*J-Stadium Cerimoniale d'inaugurazione FULL* [8 settembre 2011]
« La Juve è sempre stata un meraviglioso dipinto, e un meraviglioso dipinto ha bisogno di una cornice meravigliosa come questa. » Alessandro Del Piero, 8 settembre 2011
Lo Stadium è stato inaugurato l'8 settembre 2011 in concomitanza con i festeggiamenti per il 150º anniversario dell'Unità d'Italia, con una cerimonia curata dalla K-events di Marco Balich, che ha visto il culmine in un'amichevole contro il Notts County, il club professionistico più antico al mondo, da cui nel 1903 la Juventus trasse ispirazione per i suoi colori bianconeri. L'evento, seguito da Juventus Channel, Sky Sport e Cielo, è stato diffuso anche in streaming sul sito web e sul canale YouTube della Juventus.
La cerimonia d'inaugurazione, presentata da Linus e con Cristina Chiabotto quale madrina, ha ripercorso l'intera storia della Juventus, e ha visto protagonisti alcuni dei più famosi calciatori legati alla squadra. Lo stadio è stato poi ufficialmente inaugurato dal presidente della squadra, Andrea Agnelli, e dal sindaco di Torino, Piero Fassino. Giampiero Boniperti e Alessandro Del Piero, uniti al centro del campo, hanno suggellato l'evento, al fianco della storica panchina sulla quale, nel 1897, alcuni studenti liceali fondarono il club bianconero. C'è stato anche un ricordo per i due fratelli Agnelli, Gianni e Umberto, per Gaetano Scirea e per le vittime della strage dell'Heysel.
È seguita poi l'amichevole contro i Magpies, terminata 1-1, con Luca Toni che ha siglato il primo gol nel nuovo impianto.
Caratteristiche tecniche:
Capienza: 41 507 posti a sedere
Posteggi: 4 000 posti auto
Superficie totale: 355 000 m²
Superficie interna allo stadio: 45 000 m²
Superficie stadio: 90 000 m²
Aree dedicate ai servizi: 150 000 m²
Aree commerciali: 34 000 m²
Aree verdi e piazze: 30 000 m²
Persone impiegate nella costruzione: 450
Acciaio utilizzato: 6 000 t
Skybox: 64
Pitch view studio: 2
Posti stampa: 275
Bar: 21
Aree ristorazione: 8
Ristoranti: 2 per 4 000 pasti
Spogliatoi: 3
Agenda e Cronologia storica:
Giugno 2002: la Città di Torino trasferisce alla Juventus la proprietà dello stadio delle Alpi per 99 anni.
Dicembre 2002: approvazione della variante n. 56 al Piano Regolatore Generale.
Dicembre 2005: approvazione alla variante n. 123 al Piano Regolatore Generale.
Aprile 2007: sottoscrizione della convenzione relativa al Piano Esecutivo Convenzionato approvato nell'aprile 2006.
Febbraio 2008: approvazione del progetto da parte del consiglio di amministrazione della Juventus.
Settembre 2008: gara di appalto per la demolizione del Delle Alpi.
Novembre 2008: inizio dei lavori di demolizione.
Dicembre 2008/Aprile 2009: gara di appalto per i lavori di costruzione del nuovo stadio.
Febbraio 2009: approvazione del Piano Integrato di Intervento.
Maggio 2009: nuovo stadio – Permesso di costruire.
Giugno 2009: fine dei lavori di demolizione del Delle Alpi e inizio dei lavori di costruzione del nuovo stadio.
Novembre 2009: centro commerciale – Permesso di costruire.
Aprile 2010: Juventus Museum – Permesso di costruire.
Maggio 2010: approvazione del Piano per le Opere di Urbanizzazione.
Giugno 2010: la Città di Torino trasferisce alla Juventus la proprietà dell'area Continassa per 99 anni.
Luglio 2010: ingresso Ovest – Permesso di costruire.
Agosto/Settembre 2011: fine dei lavori di costruzione e collaudo.
8 settembre 2011: inaugurazione e amichevole con il Notts County.
11 settembre 2011: prima partita ufficiale contro il Parma.
Mario Gillion et Domenico Viglione Borghese La Forza del Destino Solemne in quest'ora Fonotipi
Mario Gillion et Domenico Viglione-Borghese - La Forza del Destino - Solemne in quest'ora - Fonotipia 92663 enregistré le 11 octobre 1910
Mario (Marius) Gilion (Tenor) (? 1870 - Marseille, France 1914
He came from the South of France. He made his debut in 1901 (?) at the Teatro Sociale of Monza as Vasco da Gama in Meyerbeer’s ‘’L’africana’’. Still in the same 1901 he had big success in Modena as Raoul in ‘’Gli Ugonotti’’ and as Arnoldo in Rossini’s ‘’Guglielmo Tell’’, his both star roles. In 1901 he guested at the Royal Opera of Budapest, then at the opera houses of Venice, Genoa and Turin. Other appearances - In 1904 he appeared in Bucharest, in 1905 at the Teatro Real in Madrid, in Odessa, together with Mattia Battistini he created sensation at the Opera House of Warsaw in ‘’Guglielmo Tell''. In 1907 he sang at the Teatro Politeama in Buenos Aires, in 1910 at the Teatro La Fenice in Venice and in 1911 at the Teatro San Carlo in Napoli. From 1910 to 1911 he appeared as a heroic tenor at the Paris Grand Opera again as Arnoldo in ‘’Guglielmo Tell’’ of Rossini and as Radames in ‘’Aida’’.
