Antonino Votto – conductor

Outstanding operatic conductor made recordings with Callas

Antonino Votto was regarded as one of the finest
conductors of his era

Operatic conductor Antonino Votto was born on this day in 1896 in Piacenza in Emilia-Romagna.

He became famous in the 1950s because he conducted the orchestra for the acclaimed recordings made by soprano Maria Callas for EMI.

Votto was also considered one of the leading operatic conductors of his time on account of his performances at La Scala in Milan, where he worked regularly for nearly 20 years.

After Votto had attended the Naples conservatory for his music studies he went to work at La Scala, where he became an assistant conductor to Arturo Toscanini.

He made his official debut there in 1923, leading a performance of Puccini’s Manon Lescaut.

Votto went on to build a reputation as one of the most outstanding conductors of Italian opera, appearing at many other operatic venues in Italy and abroad.

Votto taught at the Giuseppe Verdi
conservatory in Milan

In 1941 he began teaching at the Giuseppe Verdi conservatory in Milan as the war limited operatic activity in Italy and in most parts of Europe.

One of his students was the present day Italian orchestra conductor, Riccardo Muti.

Recordings of Votto conducting opera live in the theatre were a great success. He conducted Bellini’s Norma in 1955 with Callas at La Scala and La Sonnambula in 1957 with Callas in Cologne. These are both considered to be great performances.

Votto also made a series of highly successful studio recordings in the 1950s with Callas, based on productions that had been staged at La Scala. Their collaborations for EMI on Puccini’s La Bohème and Verdi’s Un Ballo in Maschera in 1956 and Bellini’s La Sonnambula in 1957 were enthusiastically received by both the critics and the public.

Votto made his debut at Covent Garden in 1924 with performances of Puccini’s Madame Butterfly and Leoncavallo’s I Pagliacci.

His American debut came in 1960 when he appeared at the Chicago Opera House conducting Verdi’s Aida and Don Carlo.

Votto continued conducting at La Scala until 1967 and died in Milan in 1985.

The bronze statue of Ranuccio II Farnese by Francesco
Mochi is a feature of Piazza Cavalli in Piacenza

Travel tip:

Piacenza, where Votto was born, is a city in the Emilia Romagna region of northern Italy. The main square is named Piazza Cavalli because of its two bronze equestrian monuments featuring Alexander Farnese, Duke of Parma and his son Ranuccio II Farnese, Duke of Parma, who succeeded him. The statues are masterpieces by the sculptor Francesco Mochi.

Teatro alla Scala is Italy's most prestigious opera house

Travel tip:

Teatro alla Scala, where Votto conducted for 20 years, is in Piazza della Scala in the centre of Milan across the road from the Galleria Vittorio Emanuele II, an elegant arcade lined with cafes, shops and restaurants. It was built to link Piazza della Scala with Piazza del Duomo, Milan’s cathedral square. La Scala has a fascinating museum that displays costumes and memorabilia from the history of opera. The entrance is in Largo Ghiringhelli, just off Piazza della Scala. It is open every day except the Italian Bank Holidays and the days when it is closed in December. Opening hours are from 9.00 to 12.30 and 1.30 to 5.30 pm.

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Arrigo Boito – writer and composer

Death of a patriot who fought for Venice

Arrigo Boito met Verdi in Paris

Arrigo Boito, who wrote both the music and libretto for his opera, Mefistofele, died on this day in 1918 in Milan.

Of all the operas based on Goethe’s Faust, Boito’s Mefistofele is considered the most faithful to the play and his libretto is regarded as being of particularly high quality.

Boito was born in Padua in 1842, the son of an Italian painter of miniatures and a Polish countess. He attended the Milan Conservatory and travelled to Paris on a scholarship.

It was there he met Giuseppe Verdi, for whom he wrote the text of the Hymn of the Nations in 1862.

He fought under the direction of Giuseppe Garibaldi in 1866 in the seven weeks of the Third Italian War of Independence, against Austria, after which Venice was ceded to Italy.

While working on Mefistofele, Boito published articles, influenced by the composer Richard Wagner, in which he vigorously attacked Italian music and musicians.

Verdi was deeply offended by his words and by 1868, when Mefistofele was produced in Milan, Boito’s opinions had provoked so much hostility there was nearly a riot.

The opera was withdrawn after two performances, but a revised version, produced in 1875, still survives.

Boito and Verdi in 1892

Influenced by Beethoven and Wagner, the opera was unconventional. Boito’s second opera, Nerone, was completed after his death by Vincenzo Tommasini and Arturo Toscanini and produced in Milan in 1924.

Boito and Verdi were reconciled in 1873 and Boito revised the libretto for Simon Boccanegra. He also produced a libretto for both Otello and Falstaff.

He wrote the libretto for Amilcare Ponchielli’s La Giocondo in 1876 and also produced a volume of poetry and several novels. 

Boito received the honorary degree of Doctor of Music from the University of Cambridge in 1893.

After his death in 1918, he was interred at the Cimitero Monumentale in Milan.

A memorial concert was given in his honour at La Scala in 1948 when the orchestra was conducted by Arturo Toscanini. This concert has since been issued on CD.

