Ashot Arakelyan, Armenia. Erevan, Street Tamanyan 2, Apartment 20, Postal code 0009, Tel: +37410 094163164,

My Blog List

Soviet Tenors

Emilio's Blog: Living with historical recordings (mainly Opera and classical)

European Film Star Postcards

La Voce Antica

The Shellackophile

Recordings of classical music from the 78-rpm era

78 toeren opera en zang

Soprano Constantina Araujo (1922-1966)

The 78rpm Record Home Page

Forgotten Opera Singers

Last Updates
Silvano Isalberti, Remo Sangiorgi, Regina Pinkert, Regina Pacini, Pietro Lara

Share on Facebook

Giuseppe Anselmi (Tenor) (Catania 1876 – Zoagli presso Rapallo 1929)




He was born Antonio Giuseppe Anselmi in Nicolosi, near Catania, and entered the Naples Conservatory when he was only 12 years old. There he studied composition, violin and piano before he became interested in singing. Exactly when Anselmi turned his attention to voice, or whether he studied with someone or was primarily self-taught, is not clear, but he is generally credited with touring in an operetta company by the time he was only 16 years old. At one point in his travels, he was heard by Giulio Ricordi, who sensed operatic possibilities and referred the young man to Luigi Mancinelli for further vocal training. Anselmi is generally credited by the "authoritative" sources as having made his operatic debut at the Royal Opera in Athens (1896), as Turiddu in ‘’Cavalleria Rusticana’’, but there is no surviving documentation to support this claim. In a 1918 interview, Anselmi remembered the year as being a bit later, and the location being Patras, Greece, where his repertoire did include Turiddu, but the tenor roles in ‘’La Traviata’’, ‘’Rigoletto’’ and ‘’Il Barbiere di Siviglia’’ as well. In late 1898, Anselmi appeared at Smyrna with an opera company headed by an impressario named Gonzalez, and toured with the company to Athens, Istanbul and Alexandria. As a principal tenor with this company, he sometimes sang as many as five times a week. In 1900, Anselmi made his debut in Genoa, singing Rodolfo, the Duke and Edgardo (to Fanny Toresella’s Lucia). That same year he appeared at the San Carlo in Naples, where he sang with Angelica Pandolfini and Rina Giachetti (the sister of Caruso’s mistress) in ‘’Le Maschere’’, a new work by Mascagni. Anselmi made his London debut at Covent Garden (1901) as the Duke in ‘’Rigoletto’’ (with Suzanne Adams as Gilda). His other performances that summer in London included Rodolfo (with Melba and Scotti) and the tenor solo in Verdi’s Messa da Requiem (with Gadski, Brema and Planзon). The London critics were for the most part unimpressed, and spoke of "bad habits" and a "disagreeable bleating tone that is characteristic of Italian tenors." The Times critic predicted that Anselmi’s voice would be "permanently ruined" within a "few seasons." Then, as now, critics were frequently incorrect. He returned to London on several occasions, but was especially admired in St. Petersburg, Buenos Aires, Milan (La Scala), Warsaw and Madrid in a variety of rфles that included Cavaradossi, Loris in ‘’Fedora’’, Maurizio in ‘’Adriana Lecouvreur’’, Osaka in ‘’Iris’’, Lensky, Edgardo, Nadir in ‘’Pescatori di Perle’’ and many others. He also sang with great success in opera and concerts in Brussels, Vienna, Berlin, Monte Carlo and Paris (although his only known performance there took place in 1907 in the private theater of Jean de Reszke’s home; he sang Almalviva to Adelina Patti’s Rosina in her last ever operatic appearance). The First World War greatly curtailed his activities, and by the time it was over, so was, for the most part, Anselmi’s relatively short career. Like a great many other famous singers of his era, he turned to teaching (in Italy), and also did some composing of his own. His last appearance was at a benefit concert in Rapallo (1926), when he not only sang, but played the violin and provided the piano accompaniment for some of his students as well. Pneumonia claimed him at a rather early age. Comments: Giuseppe Anselmi, a fine actor, was tall and handsome as well, and became very much a "matinйe idol" in his day, more or less in the tradition of Jean de Reszke. But good looks in his case were merely an eye-pleasing ornamentation, for he possessed an equally lovely voice and was very musically intelligent. There are many aspects to his personal life that were shrouded in mystery even during his lifetime; he seems to have liked it that way. Anselmi was passionately devoted to his art, and in the end gave his heart to Madrid (quite literally), where it is preserved in that city’s theatrical museum.

Chronology of some appearances

1900 Smirne  Sporting Club Favorita (Fernando)
1900  Atene  Grand Theatre Favorita (Fernando)
1900 Cairo Teatro Ebekieh Il Barbiere di Siviglia (Almaviva)
1900 Cairo Teatro Esbekieh Favorita (Fernando)
1902 Buenos Ayres  Teatro Opera Favorita (Fernando)
1904 Naples Teatro San Carlo Adriana Lecouvreur (Maurizio)
1905 Montevideo  Teatro Solis Don Pasquale (Ernesto)
1905 Montevideo  Teatro Solis Amica (Giorgio)
1905 Odessa  Teatro Municipale Adriana Lecouvreur (Maurizio)
1906 Buenos Ayres  Teatro dell'Opera Don Pasquale (Ernesto)
1912 Buenos Ayres  Teatro Colon Don Pasquale (Ernesto)



