Giulio Ricordi - music publisher

Entrepreneur who ‘discovered’ the great Giacomo Puccini 

Giulio Ricordi took over Casa Ricordi
from his father in 1888

Giulio Ricordi, who ran the Casa Ricordi publishing house during its peak years in the late 19th and early 20th centuries and launched the career of the brilliant opera composer Giacomo Puccini, was born on this day in 1840 in Milan.

Casa Ricordi was founded by Giulio’s grandfather Giovanni in 1808 and remained in the family when Giovanni died in 1853 and his son, Tito - Giulio's father - took the helm.

Giulio became involved in 1863 after a distinguished military career in the special infantry corps known as the Bersaglieri. He had enrolled as a volunteer with the outbreak of the Second Italian War of Independence in 1859. He took part in the Siege of Gaeta and, after receiving a medal for military valour, was promoted to lieutenant.

During breaks in military activity, Giulio, a keen composer from an early age under the pseudonym of Jules Burgmein, wrote pieces of music, one of which was intended as a national anthem dedicated to Victor Emmanuel II of Savoy, but which was instead adopted as the anthem of the Bersaglieri.

Ricordi fostered the career of
the great composer Puccini

He left military service after his father, who had nurtured the career of the composer Giuseppe Verdi as he became the dominant figure in Italian opera in the 19th century, asked him to help run the expanding Casa Ricordi business.

With Giulio alongside Tito, the firm added branches in Naples, Florence, Rome, Palermo, London and Paris to the headquarters in Milan, which were in a building next door to the city’s famous theatre, Teatro alla Scala.

When Tito died in 1888, Giulio became the head of Casa Ricordi.

Giulio increased the prestige of the company by publishing a number of respected music magazines in addition to the core business of publishing music, and it was down to his encouragement that Verdi came out of retirement in his late 70s, culminating in his two late masterpieces, Otello and Falstaff.

He also enthusiastically promoted younger composers he felt had the potential to make an impact. These included Amilcare Ponchielli, Alfredo Catalani, Carlos Gomes and Umberto Giordano as well as Puccini.

Ricordi had a noted career
in the army as a young man

To Puccini, Giulio became something of a father-figure, the person who would come down hard on the composer, who had a taste for high living, to put in the work necessary to ensure his talent was not wasted, but who became someone he respected and trusted.

Under his stewardship, Casa Ricordi flourished and Giulio invested his wealth in a handsome mansion, the Villa Margherita Ricordi, which he had built on the shore of Lake Como at Cadenabbia di Griante, with a beautiful garden plentifully stocked with rhododendrons and azaleas. Verdi was a regular visitor.

Giulio, who was was appointed Commander of the Order of the Crown of Italy by Umberto I, died in 1912,  handing control of the company to his son, Tito II.

In 2016, a statue of Giulio Ricordi by Luigi Secchi, paid for from a subscription fund started by Puccini and another composer, Arrigo Boito, shortly before his death, and which originally stood in the courtyard of Casa Ricordi’s headquarters, the Casino Ricordi, in Via Berchet, was placed in front of the building in Largo Ghiringhelli.

The shoreline at Cadenabbia di Griante, a village on the
western side of the picturesque Lake Como

Travel tip:

Griante, where Ricordi built his sumptuous villa, is a village on the western shore of Lake Como about 25km (16 miles) northeast of the town of Como between Tremezzo and Menaggio. Situated at the widest part of the lake, just above the point at which it divides into two legs, the other one being Lago di Lecco, Griante is linked by ferry with Bellagio and Varenna on the other side of the lake. Griante sits about 50m (165ft) above lake level, on a wide plateau. The portion of the village at water level is known as Cadenabbia di Griante.

The Casino Ricordi, as it was known, is the
building that adjoins Teatro alla Scala in Milan

Travel tip:

The Casino Ricordi, as it became known, was originally a venue for receptions and dances associated with the Teatro alla Scala, built by the same architect, Giuseppe Piermarini, who was commissioned to design the theatre in 1776. The building was rented from 1850 by Casa Ricordi and remained the company’s headquarters until 1913. Nowadays it houses La Scala’s museum.

More reading:

Puccini, the musical genius who took the baton from Verdi

Giuseppe Verdi - how Italy mourned the loss of a national symbol

How La Gioconda put Amilcare Ponchielli on the map

Also on this day:

1861: The birth of writer Italo Svevo

1966: The birth of skier Alberto Tomba

1922: The death of journalist Gianni Brera


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Fabiola Gianotti - particle physicist

First woman to be director-general of CERN

Fabiola Gianotti - the would-be concert pianist
who instead became a brilliant physicist

The particle physicist Fabiola Gianotti, who in 2016 became the first woman to be made director-general in the 64-year history of the European Organisation for Nuclear Research, was born on this day in 1960 in Rome.

She led one of the two teams of physicists working for the organisation - general known as CERN after its title in French - whose experiments in 2012 resulted in the discovery of the Higgs boson, the particle that explains why some other elementary particles have mass.

The discovery was regarded as so significant in the advancement of scientific knowledge that it was nicknamed the “God particle.”

As the project leader and spokesperson of the ATLAS project at CERN, which involved a collaboration of around 3,000 physicists from 38 countries, Dr. Gianotti announced the discovery of the particle.

Their work involved the Large Hadron Collider (LHC), the world's largest and most powerful particle collider and the largest machine of any kind on the planet, which lies in a tunnel 27km (17 miles) in circumference, 175 metres (574 ft) beneath the France–Switzerland border near Geneva.

Fabiola Gianotti at the Large Hadron Collider site deep
underground on the France-Switzerland border

Her team were awarded science’s most lucrative award, a special Fundamental Physics Prize worth $3 million. Time magazine named her among its people of the year; Forbes placed her in its top 100 influential women list.