The Scrovegni Chapel features the brilliant frescoes by Giotto

Travel tip:

Padua in the Veneto, where Boito was born, is one of the most important centres for art in Italy and home to the country’s second oldest university. Padua has become acknowledged as the birthplace of modern art because of the Scrovegni Chapel, the inside of which is covered with frescoes by Giotto, an artistic genius who was the first to paint people with realistic facial expressions showing emotion. His scenes depicting the lives of Mary and Joseph, painted between 1303 and 1305, are considered his greatest achievement. At Palazzo Bo, where Padua’s university was founded in 1222, you can still see the original lectern used by Galileo and the world’s first anatomy theatre, where dissections were secretly carried out from 1594.

Travel tip:

La Scala in Milan has a fascinating museum that displays costumes and memorabilia from the history of opera. The entrance is in Largo Ghiringhelli, just off Piazza della Scala. It is open every day except the Italian Bank Holidays and a few days when it is closed in December. Opening hours are from 9.00 to 12.30 and 1.30 to 5.30 pm.

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Ezio Pinza - opera and Broadway star

Poor boy from Rome who made his home at the Met

Ezio Pinza

The opera star Ezio Pinza, who had 22 seasons at the Metropolitan Opera in New York from 1926 to 1948 and sang to great acclaim at many other of the world’s most famous opera houses, was born on this day in 1892 in Rome.

Pinza, a bass who was blessed with a smooth and rich voice and matinee idol looks, also had a successful career in musical theatre on Broadway and appeared in a number of Hollywood films.

Born Fortunio Pinza in relative poverty in Rome, he was the seventh child born to his parents Cesare and Clelia but the first to survive.  He was brought up many miles away in Ravenna, which is close to the Adriatic coast, about 85km (53 miles) from Bologna and 144km (90 miles) from Venice.

He dropped out of Ravenna University but studied singing at Bologna’s Conservatorio Martini and made his opera debut at Cremona in 1914 in Bellini’s Norma.

Pinza signed up to fight for his country in the First World War, after which he resumed his career in 1919. Within a short time he was invited to perform at Italy’s most prestigious opera house, Teatro alla Scala in Milan, where he came under the baton of the brilliant but demanding conductor, Arturo Toscanini.

Toscanini recognised his talent and under his guidance, Pinza began to prosper. For a bass his voice had unusual beauty and Pinza had a great drive to make the most of the opportunity it gave him.

Ezio Pinza in the Broadway production of South
Pacific that made his name in musical theatre

His family’s circumstances had meant that he missed out on a formal education.  As a consequence, he was not able to read music, yet he had a sharp ear. He would listen to his part played on the piano and then sing it accurately, even picking up stylistic nuances.

Seen as a successor to the great Italian basses Francesco Navarini, Vittorio Arimondi and Nazzareno De Angelis, by November 1926 he had been invited to sing at the Metropolitan Opera, where he made his debut in Spontini's La vestale, which starred the popular American soprano Rosa Ponselle in the title role.

As he became established, Pinza became associated with Mozart’s Don Giovanni, Figaro and Sarastro, as well as many roles in the Italian operas of Bellini, Donizetti, and Verdi, and Mussorgsky's Boris Godunov, which was sung in Italian.

Engagements at Royal Opera House, Covent Garden, soon followed. He sang in London from 1930 to 1939 and was invited to sing at the Salzburg Festival in 1934-1937 by the German conductor Bruno Walter.

Like many Italians, he felt at home in America. Pinza sang again under the baton of Toscanini in 1935, this time with the New York Philharmonic Orchestra at Carnegie Hall as the bass soloist in performances of Beethoven's Missa Solemnis, one of which was broadcast on radio and recorded.

His life was rudely interrupted in 1942 after America had entered the Second World War.  All Italians and Germans living in the United States came under close scrutiny from the authorities and Pinza was accused of having a connection with Benito Mussolini, the Italian Fascist dictator.

With no warning, plain clothes FBI officers arrived at his house at Mamaroneck in Westchester County, overlooking Long Island Sound, and arrested him. After being taken to the Foley Square courthouse in Manhattan, where he was not allowed an attorney, he was detained at Ellis Island.

Pinza was only four months away from being granted his American citizenship and, fortunately for him, his fame afforded him more consideration than most of his compatriots and he was allowed to go free again after 12 weeks.

Pinza's grave

After the war, he announced his retirement from opera in 1948, when the Metropolitan Opera honoured him by naming the fountains at the new Metropolitan Opera House at the Lincoln Centre after him.

He was not finished as a singer. Embarking on a second career in Broadway musicals, he achieved more success. His role in Rodgers and Hammerstein's South Pacific, in which the lead male part of the French planter Emil de Becque and the classic song Some Enchanted Evening were created specifically for him, turned him into a still bigger celebrity. In 1950, he received a Tony Award for best lead actor in a musical.

The fame brought him movie and television work and enabled him to buy a plush house next to the golf course at Westchester Country Club at Rye, where he was a member.  Sadly, he died suddenly in 1957 at the age of 64, having suffered a stroke. He is buried at Putnam Cemetery at Greenwich, Connecticut.

Travel tip:

Ravenna was the capital city of the Western Roman Empire from 402 until its collapse in 406. The city’s Basilica of San Vitale, one of the most important examples of early Christian Byzantine art and architecture, is famous for its wealth of Byzantine mosaics, the largest and best preserved outside Turkey, including masterpieces studded with gold, emerald and sapphire. The city was where the poet Dante lived in exile until his death in 1321. His tomb can be found in the Basilica of San Francesco, and the pretty Piazza del Popolo.