Source:
Domenico Viglione Borghese (13 July 1877 – 26 October 1957) was an Italian operatic baritone and actor. His major stage debut was as Amonasro in a 1907 production of Aida at the Teatro Regio in Parma. The power and size of his voice created a sensation, and he soon was alternating Amonasro with Marcello in La bohème and Gerard in Andrea Chénier. By 1910 Viglione Borghese had reached La Scala, where he made his début as Nelusko in L'africana and later created the role of Guarca in Spyridon Samaras's Rhea. Thereafter his international career accelerated; he began to sing at many of the major European houses and became a house favorite at the Teatro Colón in Buenos Aires.
In 1911, he created the role of the sheriff Jack Rance in the Italian premiere of Puccini's La fanciulla del West. This was Viglione Borghese's workhorse role for the rest of his career. He had so much success in it that Puccini himself referred to him as il mio sceriffo.[3]
In 1912 he married Claudia Nappi, daughter of the Milanese music critic of La Perseveranza. In 1917, in Rome, he appeared in the world premiere of Renzo Bianchi's Gismonda alongside Ida Quaiatti and Edoardo Garbin.[4]
He continued singing until age 64, retiring in 1940 with some 70 roles in his repertoire, primarily comprised by Verdi and verismo literature. He lived in Milan, where he taught voice until he died in 1957.
Source: Wikipedia
Fausta Labia et Emilio Ventura La Traviata Un di flice eterea Fonotipia 39332 enregistré le 22
Fausta Labia et Emilio Ventura - La Traviata - Un di flice eterea - Fonotipia 39332 enregistré le 22 septembre 1905
Fausta Labia (the wife of the famous tenor Emilio Perea), one of his most famous roles. In 1901 he created the role of Florindo in the premiere of Mascagni's ''Le Maschere'' at the Teatro La Fenice in Venice. In 1909 with the Castellano Opera Company he was heard in Holland and Belgium. He appeared in almost all significant italian opera stages, also made guest appearances in London, Paris, Buenos Aires, Madrid, St. Petersburg and Warsaw. In his book Titta Ruffo wrote that he had the honour to sing with Elvino Ventura and soprano Pandolfini in ''La Traviata''. He was one of the most prolific recording opera singers of his time. His largest group of records was made for Odeon, Fonotipia, Zonophone, APGA, Pathe and Edison.
Source :
Elvino Ventura (Tenor) ( Palermo 1873 - Milan 1931)
He studied with Martin in Milan and made his debut in 1894 at the Teatro Epicarmo in Noto and soon widely recognized as one of the most important tenors in Italy. In 1896 he appeared at the Teatro Regio in Turin as Marziale in ''Forza dell’amore'' of A. Buzzi-Peccia. In 1900 he sang at the Teatro Carlo Felice in Genoa the role of Alfredo in ''La Traviata''. The next year, Ventura appeared at the Teatro Massimo in Palermo as Osaka in Mascagni's ''Iris'' with Fausta Labia (the wife of the famous tenor Emilio Perea), one of his most famous roles. In 1901 he created the role of Florindo in the premiere of Mascagni's ''Le Maschere'' at the Teatro La Fenice in Venice. In 1909 with the Castellano Opera Company he was heard in Holland and Belgium. He appeared in almost all significant italian opera stages, also made guest appearances in London, Paris, Buenos Aires, Madrid, St. Petersburg and Warsaw. In his book Titta Ruffo wrote that he had the honour to sing with Elvino Ventura and soprano Pandolfini in ''La Traviata''. He was one of the most prolific recording opera singers of his time. His largest group of records was made for Odeon, Fonotipia, Zonophone, APGA, Pathe and Edison
Source :
Ferruccio - Voglio Vivere Così
A cosa può portare la solitudine e la noia. Eccomi un po' di tempo fa (forse nel 2004) nella mia cameretta con un thè troppo caldo.
Diretta Amatrice nel Cuore 27 Agosto 2017
Protagonisti dell'evento - a ingresso gratuito - sono Gianni Morandi, Carmen Consoli, Irene Grandi, Mannarino, Tosca e Luca Barbarossa, con il supporto della Social Band di Stefano Cenci al pianoforte e Claudio Trippa alle chitarre.
Vuoi contribuire alla crescita del canale o collaborare?Contattami.
Do you want to contribute to channel growth or collaborate? Contact me.