Brought up in Milan the daughter of a geologist from Piedmont who taught her to love nature, and a mother from Sicily who was passionate about music and art, Dr. Gianotti had ambitions to become a prima ballerina as a child, when she dreamt of becoming a dancer with the Bolshoi at Teatro alla Scala in Milan.

She also considered becoming a classical pianist, such was her talent for music. She spent two years at the Milan Conservatory, but after earning a PhD in physics at the University of Milan, she began her career at CERN with a graduate fellowship in 1994.

Fabiola Gianotti was inspired to break the traditional male
domination of particle science by a biography of Marie Curie

Dr. Gianotti was inspired to devote herself to scientific research after reading a biography of Marie Curie, who developed the theory of radioactivity, techniques for isolating radioactive isotopes, and discovered the elements polonium and radium as well as being the mother of two children.

Even though particle physics has traditionally been a male-dominated domain - even now only 12 percent of the 2,500 physicists and engineers at CERN are women and only 20 per cent of the team that worked on the ATLAS project were women - Dr. Gianotti claims that she has never had a sense that she was discriminated against for being female.

However, she has argued that women in particle physics should be given more support when having children, claiming that a lack of support made it difficult for her to marry and start a family, a decision for which she has expressed regret.

Gianotti on the cover of Time magazine

The author or co-author of more than 500 publications in peer-reviewed scientific journals, Dr. Gianotti is is a promoter of the “Open Science” movement, in particular the publication of scientific works in open access journals and the development of open access hardware and software in order to spread scientific knowledge to less-privileged countries.

Brought up a Catholic, Gianotti insists that religion and science are not in competition with each other, saying that while science cannot demonstrate or disprove the existence of God, religion has to respect science, and they should co-exist in a climate of tolerance.

She lives in in Switzerland in an apartment with a view of Lake Geneva and Mont Blanc, plays music by her favourite composers on a Yamaha upright piano, has a passion for cooking and Italian culture.

The Milan Conservatory, Italy's largest music college, has
a star-studded list of alumni

Travel tip:

The Milan Conservatory - also known as Conservatorio di musica “Giuseppe Verdi” di Milano - was established by a royal decree of 1807 in Milan, capital of the Napoleonic Kingdom of Italy. It opened the following year with premises in the cloisters of the Baroque church of Santa Maria della Passione in Via Conservatorio. The largest institute of musical education in Italy, its alumni include Giacomo Puccini, Amilcare Ponchielli, Arrigo Boito, Pietro Mascagni, Riccardo Muti and Ludovico Einaudi.

Da Vinci's The Last Supper is one of the many
reasons to visit Milan

Travel tip:

Milan, where Gianotti grew up, is a global capital of fashion and design but also a financial hub, the home of the Italian stock exchange. Its historical monuments include the Gothic Duomo di Milano, the Santa Maria delle Grazie convent, which houses Leonardo da Vinci’s mural The Last Supper,  the Sforza Castle, the Teatro alla Scala and the Galleria Vittorio Emanuele II.

More reading:

The scientist from Rome who created the world's first nuclear reactor

How Laura Bassi broke new ground for women in science - 240 years ago

Margherita Hack - astrophysicist who helped make science popular

Also on this day:

1922: Mussolini is appointed Prime Minister

2003: The death of tenor Franco Corelli


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Marina Berlusconi - businesswoman

Tycoon’s daughter who heads two of his companies

Marina Berlusconi has been president of her
father's Fininvest company since 2005

Marina Berlusconi, the oldest of business tycoon and former Italian prime minister Silvio Berlusconi’s five children, was born on this day in 1966 in Milan.

Since 2003 she has been chair of Arnoldo Mondadori Editore, Italy’s largest publishing company, and since 2005 president of Fininvest, the Berlusconi holding company that is also Mondadori’s parent company.

She is or at times has been a director of several other Berlusconi companies, including Mediaset, Medusa Film, Mediolanum and Mediobanca.  Forbes magazine once described her as the most powerful woman in Italy and one of the 50 most powerful women in the world.

Born Maria Elvira Berlusconi, her mother is Carla Elvira Lucia Dall’Oglio, a woman the businessman met for the first time at a tram stop outside Milan Centrale railway station in 1964 and married the following year, at a time when he was an enterprising but relatively obscure real estate broker.

They were divorced in 1985, much to the disappointment of Marina and her brother, Piersilvio, after their father had begun a relationship with the actress Veronica Lario, who would become his second wife and the mother of his third, fourth and fifth children.

Marina Berlusconi has acquired the reputation
of a hard-nosed businesswoman

After Silvio Berlusconi had made his fortune from Milano Due, a vast residential area built on cheaply-acquired redundant farmland near the city’s Linate airport, Marina was brought up in the family’s palatial 18th century home, the Villa San Martino, in the town of Arcore, about 25km (16 miles) northeast of Milan.

Educated at Leo Dehon high school in Monza, where she obtained her baccalaureate, Marina began studying law and then political science at university but left without completing her degree and instead began to work in her father’s companies.

She was appointed a vice-president of Fininvest at the age of 29 and was said to be closely involved in the development of financial and economic strategies and in the management of the group. At a time when female figures in Italian boardrooms were rare, she began to gain a reputation as a hard-nosed businesswoman not afraid to back her own instincts.

In 1998, working with her brother Piersilvio, she resisted an attempt by Rupert Murdoch to buy a controlling interest in her father’s TV company Mediaset, the Australian-born media tycoon dropping out after failing to negotiate a reduction in the price she felt the company was worth, when it was thought her father might soften.

In October 2005, she was appointed Fininvest president and chair, having already been given control of Arnoldo Mondadori publishing house following the death of Leonardo Mondadori, the grandson of the company’s founder.

Berlusconi addressing a shareholders'
meeting at Mondadori

According to Forbes, in 2008 she was the ninth richest heiress in the world, in line to inherit a fortune of 9.4 billion dollars.

