Aureliano Pertile Vincenzo Bellini I Puritani "A te, o cara"

Aureliano Pertile Vincenzo Bellini I Puritani "A te, o cara"
vinyl
Aureliano Pertile
Vincenzo Bellini
I Puritani
"A te, o cara"
an operbathosa video
Aureliano Pertile (November 9, 1885, Montagnana - January 11, 1952, Milan) was an Italian lyric-dramatic tenor. He is considered to have been one of the most exciting operatic artists of the inter-war period, and one of the most important tenors of the entire 20th century.
Life and career
Pertile was born in Montagnana, Northern Italy, 18 days after the birth of another celebrated tenor, Giovanni Martinelli, in the same town. He studied with Orefice in Padua, and Bavognoli in Milan, before making his operatic debut as Lyonel in Martha, in 1911, in Vicenza.
After singing in regional Italy and South America, Pertile first sang at the premier Italian opera house, La Scala, Milan, in 1916. He appeared on this occasion as Paolo in Francesca da Rimini, opposite Rosa Raïsa. Pertile made his Metropolitan Opera debut as Cavaradossi in Tosca, opposite Maria Jeritza, on December 1, 1921. In his only season at The Met, his other roles included des Grieux in Manon Lescaut, Turiddu in Cavalleria rusticana, Grigori in Boris Godunov, with Feodor Chaliapin, Radames in Aida, the title role in Pagliacci, opposite Florence Easton, and Julien in Louise, with Geraldine Farrar. He also participated in Met performances of Louise in Philadelphia and Brooklyn.
Thereafter he returned to Italy, where he established himself as the leading tenor at La Scala from 1927 to 1937, and becoming a favorite of the conductor Arturo Toscanini. His La Scala repertory also included the title role in Lohengrin, Stolzing in Die Meistersinger von Nürnberg (in Italian), Edgardo in Lucia di Lammermoor, with Toti dal Monte, Alfredo in La traviata, Osaka in Iris, Rodolfo in La bohème, the title part in Andrea Chénier, Manrico in Il trovatore, Riccardo in Un ballo in maschera, Pinkerton in Madama Butterfly, Il Duca in Rigoletto, Alvaro in La forza del destino, Pollione in Norma, Loris in Fedora, Werther, Maurizio in Adriana Lecouvreur, Fernand in La Favorite, Fra Diavolo. He created Boito's Nerone, in 1924, Wolf-Ferrari's Sly, in 1927, Mascagni's Nerone, in 1935.
In all his La Scala roles, Pertile achieved compelling dramatic results despite possessing a voice that was not especially suave or beautiful. It was sometimes even described by critics as "brutta" (ugly). He was particularly effective in Verdi roles and verismo opera, bringing a rare emotional intensity to his performances.
Pertile also sang at the Royal Opera House in London from 1927 to 1931, and at the Teatro Colón in Buenos Aires in 1923-29. His final stage appearances were in Italy in 1946, in Pagliacci. He then taught at the Milan Conservatory until his death in 1952.
[edit] Recordings
Pertile made recordings from 1922 to 1942 (the final three items consisting of excepts from Otello with Gina Cigna as Desdemona). Numerous CDs containing selections of Pertile's solo recordings and examples of his work in complete operas have been issued by various record companies since the 1980s. In 1995, a comprehensive anthology of his recordings were issued in an album (with the accompanying monograph, La voce e l'arte di Aureliano Pertile) from TIMAClub. His three complete operatic recordings, namely Aïda (with Dusolina Giannini in the title role, 1928), Il trovatore (1930) and Carmen (in Italian translation, 1932), were not included in the 1995 release but are available on other CD labels.
[edit] Sources
Hamilton, David; Andris-Michalaros, Aliki (1987). The Metropolitan Opera encyclopedia: a comprehensive guide to the world of opera. New York: Simon & Schuster. ISBN 978-0-500-01425-7.
Rosenthal, Harold; Warrack, John (1980). The Concise Oxford Dictionary of Opera (2nd ed.). London: Oxford University Press. OCLC 60900670.
Steane, J.B. (1974). The grand tradition: 70 years of singing on record. London: Duckworth. OCLC 252923732.
[edit] Bibliography
Aureliano Pertile e il suo metodo di canto, by D. Silvestrini, 1932.
Pertile, una voce, un mito, by Bruno Tosi, 1985.
en.wikipedia.or...

