Antonio Scotti

Scotti Opera Company
Antonio Scotti (25 January 1866 – 26 February 1936) was an Italian baritone.wikipedia
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lyric baritonebaritonesdramatic baritone
Antonio Scotti (25 January 1866 – 26 February 1936) was an Italian baritone.
They included Mattia Battistini (known as the "King of Baritones"), Giuseppe Kaschmann (born Josip Kašman) who, atypically, sang Wagner's Telramund and Amfortas not in Italian but in German, at the Bayreuth Festival in the 1890s; Giuseppe Campanari; Antonio Magini-Coletti; Mario Ancona (chosen to be the first Silvio in Pagliacci); and Antonio Scotti, who came to the Met from Europe in 1899 and remained on the roster of singers until 1933.

Metropolitan Opera

Metropolitan Opera HouseMetMetropolitan Opera Orchestra
He was a principal artist of the New York Metropolitan Opera for more than 33 seasons, but also sang with great success at London's Royal Opera House, Covent Garden, and Milan's La Scala.
Notable among them were the brothers Jean and Édouard de Reszke, Lilli Lehmann, Emma Calvé, Lillian Nordica, Nellie Melba, Marcella Sembrich, Milka Ternina, Emma Eames, Sofia Scalchi, Ernestine Schumann-Heink, Francesco Tamagno, Francisco Vignas, Jean Lassalle, Mario Ancona, Victor Maurel, Antonio Scotti and Pol Plançon.

Enrico Caruso

CarusoEnrico Caruso Jr.Messrs. Caruso
He often performed opposite his close friend Enrico Caruso and appeared with the illustrious tenor when he made his Met debut as the Duke of Mantua in Rigoletto in 1903.
Three other prominent Neapolitan singers taught by Lombardi were the baritones Antonio Scotti and Pasquale Amato, both of whom would go on to partner Caruso at the Met, and the tenor Fernando De Lucia, who would also appear at the Met and later sing at Caruso's funeral.

Madama Butterfly

Madame ButterflyPinkertonMadam Butterfly
During this period, he became not only London's first Scarpia but also its first Sharpless in Puccini's Madama Butterfly (in 1900 and 1905 respectively), which he also introduced to the Met in 1907.
The Metropolitan Opera first performed the work on 11 February 1907 in the presence of the composer with Geraldine Farrar as Cio-Cio San, Enrico Caruso as Pinkerton, Louise Homer as Suzuki, Antonio Scotti as Sharpless, and Arturo Vigna conducting.

Le donne curiose

the play byDonne curiose, Le
He appeared, too, in the American premieres of Francesco Cilea's Adriana Lecouvreur, Ermanno Wolf-Ferrari's Le donne curiose, Umberto Giordano's Fedora, Franco Leoni's L'Oracolo and Isidore de Lara's Messaline.


CavaradossiScarpiaFloria Tosca
At the Met in 1901, Scotti became the first artist to sing the role of Scarpia in Giacomo Puccini's Tosca in America.
Puccini travelled to London for the British premiere at the Royal Opera House, Covent Garden, on 12 July, with Milka Ternina and Fernando De Lucia as the doomed lovers and Antonio Scotti as Scarpia.

Pasquale Amato

Pascuale Amato
In 1912, Scotti's arrival in the United States with Pasquale Amato and William Hinshaw for his next Met season received extensive newspaper coverage.
Amato was by now a celebrity, and his re-arrival in the United States by ship in October 1912 with fellow baritones Titta Ruffo, Antonio Scotti and William Hinshaw, and soprano Lucrezia Bori, received extensive press coverage.

Franco Leoni

He appeared, too, in the American premieres of Francesco Cilea's Adriana Lecouvreur, Ermanno Wolf-Ferrari's Le donne curiose, Umberto Giordano's Fedora, Franco Leoni's L'Oracolo and Isidore de Lara's Messaline.
A later critic said of the work, "Hokum, but any opera that begins with three crashes, a very loud cock-crow, a chorus shouting in fake-Chinese and then launches into a vehement unaccompanied solo … has clearly got something going for it. The one-act piece, which depicts melodramatic events in and around a San Francisco opium den, had a libretto by Camillo Zanoni, based on the play The Cat and the Cherub by Chester Bailey Fernald. The London performances, conducted by André Messager with Antonio Scotti as the villain, Cim-Fen, were well received: The Observer wrote of the score, "It is never for an instant dull.

Falstaff (opera)

Falstaff, Falstaff
Antonio Scotti played the title role in Buenos Aires in July 1893; Gustav Mahler conducted the opera in Hamburg in January 1894; a Russian translation was presented in St Petersburg in the same month.


Iago, Otello
Among them: Victor Maurel (the role's first exponent), Mattia Battistini, Mario Ancona, Antonio Scotti, Titta Ruffo, Pasquale Amato, Carlo Galeffi and Lawrence Tibbett.