Quartiere Latino - Dove non si tocca - 1995 - Full Album
Quartiere Latino
Anno: 1995
Produttore artistico: Candelo Cabezas
Tempo&Tracce:
0.00 - Il Sistema ti sistema (cover dei Clash)
3.50 - Nulla di me
8.30 - Funky
11.52 - Simili
15.02 - Ho buttato via la sveglia
19.46 - Vuoi
23.20 - Giù le mani
26.55 - Dove non si tocca
30.52 - Odio le bandiere
34.50 - Onde
39.22 - Succhia e sputa
42.40 - Due passi dal sole
48.22 - Niente a metà
52.36 - Vetro
Carlo Tagliabue Ernani Oh dé verd'anni miei Voce del Padrone DB 11303 enregistré ca 1949
Carlo Tagliabue - Ernani - Oh dé verd'anni miei - Voce del Padrone - DB 11303 enregistré ca 1949
Carlo Pietro Tagliabue (January 13, 1898 in Mariano Comense – April 6, 1978 in Monza) was an Italian baritone.
After studies with Leopoldo Gennai and Annibale Guidotti he made his debut in Lodi, Lombardy, in Loreley and Aida. His debuts in Genoa (1923), Torino, La Scala (1930), Rome (1931), and Naples (1931) were all in Tristan und Isolde (sung in Italian). He also performed in Wagner's Götterdämmerung, Tannhäuser and Lohengrin. However, Tagliabue would go on to excel in the Verdian repertoire, especially La forza del destino, Aida, Rigoletto, La traviata, Nabucco, and Otello. He created the role of Basilio in Respighi's La fiamma in 1934.
His international career included Buenos Aires' Teatro Colón (1934), the Metropolitan Opera, New York City (1937–39), and San Francisco Opera and Covent Garden, London (1938). Tagliabue's last performance was in 1955 at La Scala, at the famous performance of La traviata conducted by Carlo Maria Giulini and directed by Luchino Visconti, where Maria Callas scandalized the public by throwing her shoes off.
In his book Voci Parallele Giacomo Lauri-Volpi wrote, [Tagliabue] is the only survivor of a school that knows that in Rigoletto, in Ballo in Maschera, Trovatore, Traviata a melodramatic piece should be sung, measured and breathed musically in line with the mastery of great art.
Carlo Tagliabue (né le 13 janvier 1898 à Mariano Comense, dans la province de Côme en Lombardie - mort le 5 avril 1978 à Monza) était un baryton italien, particulièment admiré dans les opéras de Giuseppe Verdi.
Carlo Tagliabue étudie à Milan avec Leopoldo Gennai et Annibale Guidotti, et débute à Lodi en 1922, en Amonasro, et en 1924 au Teatro San Carlo de Naples, dans le même rôle.
Il chante rapidement dans toute l'Italie (Rome, Florence, Vérone, etc), et débute à La Scala de Milan en 1930. Il s'impose comme l'un des meilleurs barytons de son époque dans le répertoire italien (I puritani, Lucia di Lammermoor, Rigoletto, Il trovatore, La traviata, Un ballo in maschera, La forza del destino, Aida, Otello, La Gioconda, Cavalleria rusticana, Pagliacci, Andrea Chénier, Tosca, etc), mais chante aussi le répertoire allemand (Tannhauser, Lohengrin, Tristan und Isolde, etc). Il participe à la création de La Fiamma de Respighi à Rome en 1934.
À l'étranger, il parait à Lisbonne, Paris, Londres, Berlin, Buenos Aires, New York, San Francisco, etc.
Tagliabue était doté d'une voix riche et chaleureuse, au régistre très étendu, capable de la même rigueur de style dans le bel canto comme le vérisme, mais était par dessus tout apprécié dans les emplois verdiens.
Source Wikipedia
Antonio Salvarezza - Quando le sere al placido
Antonio Salvarezza (1902-1985) was an Italian lirico-spinto tenor who enjoyed an international career that spanned two decades. Born in Borgo Marengo, Salvarezza spent his formative years in Buenos Aires. His initial occupation was in retail business and he didn’t begin to explore music until the age of 26. He studied with Filippo Florio and spent the next several years perfecting his vocal technique. Salvarezza was something of a late bloomer…he never set foot onto the operatic stage until the age of 34…but soon took the opera world by storm. His debut took place at the Teatro Municipale in Rio de Janiero as the Duke in Rigoletto. Returning to the Municipale for the 1937-38 season, the tenor began to expand his repertoire with performances of Tosca, Lucia di Lammermoor, Lo Schiavo and Boris Godunov. Overseeing the season was legendary conductor Tullio Serafin, who encouraged Salvarezza to establish a career in Italy. On Serafin’s recommendation, the tenor was given a cover contract with Rome Opera. It was there that he made his rather unexpected Italian debut on January 18, 1939, when he stepped in for the ailing Alessandro Granda in Alfano’s Risurrezione. A few weeks later, on February 8, he again found himself deputizing for an indisposed colleague…Giuseppe Lugo…in a performance of Tosca. Later that month, Salvarezza made his official debut, as Vanni in Giuseppe Mulè’s opera, Taormina.