In the same year, she married her long-time partner, the former first dancer at Milan’s Teatro alla Scala, Maurizio Vanadia. They already had two children, Gabriele and Silvio, born respectively in 2002 and 2004.

Marina had been taken with Maurizio after watching him perform in Swan Lake and they met again when he was being treated for an injury by the physiotherapist at her father’s football club, AC Milan.

They were married in a small ceremony in a private chapel within the grounds of the family home at Villa San Martino.

Since 2013, when her father, who has been prime minister of four Italian governments, was barred from public office, there have been several periods of speculation that Marina would move into politics, taking control of her father’s Forza Italia party.

However, she has always denied that she has any political ambitions, despite describing her father as the victim of a witchhunt. In 2017 she said: "I think that the leadership in politics can not be transmitted by investiture or by dynastic succession".

In 2009 the Mayor of Milan, Letizia Moratti - a former Berlusconi minister -  awarded her the Gold Medal of the Municipality of Milan as "an example of Milanese excellence in the world and the ability to reconcile professional commitment and family life"

An 18th century painting of the Villa Borromeo-d'Adda

Travel tip:

The town of Arcore in the province of Monza and Brianza probably has Roman origins and two monasteries were established in the area in the Middle Ages. It was not until the 16th century that the town began to develop, when several noble Lombard families, such as the Casati, Durini, Giulini, Vismara, D'Adda, Barbò families, began building villas in the area’s attractive countryside, including the Villa Borromeo-d'Adda, the Villa la Cazzola and the Villa San Martino, which became the Berlusconi family residence. The town’s industrial base developed after Italian unification in 1861 when two railway companies opened stations.

Silvio Berlusconi's palatial home at Arcore, the Villa San
Martino, which he bought in 1974

Travel tip:

The Villa San Martino, on the site of a former Benedictine monastery, was restored as a manor house by the Counts Giulini and substantially rebuilt by the wealthy Casati Stampa family in the 18th century, one of a group of grand farm houses or hunting lodges known as the ville delizie.  It was acquired by Silvio Berlusconi in 1974 when the last Casati owner, having fallen on hard times, decided to sell up and emigrate to Brazil. The 3,500m² villa, complete with art gallery, a library of ten thousand volumes, furniture and a park with stables, was valued at 1.7 billion lire but was reportedly bought by Berlusconi for only 500m lire.

More reading:

The rise of Silvio Berlusconi in business and politics

How Letizia Moratti became the first woman to be head of Rai

The day Prime Minister Silvio Berlusconi left office for the last time

Also on this day:

1535: The death of Ippolito de' Medici

2012: The death of Carlo Rambaldi, creator of E.T.

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Guido Crepax - cartoonist

Erotic character Valentina captured spirit of 1960s Italy

Erotic imagery was central to the success of Crepax's
most famous character, Valentina

The cartoonist Guido Crepax, whose character Valentina became a heroine of the 1960s generation in Italy and beyond, was born on this day in 1933 in Milan.

Valentina first appeared in May 1965 as a secondary character in another cartoon, the photographer girlfriend of an art critic and amateur sleuth.

But the sinuous, sensual female depicted by Crepax, her hair cut in a glossy bob, soon acquired fans both male and female.

In an era when Italian society was beginning to experience a sense of sexual liberation for the first time, Valentina’s eroticism naturally attracted a legion of male fans. But her assertive individuality struck a chord with many modern Italian women, too, even if her readiness to shed her clothes caused outrage among others.

Soon, Valentina left behind her fictional boyfriend and starred in a series of her own adventures, which Crepax continued to produce for three decades. She was outspoken in her left-wing political views, while her uninhibited fantasies increasingly reflected the world of dreams and psychoanalysis that fascinated her creator.  Her style even influenced the Milan fashion world.

Guido Crepax created his most
famous character in 1965

Crepax was born Guido Crepas, the son of Gilberto Crepas, a musician from Venice who had moved to Milan to play at Teatro alla Scala, where he eventually became first cellist under the direction of Arturo Toscanini. 

The family home in Milan was virtually destroyed during a bombing raid in the Second World War but Guido survived to study architecture at Milan University. He graduated in 1958, by which time he had already begun  working as a graphic artist with some success.

His design work included advertising posters, record sleeves - among them Domenico Modugno's hit Nel blu, dipinto di blu (aka Volare) - and magazine and book covers.

His publicity campaign for Shell Oil won him the Palme d'Or for advertising in 1957. The following year he began a long-running collaboration with Tempo Medico, the first Italian medical journal, for which he designed every cover for 22 years.

Then came his first experience of drawing cartoons, with which he had been involved only two years when Valentina appeared for the first time in Linus magazine, in a series in which the main character was her boyfriend Philip Rembrandt, an art critic in his day job who led a double life as the crime fighter Neutron, helped by having the power to freeze people with a penetrating gaze.

Crepax created a back story for Valentina that in many ways reflected his own.

Guido Crepax designed the sleeve for Domenico
 Modugno's hit, Nel blu, dipinto di blu

He named her Valentina Rosselli after the resistance heroes Nello and Carlo Rosselli, whose courage he admired. He gave her an address in Milan's Via De Amicis, where he lived, and filled her apartment with the books that he and his intellectual circle were inspired and informed by.

She was modelled, in part, on the silent movie actress Louise Brooks, who favoured the archetypal ‘flapper’ look with the short bob, and on Crepax's own wife, Luisa.

Valentina was far from Crepax’s only character. He created several other female heroines, such as Belinda, Bianca and Anita, for whom the inspiration was Anita Ekberg, the star of Federico Fellini’s La Dolce Vita.