Travel tip:

The Conservatorio Martini, where Pinza received his formal musical education, can be found in Bologna’s Piazza Rossini, adjacent to the church of San Giacomo Maggiore, about 10 minutes’ walk from the city’s central square, Piazza Maggiore. Opened in 1804 as the Liceo Filarmonico di Bologna, its prestige was enhanced by its association with the composer Gioachino Rossini, who had attended the conservatory as a student, and returned later in life as a consultant.

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Antonio Scotti - baritone

Neapolitan singer who played 35 seasons at the Met

Antonio Scotti in his most famous role as
Baron Scarpia in Puccini's Tosca

The operatic baritone Antonio Scotti, who performed at the Metropolitan Opera House in New York for a remarkable 35 consecutive seasons, was born on this day in 1866 in Naples.

Scotti's career coincided with those of many fine baritones and experts did not consider his voice to be among the richest. Yet what he lacked in timbre, he compensated for in musicality, acting ability and an instinctive grasp of dramatic timing.

Later in his career, he excelled in roles that emerged from the verismo movement in opera in the late 19th century, of which the composer Giacomo Puccini was a leading proponent, drawing on themes from real life and creating characters more identifiable with real people.

For a while, Scotti's portrayal of the chief of police Baron Scarpia in Puccini's Tosca, for example, was the yardstick against which all performances were measured, at least until Tito Gobbi's emergence in the 1930s.  Indeed, in 1924 the Met chose a gala presentation of Tosca as a fitting way for Scotti to mark the 25th anniversary of his debut there.

Scotti's parents in Naples were keen for him to enter the priesthood but he chose to pursue his ambitions in music. He received his first serious training at the Naples Conservatory under Esther Trifari-Paganini and Vincenzo Lombardi, who was the vocal coach employed by Enrico Caruso.

Most accounts of Scotti's career say he made his debut in Malta in 1889 in Giuseppe Verdi's Aida but some suggest he had already performed in public at the Circolo Filarmonico in Naples in Gaspare Spontini's La vestale.  What is agreed is that audiences and critics were impressed by the young baritone and he was soon being booked to appear elsewhere, not only in Italy but in Spain and Portugal, Russia and South America.

Teatro alla Scala in Milan, where Scotti made his debut
in 1898 in Richard Wagner's Der Meistersinger

His status as a singer destined for an illustrious career was confirmed when he made his debut at La Scala in Milan in 1898 in the role of Hans Sachs in Richard Wagner's Der Meistersinger, under the baton of Arturo Toscanini.

He performed at Covent Garden in London for the first time in 1899 as Don Giovanni in Mozart's opera of the same name, in which he also made his New York debut in the same year.  He would return to Covent Garden almost every year until the outbreak of war in 1914.

Scotti's association with Baron Scarpia in Tosca began in 1901, when he became the first artist to sing the role in America.  He would go on to perform the role a further 216 times, playing opposite 15 different Toscas, including the beautiful American soprano Geraldine Farrar, with whom he was said to be infatuated.

Farrar had an affair with Toscanini and was rumoured to be involved romantically also with Caruso, who became Scotti's close friend, their careers at the Met running parallel.  Scotti was Rigoletto to Caruso's Duke of Mantua when the latter made his debut at the house in Verdi's opera in 1903 and they would share the stage on many occasions.

A dapper Antonio Scotti pictured in New
York in 1915 at the height of his fame

By the time he retired, Scotti had clocked up more than 1,200 performances with the Metropolitan Opera House Company, either in New York or on tour.  Among his other notable roles, he was Puccini's Marcello in La bohème and Sharpless in Madame Butterfly, each on more than 100 occasions.

From 1919 he also toured with his own troupe of singers, under the name of the Scotti Opera Company, although the venture was not a financial success.

His final Met appearance came in January 1933, shortly before his 67th birthday, when he sang Chim-Fen in Franco Leoni's one-act opera L'Oracolo, a role he had premiered at Covent Garden in 1905 and which he played in New York several times.  Despite a voice that was by then beginning to fail, a dynamic performance was still hailed as a fitting send-off.

Scotti made a number of recordings, including several duets with Caruso, Farrar and with the Polish coloratura soprano, Marcella Sembrich, although he did not enjoy the commercial success that came the way of Caruso.

He returned to Naples, intending to enjoy retirement in the city of his birth, but had not been able to turn his years of celebrity in New York into financial security and after three years in reduced circumstances, relying on money he was sent occasionally by sympathetic friends and fans in the United States, he died in hospital in 1936 from arterial disease.

Travel tip:

Milan's famous opera house, Teatro alla Scala - popularly known as La Scala - came into being in 1778.  It was at first called the Nuovo Regio Ducale Teatro alla Scala, having been commissioned by the Empress Maria Theresa of the House of Hapsburg, of which the Duchy of Milan was at the time a part, as replacement for the Teatro Regio Ducale following a fire in 1776.  It was built on the site of the former church of Santa Maria alla Scala.  As with many theatres of the time, La Scala was also a casino, and opera-goers in the early days had to contend with the distraction of gambling activities taking place at the same time as the cast were performing on the stage.

The Naples Music Conservatory is next to the
Church of San Pietro a Majella 

Travel tip:

The Naples Music Conservatory occupies the former monastery adjoining the church of San Pietro a Majella at the western end of Via dei Tribunali, one of the three parallel streets running from east to west that mark the grid of the historic centre of the city, one of which - Via San Biagio dei Librai - is more commonly known as Spaccanapoli.  Formerly housed in the monastery of San Sebastiano, on the eastern side of Piazza Dante, the Conservatory moved to its present location in 1826.

