1926 SIGNED FONOTIPIA Rosetta Pampanini La Boheme Mi Chiamano/ Madame Butterfly
$
25
$ 25
Sold For
Feb 10, 2022
Sold Date
Feb 4, 2022
Start Date
1
Number Of Bids
USA
Country Of Seller
eBay
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Description
I am currently selling a series of great Richard Wagner and classic European 78 rpm orchestral recordings on all the great European labels:
SIGNED in the dead wax - partial signature visible on either side of the label
Rosetta Pampanini in her first, still accoustic Fonotipia session
Fonotipia, Milano 1926-04-08
Madama Butterfly (Puccini): Un bel dì, vedremo XXPh5696
Fonotipia, Milano 1926-04-09
Bohème (Puccini): Sì, mi chiamano Mimì XXPh5701
Fonotipia issued on Italian ODOEN 12" 78 rpm records
Condition: EXCELLENT PRISTINE, plays very quiet faintest hiss
A SUPERB COPY
Rosetta Pampanini (Soprano) (Milano 1896 - Corbola 1973)
Cio-Cio-San
She was born in Milan into a musical family. She initiallly trained to become a teacher but eventually decided to study voice. She was taught by the couple Emma and Lorenzo Molajoli and made her debut in 1920 at the Teatro Nazionale in Rome as Micaela. Subsequently she appeared at numerous Italian opera houses. In the first years of her career she built up her repertory under Tullio Serafin’s guidance. Of great importance was her association with Pietro Mascagni who often conducted her in his opera Iris. Pampanini’s success in the role re-established the piece from 1898 in the contemporary repertoire. Another significant mentor was Arturo Toscanini. He conducted the revival of Puccini’s Madame Butterfly at La Scala in 1925, with Rosetta Pampanini in the title role. The 12 performances turned out to be a complete triumph - not least because of the heroine whose artistry ensured that Madame Butterfly soon became one of the most popular operas. Not only did Pampanini help to establish Madame Butterfly, the role of Cio-Cio-San also made her to one of the most splendid Italian artists of the time. She remained at La Scala as long as Toscanini stayed there (until 1930), appearing in a number of world premieres of then contemporary operas as well as in her Puccini repertoire. She also toured with the Scala ensemble. Toscanini invited her to Berlin to sing Manon Lescaut and Madame Butterfly (1929). Covent Garden saw her in her Puccini parts. From 1926 she was a regular guest at the Teatro Colón in Buenos Aires. In the season 1931/32 she was engaged as Butterfly, Nedda and Mimì at the Chicago Opera, but was not reinvited later. Further performances at the opera houses of Vienna (1930-1932), Oslo (1933) and Prague (1935) followed. A special occasion was her performance of Mimì in a performance of La Bohème, conducted by Pietro Mascagni in Puccini’s home town Torre del Lago. From 1937 she turned to more dramatic roles such as Leonora in La Forza del destino, Aida and Maddalena. Rosetta Pampanini bade farewell to the stage in 1946. After her retirement she worked as a singing coach.
Chronology of some appearances
1920 Rome Teatro Nazionale Carmen (Micaela) 1925 Milan La Scala Madame Butterfly (Cio-Cio-San) 1926 Buenos Aires Teatro Colón (-) 1931 Chicago Chicago Opera (-)
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