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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Giovanni Boldini – artist and portraitist

Sought-after painter who captured elegance of Belle Époque

Giovanni Baldini: an 1892 self-portrait
housed at the Uffizi Gallery in Florence

Giovanni Boldini, whose sumptuous images of the rich and famous made him the most fashionable portrait painter in Paris during the Belle Époque era of the late 19^th and early 20^th centuries, was born in Ferrara on this day in 1842.

His subjects included some famous names, including the opera composer Giuseppe Verdi and the actress Sarah Bernhardt, and he had countless commissions from prominent individuals in Parisian society.

Boldini's skill was to capture his subject in soft-focus, elongating their features to accentuate beauty and creating a sense of motion in the figures so that they appeared to be both sophisticated and full of life.

He dressed his subjects in sumptuous gowns that would grace any fashion catwalk and society women in particular felt the need to confirm their status by having a Boldini portrait to show off to their friends and demanded that their wealthy husbands arrange a sitting.

Boldini came from an artistic background.  His father, Antonio, painted religious figures and scenes and had a house in Via Voltapaletto, which links Ferrara’s cathedral with the Basilica of San Francesco.  The eighth of 13 children – all boys -- Giovanni was baptised on the day of his birth in the church of Santa Maria in Vado.

Boldoni's portrait of Giuseppe Verdi is housed
in Rome's National Gallery of  Modern Art

He began filling notebooks with sketches from the age of five, even before he learned to write. Taught the rudiments of painting in his father’s workshop, he contented himself for a time copying the works of the Renaissance masters.  In 1856 at the age of 14, he produced a self-portrait of a quality that exuded a maturity of technique beyond his years.

In 1862, he moved to Florence, where he would remain for six years. His intention was to study formally at the Academy of Fine Arts, and though he enjoyed the influence of some distinguished tutors, he attended classes infrequently, preferring to immerse himself in a busy social life.

Renting an apartment in Via Lambertasca, he became a regular at the Caffè Michelangiolo in Via Cavour, the haunt of a group of realist painters known as the Macchiaioli, who were the Italian precursors to Impressionism. Their influence is seen in Boldini's early landscapes.

He enjoyed success as a portraitist for the first time when he moved to London, where he was commissioned by prominent society figures including Lady Holland and the Duchess of Westminster.  His success continued when he moved to Paris in 1872, where he mingled in the most fashionable salons and became part of a circle of artists that included Edgar Degas, Alfred Sisley and Édouard Manet.

Boldini’s client list grew, but the invitation to paint Giuseppe Verdi in 1886 took him to a new level.  The Italian composer was the biggest celebrity of the time and Boldini’s portrait became an iconic image.

The portrait of Marthe de Florian that was
discovered in a Paris apartment in 2010

Verdi introduced Boldini to the world of opera, which led to many more commissions for portraits, both from artists and from the opera fans he met in theatres and cafes around Europe.

As well as portraits, he also painted realistic and natural landscapes, influenced by the Macchiaioli school. Only towards the end of his life did his style become more impressionistic. So financially comfortable he no longer needed to accept commissions for portraits to make a living, he began painting subjects of his own choice, including many nudes.

He surprised his friends in 1929 by getting married, ending 86 years of bachelor life. At the wedding breakfast, he told guests: "It is not my fault if I am so old, it's something which has happened to me all at once."

In the event, it was a short-lived marriage. Two years later he developed pneumonia and died in Paris. His body was returned to Italy and he is buried in his hometown of Ferrara.

Boldini’s paintings can be seen in some of the world’s finest art galleries and museums, although a great many are in private collections.  On the rare occasions they come up for sale at auction, they change hands for considerable sums.

In 2010, a Boldini portrait of his former muse, Marthe de Florian, a French actress, was discovered in an apartment near the Trinité church in Paris between the Pigalle red light district and Opera.

The apartment had been abandoned at the outbreak of the Second World War, when de Florian’s granddaughter fled to the South of France, and remained locked up and unvisited for 70 years.  

