Description

ANTONIO GELLI (RAVENNA, 1897 – MILANO, 1960)

 

 

 

He made the debut as baritone, but soon sang buffo roles. In 1933 he made guest appearance at the Covent Garden in London as Sagrestano in ‘’Tosca’’ of Puccini. After the retirement he devoted himself to the teaching.

 

Chronology of some appearances

 

1921 Ravenna Teatro Alighieri Pescatroi di Perle (Zurga)

1924 Milano Teatro Dal Verme Bboheme (Marcello)

1926 Novara Teatro Coccia Forza del destino (Melitone)

1928 Catania Teatro Bellini Don Chisciotte (Sancho)

1930 Bari Teatro Petruzzelli Boheme (Benoit/Alcindoro)

1932 Novara Teatro Coccia Forza del destino (Melitone)

1934 Bagnacavallo Politeama Verdi Andrea Chenier (Roucher)

1936 Parma Teatro Regio Tosca (Sagrestano)

1938 Genova Teatro Carlo Felice Barbiere di Siviglia (Don Bartolo)

1940 Venezia Teatro La Fenice Arlecchino di F. Busoni

1942 Milano Teatro Lirico Barbiere di Siviglia (Don Bartolo)

1948 Castelsangiovanni Arena Augustea Barbiere di Siviglia (Don Bartolo)

1949 Cremona Teatro Ponchielli Elisir d’amore (Dulcamara)

 

 

ARCANGELO ROSSI (FERENTINO, ITALY, 11/5/1857 – MILAN, ITALY, 15/6/1907)

 

 

 

After completing his studies at the Naples Conservatoire, he made his debut in 1887 at the Teatro Nuovo in Naples as Masetto in Don Giovanni. In 1897, he appeared at La Scala in the premiere of Alberto Franchetti’s opera Il Signore di Pourceaugnac.

In New York, he quickly gained recognition as an excellent bass-buffo, particularly known for his comedic and character roles. In 1907, he performed at the Metropolitan Opera in the U.S. premieres of two Puccini operas: Manon Lescaut, singing the role of Geronte, and Madama Butterfly, performing as Yakuside. Tragically, in June 1907, he took his own life in a moment of despair.

 

Chronology of Selected Appearances:

 

1887 Naples, Teatro Nuovo – Don Giovanni (Masetto)

1897 Milan, La Scala – Il Signore di Pourceaugnac (unknown role)

1903 New York, Metropolitan Opera – La Bohème (Schaunard)

1907 New York, Metropolitan Opera – Manon Lescaut (Geronte)

1907 New York, Metropolitan Opera – Madama Butterfly (Yakuside)

 

 

ARTURO RIZZO

 

 

 

He studied singing at the Conservatory of Naples and made his debut in 1903 at the Teatro Verdi in Brindisi, performing in Rigoletto.

 

Chronology of some appearances

 

1903 Brindisi Teatro Verdi Rigoletto (Sparafucile)

1905 Catanzaro Teatro Comunale Boheme (Colline)

1907 Moghileff Teatro Nazionale Trovatore (Ferrando)

1909 Livorno Politeama Boheme (Colline)

1911 Catanzaro Teatro Comunale Faust (Mefistofele)

1913 Buenos Ayres Teatro Coliseo Barbiere di Siviglia (Don Basilio)

1914 Roma Teatro Costanzi Ballo in Maschera (Tom)

 

 

ATTILIO GIULIANI (VERONA, 1883 – ?)

 

 

 

He made his debut around 1909, but only after the end of the Great War did he begin performing in buffo roles.

 

Chronology of some appearances

 

