Singer Biographies M - R
Giorgio Malesci, tenor, born 1876 Palermo, died 1908 Florence. Hardly any biographical facts are known about this tenor, who died at the age of 32. It can be assumed that his career took place in small and medium-sized houses in the Italian province. However, his voice has survived through early recordings, and only solos. The first came out in 1900 as Berliner Records, in 1904 some more recordings on G&T followed, which were later taken over by Victor and HMV and were still offered in the catalogs of these companies until 1925.
Giovanni Malipiero, tenor. Born 1906 in Padua where he also studied. He made his debut in Cremona, as the Duke of Mantua in Rigoletto. He was quickly singing throughout Italy, making his debut at the Teatro alla Scala in Milan, as Ramiro in La cenerentola, in 1937, and took part in the concert for its reopening in 1946, under Arturo Toscanini. Much admired in lyric roles of the bel canto composers and in Verdi's Rigoletto and La traviata, but also in the French repertory notably as Gounod's Faust and Roméo, he also won considerable acclaim for his characterization of Jean in Le jongleur de Notre-Dame by Jules Massenet.
Malipiero possessed a clear, well-trained voice which Italians recognized as being of the old school. He can be heard as Edgardo in a complete recording of Lucia di Lammermoor, opposite Lina Pagliughi. He died in his native Padua, ten days short of his 64th birthday.
Malipiero possessed a clear, well-trained voice which Italians recognized as being of the old school. He can be heard as Edgardo in a complete recording of Lucia di Lammermoor, opposite Lina Pagliughi. He died in his native Padua, ten days short of his 64th birthday.
Galliano Masini, tenor, born 1896 and died 1986 in Livorno. He studied in Milan with Maestro Laura, and made his debut in his native Livorno, as Cavaradossi in Tosca in 1923. He sang as first tenor at the Rome Opera from 1930 to 1950, and was also a regular guest at La Scala in Milan and the Verona Arena. Outside Italy, he appeared at the Paris Opéra, the Lyric Opera of Chicago (1937-38), the Metropolitan Opera in New York (1938-39), and the Teatro Colón in Buenos Aires. He was especially appreciated in roles such as Manrico, Don Alvaro, Radames, Loris, Calaf, although he also enjoyed success in more lyrical roles, notably as Edgardo and Rodolfo. His ardent, ringing, highly impressive voice can be heard in the first complete recording of La forza del destino, under Gino Marinuzzi. He also made a number of recordings of individual opera arias from 1929 through until the 1940s.
Angelo Minghetti, tenor. Born 1889 in Bologna, died 1957 in Milan. He studied with Bellucci, Lari, Tenaglia and Emilia Corsi in Bologna. He made his debut in 1911 and had his first great success in 1920 at the Teatro Massimo in Palermo as Ruggero in Puccini’s La Rondine. He sang in Chicago from 1922-24. Here his roles included the duke in Rigoletto, Rodolfo, Pinkerton, Faust and Leopold in La Juive. In 1923 he sang in the premiere of Snegourotchka. In 1922 he performed in the world premiere of La Flaminga by Donaudy at the Teatro San Carlo, Naples. In 1923 he made his La Scala debut as Rodolfo and returned to this house several times between 1925 and 1935. In 1929 he sang in the premiere of Selvaggi’s La Maggiolata Veneziana and in 1934 he sang in the premiere of Respighi’s La Fiamma. He made guest appearances in many roles in Buenos Aires, Verona, Bologna, Monte Carlo, Florence, Rio de Janeiro, Berlin and Covent Garden.