Scetate (Costa) Fonotipia 62285 XPh2826
La mia canzone (Tosti) Fonotipia 62155 XPh2634
Comm' o zuccaro (Fonzo) Fonotipia 62405 XPh4063
Lucia di Lammermoor: Tombe degli avi miei…Fra poco a me ricovero Fonotipia 62286/7 XPh 2834/5
La Favorita: Una vergine un angio di Dio Fonotipia 62319 XPh 3068
Don Pasquale: Sogno soave e casto Fonotipia 62183 Xph 2559
Duca d’alba: Angelo casto e bel Fonotipia 62471 XPh 4060
Cosi fan tutte: Un’aurora amorosa Fonotipia 62393 XPh
Luisa Miller: Ah! fede negar potessi…Qando le sere al placido Fonotipia 62159/60 XPh 2836/2569
Rigoletto: Questa o quella Fonotipia 62148 Xph 2560
Rigoletto: La donna e mobile Fonotipia 62149 Xph 2572
Ammore e’femmena Fonotipia 62404 Xph 4064
I Pescatori di Perle: A quella voce…Mi par d’udire ancor Fonotipia 62270/1 Xph 2840/1
La Traviata: Lungi da lei…De miei bollenti spiriti Fonotipia 62470 XPh 1257
Mignon: Addio Mignon Fonotipia 62279 XPh 2870
Mignon: Ah! non credevi tu Fonotipia 62161 XPh
Don Giovanni: Il mio tesoro Fonotipia 62167 XPh 2571
Ideale (Tosti) Fonotipia 62152 Xph 2630
Il Barbiere di Siviglia: Ecco ridente in cielo Fonotipia 62268 XPh 2820
Romeo e Giulietta: Ah sorgi o luce in ciel Fonotipia 62267 XPh
Don Giovanni: Dalla tua pace Fonotipia 62392 XPh 4056
Lucrezia Borgia: Di pescatore ignobile Fonotipia 62273 XPh 2838
Mefistofele: Dai campi, dai prati Fonotipia 62282 XPh 2911
Mefistofele: Giunto sul passo estremo Fonotipia  62283 XPh 2914
Aida: Celeste Aida Fonotipia 62561 Xph
Carmen: Il fior che avevi a me tu dato Fonotipia 62399 XPh 4077
Malia (Tosti) Fonotipia 62401 XPh 4076
La Gioconda: Cielo e mar Fonotipia 74029 Xph
L’Elisir d’Amore: Una furtiva lagrima Fonotipia 62272 XPh 2839
Carmela (de Curtis) Fonotipia 62478 XPh4260
Mattinata (Mugnone) Fonotipia 62539 XPh4438
Pourquoi tardez-vous? (Denza) Fonotipia 62544 XPh4241
Eugenio Onegin: Lontan, lontan da me Fonotipia 74035 XPh 2823
Manon: Sogno Fonotipia 62165 XPh 2568
Cavalleria Rusticana: O Lola Fonotipia 62162 XPh 2573
Canzuna Siciliana (Alagna) Fonotipia  62541 XPh4235
Uocchie nire! (Denza)  Fonotipia 62432 XPh4236
Non t'amo piu (Tosti) Fonotipia 62435 XPh4240
Pagliacci: Un tal gioco Fonotipia 62472 XPh 4262
Pagliacci: Recitar…Vesti la giubba Fonotipia 62160 Xph 2561
Canto alla primavera Fonotipia 62477 Xph 4251
Werther: Io non so se son desto…O natura Fonotipia 62277 Xph 2872
La Serenata Fonotipia 62400 XPh 4075
Werther: Ma come dopo il nembo Fonotipia 62276 Xph 2871
Werther: Ah! non mi ridestar Fonotipia 62163 Xph 2567
Manon Lescaut: Donna non vidi mai Fonotipia 62396 XPh 4058
Manon Lescaut: Ah! Manon mi tradisce Fonotipia 62397 Xph 4062
Occhi turchini Fonotipia 62153 XPh 2637
La Boheme: Che gelida manina Fonotipia 74032 5500 F
Fedora: Amor ti vieta Fonotipia 62164 Xph 2562
Iris: Apri la tua finestra Fonotipia 62184 Xph 2605
Tosca: Recondita armonia Fonotipia 62185 Xph 2604
Le Maschere: Io sono come nube Fonotipia 62398 XPh 4061
Marcella: O mio Marcella Fonotipia 62169 XPh 2913-2
Serse: Vo godendu vezzoso e bella Fonotipia 62473 XPh 4246
Il Barbiere di Siviglia Se il mio nome Fonotipia 62394 XPh 4055
Che felicitа (Davidov) (Ru)  62187 XPh2589
O sole mio (di Capua)  Fonotipia 62284  XPh2825
Domani (R Strauss) Fonotipia  62436 XPh4253
Spes ultima Dea (Mugnone) Fonotipia 62540  XPh4439
Maria Mari (di Capua) Fonotipia  62479 XPh4261
Tre giorni son che Nina (Pergolesi) Fonotipia  62474 XPh4234
Marechiare (Tosti) Fonotipia  62433  XPh4239
Pagliacci: Vesti la giubba Edison 1372 83008-R
La Gioconda: Cielo e mar Edison 1373 83004-R
La Favorita: Spirto gentil Edison 1374 83007-R
I Pescatori di Perle: Mi par d'udir ancor Edison 1375 Unpubl.
L'Africana: O Paradiso Edison 1376  83025-R
Lucia di Lammermoor: Tu che a Dio spiegasti l'ali Edison 1377-B 83018
Mignon: Ah! non credevi tu Edison 1378-B 83015



Бесплатный хостинг uCoz