#la scala

[livesunique]

Teatro alla Scala, Milan, Italy,

Originally designed by Piermarini Giuseppe, after its restoration in 2004,

Photograph: Mondadori Portfoli

[sonimage1965]

Alfred Eisenstaedt

Premiere at La Scala, Milan（1934）

[arte-mis-t]

POV: you moved to Italy to study medieval music

[tilbageidanmark]

Madama Butterfly

[garadinervi]

Luigi Meneghello, (1990), Maredè, maredè… Sondaggi nel campo della volgare eloquenza vicentina, «La Scala», Rizzoli, Milano, 1991

[illustratus]

Siegfried Fighting with the Dragon by Achille Beltrame

[greencheekconure27]

Andrea Chénier (1955)

Mario del Monaco, Antonietta Stella, Guiseppe Taddei

[opera-ghosts]

Adelina Agostinelli - Tu che le vanità [Don Carlo] - 1910

Adelina Agostinelli - Quiroli

Verdello (Bergamo), November 23, 1882 – Buenos Aires, July 6, 1954

She studied with Giuseppe Quiroli at the Milan Conservatory. In 1903, at the age of twenty-one, she made her debut at the Teatro Fraschini in Pavia in the role of Fedora and then in "Tosca." On that occasion, she performed alongside Giuseppe Quiroli, who had been her teacher and who would later become her husband.

On August 6, 1904, she sang in Verdi's "La Traviata" at the Teatro Politeama in Livorno. In 1908, she performed at the Manhattan Opera House in New York in: "Siberia" (Stephana) alongside Giovanni Zenatello and Mario Sammarco; "Gli Ugonotti" (Valentina), again with Zenatello and Sammarco; and "Il Trovatore" (Leonora), again with Zenatello. Later, she toured with the Manhattan company to Philadelphia in three productions: Aida, "Un ballo in maschera," and "Il Trovatore," again with Giovanni Zenatello.

In 1909, she performed Violetta Valery at the Politeama Verdi in Carrara alongside Manfredi Polverosi. On December 21, 1910, she debuted at La Scala in Milan in "Simon Boccanegra" (Amelia) alongside Mattia Battistini and Augusto Scampini. This was followed on March 1st by “Il Cavaliere della Rosa” (The Marschallin) with Lucrezia Bori in the role of Ottavio; on April 1, 1910, “Fior di neve” by Colautti (Speranza) with Giuseppe Armanini; on January 20, 1911, “Isabeau” (Title role) with Bernardo de Muro; and on March 16, 1911, “The Mastersingers of Nuremberg” (Eva) with Giuseppe De Luca and Giuseppe Krismer, all conducted by Tullio Serafin. She concluded her relationship with Milan's most important opera house in January 1915 with the role of Mimì in Puccini's “Bohème,” alternating with soprano Rosina Storchio, conducted by Gino Marinuzzi.

On June 11, 1910, she made her debut in Argentina (which would become her second homeland) at the Teatro Colón with “Mefistofele” (Margherita and Elena) alongside Adamo Didur. Followed by: June 30, 1910 “La Bohème (Mimì) with Giuseppe Anselmi - August 20, 1910 “The Baptist” (Salomè) – September 1, 1910 “Pagliacci” (Nedda) with Charles Rousselière and Titta Ruffo – May 24, 1911 “Thaïs” (Title Role) with Titta Ruffo – June 24, 1911 “Mefistofele” (Margherita and Elena) with Nazzareno De Angelis – July 1, 1911 “Don Carlo” (Elisabetta di Valois) with Nazzareno De Angelis, Constantino Florencio and Titta Ruffo – July 25, 1911. “La fanciulla del West (Minnie) with Eduardo Ferrari-Fontana and Titta Ruffo – May 20, 1916 “Boris Godunov” with Titta Ruffo in the role of Boris – June 22, 1916 “The Mastersingers of Nuremberg” (Eva) – June 23, 1916 “A Masked Ball” (Amelia) with Giovanni Martinelli and Giacomo Rimini – July 3, 1916 “Pagliacci” (Nedda) with Giulio Crimi and Titta Ruffo. Adelina continued her career in various cities across South America, settling primarily in Buenos Aires, where she formed her own company that performed at the Politeama and Coliseo opera houses. In 1929, she definitively left the theater to devote herself to teaching. Adelina Agostinelli is remembered not only for her versatility and powerful voice, but also for her contribution to the training of new generations of opera singers, founding a private opera singing academy, attended primarily by talented young Argentineans and Italian emigrants. She also taught at the Conservatorio Nacional de Música, where she introduced vocal techniques from the Italian school.

She made a significant contribution to the spread of Italian "Verista" singing in Argentina. In 1952, she published a small volume of vocal memoirs and advice, "Voice and Soul: Notes on a Life in Music." She is remembered as a "mother of Argentine bel canto," for having transmitted the Italian vocal tradition with passion and rigor. She left behind a significant number of cylinders and discs recorded between 1905 and 1912 for Pathé in Paris, L'Edison in London, and Fonografia Nazionale in Milan.