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Renato Capecchi

Though not really possessing the vocal opulence connected with additional star baritones of his era, Renato Capecchi was simply no vocal underachiever, and his experience for the German and searching musical intellect made him one of the most valued singers of his time. His documented efficiency of Verdi’s Rigoletto, which, while lacking the sheer vocal excitement of these by Leonard Warren or Sherrill Milnes, non-etheless stands with the very best because of its mastery from the role’s subtleties and dramatic truth. Also, as Rossini’s Figaro, he captured both quicksilver and pragmatic edges of this buoyant personality. Capecchi’s repertory was large, encompassing a huge selection of jobs; as the years handed down, he increasingly focused in the buffo parts, and finally undertook directorial tasks, allowing him to talk about his theatrical fluency with various other singers. Following research in Lausanne and Milan (where he educated with Ubaldo Carozzi), Capecchi debuted as Amonasro (Verdi’s Aida) at Reggio Emilia in 1949. The next season, he began a link with La Scala and, quickly thereafter, he was involved with the Metropolitan Opera, producing his debut in NY on November 24, 1951, as the elder Germont in La traviata. He continued to be in the roster there until 1954, and came back in 1975 as both vocalist and stage movie director. Meanwhile, he produced his way in the concert stage, performing, for instance, Lorenzo Perosi’s La passione di Christo using the Wiener Singakademie on the Maggio Musicale Fiorentino (Oct 1, 1953). Capecchi sang many contemporary operas, like the premieres of Malipiero’s La donna è cellular and Ghedini’s Billy Budd and Lord Inferno. As past due as 1988, he developed the area of the Maestro di Cappella in Sylvano Bussotti’s L’ispirazione on the premiere in Florence. He also participated in the Italian premieres of two twentieth-century Russian operas: Prokofiev’s Battle and Peacefulness (performed in 1953, the entire year from the composer’s loss of life), and Shostakovich’s The Nose (1964) — one particular prickly, satirical functions that triggered the composer a lot politics grief. Melitone in La forza del destino, an interpretation maintained in its early type on EMI’s 1954 documenting with Maria Callas and Richard Tucker, offered as Capecchi’s debut part at Covent Backyard in 1962; in the same 12 months he sang Mozart’s Figaro in the Lyric Opera of Chicago. Capecchi’s Dulcamara, Gianni Schicchi, and Bartolo became similarly professional, and his Falstaff was an authentic hit in the Glyndebourne Event in both 1977 and 1980. Teaching was accorded an evergrowing place among Capecchi’s actions a long time before his stage shows diminished. Several conservatories and studios throughout America and European countries involved him for grasp classes and workshops, and he loved success in generating programs for tv. Among his most remarkable documented shows are his aforementioned Melitone, his Iago to Mario del Monaco’s Moor (Verdi’s Otello), his Gianni Schicchi, and his Manfredo in Montemezzi’s L’amore dei tre re.

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