A scribbled note from Boldini found nearby, written on a calling card, confirmed the portrait’s authenticity and when it was sold at auction, with a guide price of €300,000, the hammer eventually came down at €1.2 million.

The Cattedrale di San Giorgio Martire in Ferrara

Travel tip:

Ferrara’s cathedral – the Cattedrale di San Giorgio Martire – is one of the main sights of the centre of the city, situated close to the Castello Estense and the Palazzo Comunale.  The Romanesque design of the cathedral, consecrated in 1135, features three cusps and a series of loggias, small arcades and rose windows. The interior, refurbished in Romanesque style after a fire in the 18^th century, houses a number of notable statues and paintings, including a Crucifixion in bronze by Niccolò Baroncelli and a Martyrdom of Saint Lawrence painted by Guercino.

A gathering of Macchiaioli painters at the Caffè Michelangiolo

Travel tip:

The Caffè Michelangiolo at Via Cavour 21 in Florence was at the centre of the city’s artistic community from the second half of the 19^th century until about 1920. The Macchiaioli group met there until about 1866. Today the café houses the Leonardo da Vinci Museum, and still hosts exhibitions and cultural events celebrating the historical, political and artistic themes that characterized the coffee house in its heyday.

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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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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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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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Francesco Foscari – Doge of Venice

Ignominious ending to a long and glorious reign

Lazzaro Bastiani's profile portrait of the
65th Doge of Venice, Francesco Foscari

After 34 years as Doge of Venice, Francesco Foscari was abruptly forced to leave office on this day in 1457.

Stripped of his honours, he insisted on descending the same staircase from the Doge’s Palace that he had climbed up in triumph more than a third of a century before, rather than leave through a rear entrance. Eight days later the former Doge was dead.

The story behind the downfall of Foscari and his son, Jacopo, fascinated the poet Lord Byron so much during his visit to Venice in 1816 that he later wrote a five-act play about it.

This play, The Two Foscari: An Historical Tragedy, formed the basis of Verdi’s opera, I Due Foscari, and ensured that the sad story of the father and son was never forgotten.

Francesco Foscari, who was born in 1373, was the 65th Doge of the Republic of Venice. He had previously served the Republic in many roles, including as a member of the Council of Forty and the Council of Ten, Venice’s ruling bodies, and as Procurator of St Mark’s. He was elected Doge in 1423, after defeating the other candidate, Pietro Loredan.

As Doge he led Venice in a long series of wars against Milan, which was then governed by the Visconti, who were attempting to dominate northern Italy.

An 1872 representation of the two Foscaris - Francesco and
Jacopo - by the Spanish painter Ricardo Maria Navarette Fos

The war was extremely costly for Venice, whose real source of wealth and power was at sea. Under Foscari’s leadership, Venice was eventually overcome by the forces of Milan under the leadership of Francesco Sforza, but meanwhile some of Venice’s eastern territories had been lost to the Turks.

In 1445, Foscari’s only surviving son, Jacopo, was tried by the Council of Ten on charges of bribery and corruption and exiled from the city. After two further trials, in 1450 and 1456, Jacopo was imprisoned on Crete, where he died.

After receiving the news of Jacopo’s death, Foscari withdrew from his Government duties. His enemies conspired to depose him and the Doge was forced to abdicate by the Council of Ten on October 23, 1457.

Foscari’s death, just over a week later at the age of 84, provoked such a public outcry that the former Doge was given a state funeral in Venice.

As well as being the subject of Byron’s play, Foscari’s life features as an episode in Italy, a long poem written by Samuel Rogers.

Byron’s play was the basis for the libretto written by Francesco Maria Piave for Giuseppe Verdi’s opera I Due Foscari, which premiered on November 3, 1844 in Rome. Mary Mitford also wrote a play about Foscari’s life, which opened in 1826 at Covent Garden, with the celebrated actor, Charles Kemble, playing the lead role.