Rome Opera became Salvarezza’s artistic home for the next several seasons, although he continued to make guest appearances elsewhere. The busy tenor was a frequent guest on the stages of Milan’s La Scala, La Fenice in Venice, The Teatro Politeama in Genoa, the Petruzzelli in Bari, the Teatro Regio in Parma, the San Carlo in Naples and the Colón in Buenos Aires. 1943 saw Salvarezza at the Vienna Staatsoper for La Bohème under the baton of Herbert von Karajan and his first (and only) North American appearances took place in 1946 with performances of Rigoletto in Philadelphia and Chicago. In August of 1946, the tenor appeared for the first time before the London public as Cavaradossi in Tosca at the Cambridge Theatre. Salvarezza was quite popular in London and returned for numerous appearances, including a May, 1947 concert version of Tosca which was broadcast nationally over the BBC.
Salvarezza continued performing throughout the 1950s, with appearances in Spain, Portugal, France, Belgium, Holland, Austria, Switzerland, Monte Carlo, Egypt and, of course, Italy. His repertoire consisted of some thirty roles from such works as Aïda, Il Trovatore, Luisa Miller, La Traviata, Madama Butterfly, Gianni Schicchi, Turandot, La Fanciulla del West, Cavalleria Rusticana, Le Maschere, Faust, I Puritani, La Favorita, Armida, Guglielmo Tell and Gli Ugonotti. He gave his final performance as Cavaradossi at Rome’s Teatro Sistina on June 1, 1959. Following this appearance, the 57-year-old tenor returned to his birthplace, where he spent a quarter century of peaceful retirement. Salvarezza passed away on July 24, 1985 at the age of 83.
Antonio Salvarezza remains a much underrated tenor whose reputation rests mainly on a handful of phonograph records he made in the 1940s and ‘50s. These recordings, made primarily for the Cetra label, reveal a sweet, evenly produced voice with a focused, ringing top. Although his artistry can be rather straight forward, the tenor’s singing has the ability to caress the ear aas well as thrill. All in all, Salvarezza is a thought provoking singer who certainly deserves to be better remembered today. In this recording, Salvarezza sings Quando le sere al placido from Verdi's Luisa Miller. This was recorded for Cetra Records in 1946.
Giuseppe Anselmi - Quando le sere al placido
Giuseppe Anselmi (1876-1929) was an immensely gifted tenor whose relatively brief career took him to major theaters on both sides of the Atlantic. Born in Catania, Sicily, Anselmi’s musical talents were discovered quite early and he began studies at the Naples Conservatory at the age of twelve. Interestingly, his initial discipline was not voice but violin and he made his debut as a concert violinist in his hometown in 1889. By the age of sixteen, Anselmi discovered his vocal talents and began touring the Italian provinces with a small operetta company. Celebrated music publisher Giulio Ricordi heard the fledgling tenor and encouraged him to pursue vocal studies with the intention of making a career in opera. Anselmi sought out Luigi Mancinelli, the famed conductor, composer and teacher, and began an intensive two year period of vocal study with him. According to most sources, the young tenor’s operatic debut occurred in 1896 as Turiddu in Cavalleria Rusticana at the Royal Opera in Athens. However, Anselmi himself remembered his debut as having taken place a year later in Patras, Greece. Regardless, Anselmi spent the next couple of years with a touring repertory company, bouncing around Greece, Turkey and Egypt in such operas as Il Barbiere di Siviglia and La Traviata.
By 1900, Anselmi had made his way back to his homeland, where he made his Italian debut in Genoa as Rodolfo in La Bohème. His years in the far flung provinces had served him well, for he had not only built an impressive repertoire but a fine reputation as well. 1901 saw important debuts at the San Carlo in Naples (as Turiddu) as well as London’s Covent Garden (as the Duke in Rigoletto). Anselmi was then pressed into service as Florindo for the Naples premiere (one of several simultaneous premieres throughout Italy) of Mascagni’s Le Maschere. However, the Mascagni opera turned out to be a failure and London critics were not impressed with Anselmi’s “disagreeable bleating tone”. Luckily, the tenor was able to weather the storm of bad publicity and emerged with his reputation unscathed.
1904 saw Anselmi’s debut at La Scala, where he was to become a popular fixture. Later that same year, he returned to Covent Garden to sing the English premiere of Cilea’s Adriana Lecouvreur, this time to glowing reviews. His international career in full swing, Anselmi was enjoying success on the stages of Vienna, Berlin, Lisbon, Paris, Monte Carlo, Brussels and Buenos Aires. He was particularly admired in St. Petersburg, Moscow and Warsaw, cities to which he returned annually until the Revolution. It was Madrid, however, that was the city of his greatest successes. Anselmi became an almost mythical figure to Madrid audiences and enjoyed star status there throughout his career.
