Description

GIUSEPPE PIMAZZONI (VERONA, 1862 – USA ?)

 

 

 

He studied singing in Milan under the pedagogue Enrico Fagotti and likely made his debut in 1884 at the Teatro Goldoni in Livorno as Arbace in E. Petrella’s Jone. In 1906, he performed with the Italian opera in Holland and went to North America the following year. There, he sang in San Francisco, Berkeley, Oakland, and New Orleans. He remained in the USA and retired from the stage in 1921.

 

Chronology of some appearances

 

1884 Livorno Teatro Goldoni Jone di E. Petrella (Arbace)

1887 Melbourne Teatro Alexandra Ballo in Maschera (Renato)

1891 Corfù Teatro San Giacomo Due Foscari (Doge)

1894 Catanzaro Teatro Comunale Carmen (Escamillo)

1899 Trani Teatro Comunale Gioconda (Barnaba)

1903 Tiflis Teatro Nazionale Ballo in Maschera (Renato)

1907 Amsterdam Paleis Voor Volksvlijt Faust (Valentino)

1909 Oakland Macdonugh Theater Trovatore (Conte)

1917 New York Teatro Gatham La Contessa Tricona di A. Anelli

1921 Philadelphia Teatro Metropolitan Lucia di Lammermoor (Raimondo)

 

 

MICHELE DE PADOVA (LUCERA, 1863 – MILAN, 1931)

 

 

 

He began his vocal studies in Lucera under the guidance of Angelo Napoli, a well-regarded vocal pedagogue. He continued his education at the Conservatory in Naples, where he trained with the teacher Trifari Paganini. Seeking to further refine his skills, he moved to Milan to study under the renowned tenor and manager Barbacini.

In 1889, he made his debut as a tenor at the Teatro San Carlo in Naples, performing the role of Messaggero in Verdi’s Aida. However, it wasn’t until 1893 that he truly found his voice as a baritone, making his official debut in that range at the Teatro Bellini in Naples, performing in La Forza del Destino.

An important moment in his career came when he studied the role of Scarpia in Tosca under the direct guidance of Giacomo Puccini himself. This connection with Puccini added depth to his portrayal of one of the most iconic baritone roles in the operatic repertoire. His transition from tenor to baritone and his association with Puccini highlight the versatility and depth of his vocal talent.

 

Chronology of some appearances

 

1893 Napoli Teatro Bellini Forza del destino (Carlo)

1894 Roma Teatro Quirino Forza del destino (Carlo)

1895 Milano Teatro Lirico Pagliacci (Tonio)

1896 Napoli Teatro San Carlo Boheme (Schaunard)

1897 Guatemala Тeatro Colon Lucia di Lammermoor (Enrico)

1898 Bari Teatro Piccinni Poliuto (Severo)

1899 Cagliari   Teatro Civico Ballo in maschera (Renato)

1900 Mantova Teatro Sociale Falstaff (Falstaff)

1901 Rovigo Teatro Sociale  Fedora (De Siriex)

1902 Bergamo Teatro Sociale Linda di Chamonix (Antonio)

1903 Nice Jetee Promenade  Ruy Blas (Sallustio)

1904 Parma Teatro Regio Ugonotti (Nevers)

1905 Madrid Teatro Reale Gioconda (Barnaba)

1906 Salerno  Teatro Verdi  Boheme (Marcello)

1907 Venezia  Teatro Malibran Amico Fritz (David)

1908 Barcellona Teatro Liceo Pagliacci (Silvio)

1909 Firenze Politeama Nazionale  Andrea Chenier (Gerard)

1910 Adria Politeama Garibaldi Otello (Jago)

1911 Roma Teatro Apollo Fedora (De Siriex)

1912 Malta Teatro Reale Amica (Giorgio)

1913 Udine Teatro Sociale Isabeau (Raimondo)

1914 Savona Teatro Chiabrera Rigoletto (Rigoletto)

1915 Forlì Teatro Comunale  Pagliacci (Tonio)

1917 Novara Teatro Coccia Andrea Chenier (Gerard)

1918 Milano Teatro Lirico Boheme (Marcello)

 

 

ENRICO ROGGIO (CATANIA, 1883 – MILAN, 1973)

 

 

 

He had an extensive career spanning from his debut in 1905 to his retirement in 1948. Studying under the guidance of soprano Elena Theodorini in Rome and Nino Cairone in Milan, he made his first appearance on stage at the Teatro Alighieri in Ravenna, performing the role of Schaunard in La Bohème. His talent was quickly recognized, leading to engagements on larger provincial stages across Italy.