Petre Munteanu, tenor. Born 1916 in Campina (Romania), died 1988 in Milan. He studied violin and singing at the academy of music in Bucharest. He made his debut at Bucharest Opera in 1940. He then went to Berlin for further. He first created excitement in Italy as a concert singer and then made his Italian stage debut in 1947 in Rome as Don Ottavio. In the same year he appeared at La Scala as Ferrando and then in the Italian premieres of Strawinsky’s Persephone, Cimarosa’s Credulo and Berg’s Wozzeck. In 1954 he sang in the first Italian performance of Snegourotchka. He made guest appearances at Covent Garden, Vienna, Munich, Trieste, Florence, Venice, Naples, Scandinavia, Australia and at the Edinburgh and Glyndebourne Festivals. His roles included Tamino, Pedrillo, Fenton, and Almaviva. In 1968 he made his first appearance as a conductor in Turin. Later he became a teacher at the Conservatorio Giuseppe Verdi in Milan. He perfected his art in the Italian belcanto operas of Bellini, Rossini and Donizetti and was known as a fine interpreter of Mozart. Munteanu also appeared in the concert hall in oratorio and lieder.
Dennis Noble, baritone, born 25.9.1899 Bristol, died 14.3.1966 Javea (Spain); real name William Noble. He sang as a choir boy in the choir of Bristol Cathedral. Noble was trained by Dinh Gilly in London and later in Italy. After the First World War he sang in English film theatres and was discovered here by the conductor Percy Pitt. In 1924, he arranged for him to work at the Covent Garden Opera in London, where he was the first to play Marullo in "Rigoletto". For six years he only sang small parts at the Covent Garden Opera and it wasn't until 1930 that he had great success as a Sharpless in "Madame Butterfly" and especially in 1931 as a Germont in "La Traviata" as a partner of the famous prima donna Rosa Ponselle. In 1937 he participated in the world premiere of the opera "Don Juan de Mañara" by E. Goossens. Until 1938 he was the first baritone at the London Covent Garden Opera and also performed here again in 1947 after the Second World War. He continued to sing with the British National Opera Company in London and with the Carl Rosa Opera Company, as well as guest appearances at the opera houses in Cleveland (1935-36) and Cincinnati. He premiered several operas at Covent Garden Opera, namely 1936 in "Pickwick" by A. Coates, on September 25, 1929 in "Judith" and on June 24, 1937 in "Don Juan de Mañara", both by Goossens.
The voice of the singer, who was especially valued as Verdi and Puccini interpreter, has been preserved through a large number of records.
The voice of the singer, who was especially valued as Verdi and Puccini interpreter, has been preserved through a large number of records.
Maria Olszewska, contralto. Born in Ludwigsschwaige in 1892. She studied singing in Munich with Karl Erler before beginning her career singing in operettas in that city in 1913. She made her first opera appearance in 1915 as the Page in Richard Wagner's Tannhäuser at the opera house in Krefeld. Soon after she was engaged at the Oper Leipzig up through 1919.Olszewska left Leipzig to join the Hamburg State Opera, where she was engaged from 1919-1922. While there she notably portrayed Brigitta/Lucienne in the world première of Erich Wolfgang Korngold's Die tote Stadt on 4 December 1920. While singing in Hamburg she was appointed to the roster of artists at the Vienna State Opera (VSO) in 1921 where she sang through 1923. She was a member of the Bavarian State Opera in Munich from 1923–1925, after which she returned to the VSO from 1925-1930. In 1925 she married baritone Emil Schipper (1882–1957).
Olszewska also appeared frequently as a guest artist at opera houses around the world. In 1923 and 1928 she was heard as a guest at the Teatro Colón in Buenos Aires. She made numerous appearance at the Royal Opera, London between 1924–1932, where her performances in such roles as Fricka, Ortrud, Brangäne and Herodias drew the highest critical acclaim. Her Carmen and Amneris were less successful, but her Octavian and Orlofsky were highly regarded. In the United States she sang in Chicago (1928–32) and at the Metropolitan Opera. She also gave performances at La Scala, La Monnaie, and highly successful tours in South and Central America.
Since 1947, Olszewska taught at the University of Music and Performing Arts, Vienna and in 1948 she became a lecturer at the Vienna State Opera. From 1951 to 1955, she again appeared at the Vienna Volksoper, singing roles like Agricola in Johann Strauss II's A Night in Venice. She retired from the stage in 1955, after which she devoted her time to teaching. She died in Klagenfurt in 1969.