[@paddyrafter5214]

Everything is so easy for. He is so so musical. One of the greatest tenors of all time

[@juancarlosbelletti6335]

Gran voz pura y clara .que bien estaban representados los cantantes de esa época no les parece?Aureliano uno de los tantos grandes de aquellos momentos . Hoy ya no podemos decir lo mismo.😂😂😂

[@mirjamdevries9376]

Una voce che giunge a noi dopo cent'anni grazie al vinile, lasciando intatta la perfezione delle sue sfumature di colore ed il bellissimo timbro seducente e scuro. E' la prima volta che lo ascolto, ma mi ha conquistato subito.💐😍🙏

[@gvbrandolini]

bravo

[@fbbomber]

una vera e propria lezione di bel canto, magnifico

[@WQ673]

Pertile a very great voice, one of the greatest .

[@niconico7281]

Su canto extraordinario, su timbre tan identificable, su cuerpo de voz, sus diminuendos, legatos, su fraseo tan suyo cubriendo las vocales etc etc lo convierte en un tenor diferente

[@terrycloth6380]

Fantastic! “A tear in the voice”

[@mariarosaesergiomarycib2492]

Per me siete tutti troppo difficili!!!!!!!!!!io adoro come l'ha cantata !!!!!!!!magnifico stupendo. Mari

[@alberto7694]

Che intendi troppo difficili? Studi canto?

[@gayoperadude63]

absolutely gorgeous!

[@zaz1239]

До чего-же чарующий тембр! Голос настолько живой и трепетный,переходящий с пианиссимо на три форте с элементами вскрикивания в голосе,от этого появляется ощущение что он поет прям тебе в ухо и слышен стук его сердца! Аурелиано Пертиле, величайший певец которого слушаешь без устали и все,все меркнут на его фоне.. Люблю тебя Аурелиано,всем сердцем,душой...!

[@ВвВ-ж7с]

голос и техника похожи на баритона Маттиа Баттистини

[@ВвВ-ж7с]

все меркнут? тут уже на спор, что нет; просто у тебя свои вкусы, а другим нравятся Джильи, Корелли, Гобби и другие, так что не надо

[@francotarika]

Bravo!Brrravo!Brrravissimo!!!

[@giuseppinascapparone3303]

Stupendo! Magnifica voce ed interpretazione esemplare!!!

[@casagrandecantatas]

GREAT VOICE AND PERFECT STYLE.

[@sayersbrock]

Impeccable style, legato, and not overdone portamenti...his voice seems to have this sheet of velvet around it...it does get bright, but always this velvety dome surrounding

[@bodiloto]

è semplicemente magnifico .

[@GiovanniGGori]

Pertile è sempre Pertile!

[@bodiloto]

@@GiovanniGGori Sai come si chiamava il più grande rivale di Pertile chi aveva una voce molto più bella?

[@GiovanniGGori]

@@bodiloto Suppongo sia Merli

[@bodiloto]

@@GiovanniGGori Nino Piccaluga. Così dicevano i critici di quest’epoca. Francesco Merli- fuori ogni classifica.

[@GiovanniGGori]

@@bodiloto il nonno di Concato? Anche lui un grandissimo della lirica!

[@enriquepazescudero4536]

Quien puede dudar de la grandeza del canto de Aureliano Pertile. Su técnica era magnífica, su elegancia, su fraseo, pero I Puritani no entraba en su repertorio, porque no tenía la extensión no solo para el "a te o cara" sino para toda la parte de tenor de esta dificilísima ópera. Grabó esta aria, porque su discográfica se la pediría, igual que a Miguel Fleta y otros. Los tenores favoritos de mi maestro Alfredo Kraus eran Aureliano Pertile, Miguel Fleta y Tito Schipa. Un saludo.

[@franzbernasek4058]

Great Voice, later Di Stefano and Franco Corelli sung A te caro grandios

[@vincenzopecorella3744]

Franz Bernasek po

[@seandoc1948]

What a really fine voice. A bit similar to the cultured tones of that other refined singer Tito Schipa especially in the "Cherry duet" from L'Amico Fritz.