He also drew cartoons based on works of literature, such as Robert Louis Stevenson’s Dr Jekyll and Mr Hyde, Mary Shelley’s Frankenstein, Bram Stoker’s Dracula, the scandalous novels of the Marquis de Sade, the Gothic novels of Edgar Allan Poe and Franz Kafka’s The Trial.

None, however, brought him the acclaim of Valentina, who was published in France, Brazil, Spain, Germany, Japan, the United States, Finland and Greece as well as Italy.

Valentina was twice adapted for the screen: in the 1973 Franco-Italian production Baba Yaga, and as a television series, starring the American actor Demetra Hampton. Both were a disappointment for her author.

A long-time sufferer from multiple sclerosis, Crepax died in Milan in 2003, at the age of 69.

Via Edmondo de Amicis, where Guido Crepax lived

Travel tip:

The Via Edmondo de Amicis, where Crepax lived and where he placed the fictional apartment of his comic book heroine Valentina, is in central Milan, between the Carrobbio and San Vittore neighbourhoods to the southwest of the city centre. A pleasant urban boulevard, it is a short distance from the Basilica of Sant’Ambrogio, one of the most ancient churches in the city, the original structure of which was built in the 4th century. The Baroque church that stands there today was completed in the 11th century.

The Teatro alla Scala, where Crepax's father was a musician,
has become of the world's premier opera houses

Travel tip:

The Teatro alla Scala - usually referred to by its abbreviated name La Scala - was built in the late 18th century as a replacement for the Teatro Regio Ducale, which was destroyed in a fire in 1776.  The project was financed by some 90 wealthy Milanese and built on the site of the church of Santa Maria alla Scala, from which it takes its name. The theatre has come to be regarded as the premier opera venue in Italy and one of the most important venues for opera and ballet in the world, with ambitious young singers and dancers from every corner of the globe clamouring for places at La Scala Theatre Academy.

More reading:

Hugo Pratt - the Rimini-born artist behind the adventurer Corto Maltese

How Franco Bonvicini's characters mocked the Nazis

The cinematic legacy of Fellini

Also on this day:

1823: Ancient Roman basilica badly damaged by fire

1850: The birth of Frances Xavier Cabrini - America's first saint


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Alessandra Ferri – ballerina

Dancing star who believes age is a matter of attitude

Alessandra Ferri made a comeback in ballet
six years after her 'retirement'

Prima ballerina assoluta Alessandra Ferri, who retired in 2007 but then made a triumphant return to ballet in 2013, celebrates her 55th birthday today.

She is scheduled to dance at the Metropolitan Opera House in New York later this month, at the Bolshoi Theatre in Moscow at the beginning of June, at Hamburg Staatsoper at the end of June, at the Ravello Festival in Italy in July and in Tokyo in August.

In a recent newspaper interview, Ferri said she was happy to be breaking barriers as an older woman in a youth-dominated world. She said she still has full confidence in her abilities and believes ageing is largely an attitude and her advice to other women of her age is ‘to keep moving’.

Ferri was born on May 6, 1963 in Milan and began studying ballet at La Scala Theatre Ballet School. She moved to the upper school of the Royal Ballet School in London, where she won a scholarship that enabled her to continue studying there.

She joined the Royal Ballet in 1980 and won the Laurence Olivier Award for her first major role in 1982. She was promoted to the rank of principal dancer in 1983.

Ferri became principal dancer with the American Ballet Theatre under the direction of Mikhail Baryshnikow in 1985.

Ferri in a production of Remeo and Juliet in 2016

She began a close association with La Scala Theatre Ballet in 1992, becoming recognised as prima ballerina assoluta of the company, but she remained a guest star of the American Ballet Theatre. 'Prima ballerina assoluta' is a title awarded to the most notable of female ballet dancers of their generation and is a rare honour.

Ferri has appeared at the top venues for ballet all over the world and has performed with the leading male dancers, including Rudolf Nureyev in Los Angeles on the occasion of his 50th birthday in 1988.

She married the photographer, Fabrizio Ferri, with whom she had two daughters.

Since her return from retirement, Ferri has danced roles in Italy and at the Royal Ballet and Royal Opera House in London. After her birthday celebrations today she has a packed schedule of appearances for the rest of the year.

The entrance to Villa Rufolo is off
the main scare in Ravello

Travel tip:

Alessandra Ferri will dance on July 7 at the Belvedere di Villa Rufolo in Ravello for the town’s 2018 music and arts festival. The Villa Rufolo, dating from the 13th century, overlooks the cathedral square of Ravello, a town perched high above the dramatic Amalfi Coast.

Travel tip:

La Scala Theatre Ballet School, where Alessandra Ferri studied, was founded in 1813 in association with the international ballet company based at Teatro alla Scala in Milan. The theatre is in Piazza della Scala in the centre of the city across the road from the Galleria Vittorio Emanuele II, an elegant arcade lined with cafes, shops and restaurants, built to link Piazza della Scala with Piazza del Duomo, Milan’s cathedral square.

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Fiorenza Cossotto - operatic mezzo-soprano

Career overshadowed by story of ‘row’ with Maria Callas

Fiorenza Cossotto is considered among the
finest mezzo-sopranos of the 20th century

Fiorenza Cossotto, a singer considered one of the greatest mezzo-sopranos of the 20th century, was born on this day in 1935 in Crescentino in Piedmont.

Cossotto was hailed for her interpretations of the major mezzo and contralto roles from mid-19th-century Italian operas, particularly those of Giuseppe Verdi such as Aida, Il trovatore and Don Carlos, but also Gaetano Donizetti, Amilcare Ponchielli, Vincenzo Bellini and the other important composers of the day.

Yet she is often remembered for a supposed spat with Maria Callas that led the Greek-American soprano to walk off the stage during her final performance at the Opéra in Paris of her signature role in Bellini’s Norma in 1965.

The incident in question took place immediately after Callas, as Norma, and Cossotto, as Adalgisa, had joined in their duet ‘Mira, o Norma’.

