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Pasquale Amato (Baritone) ( Napoli 1878 – Long Island, New York 1942)




He studied with Benjamino Carelli and Vincenzo Lombardi (teacher of Fernando de Lucia) at the Conservatory San Pietro a Majella. He made his dйbut at the Teatro Bellini in Naples at the age of 21, singing Germont pиre in La Traviata. His career began at this early time and he soon appeared in roles such as Lescaut, Escamillo, Renato and Valentin. He sang at the Teatro Dal Verme in Milan, in Genua, Salerno, Catania, Monte Carlo and appeared in Germania and Russia. He was extremely successful in Donizetti’s Maria de Rohan and Leoncavallo’s Zazа. In 1904 he appeared at Covent Garden for the first time. He also alternated Victor Maurel and Mario Sammarco as Rigoletto. He sang again Escamillo and Marcel. He soon enjoyed huge success in South America and appeared there in all his roles. In 1907 he was celebrated at La Scala, where he sang Golaud in the Italian premiere of Pelleas et Mйlisande. He added Kurwenal (opposite Salomea Krusceniski and Giuseppe Borgatti) and the roles in Catalani’s La Wally and La Gioconda. In 1908 he was engaged at the Met. Here he sang frequently opposite Enrico Caruso, mainly in the Italian repertoire. His most successful roles at the Met were Luna, Carlos, Ashton, Tonio, Rigoletto and Amfortas. He created Jack Rance in Puccini’s La Fanciulla del West in 1910, opposite Emmy Destinn, Enrico Caruso and Adamo Didur. His repertoire included about 70 roles. He also appeared in various contemporary operas by Cilea, Giordano, Gianetti and Damrosch. From the beginning of his career he overused his wonderful voice. Vocal decline began in 1912 (he was 43 years old!) and from 1920 his career was relegated to appearances in provincial theatres and on tour with various companies. He spent the last years as professor of voice and opera at the Louisiana university. Comment: He is one of the greatest Italian br.s of all time. You hear a splendidly firm br. voice with a true ring in the upper register (up to high A). His voice is very individual, and it is almost impossible to confuse him with any other br.. He sings with a smooth legato and perfect articulation. It is a truly thrilling voice. I have the impression that he frequently sings with too much muscular tension. This might be one of the reasons for the early vocal deterioration (?). Renato’s Eri tu, Rigoletto’s Cortigiani and the Duet opposite Frieda Hempel, the Enzo-Barnaba Duet opposite Zenatello, the Figaro aria, his Jago, the truly exciting performance of the scene Amonasro-Aida opposite Ester Mazzoleni, the Pagliacci Prologue, all these are “classical” performances and belong to the best br. recordings ever made. He sings with an inimitable combination of Mattia Battistini’s bel canto style and the heroic splendour of Titta Ruffo.

Chronology of some appearances

1900 Siracusa  Teatro Comunale Ballo in maschera (Riccardo)
1902 Cagliari  Teatro Civico Andrea Chenier (Gerard)
1902 Milano Teatro Dal Verme  Andrea Chenier (Gerard)
1903 Cremona  Politeama Verdi  Andrea Chenier (Gerard)
1903 Breslavia Teatro Lobe Boheme (Schaunard)
1904 Palermo Teatro Massimo Barbiere di Siviglia (Figaro)
1904 Londra Teatro Covent Garden Boheme (Schaunard)
1907 Buenos Ayres  Teatro Coliseo Ballo in maschera (Riccardo)
1908 Santiago del Cile  Teatro Municipal Ballo in maschera (Riccardo)
1908 Valparaiso Teatro Victoria Ballo in maschera (Riccardo)
1913 New York Teatro Metropolitan Ballo in maschera (Riccardo)
1913 New York Teatro Metropolitan Barbiere di Siviglia (Figaro)
1913 Boston Opera House Barbiere di Siviglia (Figaro)
1914 New York Teatro Metropolitan Ballo in maschera (Riccardo)
1914 Parigi Teatro Champs Elysees Ballo in maschera (Riccardo)
1916 New York Teatro Metropolitan Ballo in maschera (Riccardo)
1929 Philadelphia Academy of Music Andrea Chenier (Gerard)
1934 New York  Hippodrome  Andrea Chenier (Gerard)



Aida: Ciel mio padre…Su dunque with Ester Mazzoleni Fonotipia 74139/140 XXPh 3895/96
Cavalleria rusticana:  Ad essi non perdono with Ester Mazzoleni Fonotipia 74141 XXPh 3898
La Gioconda: Cosi mantieni il pato with Ester Mazzoleni Fonotipia 74144 XXPh 3943
Ernani:  O sommo Carlo with Lina Pasini-Vitale and Piero Schiavazzi Fonotipia 74161 xxph4022
La Gioconda: Enzo Grimaldo...O grido di quest'anima with Rinaldo Grassi Fonotipia 92565/92566 XPh4044/XPh4045
Manon Lescaut: Guardate! pazzo son' io with Giuseppe Taccani Fonotipia 92492 Xph3875
La Traviata: Di Provenza Fonotipia 92510 Xph 3878
La Forza del Destino:  Urna fatale Fonotipia  92503 Xph 3904
Un Ballo in Maschera: Eri tu che macchiavi Fonotipia 92509 Xph 3925
L'Africana: Adamastor, re dell'acque Fonotipia 92502 Xph 3951
Il Trovatore: Tace la notte... Deserto sulla terra with Giovanni Zenatello Fonotipia 92841 Xph 4071-2
Otello: Si, pel ciel with Giovanni Zenatello Fonotipia 92759 Xph 4070
Il Trovatore: Giorni poveri vivea...Deh, rallentate, o barbari with Ferruccio Corradetti and Armida Parsi-Pettinella Fonotipia 92569/70 xph 4023/xph 4024
Il Guarany:  Senza tetto Fonotipia 92507 Xph 3931
Gioconda: Pescator, affonda l'esca Fonotipia 92513 Xph 3950
I Puritani: Suoni la tromba Fonotipia 92529 Xph 4029
Un Ballo in maschera: Alla vita che t'arride Fonotipia 62039 Xph 2438
Rigoletto: Cortigiani vil razza dannata Fonotipia 74138 XXph 3934
Zaza:  Zaza, piccola zingara Fonotipia 62175 Xph 25109
I Due Foscari:  Questa Dunque E L'iniqua mercede Fonotipia 92508 Xph 3932
Vola, vola! (De Cristofaro) Fonotipia 62369 Xph 3909
Chiarastella (De Cristofaro) Fonotipia 62368 Xph 3910
Germania:  Ascolta  io moriro  Fonotipia 92499 Xph 3954
Germania: Tu meri innanzi   Fonotipia 92500 Xph 3939
Tosca: Gia mi dicon venal Fonotipia 92515 Xph 3890
Tannhauser O tu bell’astro Fonotipia 92505 Xph 3914
Le Villi: Anima santa Fonotipia   92511  XPh3889
Zazа: Zazа piccola zingara Fonotipia 92009 XPh2691




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