The Doge's Palace has been the seat of the Venetian
government since the early days of the republic

Travel tip:

The Doge’s Palace, where Francesco Foscari lived for 34 years, was the seat of the Government of Venice and the home of the Doge from the early days of the republic. For centuries this was the only building in Venice entitled to the name palazzo. The others were merely called Cà, short for Casa. The current palazzo was built in the 12th century in Venetian Gothic style, one side looking out over the lagoon, the other side looking out over the piazzetta that links St Mark’s Square with the waterfront. It opened as a museum in 1923 and is now run by the Fondazione Musei Civici di Venezia.

The church of Santa Maria Gloriosa dei Frari

Travel tip:

Francesco Foscari’s tomb is in the chancel of the magnificent church of Santa Maria Gloriosa dei Frari in Venice. This huge, plain Gothic church in Campo dei Frari in San Polo is known simply to Venetians as the Frari. The church also houses the tombs of Monteverdi, Rossini, Titian and Doge Nicolo Tron. It has works of art by Titian, Bellini, Sansovino and Donatello. The church is open daily from 9.00 to 5.30 pm and on Sundays from 1.00 to 5.30 pm.

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Eleonora Duse – actress

Performer 'became' the person she played with her whole being

Eleonora Duse began acting at the age of four.

Regarded as one of the greatest acting talents of all times, Eleonora Duse was born on this day in 1858 in Vigevano in Lombardy.

Often simply known as Duse, she was admired for her total assumption of the roles she played. In 1947, the film, Eleonora Duse, was made about her life.

She began acting at the age of four, joining her father and grandfather in the profession. She worked in a troupe with her family, travelling from city to city. Duse became famous for creating Italian versions of roles made famous by the actor Sarah Bernhadt.

Duse toured South America, Russia and the US, beginning the tours as an unknown actor, but leaving in her wake a general recognition of her genius.

She had an affair with the Italian poet, Arrigo Boito, who was the librettist for the composer, Giuseppe Verdi. They carried out their relationship in a clandestine manner, but the letters they exchanged have survived and they remained on good terms until Boito’s death in 1918.

Duse had a romantic relationship with the
writer and poet Gabriele D'Annunzio

In 1895 Duse met the writer Gabriele D’Annunzio and they became involved romantically as well as professionally.

D’Annunzio wrote four plays for her but when he gave the lead in La Città Morta to Sarah Bernhardt instead of her, Duse ended her relationship with him.

Duse had a relationship with the dancer, Isadora Duncan and spent several weeks with her at Viareggio in Tuscany, shortly after Duncan’s two children drowned in a tragic accident.

Her biographer, Frances Winwar, recalled that Duse wore little make-up but made herself up "morally." She meant that she used her body to express her grief and joy.

Duse, who had a history of ill health, died of pneumonia at the age of 65 in the US while on a tour. Her body was returned to Italy and she was buried in Asolo in the Veneto at the cemetery of St Anna.

The beautiful Piazza Ducale in Vigevano

Travel tip:

Vigevano, where Duse was born, is a town in the province of Pavia in Lombardy. It is well-known for the beautiful Piazza Ducale in the centre of town. The piazza was completed in 1493 and was planned to form the forecourt to the castle built for Ludovico Sforza, who was Duke of Milan between 1452 and 1508.

Porticoes line the Via Browning in Asolo

Travel tip:

Asolo, where Duse was buried, is a town in the Veneto region, known as ‘the pearl of the province of Treviso’. It is famous for being the home of the English poet, Robert Browning. Duse lived there for part of her life and is now buried in the hillside cemetery of St Anna.

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Giuseppe Di Stefano – tenor

Singer from Sicily who made sweet music with Callas

Giuseppe Di Stefano was one of
Italy's greatest tenors

The opera singer Giuseppe Di Stefano, whose beautiful voice led people to refer to him as ‘the true successor to Beniamino Gigli’, was born on this day in 1921 in Motta Sant’Anastasia, a town near Catania in Sicily.