Anselmi’s health, which was never particularly robust, was adversely affected by the years of travel from city to city. This may account for the fact that he retired from the stage at the early age of 40. He returned to his estate in Zoagli (near Genoa) where he became a bit of a recluse. A lifelong bachelor (who sometimes had to endure tiresome speculation about his sexuality), Anselmi was intensely secretive about his private life and offered few details to interviewers. In his retirement, he spent time coaching young singers and dabbling in composition. He also gave the occasional concert, appearing in public for the last time at a benefit concert in Rapallo in February of 1926…but as a violinist. By this point, sadly, Anselmi’s physical condition was deteriorating. He had contracted tuberculosis, which greatly sapped his strength. On May 27, 1929, he died from pneumonia at his villa at the age of 52. In the ultimate poetic gesture, he bequeathed his heart to the city of Madrid, where it reposes in a crystal urn at the Museum of the Teatro del Regio.
Giuseppe Anselmi was a remarkable artist and one of the few remaining bel canto stylists of his era. His repertoire of over 20 roles was quite diverse, including such operas as Don Giovanni, The Barber of Seville, Don Pasquale, Tosca, La Bohème, Iris, Fedora, La Gioconda, La Traviata, Faust, Werther, Manon and Yevgeny Onegin. His recorded legacy, made for Fonotipia between 1907 and 1910 (with a handful of titles recorded for Edison in 1913), reveals exemplary musicianship, remarkable technique and impeccable artistry. The voice itself is, for the most part, a pleasing lyric tenor, although Anselmi seems to be plagued by chronic congestion (he can be heard frequently clearing his throat in his recordings) that creeps into his tone from time to time. That being said, Anselmi’s recordings are a marvel to listen to and a magical window through which we can experience a long lost style of singing. Here, Anselmi sings Quando le sere al placido from Verdi's Luisa Miller. The recitative and aria were recorded on two separate discs for Fonotipia in Milan on November 8, 1907 and April 25, 1907, respectively.
Mario Gilion - Rachel, quand du Seigneur (1906 version)
Frustratingly little is known of the life of dramatic tenor Mario Gilion (1870-1914), whose brief career took him to major theaters on both sides of the Atlantic. Born Marius Gillion in Marseilles, his early life is clouded in mystery. Nothing is known of his training, but it is believed that he began his career as a baritone during the 1890s. Gilion’s debut as a tenor came about in 1901 in Monza as Vasco da Gama in L’Africaine, after which he spent a few years singing in the provincial theaters of Italy, Spain and Eastern Europe. Of his May 1904 appearances in Bucharest (in Tosca, La Bohème and Il Trovatore), a critic for Le Courrier Musical wrote that, “…a great tenor of great stature, Mario Gilione, his real name, Marius Gillion, originally from Marseilles, was discovered. Beautifully ringing and even voice, a fine physique, intelligent acting, this singer brings together all the qualities that make the great tenors and I do not think I'm wrong in predicting a very bright career.”
The critic for Le Courrier Musical proved correct, for Gilion enjoyed a very fine career in both provincial houses and major theaters, including the Teatro Principale in Modena, Rome’s Teatro Costanzi, the Teatro San Carlo in Naples, Venice’s La Fenice, Trento’s Teatro Massimo, the Teatro Real in Madrid, the Teatro Politeama in Buenos Aires, as well as theaters in Genoa, Turin, Barcelona, Budapest, Odessa and Warsaw. His repertoire of more than 20 roles included Radames in Aïda, Riccardo in Un Ballo in Maschera, Cavaradossi in Tosca, Rodolfo in La Bohème, Walter in Loreley, Eléazar in La Juive, the title roles in Otello, L’Amico Fritz, Guglielmo Ratcliff, Samson et Dalila, Tannhäuser, and his three “calling card” roles, Manrico in Il Trovatore, Raoul in Les Huguenots and Arnold in Guillaume Tell. Gilion made a rather late debut at the Opéra de Paris on New Year’s Eve, 1910. The role was Arnold which, one assumes, he sang in French. The tenor also sang Radames that same season, but never returned to the Opéra. His final performance seems to have been as Manrico at Barcelona’s Teatro Liceo in May of 1912. Gilion returned to the city of his birth, Marseilles, where he died on November 24, 1914 at the early age of 44.
Attempting to examine the life and career of Mario Gilion raises more questions than it answers. Stories abound regarding his origins. Was he born in France or was he really Italian? His diction was frequently praised by Italian critics, who marveled at such impeccable Italian pronunciation from a singer who claimed to be French. This very attribute has led to the notion that Gilion was actually Italian born. There is no doubt that the bulk of Gilion’s career was spent in Italian theaters and that nearly all of his recordings were sung in Italian. However, the occasional hint of a southern French twang…as well as frequent references by critics to his French background…betray the tenor’s true origins. As to where Gilion received his vocal training, some have suggested Italy, others France. In reality, no one seems to have the vaguest idea of where this artist was educated. Based on the vocal production we hear on his records, the technique seems to be decidedly of the 19th century French school, in the tradition of Escalaïs, Scaramberg and Affre. Another question that arises is why Gilion left the stage at the age of 42? One might suspect an illness of some sort, since the tenor passed away at such a young age. Even the circumstances of his death are a matter of conjecture. One rumor has it that he “died in uniform”, that is, on the battlefield. This is hardly likely since at 44, Gilion would have been a bit too old for military service. Besides that, he died in Marseilles…not the site of any major WWI skirmishes. The answers to these and other riddles regarding Gilion are probably lost to the ages.
