410:
624:. Massenet transposed the protagonist's role downwards for baritone in a special version made especially for Battistini, harking back to an age when composers tailored their musical parts to fit the talents of one singer, and a singer of Battistini's stature could make almost any modifications seem acceptable. For those listeners sampling Battistini's discography for the first time, his touchstone recorded performances include versions of arias from
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wall-mounted recording funnel, much better than did many of his contemporaries, who often felt inhibited or intimidated by their uninspiring surroundings. His singing was considered to be 'old-fashioned', even in the circa-1900 era. Consequently, his discs provide a retrospective guide to
Italian singing practice of the early-to-mid-19th century (the era of
357:
under the name Pietro
Kovalensky. Though mother and father never married (Battistini was already married and a devout Catholic) and broke off contact, they did reconcile after Varvara's husband Vladimir Mrosovsky died. By that point, Petya (now known as Peter Mrosovsky) had finished school in England
22:
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operatic music was written. Battistini delivers this kind of music in a virile, bold, and patrician way. He is not averse, however, to showing off his voice by prolonging top notes or embellishing the written score with a liberality that might surprise 21st-century listeners who are imbued with the
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in 1886. Two years later, he once more sailed to Buenos Aires to fulfill a series of singing engagements; but this proved to be his last trans-Atlantic excursion, and he never appeared again in South
America. He also avoided North America despite receiving overtures from the management of the New
383:
Battistini formed his own company of singers following the 1914–1918 war. He toured with them and appeared frequently in concerts and recitals. He sang in
England for the final time in 1924 and gave his last concert performance one year before his death. His voice was reportedly still steady,
324:
The industrious
Battistini also appeared with some regularity in Milan, Lisbon, Barcelona, Madrid, Berlin, Vienna, Prague, Budapest, and Paris (where he sang for the first time in 1916). But his many social connections in Russia, and the favor that he enjoyed with the imperial family and the
592:
Fortunately, the sound of
Battistini's clear, high-placed, and open-throated baritone voice took well to the primitive acoustic recording process with only his very lowest notes sounding pallid. He also handled the trying conditions of the early sound 'studios', with their boxy confines and
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Mattia
Battistini was esteemed as one of the greatest of singers and even a cursory acquaintance with his many discs will make it clear why he was so celebrated by his contemporaries. Amongst the arsenal of vocal weapons that he displays on record was the perfect blending of his
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In
January 1900, Battistini and a young Russian admirer, Varvara Grigorievna Kovalensky (1878–1946), had a son Petya (1900–1972). For around ten years, Battistini and Varvara corresponded and worked out details of Petya's upbringing, eventually enrolling him at the
460:. Battistini's last recording session took place in February 1924. The earliest of his discs feature a piano accompanist but his later sung offerings were backed by a small band of orchestral musicians and, occasionally, a few choristers.
341:, Francesco Marconi, and Angelo Masini. This history-shaping political development, coupled with Battistini's refusal to sing in the Americas, meant that his career after the war's conclusion in 1918 was confined to Western Europe.
344:
Battistini's choice of bride had befitted his esteemed social status in
Tsarist Russia and the West; he married a Spanish noblewoman, Doña Dolores de Figueroa y SolĂs, who was the offspring of a marquis and a cousin of Cardinal
265:
Battistini is said to have developed a permanent horror of oceanic travel due to his adverse experiences on the particularly rough 1888 voyage to Buenos Aires. 1888 was also the year of his début at
656:, arguably his greatest part, which he committed to wax in 1906. For an evaluation of Battistini's technique, style, and legacy on disc, see his entry in Volume One of Michael Scott's survey
313:
like a prince, traveling in his private rail coach with a retinue of servants and innumerable trunks containing a vast stage wardrobe renowned for its elegance and lavishness. The composer
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Battistini dropped out of law school to study music with Emilio
Terziani (who taught composition) and with Venceslao Persichini (professor of singing) at the
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The first time Battistini sang in Paris was on Wednesday, 24 May 1916, at the Comédie-Française, at a gala memorial/benefit for French marine soldiers.
