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Marco Arati (181? - 1899) was an Italian operatic bass active during the 1840s through the 1880s. Although he occasionally appeared at other opera houses in Italy, he was primarily committed to the Teatro di San Carlo where he sang roles for more than four decades. Even though he was one of the preeminent singers of his day, there is little known about his life.
The exact place and date of Arati's birth is unknown, although it is likely that he was born somewhere between 1814 and 1819. He made his professional opera debut at the Teatro di San Carlo in 1841 in a production of Teodulo Mabellini's Rolla . He sang in numerous world premieres at the Teatro di San Carlo during his career, most notably the roles of Andrea Cornaro in Gaetano Donizetti's Caterina Cornaro (1844), Alvaro in Giuseppe Verdi's Alzira (1845), Old Orazio in Saverio Mercadante's Orazi e Curiazi (1846), Callistene in Donizetti's Poliuto (1848), Wurm in Verdi's Luisa Miller (1849), Marco in Mercadante's Virginia (1866), and Filippo Augusto in Donizetti's Gabriella di Vergy (1869). His last known opera appearance was at the Teatro di San Carlo in 1882 as Indra in Jules Massenet's Le roi de Lahore . He died in 1899. [1]
Giuseppe Saverio Raffaele Mercadante was an Italian composer, particularly of operas. While Mercadante may not have retained the international celebrity of Gaetano Donizetti or Gioachino Rossini beyond his own lifetime, he composed as prolific a number of works as either; and his development of operatic structures, melodic styles and orchestration contributed significantly to the foundations upon which Giuseppe Verdi built his dramatic technique.
Giovanni Pacini was an Italian composer, best known for his operas. Pacini was born in Catania, Sicily, the son of the buffo Luigi Pacini, who was to appear in the premieres of many of Giovanni's operas. The family was of Tuscan origin, living in Catania when the composer was born.
Giuseppe Felice Romani was an Italian poet and scholar of literature and mythology who wrote many librettos for the opera composers Donizetti and Bellini. Romani was considered the finest Italian librettist between Metastasio and Boito.
Salvadore Cammarano was a prolific Italian librettist and playwright perhaps best known for writing the text of Lucia di Lammermoor (1835) for Gaetano Donizetti.
Eugenia Tadolini was an Italian operatic soprano. Admired for the beauty of her voice and stage presence, she was one of Donizetti's favourite singers. During her career she created over 20 leading roles, including the title roles in Donizetti's Linda di Chamounix and Maria di Rohan and Verdi's Alzira. She was born in Forlì and studied music there and in Bologna before making her debut in Florence in 1828. She sang in all of Italy's leading opera houses, as well as in Paris, Vienna, and London before retiring from the stage in 1852. She spent her remaining years first in Naples, where she had been the Teatro San Carlo's reigning prima donna for many years, and then in Paris, where she died of typhoid fever at the age of 63. From 1827 to 1834, she was married to the Italian composer and singing teacher, Giovanni Tadolini.
Raffaele Mirate was a celebrated Italian operatic tenor who had an active career from the 1830s through the 1860s. Known for his intelligent phrasing and bright and powerful vocal timbre, he was regarded as an outstanding interpreter of the tenor roles in the early and middle period operas of Giuseppe Verdi. He notably created the role of the Duke of Mantua in the world premiere of Verdi's Rigoletto in 1851. He was also a highly regarded interpreter of bel canto roles, excelling in the operas of Vincenzo Bellini, Gaetano Donizetti, and Gioachino Rossini.
Carlo Guasco was a celebrated Italian operatic tenor who sang in Italian and other European opera houses from 1837 to 1853. Although he sang in many world premieres, he is most remembered today for having created the leading tenor roles in Verdi's I Lombardi alla prima crociata, Ernani, and Attila.
Giuseppe Fioravanti was an Italian opera singer active during the first half of the 19th century. Although one of the most important and popular basso buffos of his generation, there is only a relatively small amount of information available about his life. He had a highly fruitful partnership with the Teatro Nuovo in Naples and is best known today for creating roles in the world premieres of numerous operas by Gaetano Donizetti.
Gaetano Fraschini was an Italian tenor. He created many roles in 19th century operas, including five composed by Giuseppe Verdi. His voice was "heroic ... with a baritonal quality, ... yet Verdi and Donizetti appreciated his ability to sing softly and with subtlety." An Italian biographer has pointed out Fraschini's role in extending the longevity of Donizetti's operas, while at the same time accelerating the ascent of Verdi's repertory. He was indeed the most prominent singer who facilitated the transition from Donizetti to Verdi. Fraschini sang over one hundred roles and Verdi placed him at the top of his favorite tenors' list and described him as a "natural Manrico" for his Il trovatore. Fraschini also played a pivotal role in the success of many operas by Pacini and Mercadante.