Callas, by that stage a little below her prime, was notoriously temperamental and within moments onlookers were imagining a row, theorising that Cossotto had tried to sabotage Callas’s performance by holding her own high notes longer and singing over Callas.

It did not help that Franco Zeffirelli, whose production it was, and at least one other member of the cast, would not deny that this had happened.

Cossotto led a long and highly
successful career

Cossotto herself, now entering her 84th year, insists that the story is a fabrication concocted “to enrich books and articles” and that she was trying only to help Callas, who was unwell with a cold but felt obliged to sing because Aristotle Onassis, the Greek shipping tycoon with whom she shared her life, had brought with him his entire entourage to witness the performance.

In interviews many years later she said that when Callas tried to sing the high ‘C’ required of her in the piece no sound came out. She said: “I thought it was better I sing my ‘A’ calmly so people won't notice, just in case. Instead, they started to say, 'Look, she sings when the other one doesn't sing anymore!'”

Cossotto also claims that Callas, whom she counted as a friend, not only asked for her in person to be Adalgisa to her Norma in the production but, during the performance, asked her not to leave the theatre after her involvement ended so that they could take the curtain calls together, something she would not have done had the two been at odds.

As a girl, Cossotto attended the Turin Academy of Music and studied with Mercedes Llopart. She made her operatic debut in the world premiere of Poulenc's Dialogues of the Carmelites in 1957 at La Scala in Milan. Her part was so small he had only one line to deliver.

Maria Callas: Cossotto denied that the two
fell out, insisting they were good friends

Her international debut came at the 1958 Wexford Festival as Giovanna Seymour in Donizetti's Anna Bolena and she performed at Covent Garden for the first time in 1959 as Neris in Luigi Cherubini's Médée, with Callas in the title role.

Cossotto began to attract wide acclaim following her 1962 performance of the lead in Donizetti’s La favorita at La Scala. She made her American debut in the same role in 1964 at the Lyric Opera of Chicago and as Amneris at the Metropolitan Opera in 1968.

In two spells at the Met, in 1967–68 and 1988–89, Cossotto gave 148 performances.

During her career, she was Adalgisa alongside the Normas of Callas, Joan Sutherland, Montserrat Caballé, Leyla Gencer, Elinor Ross and Elena Souliotis, although she said she drew more satisfaction from singing Amneris in Aida and Azucena in Il trovatore.

Cossotto was married to the Italian bass Ivo Vinco until they divorced after more than 40 years together.  They had a son, Roberto.

She celebrated her 70th birthday in 2005 by appearing in Giacomo Puccini’s one-act opera Suor Angelica at the Théâtre Royal in Liège, Belgium.  Since retiring as a performer, she has accepted a number of invitations to teach.

She still lives in Crescentino, as does her son and his family.  Ivo Vinco died in 2014.

Crescentino, with the rice fields in the distance

Travel tip:

Crescentino is a village in the province of Vercelli in Piedmont, located about 35km (22 miles) northeast of Turin and about 30km (19 miles) southwest of Vercelli.  Some of the village was destroyed during the Second World War when houses were set on fire by German troops as part of an ongoing conflict with Italian partisans. After the war the area prospered through rice production in the Po Valley.  The main square, Piazza Vische, contains a 13th century church and the 31m Civic Tower. On the outskirts of the village is the Sanctuary of the Madonna del Palazzo.

The Piazza Cavour in Vercelli

Travel tip:

The rice fields of the Po Valley form the largest rice production area in the whole of Europe, mainly centred on the province of Vercelli, between Milan and Turin, in which the town of Vercelli is surrounded in the summer months by submerged paddy fields, for which water is supplied by a canal from the Po River.  Rice has been grown in the area since the 15th century.

More reading:

The diva who came to blows with a rival on stage

How Franco Zeffirelli bestrode the opera and the cinema

Verdi: When Italy mourned the loss of a national icon

Also on this day:

1891: The birth of racing car engine designer Vittorio Jano

2006: The death of actress Alida Valli


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Renato Bruson – operatic baritone

Donizetti and Verdi specialist rated among greats

Renato Bruson, pictured not long after
his debut in the 1960s.

The opera singer Renato Bruson, whose interpretation of Giuseppe Verdi’s baritone roles sometimes brought comparison with such redoubtable performers as Tito Gobbi, Ettore Bastianini and Piero Cappuccili, was born on this day in 1936 in the village of Granze, near Padua.

Bruson’s velvety voice and noble stage presence sustained him over a career of remarkable longevity. He was still performing in 2011 at the age of 75, having made his debut more than half a century earlier.

Since then he has devoted himself more to teaching masterclasses, although he did manage one more performance of Verdi’s Falstaff, which was among his most famous roles, at the age of 77 in 2013, having been invited to the Teatro Verdi in Busseto, the composer’s home town in Emilia-Romagna, as part of a celebration marking 200 years since Verdi’s birth.

Today he is director of the Accademia Lirica at Teatro alla Scala in Milan, a role he combines with a professorship at the Accademia Chigiana in Siena and a post at the lyrical academy in Spoleto.

It was at the Teatro Lirico Sperimentale in Spoleto, the ancient city in Umbria, that Bruson made his stage debut as the Conte di Luna in Verdi’s Il trovatore in 1960, which was a moment that brought deep satisfaction after a difficult childhood.

The parish church of Santa Cristina in Granze near Padua,
where Bruson sang in the choir as a boy

Born into a family of modest means, he found it difficult to convince his parents that if they allowed him to pursue his desire to study music it would not make him appear to others as workshy.

In an interview many years later, Bruson said that the older generation in Granze as he was growing up took the view that people who went straight from school into the world of work could look forward to a prosperous future, whereas those who preferred to continue their studies were destined never to find their path in life.