Di Stefano also became known for his many performances and recordings with the soprano, Maria Callas, with whom he had a brief romance.

The only son of a carabinieri officer, who later became a cobbler, and his dressmaker wife, Di Stefano was educated at a Jesuit seminary and for a short while contemplated becoming a priest.

But after serving in the Italian army he took singing lessons from the Swiss tenor, Hugues Cuenod. Di Stefano made his operatic debut in Reggio Emilia in 1946 when he was in his mid-20s, singing the role of Des Grieux in Massenet’s Manon. The following year he made his debut at La Scala in Milan in the same role.

Di Stefano made his debut at the Metropolitan Opera in New York in 1948 as the Duke of Mantua in Verdi’s Rigoletto. After his performance in Manon a month later, a journalist wrote in Musical America that Di Stefano had ‘the rich velvety sound we have seldom heard since the days of Gigli.’

Maria Callas and Giuseppe Di Stefano on stage in Tokyo,
at around the time they had a brief affair

He made his Royal Opera House debut in 1961 as Cavaradossi in Tosca.

He was admired for his excellent diction, passionate delivery and the sweetness of his soft singing.

In his Metropolitan Opera radio broadcast of Faust he attacked the high C forte and then softened the sound to a pianissimo. Sir Rudolf Bing, the Met's general manager wrote in his memoirs: ‘I shall never as long as I live forget the beauty of that sound.’

Di Stefano was chosen by EMI to record all the popular Italian operas with Maria Callas. Their 1953 studio recording of Tosca is considered one of the greatest performances in the history of the gramophone.

The two also performed well together on stage from 1951 onwards. He sang with Callas in the famous Visconti production of La Traviata in 1955 at La Scala and the last time they sang together in an opera was in Un ballo in maschera at La Scala in 1957.

In 1973 Di Stefano accompanied Callas on her final recital tour. Critics said they were both losing their voices but they were enthusiastically received everywhere. It was during this tour that the two had a brief romance.

Di Stefano also made recordings with a wealth of other opera stars.

Di Stefano's albums sold millions of copies

His final operatic role was as the aged emperor in Turandot in July 1992.

In 2004 Di Stefano suffered a brutal beating by unknown assailants near his home in Diani Beach in Kenya after he was ambushed in his car with his wife, Monika Curth.

The singer was still unconscious a week after the attack and had several operations.

He was flown to Milan and admitted to the San Raffaele clinic where he slipped into a coma.

Eventually he came out of his coma but his health never fully improved and he died at his home in Santa Maria Hoè, between Bergamo and Como, in 2008 at the age of 86.

Luciano Pavarotti said he modelled himself on Di Stefano, who was his idol. He said Di Stefano had ‘the most incredible, open voice you could hear.’ Di Stefano is also said to be the tenor who most inspired José Carreras.

Travel tip:

Motta Sant'Anastasia, with a snow-covered Mount
Etna in the background

Motta Sant’Anastasia, where Di Stefano was born, is a municipality nine kilometres (5.5 miles) west of Catania, built on a rocky outcrop not far from Mount Etna. It was inhabited by Greeks in the fifth century BC. Roman coins and a Roman mosaic have also been discovered there. The Tower of Motta was built in the 11th century as a defensive structure to protect the area from Saracen invasions.

Travel tip:

Di Stefano performed regularly on the stage of Teatro alla Scala in Milan from 1949 onwards. The theatre was officially inaugurated in 1778 after being built on the site of the former Church of Santa Maria alla Scala to the design of Giuseppe Piermarini. It is across the road from the Galleria Vittorio Emanuele II, an elegant arcade lined with shops, cafes and restaurants which links Piazza alla Scala with Piazza del Duomo, Milan’s cathedral square. La Scala’s museum displays costumes and memorabilia from the history of opera. The entrance is in Largo Ghiringhelli, just off Piazza alla Scala and it is open every day except Bank Holidays.

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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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