In 1911, he achieved notable success at the prestigious Teatro Costanzi in Rome, which solidified his reputation as a talented baritone. His international career began to flourish when he guested at the Teatro Coliseo in Buenos Aires in 1915, followed by a highly successful performance at the Teatro Nacional in Havana the next year. During this period, he also made a significant contribution to contemporary opera, participating in the premiere of Monleone’s Suona la ritirata at the Teatro Lirico in Milan in 1916.

His career was further distinguished by his acting ability, which made him a sought-after performer, admired for both his vocal and dramatic talents. After a long and successful career, he retired from the opera stage in 1948 and continued to share his knowledge and experience as a vocal pedagogue in Milan, where he remained influential in shaping the next generation of singers.

 

Chronology of some appearances

 

1905 Ravenna Teatro Alighieri Boheme (Schaunard)

1906 Prato Teatro Metastasio Boheme (Schaunard)

1909 Tunisi Politeama Rossini Fedora (De Siriex)

1912 Caltagirone Teatro Garibaldi Amico Fritz (David)

1914 Venezia Tetro Rossini Gioconda (Barnaba)

1918 Genova Politeama Genovese Tosca (Scarpia)

1920 Catania Teatro Bellini Barbiere di Siviglia (Figaro)

1922 Lisbona Teatro San Carlos Aida (Amonasro)

1924 Havana Teatro Nacional Aida (Amonasro)

1926 Genova Teatro Carlo Felice Manon (Lescaut)

1928 Milano Teatro La Scala Oro Del Reno (Alberico)

1930 Milano Teatro La Scala Crepuscolo Degli Dei (Alberico)

1932 Milano Teatro Carcano Tosca (Scarpia)

1934 Venezia Teatro La Fenice Il Finto Arlecchino di G. F. Malipiero (Trifonio)

1936 Parma Teatro Regio Francesca da Rimini (Giovanni)

1938 Bari Teatro Petruzzelli Don Pasquale (Malatesta)

1940 Genova Teatro Carlo Felice Sigfrido (Alberico)

1947 Reggio Emilia Teatro Municipale Madama Butterfly (Yamadori)

1948 Reggio Emilia Teatro Municipale Barbiere di Siviglia (Don Bartolo)

 

 

MATTIA MORRO (PALMA DI MAJORCA, SPAIN, 1882 – ?)

 

 

 

He had a vibrant career in Italy and Spain between 1910 and 1925. In 1912, he appeared at the Teatro Petruzzelli in Bari as Melitone in La Forza del Destino. His performance at the Politeama Grande in Havana in 1914 garnered significant acclaim.

In 1921, he was celebrated at the Paleis Voor Volksvlijt in Holland as Rigoletto. Throughout the 1920s, he also performed extensively in Germany and made numerous recordings.

He was a frequent performer at the Teatro Liceo in Barcelona, where he continued his career until the Spanish Civil War broke out in 1936. Following the conflict, he immigrated to Central America, where he dedicated himself to teaching singing.

 

Chronology of some appearances

 

1903 Firenze Teatro Della Pergola Boheme (Marcello)

1907 Perugia Teatro Morlacchi Carmen (Escamillo)

1911 Milano Teatro dei Filodrammatici Barbiere di Siviglia (Figaro)

1913 Venezia Teatro La Fenice Melisenda di C. Merli (Bertrando)

1915 Barcellona Teatro Liceo Fanciulla del West (Sonora)

1917 Milano Teatro Carcano   Rigoletto (Rigoletto)

1919 La Spezia Politeama Duca di Genova Barbiere di Siviglia (Figaro)

1921 Amsterdam Paleis Voor Volksvlijt Carmen (Escamillo)

1931 Barcellona Teatro Liceo Rigoletto (Rigoletto)

1932 Barcellona Teatro Liceo Lucia di Lammermoor (Enrico)

 

 

ANTENORE REALI (VERONA, 6 JUNE, 1897 – MILAN, 23 JANUARY, 1960)

 

 

 

He made his debut in 1921 at the Teatro Ristori in Verona in Rigoletto. In 1937, he performed the role of the Father in G. F. Ghedini’s new opera Maria d’Alessandria at the Teatro Donizetti in Bergamo. He retired from the stage in 1952.

