Description

NINO PERYA (PALERMO, 1878 – ?)

 

 

 

He studied singing in Palermo under the teacher Cairone and in Milan with the pedagogue Pintorno. In 1901, he made his debut at the Teatro Politeama Grà in Alessandria, performing in Verdi’s La Traviata.

 

Chronology of some appearances

 

1901 Alessandria Politeama Grà Traviata (Alfredo)

1903 Brindisi Teatro Verdi Rigoletto (Duca)

1904 Malta Teatro Reale Faust (Faust)

1905 Cagliari   Teatro Civico   Adriana Lecouvreur (Maurizio)

1908 Torino Teatro Vittorio Emanuele Pagliacci (Canio)

1909 Torino Teatro Vittorio Emanuele Cavalleria Rusticana (Turiddu)

1910 Palermo Teatro Massimo Tosca (Cavaradossi)

1912 Grosseto Teatro Degli Industri Tosca (Cavaradossi)

1919 Palermo Teatro Biondo Ballo in Maschera (Riccardo)

 

 

LUIGI MONTECUCCHI (ACQUI TERME, ? – ?)

 

 

 

He studied singing in Acqui Terme under the pedagogue Tullio Battioni. In 1893, he appeared in a concert with his teacher Caterina Icardi. The following year, he went to Parma to study at the Conservatory. He made his stage debut in 1897 at the Teatro Toselli in Cuneo, performing in Mignon.

 

Chronology of some appearances

 

1897 Cuneo Teatro Toselli Mignon (Guglielmo)

1898 Pola Teatro Ciscutti Favorita (Fernando)

1899 Bergamo Teatro Sociale Traviata (Alfredo)

1900 Messina Teatro Vittorio Emanuele Barbiere di Siviglia (Almaviva)

1901 Tiflis Teatro Nazionale Boheme (Rodolfo)

1902 Bucarest Teatro Nazionale Barbiere di Siviglia (Almaviva)

1903 Santos Teatro Municipal Rigoletto (Duca)

1904 Lisbona   Coliseo Recrejos Boheme (Rodolfo)

1905 Ventimiglia Politeama Sociale Barbiere di Siviglia (Almaviva)

1906 Roma Teatro Costanzi Ebrea (Leopoldo)

1907 Nizza Monferrato Politeama Garibaldi Concerto

 

 

QUARTO SANTARELLI (RIMINI, 1877 – ?)

 

 

 

He began his career as a comprimario and made his second debut as a first tenor in 1901 at the Teatro Vittorio Emanuele in Rimini, performing in L’elisir d’amore. In the final years of his career, he performed mostly in operetta. After retiring, he settled in Bucharest, where he taught at the Conservatory. Among his pupils was the renowned Armenian tenor Garbis Zobian.

 

Chronology of some appearances

 

1900 Bari Teatro Piccinni Iris (Merciaiolo)

1901 Rimini Teatro Vittorio Emanuele Elisir d’amore (Nemorino)

1902 Fermo Teatro Dell’Aquila Elisir d’amore (Nemorino)

1903 Treviso Politeama Garibaldi Manon (De Grieux)

1904 Bari Teatro Petruzzelli Traviata (Gastone)

1905 Reggio Emilia Teatro Municipale Germania (Korner)

1906 Galanzt Teatro Papadopulo Lucia di Lammermoor (Edgardo)

1907 Firenze Teatro Verdi Gioconda (Enzo)

1908 Milano Teatro Dal Verme Rigoletto (Duca)

1909 Novara Teatro Coccia Navarraise (Garrido)

1910 Buenos Ayres Politeama Argentino Iris (Osaka)

1911 Zante Teatro Foscolo Traviata (Alfredo)

1912 Atene Teatro Arniottis Boheme (Rodolfo)

1913 ‘S-Gravenhage    Gebouw Voor Kunsten en Wetenschappen Don Pasquale (Ernesto)

1914 Vicenza Teatro Eretenio Juana di A. Pedrollo (Ramon)

1915 Parma Politeama Reinach Compagnia di operette citta’ di Roma

 

 

SALVATORE SABATANO

 

 

 

Salvatore Sabatano was an Italian tenor active in Italy and abroad from the late 19th century through the 1910s. He made his earliest known appearance in 1897 at the Teatro Reale in Malta as Cassio in Verdi’s Otello. In 1900, he sang Fernando in La favorita at the Politeama Grà in Alessandria.