Therefore he was given little support from his family, even though they had encouraged him to sing in the parish choir. Fortunately, he was awarded a scholarship by the Conservatory of Padua, 30km (19 miles) away.

His debut in Spoleto was well received and he was soon making his mark at some of the great opera houses of Italy, including the Teatro dell’Opera in Rome (1961), La Fenice in Venice (1965) and the Teatro Massimo in Palermo (1966).

The Teatro Regio in Parma, where Bruson was
seen by a talent scout from the Met

His big break came in 1967, when he sang the role of Don Carlo di Vargas in Verdi’s La forza del destino at the Teatro Regio in Parma.

In the audience was Roberto Bauer, whose job was to scour Europe looking for new talent for the Metropolitan Opera in New York.  He was so impressed he sought out Bruson afterwards so that he could arrange a meeting with the Met’s artistic director, Rudolf Bing.  Two years later, Bruson was making his debut on the other side of the Atlantic as Enrico in Gaetano Donizetti’s Lucia di Lammermoor.

In the early part of his career, in particular, Bruson was associated with Donizetti’s baritones as much as Verdi’s, performing in no fewer than 17 operas from the pen of the Bergamo composer.

Over the next few years, Bruson paraded his acting skills, the deep but smooth resonance of his voice and his commanding stage presence at Europe’s leading opera houses.

Another milestone moment came in 1972 with his debut as Antonio in Donizetti’s Linda di Chamounix at La Scala.

In 1975 he took his first bows at the Royal Opera House in Covent Garden, London, as Renato in Verdi’s Un ballo in maschera, and in 1978 came his debut at the Vienna State Opera in Macbeth, the Shakespeare play upon which Verdi had based his 10^th opera in 1847.

Renato Bruson in more recent years

In the meantime, he had also begun what was to be a long and fruitful collaboration with the conductor Riccardo Muti, who was particularly appreciative of Bruson’s vocal style, which had deep resonance without the thunderous qualities associated with some baritones. The singer always wanted audiences to appreciate the quality of his voice, rather than the volume, and to go home “with something in their hearts rather than some sounds in their ears.”

Bruson is married to Tita Tegano, a costume and set designer who has also written several books about the life and work of her husband. In 1996 he was made Knight of the Grand Cross of the Order of Merit of the Italian Republic.

Last year, his career was celebrated again as he was named as the recipient of the Caruso Prize in recognition of his lifetime contribution to the opera genre.  The award is made annually in a ceremony at the Villa Caruso di Bellosguarda in Tuscany, former home of the great Neapolitan tenor and now a museum.

The well-preserved castle at Spoleto

Travel tip:

The ancient city of Spoleto in Umbria, where Bruson made his first appearance in a live opera performance, has a long association with music and other performing arts, which it celebrates every summer with the Festival dei Due Mondi, which sees events taking place in churches, theatres and open squares throughout the city and attracts a high calibre of performers during June and July. Spoleto also has some fine architecture, including a beautiful 12^th-century Duomo which has frescoes by Fra Filippo Lippi, who is buried in the church.  The city also has the remains of a Roman amphiteatre and an imposing castle, parts of which go back to the fifth century.

Padua's Palazzo della Ragione

Travel tip:

The city of Padua’s biggest attraction is the beautiful Scrovegni Chapel, made famous by the wonderful frescoes painted by Giotto, but there is plenty more to the Veneto’s second largest city, including a wealth of parks and gardens and a city centre where you will find many more students and local people than tourists.  This is despite Padua boasting the two fine basilicas of Sant’Antonio and Santa Giustina, the oval piazza known as Prato della Valle, the historic centre built around the Duomo, the Palazzo della Ragione and a University established in 1222 at which Galileo Galilei was a lecturer.

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Tito Schipa – operatic tenor

Star on two continents whose voice divided opinions

The tenor Tito Schipa enjoyed success
on two continents

Tito Schipa, one of the most popular opera singers in the first half of the 20^th century who sang to packed houses in the United States and South America as well as in Italy, was born on this day in 1888 in Lecce.

The tenor, whose repertoire included Verdi and Puccini roles in the early part of his career and later encompassed works by Donizetti, Cilea and Massanet, rose from modest beginnings to find fame with the Chicago and New York Metropolitan opera companies in America.

He also appeared regularly in Buenos Aires in Argentina and later in his career starred regularly at Teatro alla Scala in Milan and the Rome Opera.

Some critics said his voice lacked power and had too narrow a range for him to be considered a genuinely great tenor, yet he overcome his perceived limitations to become extremely popular with the public wherever he performed.

Schipa was born Raffaele Attilio Amedeo Schipa in the Le Scalze district of Lecce, a fairly working class neighbourhood in the Puglian city.  His family were of Albanian heritage. His father was a customs officer.

His talent was first noted by a primary school teacher in Lecce and soon afterwards by a Catholic bishop, Gennaro Trama, a music enthusiast who had a reputation as something of a talent scout, and who encouraged him to join his local seminary.

Schipa often performed opposite the
soprano Amelita Galli-Curci

Eventually, feeling his opportunities in Lecce were limited, Schipa made the bold decision to move to Milan to work with Emilio Piccoli, an opera singer who had become a distinguished voice teacher.

With Piccoli’s help he was able to make his stage debut in Vercelli in Piedmont as Alfredo in a performance of Verdi’s La Traviata in 1909 at the age of 21.

He was by no means an overnight success, spending the next few seasons appearing at small opera houses around Italy. But in 1913 he had the opportunity to travel to South America. He had already displayed his linguistic versatility by singing in Spanish for audiences in Madrid and he was a hit with operagoers in both Buenos Aires and Rio de Janeiro.

On his return to Italy, a brilliant performance in Puccini’s Tosca on his debut at Teatro San Carlo in Naples in 1914 earned rave reviews and suddenly Schipa was regarded as a major talent.