 

Chronology of some appearances

 

1921 Verona Teatro Nuovo Favorita (Alfonso)

1924 Treviso Politeama Garibaldi Carmen (Escamillo)

1925 Parma Teatro Regio Aida (Amonasro)

1928 Novara Teatro Coccia Aida (Amonasro)

1932 Amsterdam Teatro Carrè Ballo in Maschera (Renato)

1935 Novara Teatro Coccia Aida (Amonasro)

1938 Bari Teatro Petruzzelli  Barbiere di Siviglia (Figaro)

1942 Genova Teatro Carlo Felice Pagliacci (Tonio)

1946 Livorno Teatro Goldoni Cavalleria Rusticana (Alfio)

1949 Rivarolo Teatro Ligure Tosca (Scarpia)

1950 Parma Teatro Regio Cyrano de Bergerac di F. Alfano (De Guiche)

 

TRACKLIST

 

 

Giuseppe Pimazzoni Carmen (Bizet) Con voi ber H26 4135 Columbia, New York 1909-05/06

Giuseppe Pimazzoni Dinorah (Meyerbeer) Sei vendicata assai C993 4145 Columbia, New York 1909-05/06

Giuseppe Pimazzoni Faust (Gounod) Dio possente C994 4146 Columbia, New York 1909-05/06

Giuseppe Pimazzoni Gioconda (Ponchielli) Ah! Pescator (Barcarola) H25 4140 Columbia, New York 1909-0/506

Giuseppe Pimazzoni Traviata (Verdi) Di Provenza il mar, il suol C993 4141 Columbia, New York 1909-05/06

Michele De Padova Rigoletto (Verdi) Pari siamo 84131 Pathé, Milano 1909?

Michele De Padova Rigoletto (Verdi) Signor? Và non ho niente with Giovanni Bardi 84132 Pathé, Milano 1909?

Michele De Padova Forza del destino (Verdi) Solenne in quest’ora with Carlo Barrera 84129 Pathé, Milano 1909?

Michele De Padova Faust (Gounod) Tu puoi la spada frangere 84137 Pathé, Milano 1909?

Michele De Padova Carmen (Bizet) Strofe del Toreador 86207 Pathé, Milano 1909?

Enrico Roggio Rigoletto (Verdi) Pari siamo J 135 Lyrophon, Milano

Enrico Roggio Se Fossi! Melodia (Quaranta) J 134 Lyrophon, Milano

Enrico Roggio Serenata (Tosti) J 145 Lyrophon, Milano

Enrico Roggio Tannhäuser (Wagner) O tu bell’astro J 4 Lyrophon, Milano

Enrico Roggio Traviata (Verdi) Di Provenza J 137 Lyrophon, Milano

Mattia Morro Faust (Gounod) Dio possente 7196 Artiphon, Berlin 1925/1926

Mattia Morro Faust (Gounod) Stammi ad udir, Margherita 7197 Artiphon, Berlin 1925/1926

Mattia Morro Forza del destino (Verdi) Ballata 7268 Artiphon, Berlin 1925/1926

Mattia Morro Forza del destino (Verdi) Urna fatale 7269 Artiphon, Berlin 1925/1926

Mattia Morro Hamlet (Thomas) O, vin discaccia la tristessa (Artephon as G Storchi) 42351 Beka

Antenore Reali Andrea Chenier (Giordano) Nemico della patria BB 25213 71120 Cetra

Antenore Reali Arlesiana (Cilea) Come due tizzi accesi BB 25130 70968 Cetra

Antenore Reali Ballo in maschera (Verdi) Alla vita BB 25211 Cetra

Antenore Reali Caruli (Canzone Valzer) (Giordano) AA395 Cetra

Antenore Reali Ernani (Verdi) Oh! Dei verd’anni miei BB 25150 70967 Cetra