About
JOB
- Teatro alla scala - Milan
He was born in Milan, studied piano, violin and singing, reaching his artistic identity in the latter. Graduated with full marks at the G. Verdi Conservatory of Music, he joined his pedagogical and musical psychology studies, and won a scholarship in technique, interpretation and musical teaching for the artistic singing of the Italian-Spanish Institution "MUSICA Y ART “of Madrid. Perfected in vocal technique and musical education with prof. Pilar Lafarga y Ferrer and, for the interpretation, with the Masters Gino Bechi, Elio Battaglia, Alfredo Kraus, is deepened and convinced scholar of the Manuel Garçia singing method. He sang under the direction of the Masters R. Muti, G. Gavazzeni, G.Sinopoli, R.Chailly, S.Osawa, G.Pretre, Sir Colin Davis, P.Augin.
At the Teatro alla Scala he played: of Berlioz Le Troyens, of Verdi Stiffelio with J. Carreras, and La forza del destino with L. Nucci, under the direction of R. Muti. For the Consulate of AUSTRIA he sang the "Te Deum" by Giorgio Setti and the "Requiem" by Kurt Sonnenfeld. On the occasion of the Milano Musica 1998 Festival, he sang "Inscription on a Grave in Cornwall" by Gyorgy Kurtag at the Teatro alla Scala, under the direction of M ° R. Muti. Its versatility allows it to range from the chamber music repertoire to the operatic and contemporary repertoire.
He has a CD of lyric music to his credit entitled "Il canto è vita". To be published soon "Italian Arias of the 800". Performs concert activity, teaching, consultancy for respiratory technique and for recordings. They said of him:
"... we rarely listen to a bass voice that so admirably combines the sweetness of the dough with the nobility of the accent, with the clarity of the phrasing". (Melodramatic Review)
"Perfect his physique du role in the Mephistopheles of the work of the same name by A. Boito and the Faust of Gounod" (Amici della Lirica "Mario del Monaco")
"In the Don Giovanni how to define us if not simply admired in front of the subtle seductive evils of the character sciupafemmine par excellence? Even the nineteenth-century forbidden music was an admirable essay of bel canto, which would never have finished listening “. (Friends of the Opera "Mario del Monaco)
From the powerful vocality, from the natural and stamped emission, noble in the accent and in the phrasing, from the scanned and ductile diction to the evolution of the musical language, he considers all the great lyric artists of the past as "musical fathers". He considers it a duty to be inspired by Ezio Pinza, Cesare Siepi, Nicolaj Ghiaurov, Renato Bruson, Samuel Ramey.
His repertoire
CAMERISTICO: songs by F.P.Tosti, S.Gastaldon, L.Denza, S.Donaudy, A.Simonetti, E.Toselli, etc ...
SACRO: The Messiah of Haendel, Mass in Si min. , Magnificat, Cantata 147 - 132 - 82 by Bach, Credo by Scarlatti, Stabat Mater and Petite Messe Solennelle by Rossini, Requiem K626 and Mass for the Coronation 317
of W.A. Mozart, Mass in G major by Schubert.
OPERATIVE: I Masnadieri, Ernani, Verdi's Attila, Italian in Algiers, Barber of Seville by Rossini, Bohème by Puccini, La Sonnambula by Bellini, Don Giovanni by Mozart, Mephistopheles by Gounod and Boito, The maestro di cappella by Cimarosa.
They said of him:
we rarely listen to a bass voice that so admirably combines the sweetness of the dough to the nobility of the accent, to the clarity of the phrasing.
(The Friends of the lyric G.Aschedamini)
Perfect his physique du role in the Mefistofele of the work of the same name by A. Boito and by Faust by C. Gounod.
(Friends of the Opera Mario del Monaco)
in the Don Giovanni how to define us if not simply admired in front of the subtle seductive evils of the character sciupafemmine par excellence?
.pure the nineteenth-century forbidden music was an admirable essay of bel canto, which would never have finished listening
(Gli Amici della lirica - G.A.)
valid antagonist of the bass Samuel Ramey (Dr. A. Dragoni)
... as an excellent bass in opera romances and in Tosti's living room songs. (Corriere della Musica)
.. in Quoniam, from Rossini's Petite Messe Solennelle, the bass voice was able to express interpretative flexibility, alternating moments of extreme religiosity with moments of expressive power.
(Corriere della Musica)
taken from an interview with Luciano Andreoli appeared in the Corriere della Musica (n ° 2228)