Olszewska also appeared frequently as a guest artist at opera houses around the world. In 1923 and 1928 she was heard as a guest at the Teatro Colón in Buenos Aires. She made numerous appearance at the Royal Opera, London between 1924–1932, where her performances in such roles as Fricka, Ortrud, Brangäne and Herodias drew the highest critical acclaim. Her Carmen and Amneris were less successful, but her Octavian and Orlofsky were highly regarded. In the United States she sang in Chicago (1928–32) and at the Metropolitan Opera. She also gave performances at La Scala, La Monnaie, and highly successful tours in South and Central America.
Since 1947, Olszewska taught at the University of Music and Performing Arts, Vienna and in 1948 she became a lecturer at the Vienna State Opera. From 1951 to 1955, she again appeared at the Vienna Volksoper, singing roles like Agricola in Johann Strauss II's A Night in Venice. She retired from the stage in 1955, after which she devoted her time to teaching. She died in Klagenfurt in 1969.
Rosetta Pampanini, soprano. Born 1900 in Milan. She studied with Sga Molajoli and made her debut in Biella in 1923 as Musetta. She came to La Scala in 1925 and sang the title role in Madama Butterfly. Arturo Toscanini assisted her in her career and she sang with La Scala under his baton in Berlin (Butterfly and Manon Lescaut). She made guest appearances at Covent Garden in 1928-29 and 1933 and appeared regularly in Buenos Aires from 1926. Pampanini was engaged by Chicago Opera 1931-32 but La Scala remained her home house. After 1937 she sang dramatic roles such as Aida, Leonora (Forza) and Madeleine in Andrea Chenier.
Taurino Parvis, baritone. Born 1879 in Turin. He first studied law and became a lawyer but turned to singing and quickly acquired international fame after his debut in Italy. He was engaged by the Metropolitan Opera (1904-06) and made his debut there as Enrico in Lucia di Lammermoor. He made guest appearances in London, Budapest, Russia, Spain and leading Italian houses. He toured the US with the San Carlo Opera Company and sang in Boston.He appeared in the world premieres of Il Piccolo Marat (Teatro Costanzi) and I Cavalieri di Ekebu (La Scala). In 1929 he gave up his singing career and settled in Milan to practice law.
Tina Poli-Randaccio, born 1879 Ferrara, died 1956 Milan. She studied at Liceo Rossini in Pesaro with Gaetano Ortisi. She made her debut in 1901 at the Teatro Donizetti in Bergamo as Amelia in Ballo. Soon she had a great career at La Scala where she worked with Toscanini. She sang at the foremost Italian houses and also made guest appearances in São Paulo, North America, London, Monte Carlo, Paris, Buenos Aires, Barcelona, Havana and Berlin. Her many roles included Brünnhilde, Minnie, Aida. She appeared in 1913 in the premiere of Mascagni’s Parisina and in 1914 in the premiere of Antonio Smareglia’s Abisso. She retired in 1931. She married the tenor Ruggiero Randaccio in 1904. Poli-Randaccio made records for HMV (1920-24), Odeon and Fonotipia.
Manfredo Polverosi, tenor, born 9.8.1882 Capraia near Florence, died 1.6.1965 Rome. Polverosi studied with Elisa Brambilla-Vidal and by Mario Pieraccini. His debut was in Siena in 1903 as Gennaro in Donizetti's Lucrezia Borgia. After performing very successfully at leading Italian opera houses, he was hired by La Scala for the 1907-08 season. In the same year he was admired at the newly opened Teatro Colón in Buenos Aires as Duke in the Rigoletto, as Enzo in La Gioconda, as Don Ottavio in Don Giovanni and as Count Almaviva in The Barber of Seville. In 1910 he was a great success at the Teatro Costanzi Rome and at the Teatro San Carlo Naples, in 1912 at the opera houses of Monte Carlo and Rio de Janeiro, in 1913 at the Teatro Liceo Barcelona. He performed as a guest at the Havana Opera in 1915. In 1915 he sang the Duke in Verdi's Rigoletto at La Scala where he also participated in the premiere of Alberto Franchetti's opera La Notte di leggenda on January 15, 1915. In 1920 he appeared at the Teatro Costanzi Rome, in 1925 at the Teatro Fenice Venice. In 1924 he participated in the premiere of Carlo Jachino's opera Giocondo e il suo Re at the Teatro dal Verme, Milan. His career in Europe and South America lasted until around 1930. During his career he made guest appearances at the Teatro Real Madrid, the Teatro Liceo Barcelona, the operas of Monte Carlo and in Paris. He had particularly great success in the years before the First World War at the St. Petersburg Court Opera, at the Odessa and Kiev Opera and at the Warsaw Opera. From 1936-43 he was director of the Centro Sperimentale di Canto e di Danza at the Rome Opera and his students included Rina Gigli, Orietta Moscucci and Guido Mancini. He later worked as a private teacher.