[@evgenylauck4893]

Феноменально! Какая кантилена!!!

[@jamesward7789]

OMG!!!!!

[@BaroneVitellioScarpia1]

Florez, ascolta!

[@albertofernandez2185]

No se porque Pertile la transportaba un tono porque técnicamente era genial! !!! Creo que en la tonalidad original la hubiese cantado de maravilla! !!

[@ienazagrebelnaya5874]

Аурелиано-Бог вокала👑😍❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤

[@hectorbravo6862]

Entiendo que Bellini compuso básicamente para Rubini y este famosísimo tenor se cree que sería un tenor ligero o lírico ligero.

[@GERFONTA]

Ascoltate kraus re singing the re natural. But this is not a competition of high notes. Not an examination.Pertile is a master of expression.

[@BaroneVitellioScarpia1]

Kraus is a huge admirer of Pertile.

[@johnniepaul685]

"No need to look back any more" is a horribly arrogant, and ignorant statement concerning music of any kind.

[@aaronmckone8973]

It absolutely is. My main message to myself and all my friends is to remember that we have inherited this art form, likely from an entirely different culture on an entirely different continent (at least for non-Europeans). Even if you are European, most of the music you’re singing as an opera singer is at least 100 years old. It is from a different culture. In a world obsessed with calling everything appropriation, I think opera singers are often some of the most guilty of appropriation, committing their lives largely to reproducing very old music while most of them completely ignore the vast recorded history we have dating back to 1900 and even earlier. These singers worked directly with Puccini, they worked with people who knew Verdi and Wagner and even the bel canto composers. If you’re reproducing these pieces without listening closely and discerningly to these recordings and seeking to understand what the singers were doing and why they were doing those things…. If you aren’t doing that, then like, sorry, you’re appropriating an art form when you haven’t taken the time to understand the people who actually created that art form. And once you’ve taken time to try and listen to and understand these old recordings, that doesn’t mean you have to copy them verbatim. From there, you can make an INFORMED decision to sing it however you please, but I would imagine if you understood more about the way they sang, you would easily adopt some of the common sense things they are doing. Point is, you’re not beholden to try and replicate exactly what they did, but you do need to understand it, or else you are simply choosing to ignore the artists who were actually an active part of creating much of the most commonly performed rep today, the artists whose legacy has directly led to all the new operas of today as well. And yet, we largely ignore these singers. Most of us listen to them a couple times, think “this sounds weird and the recording is too old to hear well” and then never try to dig deeper than that.. that’s the reality. Anyways, soapbox over. I love Pertile. Such a big, powerful voice with so much finesse. He was singing the biggest Puccini roles and Nemorino at basically the same time, singing both with his full voice and yet doing so superbly and with nuance and agility and power and flexibility and incredible clarity. Freaking stunning.

[@pedroalonsoruiz7907]

El más grande... Alfredo Kraus

[@игорьбабий-о5ю]

он и уарузо абсолбтные гекии

[@alexingresss2420]

Pertile was an expressive verismo singer but not made for bel canto. His fans who insist he was are ridiculous.

[@infrantasi]

Great style and legato, but I love Brownlee and JDF-no need to look back any more; we have great artists today!

[@samuelkarlberg7773]

Compare Pertile with a tenor singing his repetoar. Brownlee and JDF are leggero tenors while Pertile sang Othello a piece that would destroy Brownlee or JDF´s vocal cords because of orcestration and tessitura (to low).

[@christinefruchard8912]

Pertile était aiméde TOSCANINI...ARTICULATION ET COMPREHENSION..STYLE transposé en effet Mais cela passe mieux qu'acec MDM car voix juste et claiee Eluzalyrics

[@BaroneVitellioScarpia1]

Brownlee and Florez are mosquitoes, not opera singers.

[@jamesupton4996]

@@BaroneVitellioScarpia1 About sums it up aptly. Florez - if that's the best tenore di grazie today then sad.

[@BaroneVitellioScarpia1]

@@jamesupton4996 The best tenore di grazia now is Santiago Ballerini, not Juan Nasal Florez.