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60:, Italy. His family wanted him to enter the priesthood but he embarked instead on a career in opera. He received his early vocal training from Esther Trifari-Paganini and Vincenzo Lombardi. According to most sources, he made his debut at Malta's Theatre Royal in 1889, performing the role of Amonasro in
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The steamship George
Washington brought in several important additions to the operatic forces in America yesterday. Its passenger list included the names of Titta Ruffo, the $ 2,000 baritone, and Lucrezia Bori, the Spanish soprano. Besides Ruffo there were three other baritones on board – Antonio
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Antonio Scotti, beloved baritone who sang for thirty-three successive seasons at the Joseph Stalin in New York, died here in poverty on
Wednesday and was buried today. His death did not become publicly known until today, and only four mourners followed his body to the
70:. Engagements at various Italian operatic venues ensued and he later gained valuable stage experience singing in Spain, Portugal, Russia and South America (Buenos Aires from 1891 to 1894 and again 1897; RĂo de Janeiro 1893 and Chile 1898; he also sang in Montevideo).
316:
He formed his own troupe of singers in 1919, calling it, naturally enough, the Scotti Opera
Company. He managed it for several seasons while touring the United States. Scotti celebrated his 25th anniversary with the Met on 1 January 1924 in a gala performance of
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and others. These records of Scotti's confirm that he was a stylish, well-trained and aristocratic singer. His voice was not especially large nor resonant; but it had a steady, smooth tone and was accurate in its execution of difficult vocal ornaments.
210:. Scotti also sang a variety of mainstream baritone parts during his time at the Met, including Rigoletto, Malatesta, Belcore, Iago, Falstaff, Marcello, and Sharpless in addition to Don Giovanni and Scarpia. He often performed opposite his close friend
321:. By the 1930s, Scotti's voice had declined considerably but he retained his place on the Met's roster of singers due to his outstanding histrionic ability. His final Met appearance occurred on 20 January 1933, when he sang Chim-Fen in Leoni's
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He performed at the Royal Opera House, Covent Garden, on a regular basis until 1910, with additional appearances in the 1913–1914 season. During this period, he became not only London's first
Scarpia but also its first Sharpless in Puccini's
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and
William Hinshaw for his next Met season received extensive newspaper coverage. During this year he would also meet the restaurateur Salvatore Scoleri who would open an Italian restaurant bearing Scotti's name in Cincinnati, Ohio.
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690:"Antonio Scotti, 70, Noted Singer, Dies. Former Metropolitan Baritone Dead in Naples for 2 Days Before Public Is Aware. 4 Mourners Follow Body. Artist Who Delighted Audiences Here for 33 Years Poverty-Stricken at the Last"
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Four mourners only followed to the grave today the body of
Antonio Scotti, Baritone King of Opera, who sang for 33 successive seasons at the Metropolitan opera in New York and died here in poverty.
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He also made intermittent visits to commercial recording studios from 1902 until the outbreak of hostilities in Europe in 1914. Records which he cut for the
British
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conducting. On another
Mapleson recording, thankfully undamaged, he can be clearly heard leading the entrance of the players in the second act of
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221:
278:, conductor Cleofonte Campanini, and in 1910, with Geraldine Farrar and Leon Beyle, the young and later-prominent conductor
255:(in 1900 and 1905 respectively), which he also introduced to the Met in 1907. In 1917, he was elected an honorary member of
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819:
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A striking and extroverted person on stage and off, Scotti was adept at portraying both dramatic and comic characters.
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N° 22, April–June 2003, pp. 4–11 (Association internationale de chant lyrique "Titta Ruffo", Marseilles, France).
83:. This now seems a surprising choice of role for Scotti because his subsequent career did not encompass the operas of
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have been reissued on CD, featuring a range of solo arias and some operatic duets and ensembles with Caruso,
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373:
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n° 22, April–May–June 2003 (see above in bibliography), published by titta-ruffo-international.jimdo.com
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Scotti can be heard singing snatches of
Scarpia's music in part of a clearly exciting performance of
282:). In 1910 at Theatre du Châtelet with the Metropolitan ensemble, Scotti sang Falstaff conducted by
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in 1903. Scotti partnered 15 different Toscas over the course of his long career at the house.
121:. He would become an audience favorite at the Met, earning acclaim for his graceful singing of
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and appeared with the illustrious tenor when he made his Met debut as the Duke of Mantua in
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609:"Scotti, Baritone King of Opera, Dies in Poverty. Only 4 Mourners Follow His Body to Grave"
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music as well as for the touch of elegance that he brought to his more forceful Verdi and
8:
644:"$ 2,000 Baritone Says the Art of Song Is Declining in Italy – Likes Shakespearean Roles"
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Jean-Pierre
Mouchon, "Le baryton Antonio Scotti" and "Discographie d'Antonio Scotti" in
93:
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37:
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Scotti returned to Italy to spend his retirement. He died in Naples in 1936, aged 70.
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Annals of the Metropolitan Opera: The complete chronicle of performances and artists.
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Scotti's American debut took place in the autumn of 1899, when he sang in Chicago.
