Mario Petri

Large bass Mario Petri enjoyed substantial success in his indigenous Italy through the 1950s and 1960s, essaying a number of bass roles which range from those of bel canto composers to early and mid-period works of Verdi. His not really unattractive timbre was relatively wooly in consistency and he lacked the sheer vocal clout to contend with such low-voiced luminaries as Boris Christoff, Nicola Rossi-Lemeni, and Giulio Neri, after that prominent on Italian phases. non-etheless, his lithe and muscular appearance produced him well-suited to a job such as for example Don Giovanni and his looks as the Don received some positive notices. On-stage and on disk, his undoubted apogee happened with a creation and subsequent documenting of Rossini’s L’Italiana in Algeri with mezzo soprano Giulietta Simionato and conductor Carlo Maria Giulini. In the second option part of his profession, Petri attempted some accurate baritone functions, but with no security he previously demonstrated in the bass register. By 1950, Petri experienced founded himself as a respected bass. He was involved from the Glyndebourne Event for the 1951 time of year; singing eight shows of the name part in Don Giovanni in the Sussex theatre before touring with the business for nine even more looks in the creation on the Edinburgh Celebration. In 1953, he made an appearance as Don Giovanni at La Scala and, for the reason that same period, sang Creonte in Medea with Maria Callas at Florence. In Feb 1953, nevertheless, conductor Herbert von Karajan experienced issues in training the bass in the quasi-recitative passages of Michael Tippett’s A KID of Our Period. Not the composer himself could make Petri more comfortable with the rating. In 1955, Petri sang within a Maggio Musicale creation of Tancredi received badly with the critics; Petri’s efficiency in Rossini’s Pietra del Paragone, nevertheless, was much respected. Through the 1950s, Petri was variously an associate of many prominent Italian businesses; furthermore to La Scala and Florence, he sang in Rome, Catania, with the Regio Emilia. The majority of Petri’s recordings had been extracted from live shows, both on-stage and through radio broadcasts. A 1951 I Lombardi from Italian Radio, a 1958 Khovanshchina with Christoff and Rodzinski, a 1957 Nerone from Naples, and a 1968 Semiramide with Sutherland are consultant of Petri’s artwork.