More reading:

The brilliant career of the great tenor Enrico Caruso

Giacomo Puccini - the musical genius who took the baton from Verdi

How Tito Gobbi found fame on both stage and screen

Also on this day:

1348: Devastating earthquake hits Friuli Venezia Giulia

(Picture credit: Church of San Pietro a Majella by Armando Mancini; via Wikimedia Commons)

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Lorenzo Perosi - priest and composer

Puccini contemporary chose sacred music over opera

Lorenzo Perosi forsook opera in
 favour of religious music

Don Lorenzo Perosi, a brilliant composer of sacred music who was musical director of the Sistine Chapel at the Vatican for almost half a century, was born on this day in 1872 in the city of Tortona in Piedmont.

A devoutly religious man who was ordained as a priest at the age of 22, Perosi was a contemporary of Giacomo Puccini and Pietro Mascagni, both of whom he counted as close friends, but was the only member of the so-called Giovane Scuola of late 19th century and early 20th century composers who did not write opera.

Instead, he concentrated entirely on church music and was particularly noted for his large-scale oratorios, for which he enjoyed international fame.

Unlike Puccini and Mascagni, or others from the Giovane Scuola such as Ruggero Leoncavallo, Umberto Giordano and Francesco Cilea, Perosi's work has not endured enough for him to be well known today.

Yet at his peak, which music scholars consider to be the period between his appointment as Maestro of the Choir of St Mark's in Venice in 1894 and a serious mental breakdown suffered in 1907, he was hugely admired by his fellows in the Giovane Scuola and beyond.

Perosi with Arturo Toscanini before the
premiere of his work Mosè in Milan 

Arturo Toscanini conducted his work Mosè on the occasion of its premiere at La Scala in Milan in November 1901, his French admirers included Claude Debussy and Jules Massenet and many of the great opera singers on his day were keen to perform in his works, including Enrico Caruso, Mario Sammarco, Carlo Tagliabue and Beniamino Gigli.

Puccini is quoted as saying that "there is more music in Perosi's head than mine and Mascagni's put together".

Perosi is credited with reviving the oratorio as a musical genre. His grand productions for chorus, soloists, and orchestra based on Latin texts were noted for their bringing together of Renaissance harmony, Gregorian chant, and the flamboyant melodies and orchestrations characteristic of the Giovane Scuola. 

Perosi was one of 12 children born into a pious Catholic family in Tortona, only half of whom survived infancy.  His own birth was said to have been difficult and music historians believe it was probably the cause of the mental health problems he suffered in adulthood.

His father, Giuseppe, was choir director at the cathedral in Tortona and his talent for music was shared with his brothers Carlo, who also became a priest, and Marziano, who would later be musical director at the Duomo of Milan.

Listen to the choir of the church of the Beata Vergine in Mandria, near Padua

Lorenzo enrolled at Milan Conservatory, where he began his association with Puccini and Mascagni, after which he took his first professional post as organist at the Abbey of Montecassino.  He spent a year studying in Germany under Franz Xaver Haberl, where he learnt Renaissance polyphony, but declined a permanent teaching position in Germany in favour of a position nearer home as director of sacred music at the Duomo in Imola.

The bust of Lorenzo Perosi in the
gardens at the Pincio in Rome

From Imola he went to Solesmes Abbey, a Benedictine Monastery in France to study under the Gregorianists Dom André Mocquereau and Dom Joseph Pothier.

The appointment at St Mark's in Venice came in 1894 and brought Perosi under the influence of Cardinal Giuseppe Sarto, the Patriarch of Venice who would go on to be elected as Pope Pius X.  It was Sarto who ordained Perosi to the priesthood but just as importantly encouraged his music and was influential in his appointment in Rome.

Perosi's mental health problems began to manifest themselves in 1906, when doctors felt he was suffering from nervous exhaustion as a consequence of the hours he spent writing music in addition to his duties as a priest.

They became so severe following the deaths of both his parents within the space of a few years that at one stage his brother, Carlo, was nominated legal guardian as some doctors deemed him incurable. In time, however, his condition improved and he returned to a normal life.

He added to an already enormous body of work and the popes Pius XI and Pius XII waived the rules regarding mandatory retirement and retained him as 'maestro perpetuo' into his 80s. By the time his health deteriorated irreversibly he had served under five popes.  He died in Rome in October 1956.

The Duomo of Tortona, where Lorenzo Perosi is
buried along with his brother, Carlo

Travel tip:

Tortona is an elegant small city of around 27,000 inhabitants in the eastern part of Piedmont, roughly halfway between Milan and the Ligurian coast at Genoa.  It sits on the right bank of the Scrivia river between the plain of Marengo and the foothills of the Ligurian Apennines.  Lorenzo Perosi, along with his brother, Carlo, is buried at the Duomo, where his father was the choir director.  The Duomo has a 19th century neoclassical facade but the building itself dates back to the 16th century.