1909 – Sansone e Dalida (Abilemecco)
1919 – Don Pasquale (Don Pasquale)
1920 – Don Pasquale, Elisir d’Amore (Dulcamara), Papà Martin
1921 – Don Pasquale, Crispino e la Comare (Crispino), Barbiere di Siviglia (Don Bartolo)
1922 – Don Pasquale, Elisir d’Amore (Dulcamara), Barbiere di Siviglia (Don Bartolo), Papà Martin, Tosca (Sagrestano)
1923 – Boheme (Benoit/Alcindoro), Manon (Guillot), Andrea Chenier (Mathieu)
1924 – Tosca (Sagrestano), Barbiere di Siviglia (Don Bartolo), Gianni Schicchi
1926 – Barbiere di Siviglia (Don Bartolo), Don Pasquale, Boheme (Benoit/Alcindoro)
1927 – Forza del Destino (Melitone), Barbiere di Siviglia
1928 – Crispino e la Comare (Crispino)
1929 – Barbiere di Siviglia (Don Bartolo), Forza del Destino (Melitone), Andrea Chenier (Mathieu), Tosca (Sagrestano)
1930 – Barbiere di Siviglia (Don Bartolo)
1931 – Elisir d’Amore (Dulcamara), La Serva Padrona, Crispino e la Comare (Crispino)
1932–1933 – Barbiere di Siviglia (Don Bartolo), Elisir d’Amore (Dulcamara)
1935–1937 – Barbiere di Siviglia (Don Bartolo)

 

 

CONCETTO PATERNA (CATANIA, 1870 – ? 1940)

 

 

 

Probably he made his debut in 1890. He had a long and successful career and during his tage career made guest appearances in Lisbon (1891), Rio de Janeiro (1899), Alessandria (1901), Buenos Aires (1906), Montevideo (1906), Madrid (1906), New York (1908) etc. He retired from the stage in 1938.

 

Chronology of some appearances

 

1891 Lisbona Teatro San Carlos Crispino e la comare (Don Fabrizio)

1897 Savona Teatro Chiabrera Boheme (Benoit/Alcindoro)

1900 Cagliari Teatro Civico Boheme (Benoit/Alcindoro)

1904 Torino Teatro Vittorio Emanuele Resurrezione di F.Alfano

1908 Genova Teatro Carlo Felice Tosca (Sagrestano)

1910 Cremona Politeama Verdi Don Pasquale (Don Pasquale)

1915 Madrid Teatro Reale Boheme (Benoit/Alcindoro)

1918 Firenze Teatro Della Pergola Barbiere di Siviglia (Don Bartolo)

1920 Londra Covent Garden   Tosca (Sagrestano)

1925 Basilea Opera Barbiere di Siviglia (Don Bartolo)

1929 Livorno Politeama Crispino e la Comare (Crispino)

1931 Modena Teatro Storchi Elisir d’amore (Dulcamara)

1937 Ravenna Teatro Alighieri Matrimonio Segreto (Robinson)

1938 Chianciano Teatro Delle Terme Barbiere di Siviglia (Don Bartolo)

 

TRACKLIST

 

 

Antonio Gelli Elisir d’amore (Donizetti) Udite o rustici S10163 (102-648) HMV, Milano

Antonio Gelli Elisir d’amore (Donizetti) E questo l’odontalgico S10163 (102-649) HMV, Milano

Antonio Gelli Barbiere di Siviglia (Rossini) Manca un foglio S10166 (102-655) HMV, Milano

Arcangelo Rossi Barbiere di Siviglia (Rossini) Manca un foglio (Romani) 3116 Columbia, New York 1905-01

Arcangelo Rossi Barbiere di Siviglia (Rossini) Manca un foglio (Romani) 32713 Columbia cylinders, New York 1905-01

Arcangelo Rossi Barbiere di Siviglia (Rossini) Manca un foglio 31411 C2508-2 Victor, USA 1905-05-01

Arcangelo Rossi Don Giovanni (Mozart) Madamina 4443 B2507-A-1 Victor, USA 1905-05-01

Arcangelo Rossi Don Giovanni (Mozart) Nella bionda 31435 C2507-B-2 Victor, USA 1905-05-01

Arcangelo Rossi Elisir d’amore (Donizetti) Udite, udite, o rustici 32715 Columbia cylinders, New York 1905-01

Arturo Rizzo Puritani (Bellini) Suoni la tromba (w. Ernesto) Phonodisc Mondial 206

Attilio Giuliani Elisir d’amore (Donizetti) Udite, udite o rustici Parlophon P 8551, 2-84039, 2-84040

Concetto Paterna Tutti in maschera (Pedrotti) Don Gregorio 92769 xPh 4446 Fonotipia, Milano 1910-12-10

Concetto Paterna Tutti in maschera (Pedrotti) Dunque l’opera è caduta? 92770 xPh 4447 Fonotipia, Milano 1910-12-10