He developed a professional relationship with the soprano Amelita Galli-Curci, whose voice blended perfectly with his. It was alongside Galli-Curci that he made his US debut in Chicago in 1919, having been invited by the Scottish soprano Mary Garden and the impresario Cleofonte Campanini, who were managers of the Civic Opera.

His debut in Verdi’s Rigoletto began a 20-year association with the Chicago Opera Company, although from 1932, as the financial recession hit Chicago in particular, he was dividing his loyalties between the Illinois city and the New York Metropolitan Opera.

Schipa waves farewell from the steps of
an American ship en route to New York

Schipa’s career was boosted by the growing popularity of the gramophone. He made numerous audio recordings of arias and songs during his career from 1913 onwards. His 78-rpm set of Donizetti's Don Pasquale, made in 1932, is considered so good that it remains in circulation on CD.

Away from the theatre, Schipa led a colourful social life, although his associations with characters in the circle of the Mafia boss Al Capone often resulted in him losing money through dubious ‘investments’ presented to him.

He was married for the first time in 1920 to the French actress Antoinette Michel d'Ogoy, with whom he had two daughters, Elena and Liana.  During the Second World War he had a long affair with the Italian actress Caterina Boratto, although it was to another Italian starlet, Teresa Borgna, that he was married after Antoinette’s death in 1947. The marriage produced a son, Tito junior.

Schipa was a conductor as well as a singer and towards the end of his career, after he had retired from the operatic stage, was the director of a singing school in Budapest.  He had another singing school in New York, and was living in Manhattan at the time of his death, in 1965, at the age of 78, from diabetes.

Piazza Duomo in the Baroque city of Lecce

Travel tip:

Lecce, Schipa’s birthplace, has such a rich cultural heritage it is sometimes called the Florence of the South. It is the main city on Puglia's Salento peninsula. It became a centre for the ornate architecture called Barocco Leccese. Its historic centre, compact and easy to explore, is filled with Baroque monuments. There are many restaurants, too, that offer fine food typical of Puglia.

The Piazza Cavour is at the heart of historic Vercelli

Travel tip:

Vercelli, where Schipa made his operatic debut, is a city of around 46,500 people situated about 80km (50 miles) northeast of Turin near the Sesia river.  It is one of the oldest urban settlements in northern Italy, founded in around 600BC and has numerous Roman relics and several noteworthy towers, including the Torre dell’Angelo that overlooks the market square, Piazza Cavour.  The Basilica di Sant’Andrea is one of the best preserved Romanesque monuments in Italy.

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Dino Risi – film director

Film comedy director helped launch career of Sophia Loren

Dino Risi won a number of top awards
for his work in Italian cinema

The director Dino Risi, who was regarded as one of the masters of Italian film comedy, was born on this day in 1916 in Milan.

He had a string of hits in the 1950s and 1960s and gave future stars Sophia Loren, Alberto Sordi and Vittorio Gassman opportunities early in their careers.

Risi’s older brother, Fernando, was a cinematographer and his younger brother, Nelo, was a director and writer.

He started his career as an assistant to Mario Soldati and Alberto Lattuada and then began directing his own films.

One of Risi’s early successes was the 1951 comedy, Vacation with a Gangster, in which he cast the 12-year-old actor Mario Girotti, who later became well known under the name Terence Hill.

His 1966 film, Treasure of San Gennaro was entered into the 5th Moscow International Film Festival where it won a silver prize.

Among his best-known films are Pane, amore e… in 1955, Poveri ma belli in 1956, Una vita difficile in 1961 and Profumo di donna in 1974.

Agostina Belli and Vittorio Gassman in a scene from
Dino Risi's Profumo di donna

He was awarded the David di Donatello award for best film director in 1975 for Profumo di donna.  The actor Al Pacino would win an Oscar for a remake of the movie as Scent of a Woman in 1992.

In 2002 Risi was awarded the Golden Lion award at the Venice Film Festival for his lifetime’s work.

Two of his films, Il giovedi and Il commissario Lo Gatto, were shown in a retrospective section on Italian comedy at the 67th Venice International Film Festival.

Risi died at the age of 91 in 2008 at his home in Rome, where he had lived for 30 years in an apartment in the Aldrovandi Residence in the Parioli district. He was survived by his two children, Claudio, and Marco, who is a film director.

Teatro alla Scala is Milan's famous opera house

Travel tip:

Milan, Risi’s town of birth, is the capoluogo – the most important city – of Lombardia. As well as being an important financial centre, Milan is a mecca for fashion shoppers and a magnet for opera lovers. Visit Piazza Duomo in the centre of the city where you are bound to be impressed with the Duomo, which is the third largest cathedral in the world. Walk through the Galleria Vittorio Emanuele where there are elegant bars and restaurants and designer shops. At the other end, Piazza Scala is home to the world famous opera house, Teatro alla Scala, where there is a fascinating museum with original costumes and scores and some items that belonged to the composer Giuseppe Verdi. You can walk along the Via Manzoni to see the Grand Hotel et de Milan where Verdi died in 1901. From there turn into Via Montenapoleone where the top Italian and international fashion designers have shops.

Venice Lido has hosted the Venice Film Festival since 1932

Travel tip:

The Venice Film Festival, where Risi was honoured, was first held in 1932 and took place between 6 and 21 August on the terrace of the Hotel Excelsior at the Venice Lido. The festival was considered a success and was held again in 1934 from August 1-20, when it involved a competition for the first time. In 1935 the Film Festival became a yearly event in Venice and the Coppa Volpi (Volpi Cup), an award for actors, was introduced for the first time. The Venice Lido is an eight-mile long sand bank that forms a natural barrier between Venice and the open sea and has become a seaside resort for the city. It is the only island in the lagoon with roads and can be reached from the mainland by car ferry. The Lido is served by regular vaporetti – water buses – from Venice and has plenty of hotels. It became a fashionable holiday destination at the beginning of the 20th century for royalty, writers and film stars. The atmosphere at the time was brilliantly captured by Thomas Mann’s book Death in Venice, published in 1912, which was made into a film in 1971 directed by Luchino Visconti.