Travel tip:

The Sistine Chapel choir is one of the oldest religious choirs in the world, consisting today of 20 adult professional singers and 30 unpaid boy choristers.   Its reputation today owes much to Lorenzo Perosi, who raised its artistic level to a level as high as any it had known during his time as Maestro di Cappella and supported Pope Pius X in outlawing the use of boys whose voices were preserved by the barbaric practice of castration. Pius declared that only "whole men" should be allowed to be choristers or priests, and the last of the castrati were in time eased out of the choir.  A bust of Perosi can be found in the gardens on Pincian Hill - the Pincio - in Rome.

More reading:

How Giovanni Gabrieli helped popularity of Venetian Baroque

What made Puccini one of the greatest of opera composers

The genius of Venice's musical priest, Antonio Vivaldi

Also on this day:

1401: Birth of the great Renaissance artist Massacio

(Picture credits: bust by Lalupa; Tortona Duomo by Vincenzo da Tortona; both via Wikimedia Commons)


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Tullio Serafin – opera conductor

Toscanini’s successor furthered the career of Callas

Tullio Serafin

The man who helped Maria Callas develop her singing talent, musician and conductor Tullio Serafin, was born on this day in 1878 in Rottanova near Cavarzere in the Veneto, on the Adige river just south of the Venetian Lagoon.

Serafin studied music in Milan and went on to play the viola in the orchestra at Teatro alla Scala under the baton of Arturo Toscanini.

He was later appointed assistant conductor and then took over as musical director at the theatre when Toscanini left to go to New York.

Serafin conducted at La Scala between 1909 and 1914, from 1917 to 1918 and then returned briefly at the end of the Second World War.

He became a conductor at the Metropolitan Opera in New York in 1924 and stayed with them for ten years before returning to Italy to become artistic director at the Teatro Reale in Rome.

During his career he helped the development of many singers, including Rosa Ponselle, Magda Olivero and Joan Sutherland.

Serafin’s most notable success was with Maria Callas, with whom he collaborated on many recordings. He is credited with helping the American-born singer achieve a major breakthrough in 1949 when he persuaded her to take over from the leading belcanto soprano Margeritha Carosio at the opening night of Bellini's I Puritani at La Fenice in Venice after Carosio was forced to withdraw through illness.

Callas protested that she was inadequately prepared but her performance received rave reviews, giving her the confidence to expand her repertoire.  Thereafter, success followed success.

The conductor was also responsible for reviving 19th century operas by Bellini, Rossini and Donizetti and establishing them in the 20th century repertoire.

Serafin died in 1968 in Rome at the age of 89.

The bell tower of the Duomo and the
Palazzo Barbiani in Cavarzere

Travel tip:

Rottanova, where Serafin was born, is a small hamlet on the outskirts of Cavarzere, a comune situated about 35km south of Venice in the Veneto. Cavarzere dates back to before Roman times when it was a military outpost. It later became a refuge for people escaping from the barbarians after the fall of the Roman Empire.

Travel tip:

Teatro alla Scala, where Serafin conducted for so many years, is in Piazza della Scala in the centre of Milan across the road from the Galleria Vittorio Emanuele II. La Scala has a fascinating museum that displays costumes and memorabilia from the history of opera. The entrance is in Largo Ghiringhelli, just off Piazza della Scala. It is open every day except the Italian Bank Holidays and a few days when it is closed in December. Opening hours are from 9.00 to 12.30 and 1.30 to 5.30pm.

HomeHome.30 to 5.30 pm.

Alfredo Catalani - composer

Music from Loreley and La Wally lives on 

Alfredo Catalani, composer of the opera La Wally

Opera composer Alfredo Catalani died on this day in 1893 in Milan at the age of just 39.

He is best remembered for his operas, Loreley, written in 1890, and La Wally, written in 1892, which are still to this day passionately admired by music experts.

Catalani was born in Lucca in Tuscany in 1854 and went to train at the Milan Conservatoire.

His work is said to show traces of Wagner and his style sometimes resembled that of Massenet and Puccini but his early operas were not successful.

Loreley premiered at the Teatro Regio in Turin in 1890. Later it was performed at Covent Garden in London in 1907 and in Chicago in 1919.

La Wally was first performed at Teatro alla Scala in Milan in 1892 to great acclaim.  The opera is best known for its aria, ‘Well then, I’ll go far away’ (Ebben? Ne andro lontana), sung when Wally decides to leave her home forever.

American soprano Wilhelmenia Fernandez sang this aria in the 1981 film, Diva, in which a young Parisian is obsessed with an American soprano.

Hariclea Darclée, the Romanian soprano
who starred in the premiere of La Wally

In the opera, the heroine throws herself into an avalanche at the end, a scene which is difficult to stage in the theatre and therefore the opera is not performed regularly, but Wally’s principal aria is still sung frequently.

Catalani died before he reached the age of 40 of tuberculosis and was interred in the Cimitero Monumentale in Milan.  The composer Amilcare Ponchielli and the conductor Arturo Toscanini also lie there.

Toscanini greatly admired Catalani’s music and named one of his daughters Wally.

He recorded the prelude to Act IV of La Wally and the Dance of the Water Nymphs from Loreley in Carnegie Hall in 1952 with the NBC symphony orchestra for RCA Victor.

The walls of Lucca are intact all around the Tuscan city

Travel tip:

Lucca, the birthplace of Alfredo Catalani, is a city in Tuscany, famous for its Renaissance walls, which have remained intact over the centuries. A promenade now runs along the top of the walls, providing a popular place to walk round the city, enjoying the views.

