#Pertile

[opera-ghosts]

Aureliano Pertile (1885-1952) was a celebrated Italian tenor who enjoyed a 35 year career in major theaters on both sides of the Atlantic. The son of a poor shoemaker and his wife, Pertile was born in Montagnana…just a few blocks away and 18 days after the birth of fellow tenor Giovanni Martinelli. His vocal talents were apparent from a very early age. In 1894, Pertile began singing alto with the choir of the Cathedral of Santa Maria Assunta. At his parents’ insistence, he apprenticed as a goldsmith during his teens, but continued singing. At age 20, he was heard by composer Vittorio Orefice, who invited the young man to study with him in Padua. After five years of work, Pertile made his debut as Lionel in Martha at Vicenza’s Teatro Eretenio on February 16, 1911. In May, he sang the role of Vinicius in the Italian premiere of Jean Nouguès’ Quo Vadis? at Milan’s Teatro dal Verme. Reviews were stellar and the tenor’s career took off quickly. Over the next two years, Pertile made appearances in Brescia, Torino, Asti, Padua and Genoa, with his international debut occurring in Santiago as des Grieux in Manon Lescaut during the fall of 1913. While in South America, the tenor also sang in Buenos Aires and Valparaiso in such works as Un Ballo in Maschera, Mefistofele, Tosca, and La Traviata. Late in 1913, Pertile returned to Italy, where he spent the next few years appearing in Naples, Palermo, Florence, Bologna, and Rome. His La Scala debut occurred on February 22, 1916 as Paolo in Francesca da Rimini, leading to a lengthy association with the company.

By 1921, Pertile had appeared at most of the major theaters of Italy, Spain and South America. Following his Mexico City debut as Faust in Mefistofele in August, Pertile began his only season at New York’s Metropolitan as Cavaradossi in Tosca on December 1. Henderson of the New York Sun reported, “His voice has a tendency toward whiteness, but in its fullest volume it is warmer and resonant. His acting was that of the everyday tenor.” …not exactly the definition of a glowing review. In addition to Cavaradossi, he also sang des Grieux in Manon Lescaut, Grigori in Boris Godunov, Turiddu in Cavalleria Rusticana, Canio in Pagliacci, Radames in Aïda, and Julien in Louise. Sadly, the New York public never quite warmed up to Pertile. After only 13 performances of the aforementioned roles, as well as a pair of Sunday Night Concerts, Pertile was finished in the U.S. His Met career had lasted exactly seven weeks.

Pertile fared much better in his homeland. Arturo Toscanini, who had recently taken the reins at La Scala, invited the tenor to join him for a production of Mefistofele in March. This began a decade long alliance between the two, a highlight of which was Pertile’s creation of the title role of Boito’s Nerone at its premiere on May 1, 1924. Other world premieres entrusted to Pertile during his La Scala tenure were Wolf Ferrari’s Sly in 1927 (under Ettore Panizza) and Mascagni’s Nerone in 1935 (under the composer). The tenor was a superstar at La Scala, with “Pertile Nights” marketed to an adoring public. After Toscanini’s departure in 1929, however, Pertile’s importance in Milan began to diminish. Although the tenor would remain at La Scala until the early 1940s, he was no longer the central figure he had been during the 1920s.

[pseudo-satisfaction]

[bronzebluemind]

pertile turning around and being surprised that martin is jumping during the interview help

[flying-rusalka]

Sandro Pertile's words about the first part of the series are absurd: "The competition was fair for 40 competitors. It was not only safe, but also fair."

Jakub Balcerski via Twitter/X

I think we watched a different competition.

[merlesrandomstuff]

I swear, if Sandro Pertile makes skijumping in Brazil or in whatever desert happen, I'll start a riot.

[thehumongouskargomice]

this is officially a hate blog for sandro pertile and the ZDF in particular (like wdym you won't show the wc finale of the women?????)

[xadrezbrazuca2]

Os Onironautas

Rumo à Consciência do Inconsciente https://youtu.be/dDVOicIHfmU?si=JNeI0edeQNEPyEJ- “Metida tenho a mão na consciência, e não falo senão verdades puras que me dita a experiência”. Conscienciologia Uma busca no autoconhecimento!!! Não me venha com a problemática que eu tenho a solucionática!!!! 8 A FUNÇÃO DA ARTE 8.1 A Função Social da Arte Na visão de Fischer (1987, p. 20), “A arte é…

[tonisemitoni]

Un bel concerto di canto nel cortile di Palazzo d'Accursio

Ieri pomeriggio, chi avesse varcato il portone di palazzo d’Accursio, sede dal 1336 del governo della città di Bologna dal secolo XIV, lasciando il bailamme di piazza Maggiore, sarebbe entrato in un’oasi di pace creata dal piacevole concerto di brani lirici eseguiti congiuntamente dalla Corale Vincenzo Bellini di Budrio e dalla Corale Quadrivium di Medicina, diretti dalla maestra Paola Del Verme,…

[ultimaedizione]

Una nuova idea di Regione - di Roberto Pertile

Una nuova idea di Regione – di Roberto Pertile

Ritorna di attualità il tema dell’autonomia regionale. L’approccio di alcune forze politiche si esprime, ancora una volta, in una proposta di un inopportuno separatismo:  il pensiero leghista, si fa per dire,  non va oltre un modesto orizzonte populista che contrabbanda per pluralista e democratica una visione anticostituzionale sull’unitarietà delle Istituzioni italiane. Non solo, esprime anche…

[pseudo-satisfaction]

[dearmouse]

Paula Pertile

[polkadotmotmot]

Lucas Pertile - Waiting for the Tornado, 2023 - Oil on canvas

[bronzebluemind]

Stefan Bier also throwing shade at Pertile, that’s what I like to see

[flying-rusalka]

ski flying changes people

[eksperimentgaj]

pretty lukewarm on sgp... again

another 'on which platform you can watch eurosport this time' doesn't help

but even if there was any excitement in me, it went *poof!* with Pertile-branded wind/gate fuckery

happy for Valentin and Alex, it's such a pity that interesting results in this era usually go with awfully frustrating competitions