Mario Gilion possessed a remarkable instrument of tremendous power and range and seemed to have almost inexhaustible vocal resources. According to a critic for Lo Spettatore, during a January 1906 Il Trovatore in Rome, the tenor sang “Di quella pira” (complete with the da capo), then encored the entire cabaletta, for a total of ten high Cs. Gilion’s brilliant high notes made for some very exciting, full throated singing and yet he was also capable of very sensitive phrasing. All in all, Mario Gilion was a force to be reckoned with during his all too brief career and worthy of the reputation he continues to enjoy more than a century after his death.
The entire recorded legacy of Mario Gilion is comprised of nearly 60 discs made for the Fonotipia label in Milan between 1906 and 1910. Most of the repertoire consists of operatic arias and duets, almost exclusively sung in Italian. Here, Gilion sings Rachel, quand du Seigneur (or Rachele, allor che Iddio in its Italian translation) from Halévy's La Juive. This recording was made on September 29, 1906.
Aroldo Lindi - Nessun dorma
Aroldo Lindi (1888-1944) was born Gustav Harald Lindau in the borough of Tuna in Vimmerby, Sweden. He began his working life at age 12 in the coal mines of his native region. In his mid-teens, he and his older brother sailed to the U.S and landed in Boston. In the decade that followed, Lindi worked as a piano mover, auto painter and boxer. During this period, he discovered his voice…baritone at that time…and began singing with Boston’s Swedish Svetlod Society. The young singer made his way to New York where he took a job as a singing waiter. Lindi also sang in the chorus of various summer stock companies and worked as a supernumerary at the Metropolitan Opera. During this period, he was heard by financier John Aspergrin. Impressed by the young man’s talent, Aspergrin arranged for an audition with Metropolitan Opera conductor Giuseppe Bambochek, who opined that further vocal studies were in order. Members of New York’s Swedish community raised funds to enable Lindi to study at Hunter College, where the budding singer discovered his true tenor range. After studies with Madame Dean Dossert and Cesare Sturani, he returned to Boston, where he made his debut as Radames in Aïda with the Fleck Opera Company in 1916. Over the course of the next three or four years, Lindi travelled the U.S. with various third rate touring companies. As he passed the age of thirty, however, the tenor realized that his career was going nowhere. Lindi’s relationship with singer Della Johnson, whom he had married in 1916, was beginning to sour (the two would separate in 1920 and eventually divorced in 1929) and the tenor decided that there was nothing to keep him in the U.S. So, with no real prospects on the horizon, he travelled to Italy to solidify his vocal technique and, perhaps, expand his operatic career.
Following further studies with Renato Bellini, the tenor…now calling himself Aroldo Lindi…made his European debut in November of 1922 at the Teatro Alfieri in Asti as Don Alvaro in La Forza del Destino to great acclaim. A few weeks later, he sang Radames at Milan’s Teatro dal Verme, with equal success. From that point, Lindi’s career took off with appearances with Milan’s La Scala, the Teatro Regio in Parma, the Teatro Costanzi in Rome, Genoa’s Teatro Carlo Felice, La Fenice in Venice, the Liceo in Barcelona, Stockholm’s Royal Opera, Covent Garden in London and at major theaters in Hamburg, Lisbon, Palermo, Rimini, Pisa, Turin, Vienna, Paris, Monte Carlo, Cairo, Chicago, Philadelphia, Cincinnati and San Francisco. Among Lindi’s many roles were Manrico in Il Trovatore, Calaf in Turandot, Cavaradossi in Tosca, des Grieux in Manon Lescaut, Dick Johnson in La Fanciulla del West, Giannetto in La Cena delle Beffe, Canio in Pagliacci, Turiddu in Cavalleria Rusticana, Don José in Carmen, and the title roles in Tannhäuser, Lohengrin and Otello.
After a decade in Italy, Lindi returned to the U.S. However, with America in the grip of the Great Depression, opportunities with larger companies were few and far between, despite the tenor’s impressive European resume. Ironically, Lindi found that his only work was with an operatic touring company. Although Fortune Gallo’s San Carlo Opera was an improvement over the touring companies of his youth, the tenor still had no one theater to call his artistic home. For the next dozen years, Lindi crisscrossed North America, essentially singing the same half dozen audience favorites…Aïda, Turandot, Samson et Dalila, Il Trovatore, Carmen and Pagliacci…over and over again. By the early 1940s, the strain of this vagabond lifestyle was taking a toll on Lindi’s health. He had gained a tremendous amount of weight and suffered a heart attack in Montreal in early 1944. Despite doctor’s orders to slow down, he concealed his health issues from most of his colleagues and rejoined San Carlo’s tour a few weeks later. Lindi felt well enough to undertake a performance of Pagliacci in San Francisco on the evening of March 8. The performance was going well and Lindi seemed to be feeling fine. Just as the tenor was preparing to return to the stage to complete Act I, a colleague asked how he was feeling. “Ask me in five minutes”, was the tenor’s reply as he ran onto the stage to confront Nedda and sing the famous “Vesti la giubba”. During the final measures of the aria, Lindi collapsed to the stage and completed the act in a prone position. By the time the curtain came down, the 55-year-old tenor was dead.