Hans Reinmar, baritone, born 1895 in Vienna, died 1961 in Berlin. He studied at the Vienna Academy of Music and with Vittorio Vanza in Milan. He made his debut in 1919 at Olomouc. His engagements included Zurich (1921-23), Dresden (1923-26), Hamburg (1926-28) and Berlin City Opera (1928-45). He made guest appearances in Rome, Vienna, La Scala, Paris and Brussels. He was an admired Wagner singer at Bayreuth (1938-41) where he sang Donner, Gunther and Amfortas. He sang at Munich State Opera from 1945-47, Berlin State Opera (1947-52) and then again with Berlin City Opera from 1952 until his untimely death.
Theodore Ritch, tenor, born 1894 in Odessa. At the beginning of his career he also appeared under the name of Theodore Reich. He left Russia during the revolution in 1917. In 1921 he came to Chicago and sang here from 1926-27 and 1929-32. He achieved a great success here in the role of Leopold in La Juive with Rosa Raisa and Alexander Kipnis. In 1924 he performed in Monte Carlo in the world premiere of Chabrier’s Une Éducation Manquée. With Mary Kousnetzoff he founded a Russian Opera group and toured through Europe. In 1929 he appeared with the Russian Opera in Teatro Colón in Buenos Aires, 1937 at Covent Garden. In 1931 he appeared at the Lyceum in the English premiere of Rimsky-Korsakov's Sadko. In 1932 he performed in Rome in the first night of Borodin’s Prince Igor. At the end of his career he appeared in comprimario roles. He lived in Paris. In 1943, being Jewish. he was taken by the German occupying forces. He died on a transport train that was taking him to a concentration camp in Poland.
The voice of this tragic artist is only known through a few Columbia recordings from about 1928.
The voice of this tragic artist is only known through a few Columbia recordings from about 1928.
Marko Rothmüller, baritone. Born 1908 in Trnjani near Zagreb, died 1993 in Bloomington, Indiana. His real name was Aron Marko Rothmüller. He studied in Zagreb and then in Vienna with Franz Steiner. He studied composition with Alban Berg in Vienna and later wrote chamber music, a symphony and ballads. His debut was in 1932 as Rigoletto in the Hamburg Schillertheater. In 1933 he had to leave because he was Jewish so he returned to Zagreb and then from 1935 until 1947 was engaged in Zurich. Here, on 28.5.1938, he appeared in the world premiere of the opera Mathis Mahler by Hindemith in the part of Truchsess. He also, in 1942, sang in the world premiere of Casanova in Switzerland by Burkhard. In 1946 he sang Balstrode in the first German language performance of Peter Grimes in Basel. His greatest successes in Zurich included Simon Boccanegra, Jochanaan and Kurwenal. In 1939 he appeared at Covent Garden for the first time and later came back to sing there from 1948-55. He appeared at the Edinburgh, Glyndebourne and Wexford Festivals, in Paris, Vienna and Berlin. From 1948-52 he sang in New York City Centre Opera and then from 1958-60 and in the 1964-65 season at the Metropolitan Opera. From 1955 he was a professor at the University of Indiana in Bloomington. He wrote a book “The Music of the Jews”.