woensdag 9 november 2016

Nazzareno de Angelis, bas (Fonotipia, 1907, 1909)

Nazzareno de Angelis (L'Aquila, 17.11.1881 - Rome, 14.12.1962): Italiaanse bas. Zong als jongen o.a. in de Sixtijnse Kapel. Opgeleid door dr. Faberi aan de Accademia di Santa Cecilia in Rome. 
1903: debuut in Linda di Chamounix (Donizetti) als Prefect. Zong daarna in andere theaters in Rome.
1905: tournee door Nederland
1907: debuut in La Scala, Milaan
1910-1911: Chicago Grand Opera Company
1910-1925; 1928-1938: Opera Rome
1913: creëerde de rol van Archibaldo in L'Amore dei tre re (Montemezzi)
1920-1925: Chicago Opera Association
Trad ook veel op in Zuid-Amerika.
1939: trok zich terug van het operapodium en wijdde zich aan lesgeven in Milaan en Rome.

Nazzareno de Angelis heeft opgenomen voor Fonotipia (1907-1909, 27 titels) en Columbia (1927-1931, ca. 47 titels). In 1931 zong hij mee in een complete Mefistofele (Boito). 

Louis Niedermeyer (Nyon, 27.04.1802 - Parijs, 14.03.1861) was een componist van hoofdzakelijk kerkmuziek, ook schreef hij enkele opera's. Hij vestigde zich in 1823 in Parijs, waar 4 van zijn opera's (niet met veel succes) werden uitgevoerd. In 1853 nam hij de École Cholon over en herdoopte die in École Niedermeyer (de school is enkele keren van naam veranderd maar bestaat nog).

Nazzareno de Angelis, bas:

1  Louis Niedermeyer: Pater Noster    2:50
2  Franz Schubert: Ave Verum    2:51
    + orgel
    78t 27 cm: Fonotipia 62180/1   XPh 2628/7
    Opname Milaan, 08-05-1907

3  Arrigo Boito - "Mefistofele": Ecce il mondo    2:13

4  Giacomo Puccini - "La Bohème": Vecchia Zimarra    2:16
    + orkest
    78t 27 cm: Fonotipia B 92 442/3   XPh 3754/1
    Opname Milaan, 08-01-1909 (3); 07-09-1909 (4)

Download mp3

2 opmerkingen:

  1. Hi Satyr, long time since I was here, how lovely to see these old labels again. This De Angelis disc reminds me of something i have been unable to find any info about: it appears to have an etched signature on it, and I have lots of 78s with similar etched signatures. What I can't find out is, are they 'real' autographs that the singers scratched onto a disc held out by a fan, or are they 'faked' by the record companies? I'd assumed the latter, until I got a Zenatello disc where the signatures (front & back!) are very different - so unlikely to be stamped in by a machine... This disc also has a Destinn signature, not only in different handwriting but also much more faintly scratched - which again suggests not a machine.

    But, if they're real autographs, why does no-one seem to care about them?! To me, a disc that might have actually been touched by Destinn and Zenatello is much more interesting than one which just sat in a shop and came home... Any thoughts or info? Thanks


  2. (An option in-between the others is, I suppose, real autographs scratched into the matrix, so every record pressed would include the autograph, even if the singer actually signed the matrix?)