Description

TULLIO VERONA (? 1897 – MILANO, 1939)

 

 

 

Another totally forgotten Italian tenor who, after studying in Padua with Palumbo, made his debut as a baritone. Later, he changed to tenor and in 1925 made his second debut in Ernani at the Politeama Sampierdarenese in Sampierdarena. He enjoyed a successful career on major Italian stages, including Milan’s La Scala and the opera houses of Bologna, Verona, Palermo, Rome, Trieste, and Genoa. He also appeared abroad, performing in Cairo (Teatro Kedivhiale, 1927), The Hague (Gebouw voor Kunsten en Wetenschappen, 1928), Amsterdam (Teatro Carré, 1928), Rotterdam (Groote Schouwburg, 1929), and London (Covent Garden, 1930).

In 1929, Verona appeared at La Scala as Licinio in G. Spontini’s La Vestale. He retired from the stage in 1938. Verona’s main roles included Radamès in Aida, Canio in Pagliacci, Otello in Verdi’s Otello, Don Alvaro in La forza del destino, and Don José in Carmen.

 

Chronology of some appearances

 

1925 Sampierdarena Politeama Sampierdarenese Ernani (Ernani)

1927 Cairo Teatro Kedivhiale Aida (Radames)

1928’s-Gravenhage Gebouw voor Kunsten en Wetenschappen Forza del Destino (Alvaro)

1928 Amsterdam Teatro Carre Pagliacci (Canio)

1929 Rotterdam Groote Schouwburg Carmen (Don Jose)

1929 Milan La Scala Vestale (Licinio)

1930 London Covent Garden Norma (Pollione)

 

 

MARIO ZOLI (RAVENNA, 1879 – ?)

 

 

 

He probably made his debut in 1898. In 1901, Zoli appeared at the Teatro Sociale in Cittadella as Alvaro in La forza del destino. In 1909, he sang the title role in Andrea Chénier at the Teatro Cavour in Porto Maurizio. The following year, he appeared in Savona, where at the Teatro Chiabrera he again performed in La forza del destino. His last known appearance was probably at the Teatro Apollo in Lugano in 1914, where he sang in La Wally. His career was interrupted by the First World War. He made only one recording for Phonodisc Mondial.

 

Chronology of some appearances

 

1901 Cittadella Teatro Sociale Forza del destino (Alvaro)

1909 Porto Maurizio Teatro Cavour Andrea Chenier (Andrea Chenier)

1910 Savona Teatro Chiabrera Forza del destino (Alvaro)

1914 Lugano Teatro Apollo Wally (Hagenbach)

 

 

ADRASTO SIMONTI

 

 

 

He made his debut around 1905 at the Teatro Salvini in Empoli as Fritz in Mascagni’s L’amico Fritz. In 1908, he appeared at the Teatro Goldoni in Livorno as Alfredo in La Traviata, and the following year he sang at several theaters, including the Teatro Regio in Turin as the Merciaiolo in Mascagni’s Iris, and again as Alfredo in La Traviata at the Teatro Comunale in Bagni di Lucca. That same year in Livorno, he participated in a double bill singing Arlecchino in Pagliacci and Zurol in Zulma by Riccardo Romani.

Between 1910 and 1912, Simonti expanded his repertoire, appearing in various supporting roles: Fiorello in Il barbiere di Siviglia and Arturo in Lucia di Lammermoor (Livorno, Parma), Wagner and Nereo in Mefistofele (Rovigo), and later as Narraboth in Salomé by Richard Strauss at La Scala, Milan (1912). The following year, he was invited to the Teatro Colón in Buenos Aires, where he sang Narraboth and the Jew in Salomé, Arturo in Lucia di Lammermoor, and Aspeck in Strauss’s Feuersnot.

He continued to be active in the principal Italian theaters: at the Teatro Massimo in Palermo (1914), where he again appeared as Narraboth; at Livorno’s Goldoni and Politeama theaters in various parts such as Gastone (La Traviata), the Messenger (Aida), Spoletta (Tosca), and Remendado (Carmen).

