(belcanto) Tito Schipa (1889-1965) - Lebendige Vergangenheit vol.IV - 2004, (1925-30) APE (image+.cue) lossless

Exact Audio Copy V1.0 beta 6 from 9. April 2015
EAC extraction logfile from 23. September 2015, 12:11
Tito Schipa / Lebendige Vergangenheit - Tito Schipa IV
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     Copy CRC 3A329EFB
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In the opinion of many experts on voices, this singer embodied absolutely the ideal of Italian bel canto art. The almost unlimited admiration he gained from audiences and colleagues alike - Giacomo Lauri Volpi and Giovanni Martinelli were among those who praised his singing - must be evaluated all the higher, for Schipa's voice was not distinguished by special natural gifts or by unusual brilliance. The specifically characteristic feature of Schipa's art is a sublimely developed technique; other hallmarks are great musicianship and a broad range of expression. Tito Schipa was a prime representative of the "tenore di grazia". The sound of his slender, "covered" voice has a quite particular effect which is incomparable in the truest sense of the world. Tito Schipa was born in Lecce and was still a boy when his pure singing began to attract attention. He got his fundamental vocal training from Alceste Gerunda in Lecce and Emilio Piccoli in Milan. His debut as an opera singer came in 1910 at the Poli-teama Facchinetti in Vercelli as Alfredo in Verdi's "La Traviata". There followed several months as a travelling tenor at smaller Italian opera houses until, in 1911, he emerged with a series of fine performances at the Teatro Quirino in Rome. The most important roles of his early career included the tenor parts in Bellini's "La Sonnambu-la", Verdi's "Traviata" and "Rigoletto", Puccini's "Boheme" and Thomas' "Mignon". Later Auber's "Fra Diavolo", Donizetti's "La Favorita", Mascagni's "Cavalleria rusti-cana" and "Zaza", and especially Puccini's "Tosca" were added to his repertoire and provided further vehicles for success. Other opera stages on which he appeared at this time were the Teatro Dal Verme in Milan and the Teatro Colon in Buenos Aires, where he made his house debut in 1913. In 1914 we find Schipa at the Teatro Costanzi in Rome, where he sang Ernesto in Donizetti's "Don Pasquale", among other parts, and at the Teatro San Carlo in Naples, where he established himself as Fenton in Verdi's "Falstaff' and Pinkerton in Puccini's "Madame Butterfly". At a guest appearance in Buenos Aires (Teatro Coliseo) he was acclaimed for two roles which, from this time on, were among his most striking performances: Count Almaviva in Rossini's "Barber of Seville" and Des Grieux in Massenet's "Manon". In 1915 Schipa was one of the artists taking part in a "stagione" under the baton of Arturo Tocanini at the Teatro Dal Verme. In the season of 1915/16 he sang for the first time at La Scala in Milan, where his debut role was Vladimir in Borodin's "Prince Igor". In 1917 he performed in Spain and Portugal, and on 27 March of that year he sang the world premiere of Puccini's "La Rondine" in Monte Carlo. He added another important part to his repertoire in 1919, the title role in Massenet's "Werther", with which he went on guest tours to Spain and South America. And he was the guarantee of repeated successes for Mascagni's "Amico Fritz". In 1920 Schipa sang with great success in Chicago, and a little later he was engaged by the Metropolitan Opera in New York, to which company he belonged well into the years of the Second World War. One of his most popular roles on the Met stage was that of Nemorino in Donizetti's "L'Elisir d'Amore". From then on, the Metropolitan and La Scala were his two most important houses, but he also guessed all over the world, earning immense fame both as an opera singer and concert artist.
One of Schipa's specialties was Italian folksongs. He had an unusually long career: as late as 1957/58 he went on tour as a conceit singer, giving guest performances in Moscow, Leningrad and Riga, among other places. Tito Schipa also appeared in several sound films and was a composer of operettas.