Travel tip:

Milan’s Teatro alla Scala was officially inaugurated in 1778. Known to Italians simply as La Scala, the theatre has become the leading opera house in the world and many famous artists have appeared there. The theatre was designed by neoclassical architect Giuseppe Piermarini. The theatre has hosted the premieres of operas by Rossini, Donizetti, Verdi, Puccini and Catalani.

(Photo of Lucca walls by JoJan CC BY-SA 3.0)

More reading:

Opening night at La Scala

The Genius of Puccini



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Riccardo Muti - conductor

Celebrated maestro shows no sign of slowing down

Riccardo Muti

The brilliant conductor and musical director Riccardo Muti celebrates his 75th birthday today.

Since 2010, Muti has been conductor of the Chicago Symphony Orchestra while retaining his directorship of the Luigi Cherubini Youth Orchestra, a training ensemble for talent from Italian and other European music schools, based in Ravenna and Piacenza, which he founded in 2005.

Previously, Muti held posts at the Maggio Musicale in Florence, the Philharmonia Orchestra in London, the Philadelphia Orchestra, the Teatro alla Scala in Milan and the Salzburg Whitsun Festival.

He was named principal conductor and music director for the Maggio Musicale when he was only 28 and stayed there 12 years.  He was at La Scala for 19 years from 1986 to 2005, his tenure ending amid rancour following a conflict with the theatre's general manager, Carlo Fontana.

Muti was born on this day in 1941 in Naples, although his childhood years were spent largely in the Puglian port city of Molfetta, near Bari. He entered the world in Naples, he says, at the insistence of his mother, Gilda, herself a Neapolitan, who travelled across the peninsula by train in the later stages of each of her five pregnancies in order that her children would also grow up as Neapolitans.  In his case, the trials of the journey had the extra dimension of it being wartime.

His father, Domenico, was considered the musical member of the family, possessed of a beautiful tenor voice but a doctor by profession.  He insisted his children - all boys - had a musical education and Riccardo, despite looking on enviously at his friends playing outside while he practised the violin, revealed his talent as early as seven years old.

Muti studied piano at the Conservatory of San Pietro a Majella in Naples, where he also studied philosophy.  He learned the art of conducting at the Giuseppe Verdi Conservatory in Milan.  His influences included the Italian composer Nino Rota, who would become most famous for his movie scores, the conductor Antonino Votto, who was principal assistant to Arturo Toscanini at La Scala, and the Russian pianist Sviatoslav Richter.

The young Muti at the Guido Cantelli competition in
Milan in 1967, which he won

His career took off after he had won the Guido Cantelli Conducting Competition in Milan in 1967. Two years later, as well as accepting the role of musical director at Maggio Musicale, Muti married Cristina Mazzavillani, a young soprano he met at the Giuseppe Verdi Conservatory.

The couple exchanged vows at a tiny church in Ravenna, Mazzavillani's home town in Emilia-Romagna, with Rota and Richter among the witnesses.  Some 47 years on, they still regard Ravenna as their main home.  They have three children, sons Domenico and Francesco and a daughter, Chiara, a former model and actress who has also directed in the theatre.  Cristina is artistic director at the annual Ravenna Festival.

A prolific recording artist who has worked with most of the world's leading orchestras and many of the most famous opera singers, Muti is particularly associated with the music of Giuseppe Verdi.

It was during a performance, celebrating the 150th anniversary of Italian unification, of Verdi's Nabucco at Rome's Teatro dell'Opera in 2011, that Muti showed his political colours, interrupting proceedings to launch into a passionate speech denouncing severe cuts to arts funding announced by Prime Minister Silvio Berlusconi, who was in the audience.

Muti had timed his outburst to follow the rousing chorus of Hebrew slaves 'Va, pensiero'. He resumed by inviting the audience to participate in an encore of 'Va, pensiero', which was delivered with such feeling that some of those onstage were moved to tears.  A week later, Berlusconi reversed the cuts.

Among many honours awarded to Muti is the Order of Merit of the Italian Republic, which equates to a British knighthood.

Muti shows no sign of slowing down.  He planned to spend his birthday working with young musicians and conductors from his Opera Academy at the Teatro Alighieri in Ravenna, where they are performing Verdi's La Traviata. while his diary of engagements is full for many months ahead.  Next January, for example, he is scheduled to return to Teatro alla Scala for the first time since his controversial resignation, as leader of the Chicago Symphony Orchestra.

The pretty harbour at Molfetta, on the Adriatic Coast in
Puglia, where Muti grew up

Travel tip:

Molfetta is a port town situated around 35km north of Bari on the Adriatic coast. It has a pretty harbour and a well restored historic quarter full of narrow alleyways. The old cathedral - the Duomo di San Corrado - which overlooks the harbour is notable for two 20-metre towers, one of which served as a watchtower during the years in which Molfetta was an embarcation point for pilgrims heading for the Holy Land.

Travel tip:

Once the capital of the Western Roman Empire, Ravenna is notable for many elegant squares and a wealth of lavish Byzantine mosaics that can be found decorating many of the city's churches, including masterpieces studded with gold, emerald and sapphire renowned for their exquisite beauty. Look out in particular for the Galla Placidia Mausoleum, the Arian Baptistery and the Church of San Vitale.