Aroldo Lindi made numerous recordings for Columbia during the 1920s. These discs reveal a true tenore di forza and demonstrate an impressive proficiency in Italian and English. In this recording, Lindi sings Nessun dorma from Puccini's Turandot. This was recorded in Milan for Columbia in the summer of 1929.
Aroldo Lindi - Goodbye!
Aroldo Lindi (1888-1944) was born Gustav Harald Lindau in the borough of Tuna in Vimmerby, Sweden. He began his working life at age 12 in the coal mines of his native region. In his mid-teens, he and his older brother sailed to the U.S and landed in Boston. In the decade that followed, Lindi worked as a piano mover, auto painter and boxer. During this period, he discovered his voice…baritone at that time…and began singing with Boston’s Swedish Svetlod Society. The young singer made his way to New York where he took a job as a singing waiter. Lindi also sang in the chorus of various summer stock companies and worked as a supernumerary at the Metropolitan Opera. During this period, he was heard by financier John Aspergrin. Impressed by the young man’s talent, Aspergrin arranged for an audition with Metropolitan Opera conductor Giuseppe Bambochek, who opined that further vocal studies were in order. Members of New York’s Swedish community raised funds to enable Lindi to study at Hunter College, where the budding singer discovered his true tenor range. After studies with Madame Dean Dossert and Cesare Sturani, he returned to Boston, where he made his debut as Radames in Aïda with the Fleck Opera Company in 1916. Over the course of the next three or four years, Lindi travelled the U.S. with various third rate touring companies. As he passed the age of thirty, however, the tenor realized that his career was going nowhere. Lindi’s relationship with singer Della Johnson, whom he had married in 1916, was beginning to sour (the two would separate in 1920 and eventually divorced in 1929) and the tenor decided that there was nothing to keep him in the U.S. So, with no real prospects on the horizon, he travelled to Italy to solidify his vocal technique and, perhaps, expand his operatic career.
Following further studies with Renato Bellini, the tenor…now calling himself Aroldo Lindi…made his European debut in November of 1922 at the Teatro Alfieri in Asti as Don Alvaro in La Forza del Destino to great acclaim. A few weeks later, he sang Radames at Milan’s Teatro dal Verme, with equal success. From that point, Lindi’s career took off with appearances with Milan’s La Scala, the Teatro Regio in Parma, the Teatro Costanzi in Rome, Genoa’s Teatro Carlo Felice, La Fenice in Venice, the Liceo in Barcelona, Stockholm’s Royal Opera, Covent Garden in London and at major theaters in Hamburg, Lisbon, Palermo, Rimini, Pisa, Turin, Vienna, Paris, Monte Carlo, Cairo, Chicago, Philadelphia, Cincinnati and San Francisco. Among Lindi’s many roles were Manrico in Il Trovatore, Calaf in Turandot, Cavaradossi in Tosca, des Grieux in Manon Lescaut, Dick Johnson in La Fanciulla del West, Giannetto in La Cena delle Beffe, Canio in Pagliacci, Turiddu in Cavalleria Rusticana, Don José in Carmen, and the title roles in Tannhäuser, Lohengrin and Otello.
After a decade in Italy, Lindi returned to the U.S. However, with America in the grip of the Great Depression, opportunities with larger companies were few and far between, despite the tenor’s impressive European resume. Ironically, Lindi found that his only work was with an operatic touring company. Although Fortune Gallo’s San Carlo Opera was an improvement over the touring companies of his youth, the tenor still had no one theater to call his artistic home. For the next dozen years, Lindi crisscrossed North America, essentially singing the same half dozen audience favorites…Aïda, Turandot, Samson et Dalila, Il Trovatore, Carmen and Pagliacci…over and over again. By the early 1940s, the strain of this vagabond lifestyle was taking a toll on Lindi’s health. He had gained a tremendous amount of weight and suffered a heart attack in Montreal in early 1944. Despite doctor’s orders to slow down, he concealed his health issues from most of his colleagues and rejoined San Carlo’s tour a few weeks later. Lindi felt well enough to undertake a performance of Pagliacci in San Francisco on the evening of March 8. The performance was going well and Lindi seemed to be feeling fine. Just as the tenor was preparing to return to the stage to complete Act I, a colleague asked how he was feeling. “Ask me in five minutes”, was the tenor’s reply as he ran onto the stage to confront Nedda and sing the famous “Vesti la giubba”. During the final measures of the aria, Lindi collapsed to the stage and completed the act in a prone position. By the time the curtain came down, the 55-year-old tenor was dead.