Raffaele Ferlotti was an Italian operatic baritone who had an active international career from the 1830s through the 1860s. He was a regular performer in Italy's leading opera houses, especially La Scala, and created roles in several world premieres. On the international stage he performed in operas in Austria, England, France, and Spain.
Eugenio Cavallini was an Italian conductor, composer, violinist, and violist. In 1833 he became first violinist of the orchestra at La Scala, a post he held through 1855. He also served as a conductor at La Scala, notably leading the world premieres of Gaetano Donizetti's Lucrezia Borgia (1833), Donizetti's Gemma di Vergy (1834), Donizetti's Maria Stuarda (1835), Saverio Mercadante's Il giuramento (1837), Mercadante's Il bravo (1839), Giuseppe Verdi's Oberto (1839), Verdi's Un giorno di regno (1840), Donizetti's Maria Padilla (1841), Verdi's Nabucco (1842), Verdi's I Lombardi alla prima crociata (1843), Verdi's Giovanna d'Arco (1845), Federico Ricci's Estella di Murcia (1846), and Domenico Ronzani's Salvator Rosa (1854).
Nicolas-Prosper Dérivis was a French operatic bass. He possessed a rich deep voice that had a great carrying power. While he could easily assail heavy dramatic roles, he was also capable of executing difficult coloratura passages and performing more lyrical parts. Along with Nicolas Levasseur, he was one of the greatest French basses of his generation.
Teresa Ruggeri was an Italian operatic soprano who had an active career from the 1820s through the 1840s. In 1827 she portrayed the role of Zarele in the world premiere of Giovanni Pacini's Gli arabi nelle Gallie at La Scala in Milan. She performed in several more world premieres at that house, including Francisca in Gaetano Donizetti's Maria Padilla (1841), Anna in Giuseppe Verdi's Nabucco (1842), and Viclinda in Verdi's I Lombardi alla prima crociata (1843). Other roles she performed at La Scala included Baroness Aspasia in Gioachino Rossini's La pietra del paragone (1829), Giannetta in Donizetti's L'elisir d'amore (1835), Alisa in Donizetti's Lucia di Lammermoor (1839), The Marquise of Birkenfeld in La fille du régiment (1840), and Giovanna in Verdi's Ernani (1844) among others.
Erminia Frezzolini was an Italian operatic soprano. She excelled in the coloratura soprano repertoire, drawing particular acclaim in the bel canto operas of Gaetano Donizetti and Vincenzo Bellini. She was married to tenor Antonio Poggi from 1841-1846.
Giacomo Roppa was an Italian operatic tenor who was active career in Italy's most important opera houses from the 1830s through the 1850s. He also made appearances at the Liceu in Spain. He is best remembered for creating the role of Jacopo Foscari in the world premiere of Giuseppe Verdi's I due Foscari in 1844.
Adelaide Borghi-Mamo was an Italian operatic mezzo-soprano who had an active international career from the 1840s through the 1880s. She was married to tenor Michele Mamo and their daughter, soprano Erminia Borghi-Mamo, also had a successful singing career.
Antonio Poggi was an Italian operatic tenor who had an active international career from 1827–1848. He is best remembered for creating roles in the world premieres of operas by Gaetano Donizetti and Giuseppe Verdi. He was married to soprano Erminia Frezzolini from 1841–1846.
Carlo Negrini was an Italian spinto tenor and creator of Gabriele Adorno in Verdi’s opera Simon Boccanegra.
Filippo Andrea Francesco Coletti was an Italian baritone associated with Giuseppe Verdi. Coletti created two Verdi roles: Gusmano in Alzira and Francesco in I masnadieri. Verdi revised the role of Germont in La traviata for Coletti, whose interpretation re-defined the role as it is known today. Coletti was, with Antonio Tamburini (1800–1876) and Giorgio Ronconi (1810–1890), one of the three leading baritones of 19th century Italy, an early model of a 'Verdi baritone'.
Nicola De Giosa was an Italian composer and conductor active in Naples. He composed numerous operas, the most successful of which, Don Checco and Napoli di carnevale, were in the Neapolitan opera buffa genre. His other works included sacred music and art songs. His songs were particularly popular, bringing him fame as a salon composer both in Italy and abroad. De Giosa died in Bari, the city of his birth, at the age of 66.
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