Emilio De Marchi (tenor)

Emilio De Marchi
Scotti performed in Paris at the Opéra Comique singing Tosca (in 1904 with Emma Eames and Emilio De Marchi, conductor Cleofonte Campanini, and in 1910, with Farrar and Beyle, conductor the young Marinuzzi).
He sang with soprano Emma Eames as Tosca and baritone Antonio Scotti as Scarpia,with Luigi Mancinelli conducting.

Nelson Eddy

Throughout his teens, Eddy studied voice and imitated the recordings of baritones such as Titta Ruffo, Antonio Scotti, Pasquale Amato, Giuseppe Campanari, and Reinald Werrenrath.

The Record of Singing

Singers of Imperial RussiaUlysses LappasThe EMI Record of Singing
Scotti, de Luca and Pini-Corsi: Antonio Scotti, Giuseppe De Luca, Antonio Pini-Corsi

Metropolitan Opera radio broadcasts

Metropolitan Opera radio broadcastMetropolitan Operaradio broadcasts
The first of these was a performance of Acts II and III of Tosca on January 12, 1910, starring Antonio Scotti as Scarpia.

Manon Lescaut (Puccini)

Manon Lescautdes GrieuxLescaut
The opera was first performed at the Metropolitan Opera in New York on 18 January 1907 in the presence of the composer with Lina Cavalieri in the title role, Enrico Caruso as des Grieux, Antonio Scotti as Lescaut, and Arturo Vigna conducting.

Columbia Records

ColumbiaCBSCBS Records
These stars included Marcella Sembrich, Lillian Nordica, Antonio Scotti and Edouard de Reszke, but the technical standard of their recordings was not considered to be as high as the results achieved with classical singers during the pre–World War I period by Victor, Edison, England's His Master's Voice (The Gramophone Company Ltd.) or Italy's Fonotipia Records.

Scotti (surname)

Antonio Scotti (1866–1936), Italian operatic baritone

Bella Alten

Her New York debut took place in November 1904 as Cherubino in The Marriage of Figaro in a cast that included Emma Eames, Marcella Sembrich and Antonio Scotti.

Armando Agnini

His work was seen at the Met until 1934, with Il barbiere di Siviglia (with Titta Ruffo as Figaro, and, later, Elvira de Hidalgo as Rosina), Lucia di Lammermoor (with Amelita Galli-Curci and Beniamino Gigli, later Toti dal Monte), Tosca, Aïda (with Rosa Ponselle, later Elisabeth Rethberg), Madama Butterfly (with Geraldine Farrar and Giovanni Martinelli), Rigoletto, Cavalleria rusticana, La bohème, Manon Lescaut (with Aureliano Pertile as des Grieux), Pagliacci, Zazà, La navarraise, L'oracolo (with Antonio Scotti), Il trovatore, La forza del destino, L'amore dei tre re, Manon, Samson et Dalila, Boris Godunov (with Feodor Chaliapin in the name part, and Ezio Pinza as Pimenn), Faust, Pizzetti's Fra Gherardo (United States premiere, conducted by Tullio Serafin, 1929), La traviata (with Ponselle, later Claudia Muzio and Tito Schipa), Les contes d'Hoffmann, Il signor Bruschino (U.S. premiere, 1932), Lakmé (with Lily Pons), L'africaine, The Emperor Jones (with Lawrence Tibbett), Simon Boccanegra, Gianni Schicchi, and Roméo et Juliette.

Moissaye Boguslawski

BoguslawskiBoguslawski School of MusicBoguslawsky School of Music
He performed with various orchestras and performers, including Emma Calvé and Antonio Scotti.

Mario Chamlee

Beginning by singing at movie houses, he was discovered by baritone Antonio Scotti and joined the Scotti Opera Company.

La fille du régiment

The Daughter of the RegimentLa figlia del reggimentoMarie
It was then followed by performances at the Manhattan Opera House in 1909 with Luisa Tetrazzini, John McCormack, and Charles Gilibert, and again with Frieda Hempel and Antonio Scotti in the same roles at the Met on 17 December 1917.

Wilfrid Pelletier

Wilfrid Pelletier Foundationcompetition's namesake
From 1919-1922 Pelletier was the rehearsal pianist and assistant conductor for Antonio Scotti's touring company the Scotti Opera Company where he worked under conductors Gennaro Papi and Carlo Peroni.

Arnaldo Conti

He spent much of his life on tour in opera houses around the world, directing performances with singers such as Adelina Patti, Luisa Tetrazzini, Marcella Sembrich, Emma Calvé, Fernando de Lucia, Riccardo Stracciari, Antonio Scotti and Jean and Edouard de Reszke.