Antonio Scotti

Scotti Opera Company
Antonio Scotti (25 January 1866 – 26 February 1936) was an Italian baritone.wikipedia
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Baritone

lyric baritonebaritonesbaryton-martin
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. On 27 December 1899 he made his first appearance in New York City at the Metropolitan Opera, undertaking the title role in Mozart's Don Giovanni.
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.

Tosca

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.

Le donne curiose

Donne curiose, Lethe play by
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.

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.

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

L'Oracolo
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.

Columbia Records

ColumbiaCBSCBS Records
Records which he cut for the British Gramophone and Typewriter Company and the American Victor Talking Machine Company and Columbia Phonograph Company have been reissued on CD. Featuring a range of solo arias and some operatic duets with Caruso, Marcella Sembrich and Geraldine Farrar, these records of Scotti's confirm that he was a stylish, well-trained and aristocratic singer.
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.

Falstaff (opera)

FalstaffFentonFord
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.

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.

Otello

DesdemonaOthelloIago
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.

Royal Opera House

Covent GardenRoyal Opera House, Covent GardenCovent Garden Theatre
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.

La Scala

Teatro alla ScalaScalaLa Scala, Milan
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. In 1898, he debuted at Italy's most renowned opera house, La Scala, Milan, as Hans Sachs in Die Meistersinger.

Naples

NeapolitanNaples, ItalyNapoli
Antonio Scotti was born in Naples, Italy.

Malta

🇲🇹MalteseMLT
According to most sources, he made his debut at Malta's Theatre Royal in 1889, performing the role of Amonasro in Giuseppe Verdi's Aida.

Giuseppe Verdi

VerdiVerdi’sG. Verdi
According to most sources, he made his debut at Malta's Theatre Royal in 1889, performing the role of Amonasro in Giuseppe Verdi's Aida.

Aida

RadamesAmonasroAmneris
According to most sources, he made his debut at Malta's Theatre Royal in 1889, performing the role of Amonasro in Giuseppe Verdi's Aida.

Die Meistersinger von Nürnberg

Die MeistersingerThe Mastersingers of NurembergEva
In 1898, he debuted at Italy's most renowned opera house, La Scala, Milan, as Hans Sachs in Die Meistersinger.

Richard Wagner

WagnerWagnerianWagner’s
This now seems a surprising choice of role for Scotti because his subsequent career did not encompass the operas of Richard Wagner.

Wolfgang Amadeus Mozart

MozartW. A. MozartW.A. Mozart
On 27 December 1899 he made his first appearance in New York City at the Metropolitan Opera, undertaking the title role in Mozart's Don Giovanni.

Don Giovanni

Donna AnnaDon OttavioZerlina
On 27 December 1899 he made his first appearance in New York City at the Metropolitan Opera, undertaking the title role in Mozart's Don Giovanni.

Gaetano Donizetti

DonizettiDonizetti, GaetanoDonizetti’s
He would become an audience favorite at the Met, earning acclaim for his graceful singing of Donizetti's bel canto music as well as for the touch of elegance that he brought to his more forceful Verdi and verismo interpretations.

Bel canto

belcantobel-cantobel-canto style
He would become an audience favorite at the Met, earning acclaim for his graceful singing of Donizetti's bel canto music as well as for the touch of elegance that he brought to his more forceful Verdi and verismo interpretations.

Verismo (music)

verismoverismo operaveristic
He would become an audience favorite at the Met, earning acclaim for his graceful singing of Donizetti's bel canto music as well as for the touch of elegance that he brought to his more forceful Verdi and verismo interpretations.