Aroldo Lindi made numerous recordings for Columbia during the 1920s. These discs reveal a true tenore di forza and demonstrate an impressive proficiency in Italian and English. Here, Lindi sings Tosti's Goodbye!. This recording was made in London for Columbia in 1926.
In Cucina Con Chef Gabriele: TIRAMISù
Le origini del Tiramisù sono molto incerte perché ogni regione vorrebbe aver inventato questa prelibatezza: per questo motivo è nata una sorta di contesa tra Toscana, Piemonte e Veneto.
Moltissime sono le leggende legate a questo dolce a cui vennero attribuite addirittura qualità afrodisiache.
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Miguel Fleta - Nebbie
Miguel Burro Fleta (1897-1938) was an extraordinarily popular tenor whose brief, turbulent and tragic life is the stuff of legend. The last of fourteen children, Fleta was born in Aragón near the close of the 19th century. He began his working life as a field worker but enjoyed singing the folksongs of his region. Encouraged by his friends, Fleta entered a Jota competition in the fall of 1917. Although he didn’t win, his participation led to studies at the Conservatory of Barcelona. There, Fleta met the woman who would become his mentor, lover and mother to two of his children, Luisa Pierrick. Fleta’s vocal coaching with Pierrick had lasted less than two years when, shortly before his 22nd birthday, the young tenor made his operatic debut in Trieste. The role was Paolo in Zandonai’s Francesca da Rimini under the baton of the composer himself. Pierrick aggressively promoted her protégé/lover throughout Italy, perhaps pushing the tenor beyond his youthful limitations. Within three years of his debut, Fleta was compelled to cancel performances owing to throat issues…an alarming omen of things to come.
Fleta’s rise was meteoric. Before reaching the age of 25, the young tenor had sung in the major theaters of Budapest, Prague, Vienna, Monte Carlo, Rome, Genoa, Madrid, Buenos Aires and others. He created the role of Romeo in Zandonai’s Giulietta e Romeo in Rome in February of 1922 and made his Metropolitan Opera debut on November 8, 1923 as Cavaradossi in Puccini’s Tosca. Fleta became the darling of critics and public alike during his years in New York. He sang thirty-seven performances of nine operas at the MET…Tosca, Rigoletto, La Bohème, Andrea Chénier, Aïda, Les Contes d’Hoffmann, Carmen, Pagliacci, L’Amico Fritz…and seemed destined for a long and illustrious career in New York. A January, 1925 performance of Rigoletto, however, would be Fleta’s final appearance at the MET.
Fleta was scheduled to return to the MET for the 1925/26 season, but broke his contract, ostensibly to perform mandatory service in the Spanish army. Meanwhile, in Milan, preparations were underway for the premiere of Puccini’s final opera, Turandot. When news reached New York that Fleta was among the cast, MET management was furious. The MET filed suit against the tenor, finally winning a judgement of $20,000…and enormous sum in those days. Needless to say, Fleta never sang in North America again. Ironically, Calaf was not a role that suited Fleta and he abandoned it after only a handful of performances. One wonders if the tenor’s rash decision was worth it.
A 1928 tour took Fleta across the South Seas…nearly 100 performances in ten months…and he returned to Spain exhausted. His voice was beginning to deteriorate and he found himself turning more and more to zarzuelas in order to keep performing. Fleta also appeared in the film, “Miguelón, El Último Contrabandista” in 1934. The film, sadly, was a commercial failure. Fleta also became involved with Franco’s Falangist movement. Loyalist forces put a price on his head and he was forced to sell his properties and flee. His final operatic performance was an April, 1937 Carmen in Lisbon. Fleta now lived in hiding, fearful that the Loyalists would catch up with him. In the end, what caught up with Fleta were years of excess. Unchecked eating, drinking and carousing…not to mention an early case of syphilis that had never been properly treated…eventually stopped the tenor in his tracks. While resting in La Coruña, his health rapidly deteriorated. Renal failure was the culprit and, despite a valiant struggle, Fleta expired on May 29, 1938. He was only 40 years old.
Miguel Fleta’s was a remarkable instrument…rich and baritonal, with pealing top notes that sent audiences into a frenzy. His sensitive artistry and attention to musical detail were extraordinary…not a single note was ever wasted. Yet Miguel Fleta squandered this magnificent gift during his brief career through extravagant living, risky career choices and just too much singing. Be that as it may, it is impossible to imagine it any other way. That was Miguel Fleta.
Fleta recorded nearly 100 sides for Victor and HMV between 1922 and 1934. In this recording, Fleta gives a haunting reading of Respighi's Nebbie. This was recorded for HMV on March 23, 1929.
Juventus-inter 1-0 E sempre la solita storia
Stanchi di dire sempre le stesse cose datevi una regolata