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391:, Austria, on 17 October 1927. He withdrew to his estate at Collebaccaro di Contigliano, Rieti, dying there from heart failure on 7 November 1928.
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respectively. He returned to Russia regularly, appearing there for 23 seasons in total, and touring extensively elsewhere in eastern Europe, using
609:
Perhaps Battistini's most historically illuminating recording is that of "Non mi ridestar", the Italian version of "Pourquoi me reveiller", a
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110:. The date for this has often been given as 11 December 1878, although 9 November 1878 is the correct date according to certain sources.
744:, and including a CD with 19 titles, and numerous rare photos from Chuilon's private collection, namely, Chuilon, Jacques (April 2009):
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740:. Paris, Romillat, AND, an English-language edition of Chuilon's detailed book, translated by E. Thomas Glasow, with a new preface by
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Austria; a 2-CD edition that boasts a discerningly chosen and well-transferred cross-section of the singer's large, recorded output.
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Battistini also taught voice in later years; among his pupils were the Basque baritone Celestino Sarobe and the Greek baritone
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From 1892 onwards, Battistini established himself as an immense favorite with audiences at Russia's two imperial theatres in
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regime and the aristocratic society that had enriched touring Italian opera stars like Battistini and his tenor compatriots
113:
During the first three years of his professional career, he toured Italy, singing principal roles in such varied operas as
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1052:
974:
476:, the original producer, issued a complete Battistini collection late in the LP era, remastered from the original 78-rpm
321:
for the baritone range when Battistini elected to sing it in Saint Petersburg in 1902, such was the singer's prestige.
449:
678:
Elsa Boscardini, of the Istituto Eugenio Cirese in Rieti, has published several pamphlets about Battistini, namely:
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nobility, ensured that Russia—more than perhaps even Italy—became his artistic home before the outbreak of the
72:
795:
Milano, Stampa d' Oggi Editrice, 1949 (reprinted with discography, W.R. Moran, editor, New York, Arno Press).
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for the first time, touring South America for more than 12 months. On his return trip, he appeared in
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on 27 February 1856. He spent most of his childhood in the Collebaccaro di Contigliano village, near
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191:
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836:
Steane, J.B., 1998. Singers of the Century, vol. 2. Amadeus Press, Portland, pp. 48–52.
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8:
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Mattia Battistini: The Complete Recordings 1898–1924, 6 CDs, Marston Records 2015 (USA).
269:, Milan. La Scala's audiences acclaimed him, and he was re-engaged for the next season.
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75:. Battistini attended the Collegio Bandinelli and later the Istituto dell' Apollinare.
246:. In his absence, Battistini's core repertoire was allocated to the Italian baritones
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This singer is found, too, on many historical CDs devoted to vocal compilations.
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The Complete Recordings: Mattia Battistini, Volume 1 (1902–1911), Romophone (UK).
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as his stepping-stone. He would journey to Warsaw, Saint Petersburg, Moscow, and
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effects. His art was perfected before the advent of "passion-torn-to-tatters"
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Battistini's initial sequence of records was cut in Warsaw in 1902 for the
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History of the Tenor / Mattia Battistini / Sound Clips and Narration 1989
765:
367:
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173:. He also participated in several operatic premières. In 1881 he went to
878:. Translated by Glasow. Toronto: The Scarecrow Press, Inc. p. 207.
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His grandfather Giovanni and uncle Raffaele were personal physicians to
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coupled with the sophisticated use of ornamentation, portamento, and
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652:—plus a scintillating series of excerpts of Don Carlo's scenes from
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and its associated companies. His records were issued in the US by
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82:—then the Liceo Musicale of Rome. Battistini worked with conductor
44:, referred to as the "King of Baritones" in multiple publications.