In the 1920s, Simonti became a familiar and respected figure in Livorno’s operatic life, performing regularly at its theaters in a wide range of tenor and character roles—Flavio in Norma, Cassio in Otello, Lesley in Guglielmo Ratcliff, Wagner/Nereo in Mefistofele, Parpignol in La Bohème, and many others.

In 1928, he returned to the Teatro Colón in Buenos Aires, where he participated in an impressive number of productions, including Aida, Il trovatore, Un ballo in maschera, Fra’ Gherardo, Der Rosenkavalier, La fiaba dello zar Saltan, Manon Lescaut, and Andrea Chénier.

His later appearances included I puritani (Bruno) at the Teatro Comunale in Florence (1933), I maestri cantori di Norimberga and Turandot (as Altoum) at the Teatro Costanzi in Rome (1935), and in 1936 he took part in three new Italian works at the same theater—Zandonai’s Giulietta e Romeo (Famiglio), Pizzetti’s Orseolo (Nicolò), and Peragallo’s Ginevra degli Almieri (Servo/Donzello della curia).

 

 

PIO SCOPINICH

 

 

 

Scopinich had a short but quite distinguished career. He sang Filipeto in the Italian premiere of I quattro rusteghi (Milan, Teatro Lirico, 2 June 1914 — the world premiere had taken place in Munich in 1906, in a German translation). He later repeated the role in various Italian theaters with prominent casts, and his few other engagements were likewise of a notable artistic level. For instance, in Madame Sans-Gêne at the Teatro Regio in Turin, the cast included Riccardo Stracciari, Maria Farneti, Luigi Rossi Morelli, Vittorio Salbego, and Luigi Cilla, with Hector Panizza conducting.

Beyond these sparse career details, almost nothing is known of his biography — but there are strong indications of his identity. The surname Scopinich is rare and originates almost exclusively from Trieste and its surroundings. In the Italian army during the First World War, there was an artillery lieutenant named Pio Scopinich, born on 17 October 1891 in Trieste, who was killed in action in Piacenza on 14 December 1917. It seems almost certain that this was “our” Pio Scopinich: his last documented appearance took place in Piacenza, not in opera but in concert. He was likely stationed there as part of his military service and permitted leave only for that event. His name is also inscribed on a war memorial in Trieste.

 

TRACKLIST

 

 

Tullio Verona Otello (Verdi): Si pel ciel with Giovanni Inghilleri 10454 88512 Pathé, Milano 1927?

Tullio Verona Otello (Verdi): Monologo, act 3 10454 88515 Pathé, Milano 1927?

Tullio Verona Otello (Verdi): Morte di Otello 15402 88687 Pathé, Milano 1928?

Tullio Verona Fanciulla del West (Puccini): Ch’ella mi creda 15402 88694 Pathé, Milano 1928?

Mario Zoli Aida (Verdi): Nume custode vindice with Carlo Scattola and Rosita Medini 850 Phonodisc Mondial, Milano 1913/1914

Mario Zoli Otello (Verdi): Ora e per sempre addio 852 Phonodisc Mondial, Milano 1913/1914

Mario Zoli Otello (Verdi): Dio, fulgor della bufera… Esultate 851 Phonodisc Mondial, Milano 1913/1914

Adrasto Simonti Cavalleria Rusticana (Mascagni): Lo so che il torto è mio (w. Badini) D9300 41810-1 Columbia, Milano 1913?

Pio Scopinich Le Donne Curiose (Wolf Ferrari): Il cor nel contento (w. Ines Cesari) A83102 Mo 1179 Odeon Fonotipia, Milano

Pio Scopinich Le Donne Curiose (Wolf Ferrari): Adesso quattro salti (w. Ines Cesari & Luigi Manfrini) A83102 Mo 1178 Odeon Fonotipia, Milano

Pio Scopinich Il Matrimonio Segreto (Cimarosa): Pria che spunti in ciel 110393 xM 1822 Odeon Fonotipia, Milano

Mario Labo Pagliacci (Leoncavallo): No, pagliaccio non son Fonotecnica Electro record B3125

Mario Labo Pagliacci (Leoncavallo): Vesti la giubba Fonotecnica Electro record B3125