Over the following years, Sabatano established himself in the Italian operatic scene, performing a wide range of lyric and character roles. In 1902, he sang Almaviva in Il barbiere di Siviglia at the Teatro Fraschini in Pavia and Nemorino in L’elisir d’amore at both the Teatro Principe di Napoli and Politeama Pacini in Catania. That same season, he also appeared as Carlo in Linda di Chamounix and Almaviva in Il barbiere di Siviglia. During the summer of 1902, he performed in Naples at the Teatro Bellini, taking roles in Nemea and Il barbiere di Siviglia. In 1903, he sang Almaviva again at the Teatro Carcano in Milan.

Sabatano’s career continued with frequent appearances throughout Italy. In 1906, he performed Nemorino at the Teatro Vittorio Emanuele in Ancona and gave a concert in Osimo. He gained experience in comic roles, appearing as Arlecchino in Le maschere at theaters in Genoa, Livorno, and Rome in 1908. In 1909, he performed Cleomene in Goldmark’s Un racconto di inverno in Turin, sang in Rhea by S. Samara at the Teatro Costanzi in Rome, gave a concert in Brunate, and sang the role of the Pastore in Tristano e Isotta at the same Roman theater.

In 1910, he returned to the Teatro Costanzi for Mefistofele (Wagner/Nereo) and Iris (Merciaiolo). The following year, he expanded his international presence with guest performances in South America: at the Teatro Coliseo in Buenos Aires he sang in Iris, Mefistofele, Isabeau (Coprifuoco), and Pagliacci (Arlecchino), while he also gave concerts in Rio de Janeiro and São Paulo with the Compagnia Alonso.

Back in Italy, Sabatano appeared in Genoa at the Politeama Genovese in 1912 as Trin in La fanciulla del West, and in 1913 he sang Carlo in Linda di Chamounix in Venice and Ismaele in Nabucco at La Scala in Milan. His later appearances included La fanciulla del West (Trin) at the Teatro Costanzi in Rome in 1915, and in 1916 he performed Ser Toldo in Francesca da Rimini and Ismaele in Nabucco at the same theater.

 

 

 

MATTEO BRUNO (CASTIGLIONE DI SICILIA, 1886 – MILANO, 1955)

 

 

 

Matteo Bruno was an Italian tenor active from the 1910s through the early 1930s. He made one of his earliest known appearances in January 1912 at the Teatro Dal Verme in Milan as Turiddu in Cavalleria rusticana. The following year, he sang the Duke in Rigoletto at the Politeama Verdi in Cremona.

In 1916, he returned to Cavalleria rusticana in Acireale at the Teatro Bellini. After the First World War, Bruno appeared in concert in Bergamo at the Teatro delle Società in 1920. He continued to perform the role of Turiddu in Milan at the Teatro Dal Verme in 1924.

During the mid-1920s, he expanded his repertoire, appearing in Bari at the Teatro Piccinni as Giannetto in La cena delle beffe (1926) and later in Ancona at the Teatro Vittorio Emanuele in Cavalleria rusticana (Turiddu) and Pagliacci (Canio) in December of the same year.

In the early 1930s, Bruno maintained his presence on major Italian stages. In 1931, he performed Canio in Pagliacci at both the Teatro Dal Verme in Milan and the Teatro Vittorio Emanuele in Turin, and appeared as Edgardo in Lucia di Lammermoor at the Teatro Verdi in Padua.

 

 

TRACKLIST

 

 

Nino Perya Tosca (Puccini): Recondita armonia Unpubl. 1 Edison, Milano 1912

Luigi Montecucchi Pagliacci (Leoncavallo): O Colombina (Serenata di Arlecchino) 52225 3332a G&T, Milano 1901-07

Luigi Montecucchi Barbiere di Siviglia (Rossini) Se il mio nome 52233 3316a G&T, Milano 1901-07

Luigi Montecucchi Bohème (Puccini): Ci lasceremo (w. Adami) 54002 353b G&T, Milano 1901-07

Quarto Santarelli Fedora (Giordano): Amor ti vieta 10856 C2408 Columbia, Milano, 1909/1910

Quarto Santarelli Bohème (Puccini): Questa è Mimì D9221 10899 Columbia, Milano 1910?

Quarto Santarelli Bohème (Puccini): Mimì è tanto malata D9221 10901 Columbia, Milano 1910?

Quarto Santarelli Favorita (Donizetti): Spirto gentil D4018 10829 Columbia, Milano 1910?

Salvatore Sabatano Scetate Canzone Napolitana 37198 Odeon, Milano

Salvatore Sabatano Carmela (De Curtis) 37094 Odeon, Milano

Salvatore Sabatano O belli occhi di fata (Denza) 52701 3117b G&T, Milano 1903-02

Matteo Bruno Pagliacci (Leoncavallo): Ridi, Pagliaccio R5331 (7-252572) BD4543-2 HMV, Milano 1927-02-08