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67:, and his father, Cavaliere Luigi Battistini, was a professor of
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40:(27 February 1856 – 7 November 1928) was an Italian operatic
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and the composer Augusto Rotoli and consulted with baritone
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53:
905:
Mattia Battistini: King of Baritones and Baritone of Kings
876:
Mattia Battistini: King of Baritones and Baritone of Kings
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Mattia Battistini, King of Baritones and Baritone of Kings
746:
Mattia Battistini, King of Baritones and Baritone of Kings
473:
453:
452:. Between 1906 and 1924, he recorded extensively for the
713:
Dolores Figueroa y SolĂs, la esposa de Mattia Battistini
707:
Mattia Battistini, interprete delle melodie di Donizetti
540:
Mattia Battistini Rarities, Volumes 1–2, Symposium (UK).
963:(published April 1936): 2723–2726 – via Gallic.
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modern notion that a composer's work is sacrosanct.
547:
683:
Mattia Battistini, breve profilo storico-biografico
573:opera in the 1890s, and together with the likes of
733:. Rome, Istituto per la collaborazione culturale;
585:), he represented the twilight of the art of male
329:, in 1914. The war led to the destruction, by the
928:
1034:
849:. Md, USA: The Scarecrow Press. 2009. p. 7.
726:. Oxford & London, Oxford University Press;
375:with a first edition copy smuggled from Paris.
362:. There he had been friends with the likes of
863:. Paris: Editions Romillat. 1996. p. 17.
701:Mattia Battistini, il favorito di Pietroburgo
468:
198:In 1883, he undertook his first visit to the
695:Mattia Battistini entusiasma le platee umbre
1073:Accademia Nazionale di Santa Cecilia alumni
1000:"Mattia Battistini-The Complete Recordings"
537:Mattia Battistini, Volumes 1–3, Pearl (UK).
384:responsive, and in good overall condition.
480:discs by audio technician Keith Hardwick.
281:Battistini contemplates Yorick's skull as
98:Battistini made his operatic début at the
944:: 1–25 – via www.nabokovonline.com.
495:Mattia Battistini: a recital of arias by
387:His last singing engagement occurred in
378:
276:
226:. He also sang opposite leading soprano
28:
20:
1068:20th-century Italian male opera singers
1063:19th-century Italian male opera singers
975:"Xirellis Titos – Greek National Opera"
901:
873:
662:(published by Duckworth, London, 1977,
1035:
954:
955:Sarobe, Celestino (11 January 1936).
830:
793:Mattia Battistini, il re dei baritoni
715:(written in Spanish and illustrated).
60:, where his parents owned an estate.
463:
272:
230:in other Covent Garden productions.
80:Accademia Nazionale di Santa Cecilia
967:
748:, Lanham, MD, USA, Scarecrow Press
317:was prepared to adjust the role of
206:, where he appeared as Riccardo in
13:
902:Chuilon, Jacques (13 April 2009).
483:
408:
14:
1084:
1058:People from the Province of Rieti
1021:
548:An appreciation of his recordings
450:Gramophone and Typewriter Company
233:Battistini made his debut at the
929:Mrosovsky-Shaw, Liza (2016–17).
439:Problems playing this file? See
424:
992:
791:Palmeggiani, Francesco (1977):
673:
93:
979:virtualmuseum.nationalopera.gr
948:
931:"Following Darwin's Footsteps"
922:
895:
867:
853:
839:
804:
719:See also the following books:
1:
812:"Marston Records Liner Notes"
798:
401:
214:in a stellar cast containing
47:
7:
861:Battistini, le dernier divo
689:L'arte di Mattia Battistini
10:
1089:
1053:Italian operatic baritones
738:Battistini Le Dernier Divo
729:Celletti, Rodolfo (1964):
722:Celletti, Rodolfo (1996):
581:(and, to a lesser extent,
469:On vinyl long-playing disc
957:"Conférence sur le chant"
874:Chuilon, Jacques (2009).
736:Chuilon, Jacques (1996):
561:, as well as an array of
90:to refine his technique.
724:The History of Bel Canto
420:Act III: "O sommo Carlo"
366:, to whom he introduced
185:where he sang Figaro in
777:Lancellotti, A (1942):
754:Fracassini, G. (1914):
521:Lebendige Vergangenheit
289:. Photographed in 1911.
