Mattia Battistini - Great Voices Of The Century - Mattia Battistini Baritone guide to writing better articles for suggestions. March Learn how and when to remove this template message. Retrieved 29 July Singers of the Century, vol. Amadeus Press, Portland, pp. Categories : births deaths Italian operatic baritones People from the Province of Rieti 19th-century Italian opera singers 20th-century opera singers 20th-century Italian musicians 20th-century male singers 19th-century male singers.

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6 thoughts on “ Don Giovanni - Mattia Battistini - Great Voices Of The Century - Mattia Battistini Baritone

  1. Mattia Battistini (27 February – 7 November ) Giovanni, and uncle, Raffaele, for its elegance and lavishness. Indeed, the composer Jules Massenet was prepared to adjust the rôle of Werther for the baritone range, when Battistini elected to sing it in Saint Petersburg in , such was the singer's prestige.
  2. Baritone Mattia Battistini was born on February 27, , in Contigliano, near Rome. In Rome, he studied voice with Eugenio Terziani and later with Vencesleo Persichini. In , he made his professional debut at the Teatro Argentina in Donizetti's La favorita on less than a day's notice.
  3. History. The first use of the term "baritone" emerged as baritonans, late in the 15th century, usually in French sacred polyphonic music. At this early stage it was frequently used as the lowest of the voices (including the bass), but in 17th-century Italy the term was all-encompassing and used to describe the average male choral voice.
  4. Jun 28,  · Mattia Battistini - Mattia Battistini, Baritone (Great Voices of the Century) - meztishakarlandanayaforcehammer.infoinfo Music5/5(1).
  5. Jan 29,  · Recordings of the great Italian baritone Mattia Battistini (), popularly known as "The King of the Baritones" and "The Glory of Italy".
  6. Sep 12,  · As a matter of fact, it's the title role of Don Giovanni in the Mozart opera that Battistini sang on stage. He never sang Leporello (normally sung by a bass or bass-baritone with a strong lower range) due to the fact that his lower register was relatively weak. September 15, at PM.

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