1923 acoustic AURELIANO PERTILE FEDORA Vedi Io Piango / Amor ti Vieta78

$

31

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Aureliano Pertile (9 November 1885, Montagnana - 11 January 1952, Milan) was an Italian lyric-dramatic tenor. Many critics consider him one of the most exciting operatic artists of the inter-war period, and one of the most important tenors of the entire 20th century.


 Italian Star Tenor Aureliano Pertile in acoustic10" 78 rpm record

FEDORA
Vedi io piango
Amor Ti Vieta

Jan 1923,   Studio Colu D-9407 (70603)
  Pertile, Aureliano
All Columbia acoustic recordings have captured Pertile in a superb vocal shape with an expressive mezza voce and a ring that accompanies the tenors effortless ascensions to the higher registers.

Condition:

EXCELLENT  scuffs, light longer scratch on Amor, plays very very quiet w some clicks on Amor

Aureliano Pertile (9 November 1885, Montagnana - 11 January 1952, Milan) was an Italian lyric-dramatic tenor. Many critics consider him one of the most exciting operatic artists of the inter-war period, and one of the most important tenors of the entire 20th century.

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 New York Metropolitan Opera debut as Cavaradossi in Tosca, with Maria Jeritza in the title role, on 1 December 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 (opposite Geraldine Farrar). He also participated in performances of Louise with the Met's touring company at Philadelphia and in Brooklyn.
Thereafter he returned to Italy, where he established himself as the leading tenor at La Scala from 1927 to 1937, becoming a favourite singer of the principal conductor Arturo Toscanini.
As well as previously mentioned works, his La Scala repertory 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, and the title part in Fra Diavolo. He also created the leading tenor parts in Boito's Nerone, in 1924, Wolf-Ferrari's Sly, in 1927, and 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 between 1918-29. His soprano colleagues included such famous divas as Claudia Muzio, Rosa Raisa, Ninon Vallin, Bidú Sayao, Hina Spani and Toti Dal Monte.
He appeared, too, in unusual operatic works, creating for example the role of Fernando in Felipe Boero's opera Tucuman (in 1918) and the title role in Constantino Gaito's Ollantay (in 1926).
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 excerpts from Otello with Gina Cigna as Desdemona).

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