More reading:

La Traviata - the world's favourite opera

How Italy mourned the death of Giuseppe Verdi

Toscanini's talent impressed even Verdi himself


(Photo of Riccardo Muti by Andreas Praefcke CC BY-SA 3.0)
(Photo of the young Muti by Gbonaju CC BY-SA 3.0)
(Photo of Molfetta Harbour by Michele Zaccaria CC BY-SA 2.0)

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Francesco Cilea – opera composer

Calabrian remembered for beautiful aria Lamento di Federico 

Francesco Cilea

Composer Francesco Cilea was born on this day in 1866 in Palmi near Reggio di Calabria.

He is particularly admired for two of his operas, L’Arlesiana and Adriana Lecouvreur.

Cilea loved music from an early age. It is said that when he was just four years old he heard music from Vincenzo Bellini’s opera, Norma, and was moved by it.

When he became old enough, he was sent to study music in Naples and at the end of his course of study there he submitted an opera he had written, Gina, as part of his final examination. When this was performed for the first time it attracted the attention of a music publisher who arranged for it to be performed again.

Cilea was then commissioned to produce a three-act opera, meant to be along the lines of Pietro Mascagni's Cavalleria rusticana, by the same publisher.

The resulting work, La Tilda, was performed in several Italian theatres, but the orchestral score has been lost, which has prevented it from enjoying a modern revival.

In 1897, Cilea’s third opera, L’Arlesiana was premiered at the Teatro Lirico in Milan.

In the cast was the young Enrico Caruso, who performed, to great acclaim, the famous Lamento di Federico. This beautiful aria - often known by its opening line, È la solita storia del pastore, has kept the name of the opera alive until present day and it has been performed and recorded by many famous tenors over the years, including Luciano Pavarotti.

Enjoy Pavarotti singing Lamento di Federico

In 1902, Cilea’s opera, Adriana Lecouvreur was received enthusiastically at the Teatro Lirico in Milan, again starring Enrico Caruso. Around the same time, Cilea accompanied Caruso on the piano when he made one of his early recordings for the gramophone.

Cilea’s last opera, Gloria, was premiered at La Scala in Milan in 1907 under the baton of Arturo Toscanini, but it was a failure and was withdrawn after only two performances.

After this Cilea turned his attention to teaching and became director of the Conservatorio Vincenzo Bellini in Palermo, although he continued to compose chamber and orchestral music.

The Cilea Mausoleum in Palmi

He supported the career of the Italian soprano, Magda Olivero, whose performances, in the title role of Adriana Lecouvreur, he particularly admired.

Cilea spent the last years of his life living in Varazze, near Savona in Liguria, and he died there in 1950.

Travel tip:

Palmi, where Francesco Cilea was born, is a small commune in the province of Reggio di Calabria in southern Iraly. A seaside resort, Palmi has been referred to as ‘the terrace on the strait of Messina.’ A mausoleum decorated with scenes from the myth of Orpheus, was built there in memory of Cilea.

The Teatro Cilea in Reggio di Calabria

Travel tip:

Reggio di Calabria, often referred to as Reggio Calabria, or simply Reggio, is the biggest city in the region of Calabria in southern Italy. The theatre in the city was renamed Teatro Comunale Francesco Cilea in the composer’s memory.

More reading:

The genius of Puccini

The dominance of Giuseppe Verdi

Lasting appeal of Enrico Caruso


(Photo of Cilea Mausoleum by Palminellafede CC BY-SA 3.0)
(Photo of Teatro Cilea by Franc rc CC BY-SA 3.0)

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Giannina Arangi-Lombardi – opera singer

Soprano’s superb voice was captured in early recordings

Giannina Arangi-Lombardi

Soprano Giannina Arangi-Lombardi was born on this day in 1891 in Marigliano near Naples in Campania.

She studied singing at the Conservatory of San Pietro a Majella in Naples and made her debut on the stage in Rome in 1920. Arangi-Lombardi sang mezzo-soprano roles for the next three years at theatres in Rome, Sicily, Parma, Florence and Naples.

She then underwent further study and returned to the stage as what is known as a spinto soprano, a singer who can reach the high notes of the lyric soprano but can also achieve dramatic climaxes with her voice.

Arangi-Lombardi’s second debut, this time as a soprano, was in 1923. The first time she sang the role of Aida in Verdi's opera of the same name the audience was stunned by her voice and her fame quickly spread.

She appeared on stage at Teatro alla Scala in Milan for the first time in 1924 singing Elena in Boito’s Mefistofele. The orchestra for her debut performance was conducted by Arturo Toscanini.

She sang regularly at La Scala until 1930 and appeared at many other opera houses in Europe as well as in South America.

She took part in Dame Nellie Melba’s farewell tour of Australia in 1928, when she sang the title role in the Australian premiere of Puccini’s Turandot.

After retiring from the stage in 1938 Arangi-Lombardi taught at the music conservatory in Milan and then later became director of the music conservatory in Ankara in Turkey.

Arangi-Lombardi died in Milan in 1951 a few weeks after celebrating her 60th birthday.

Her voice can still be heard today in the recordings she made of full length operas between 1929 and 1931.

Teatro alla Scala in Milan

Travel tip:

La Scala in Milan, where Arangi-Lombardi appeared regularly, has a fascinating museum that displays costumes and memorabilia from the history of opera. The entrance is in Largo Ghiringhelli, just off Piazza Scala. It is open every day except the Italian Bank Holidays and for a few days when it is closed in December. Opening hours are from 9.00 to 12.30 and 1.30 to 5.30 pm.