192:Il Barbiere di Siviglia
52:Battistini was born in
33:Battistini in the 1910s
25:Battistini in the 1910s
938:Nabokov Online Journal
413:
290:
102:, Rome, as Alfonso in
34:
26:
659:The Record of Singing
412:
379:Final years and death
280:
189:'s comic masterpiece
32:
24:
771:Großes Sängerlexikon
347:Rafael Merry del Val
116:La forza del destino
16:Italian opera singer
908:. Scarecrow Press.
818:on 6 September 2015
788:. Rome, Tiber; and
784:Monaldi, G (1929):
758:. Milano, Barbini;
526:Mattia Battistini:
358:and graduated from
158:Lucia di Lammermoor
768:, editors (2000):
528:Il Re dei Baritoni
414:
291:
252:Giuseppe Campanari
244:Metropolitan Opera
73:University of Rome
35:
27:
1006:on 29 August 2015
915:978-0-8108-6727-7
885:978-0-8108-6144-2
781:. Rome, Palombi;
762:Karl Josef Kutsch
756:Mattia Battistini
668:978-0-7156-1030-5
595:Gaetano Donizetti
589:singing on disc.
464:Selected reissues
454:Gramophone Co Ltd
429:
355:Collegio Nazareno
339:Francesco Tamagno
273:The Russian years
258:, and after 1908
224:Edouard de Reszke
220:Francesco Marconi
216:Marcella Sembrich
200:Royal Opera House
38:Mattia Battistini
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786:Cantanti Celebri
599:Vincenzo Bellini
583:Alessandro Bonci
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333:in 1917, of the
297:and Moscow: the
295:Saint Petersburg
235:Teatro San Carlo
208:Vincenzo Bellini
100:Teatro Argentina
84:Luigi Mancinelli
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982:. Retrieved
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709:(1998); plus
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579:Mario Ancona
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175:Buenos Aires
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139:Gli Ugonotti
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122:Il trovatore
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94:Early career
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62:
51:
37:
36:
18:
1048:1928 deaths
1043:1856 births
766:Leo Riemens
575:Pol Plançon
559:fil di voce
108:La favorita
1037:Categories
799:References
650:L'Africana
645:Tannhäuser
639:Don Carlos
530:, Preiser—
523:(Austria).
519:, Preiser—
441:media help
402:Recordings
331:Bolsheviks
212:I Puritani
152:I Puritani
147:L'Africana
134:Il Guarany
48:Early life
587:bel canto
555:registers
505:Donizetti
360:Cambridge
299:Mariinsky
179:Barcelona
128:Rigoletto
104:Donizetti
618:Massenet
603:Romantic
301:and the
267:La Scala
65:the Pope
42:baritone
1010:29 July
984:6 March
822:29 July
703:(1994);
697:(1993);
691:(1981);
685:(1980);
633:Macbeth
622:Werther
571:verismo
478:shellac
372:Ulysses
364:Nabokov
335:Tsarist
319:Werther
303:Bolshoi
187:Rossini
143:Dinorah
71:at the
69:anatomy
961:Lyrica
912:
882:
666:
654:Ernani
567:legato
563:rubato
509:Gounod
501:Flotow
497:Mozart
458:Victor
311:Odessa
307:Warsaw
287:Hamlet
239:Naples
222:, and
183:Madrid
170:Ernani
167:, and
934:(PDF)
616:from
611:tenor
513:Verdi
242:York
58:Rieti
1012:2015
986:2020
942:X–XI
910:ISBN
880:ISBN
824:2015
764:and
664:ISBN
648:and
614:aria
597:and
577:and
565:and
532:L.V.
389:Graz
181:and
164:AĂŻda
54:Rome
670:).
474:EMI
285:'s
237:in
210:'s
106:'s
1039::
977:.
959:.
940:.
936:.
888:.
751:;
642:,
636:,
630:,
620:'s
515:,
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349:.
262:.
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195:.
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125:,
119:,
1014:.
988:.
918:.
826:.
443:.
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