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Errico Petrella – opera composer

Sicilian whose popularity drew scorn from rivals

Errico Petrella's operas enjoyed great popularity
in Italy in the 1850s and 1860s

The largely forgotten opera composer Errico Petrella, whose popularity in Italy in the 1850s and 1860s was second only to operatic giant Giuseppe Verdi, was born on this day in 1813 in Palermo.

His composed 25 works, mainly comedic or melodramatic in nature, and had a run of successes in the 1850s, when three of  his productions were premiered at Teatro alla Scala in Milan.

However, Petrella attracted the scorn of both Verdi and another contemporary, the German composer Richard Wagner, both of whose careers coincided exactly with Petrella’s, even down to having been born in the same year.

When Il Duca di Scilla had its first performance at La Scala in March 1859, a year on from his hugely successful Jone, which also premiered at the Milan theatre, Wagner’s criticism could have hardly been more unflattering.

Asked his opinion of the work, Wagner said: “It is an unbelievably worthless and incompetent operatic effort by a modern composer whose name I have forgotten.”

Some years earlier, admittedly before Petrella had enjoyed much success at all, Verdi had been similarly scathing in his assessment of the 1951 opera Le Precauzioni, set against the background of the Venice Carnival, which made its debut at the Teatro Nuovo in Naples.

Verdi claimed that Petrella 'did not
know music' despite his popularity

He wrote: “Petrella does not know music, and his masterpiece, Le Precauzioni, may please the orrechianti [people who love opera but cannot read music] for its several brilliant violin melodies, but as a work of art, it cannot stand up either to the great works or even operas like Crispino, Follia a Roma etc., etc [the latter being comic operas written by the Neapolitan Ricci brothers].”

Verdi was less rude than Wagner, but his words were equally damaging. Opera historians suspect that Verdi’s quarrel was with Petrella’s conception of opera, which had a lot in common with the Neapolitan school in general in that it was less demanding of the singers.

In fact, although born in Palermo, Petrella was effectively a Neapolitan himself, his father having been a naval officer from Naples who was based in Sicily.

Petrella attended the Naples Conservatory and his style almost certainly owed much to his teacher, the conservatory’s director, Nicolo Zingarelli, whose advice was to think first of the audience rather than trying to impress other composers.

Zingarelli told him: “If you sing in your compositions, rest assured that your music will be found pleasing. If you amass harmonies, double counterpoint, fugues, canons, notes, contranotes etc. instead, the musical world may applaud you after half a century or it may not; but the audience will certainly disapprove of you. They want melodies, melodies, always melodies.”

The libretto from Petrella's most
famous work, Jone, published in 1858

Even though there was no argument about Verdi’s primacy among the composers of the day, there were clear signs of jealousy on the part of the northern Italian of his southern rival. Verdi even expressed his annoyance that Petrella wrote to Alessandro Manzoni seeking permission to write an opera based on the novel I promessi sposi and received a flattering letter in response.

However, Petrella’s Jone – set against the background of the eruption of Vesuvius that buried Pompeii - was so popular it was produced as many as 600 times, compared with no more than 60 for Verdi’s Simon Boccanegra, which premiered only a year earlier.

Petrella had needed to wait a long time to find success after making his theatre debut in 1929.

It was not until he had written half a dozen works to only modest acclaim that he began to attract attention. Il carnevale di Venezia, which had its premier at the Teatro Nuovo in Naples in May, 1851, is seen as the opera that put him on the map.

He followed this with Elena di Tolosa, which made its debut at the Teatro Fondo in August 1852, Marco Visconti (San Carlo, Naples, 1854), L'assedio di Leida (La Scala, 1856) and then Jone (La Scala, 1858), the premier of which was a major event in the operatic world, drawing appreciative audiences in Milan and beyond.

It became a regularly performed opera in Italy and remained so well into the 20th century, with productions around the world in venues as far flung as Melbourne, Calcutta, Jakarta, Santiago, Lima, Manila and Tbilisi.  His most critical reviews still derided his unashamed attempts to court popularity rather than treat opera as high art, but had to concede that he could write a good tune.

Petrella suffered from diabetes in later life and died in financial hardship in Genoa in 1877, aged 64.  Despite his outspoken comments, Verdi is said to have felt sorry for the plight of his fellow musician and sent him some money, although reputedly it did not arrive until after he had passed away.

His body was returned to Palermo, where he is buried in the church of San Domenico.

The impressive facade of the church of San Domenico,
the second most important church in Palermo

Travel tip:

The church of San Domenico in Piazza San Domenico is the second most important church in Palermo after the cathedral. Completed in 1770 on the site of previous churches built in the Middle Ages and the early Renaissance period.  The current church was designed by Andrea Cirrincione, who conceived the magnificent baroque façade, which was completed in 1726, with the bell tower added later. In 1853 it was declared the “pantheon of illustrious Sicilians” and contains the tombs of many of the island’s most notable figures, including the artist Pietro Novelli, the Risorgimento protagonist Francesco Crispi, the politician and revolutionary Ruggero Settimo and the anti-Mafia judge Giovanni Falcone.

Via Errico Petrella in Milan

Travel tip:

The memory of Errico Petrella is preserved in Milan in the name of a street linking Via Luigi Settembrini and Corso Buenos Aires in a residential area a few blocks from the central station. There is also a street in Turin that takes his name while there is a Teatro Errico Petrella in the pretty hill town of Longiano in Emilia-Romagna, situated about 30km (19 miles) southeast of Forlì.

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