Travel tip: 

Milan’s Conservatory of Music (Conservatorio di Musica ‘Giuseppe Verdi’) is in Via Conservatorio, just off Via Pietro Mascagni, behind the Duomo and just a short walk from Teatro alla Scala. 

Read more:

Cecilia Bartoli renowned for interpretations of Rossini and Mozart

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Enrico Caruso – opera singer

 Tenor's voice still regarded as greatest of all time 

Enrico Caruso sang in a choir while working
as an apprentice to a mechanical engineer

Operatic tenor Enrico Caruso was born on this day in 1873 in Naples.

Believed by many opera experts to be the greatest tenor of all time, Caruso had a brilliant 25-year singing career, appearing at many of the major opera houses in Europe and America.

He made more than 200 recordings of his beautiful voice, some made as early as 1902.

Caruso was born in Via San Giovanello agli Ottocalli in Naples and baptised the next day in the nearby church of San Giovanni e Paolo.

At the age of 11 he was apprenticed to a mechanical engineer and also worked alongside his father in a factory.

At the same time he was singing in his church choir and was told his voice showed enough promise for him to consider becoming a professional singer.

Until she died in 1888, he was encouraged by his mother. To earn money, he started to work as a street singer in Naples, progressing to singing Neapolitan songs as entertainment in cafes. Having decided to become an opera singer, Caruso took singing lessons, keeping up with them even during his compulsory military service.

He made his stage debut in 1895 at the Teatro Nuovo in Naples in Domenico Morelli’s L’amico Francesco, having been recommended by a musician who had heard him sing.

Listen to Enrico Caruso singing La Donne e Mobile from Verdi's Rigoletto

Caruso went on to perform at other theatres throughout Italy and was given a contract to sing at the prestigious Teatro alla Scala in Milan in 1900. On his debut on December 26 of that year, he sang Rodolfo from Puccini’s La Bohème, conducted by Arturo Toscanini.

The following year he appeared in Monte Carlo, Warsaw, Buenos Aires and before the Tsar of Russia in St Petersburg.

Caruso took part in a grand concert at La Scala organised by Toscanini in 1901 to mark the death of Giuseppe Verdi.

Caruso in his role as the Duke in Rigoletto, in which
 he made his debut at the Met in New York in 1903

A month later he was engaged to make his first group of recordings for a gramophone company using a hotel room in Milan. The recordings quickly became bestsellers and Caruso’s fame spread.

He travelled to New York in 1903 to take up a contract with the Metroplitan Opera, making his debut in Verdi's Rigoletto in November.

A few months later Caruso began his association with the Victor Talking Machine Company.

His 1904 recording of Vesti la giubba, the moving aria from Ruggero Leoncavallo's opera Pagliacci was the first recording ever to sell a million copies.

He made 863 appearances at the Met, attracting a substantial following from among New York’s Italian immigrants.

He continued to release recordings until close to his death in 1921. Caruso’s voice extended up to high D-flat in its prime and grew in power and weight as he became older. His singing can still be enjoyed by people today as his original recordings have been remastered and issued as CDs and digital downloads.

The singer’s health began to deteriorate in 1920 and he returned to Naples to recuperate. He was planning to go to a clinic in Rome in August 1921, and was staying overnight at the Albergo Vesuvio in Naples on the way, when his condition worsened and he died, aged 48.

The King of Italy, Victor Emmanuel III, opened the Royal Basilica of San Francesco di Paola, for his funeral, which was attended by thousands of people.

The distinctive Basilica of San Francesco di Paolo, overlooks
Piazza del Plebiscito in the centre of Naples

Travel tip:

The Basilica of San Francesco di Paola is on the west side of Piazza del Plebiscito, the main square in Naples . Originally the building had been planned as a tribute to Napoleon but after the Bourbons were restored to the throne of Naples, Ferdinand I made it into a church and dedicated it to San Francesco di Paola. It is similar in design to the Pantheon in Rome with a portico resting on columns and a high dome in the middle. Caruso’s body was taken through the streets of Naples in a horse-drawn hearse and he lay in state before his funeral so that people could pay their respects.

Find a hotel in Naples with Tripadvisor

Caruso on the balcony of the Grand Hotel
Excelsior Vittoria in Sorrento

Travel tip:

Caruso loved the resort of Sorrento and his stay at the Grand Hotel Excelsior Vittoria in July 1921 is recognised by a plaque at the entrance gate to the hotel, which is just off Piazza Tasso, the main square in Sorrento. The photograph of Caruso in front of the view from the Excelsior Vittoria’s terrace was one of the last images taken of the tenor. The hotel later furnished Suite Caruso with the piano and writing desk used by the opera singer during his visit. The suite inspired the song ‘Caruso’ to be written by Italian pop singer Lucio Dalla in the late 1980s while he was staying at the Excelsior Vittoria.

Sorrento hotels from Booking.com

More reading:

How a chance opportunity set Arturo Toscanini on the path to fame

Guiseppe Verdi: Italy mourns the loss of a national symbol

Franco Corelli - the 'prince of tenors'

Also on this day:

1682: The birth of anatomist Giovanni Battista Morgagni, 'father' of pathology

1707: The birth of playwright Carlo Goldoni

2003: The death of comic actor Alberto Sordi

Selected books:

Enrico Caruso: His Life and Death, by Dorothy Caruso


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