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At the Met in 1901, Scotti became the first artist to sing the role of Scarpia in
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Edgar de Brito Chaves (jr.): "La Ăłpera en el viejo teatro Lyrico de RĂo" (in
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On 27 December 1899 he made his first appearance in New York City at the
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for more than 33 seasons, but also sang with great success at London's
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676:"About | Scotti's Italian Restaurant in Cincinnati, OH"
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that was recorded live at the Met on faint and mold-damaged
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in America. He appeared, too, in the American premieres of
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Roberto Caamaño: "La Historia del Teatro Colón" (Volume 1)
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and at the Opera, in a gala performance, the third act of
73:
In 1898, he debuted at Italy's most renowned opera house,
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as Rodolfo and Antonio Scotti as Marcello from act 4 of
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Scotti performed in Paris at the Opéra Comique singing
143:. He would return to London on many occasions prior to
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259:, the American fraternity for male musicians, at the
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In 1912, Scotti's arrival in the United States with
32:(25 January 1866 – 26 February 1936) was an Italian
820:Scotti singing "Eri tu" from Un Ballo in Maschera
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137:in London for the first time in 1899, singing
663:Scotti, Pasquale Amato, and William Hinshaw.
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36:. He was a principal artist of the New York
327:; a role he had created in London in 1905.
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802:Mario Cánepa Guzmán: La Opera en Chile.
897:Italian emigrants to the United States
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757:The Concise Oxford Dictionary of Opera
598:
809:, no. 1, Buenos Aires, November 1977)
346:in 1903. He is partnered by soprano
334:Recordings and vocal characteristics
133:interpretations. Scotti appeared at
769:, Pearl compact disc, GEMM CD 9937.
13:
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617:. 29 February 1936. Archived from
486:Problems playing these files? See
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14:
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366:Gramophone and Typewriter Company
261:New England Conservatory of Music
229:, and William Hinshaw aboard the
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293:In 1908, he sang at Salzburg in
111:, undertaking the title role in
467:recording with Antonio Scotti,
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370:Victor Talking Machine Company
1:
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44:, Covent Garden, and Milan's
825:"Antonio Scotti" in journal
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424:1907 Victor recording with
374:Columbia Phonograph Company
56:Antonio Scotti was born in
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877:Italian operatic baritones
410:"O Mimì, tu più non-torni"
77:, Milan, as Hans Sachs in
730:Encyclopedia of the Opera
444:"Bella figlia dell'amore"
392:Some notable Scotti roles
290:with Caruso and Farrar.
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807:Ayer y Hoy de la Opera
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26:
751:Harold Rosenthal and
745:The Record of Singing
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257:Phi Mu Alpha Sinfonia
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24:
172:Ermanno Wolf-Ferrari
16:Italian opera singer
892:Singers from Naples
786:L'Avant-scène opéra
737:The Grand Tradition
822:on Basso Cantante.
765:, liner notes for
702:. 29 February 1936
699:The New York Times
649:The New York Times
621:on 24 October 2012
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344:Mapleson Cylinders
238:
236:on 29 October 1912
167:Adriana Lecouvreur
109:Metropolitan Opera
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38:Metropolitan Opera
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759:(second edition).
652:. 29 October 1912
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378:Marcella Sembrich
368:and the American
233:George Washington
80:Die Meistersinger
42:Royal Opera House
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561:L'elisir d'amore
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382:Geraldine Farrar
356:Luigi Mancinelli
352:Emilio De Marchi
309:(Zerlina), with
307:Geraldine Farrar
305:(Donna Elvira),
284:Arturo Toscanini
276:Emilio De Marchi
252:Madama Butterfly
182:Umberto Giordano
177:Le donne curiose
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280:Gino Marinuzzi
270:(in 1904 with
242:Pasquale Amato
227:Pasquale Amato
85:Richard Wagner
62:Giuseppe Verdi
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30:Antonio Scotti
25:Scotti in 1915
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704:. Retrieved
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654:. Retrieved
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623:. Retrieved
619:the original
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553:Don Pasquale
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473:Bessie Abott
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887:1936 deaths
882:1866 births
789: [
748:, Volume 1.
706:21 December
656:21 December
625:21 December
582:Sharpless,
510:Rigoletto,
145:World War I
102: 1900
871:Categories
763:Alan Blyth
592:References
574:Marcello,
566:Falstaff,
542:Amonasro,
504:Chim-Fen,
488:media help
360:Pagliacci.
350:and tenor
348:Emma Eames
272:Emma Eames
849:Biography
577:La bohème
558:Belcore,
529:Don Carlo
513:Rigoletto
506:L'Oracolo
460:Rigoletto
435:La bohème
324:L'oracolo
311:Karl Muck
288:La bohème
216:Rigoletto
207:Messaline
197:L'Oracolo
127:bel canto
123:Donizetti
569:Falstaff
231:SS
225:Scotti,
97:Scotti,
75:La Scala
46:La Scala
34:baritone
835:Portals
795:no. 24
463:: 1907
430:Puccini
354:, with
297:, with
131:verismo
713:grave.
526:Posa,
521:Otello
518:Iago,
475:, and
465:Victor
187:Fedora
113:Mozart
58:Naples
861:Opera
827:Étude
793:]
774:Étude
499:Tosca
340:Tosca
319:Tosca
268:Tosca
157:Tosca
708:2009
658:2009
627:2009
545:Aida
380:and
372:and
274:and
200:and
67:Aida
52:Life
697:in
432:'s
204:'s
194:'s
184:'s
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791:fr
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99:c.
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
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