Renato Bruson | |
|---|---|
 Bruson in 1965 | |
| Born | 13 January 1936 Granze, Italy |
| Education | Conservatory of Padua |
| Occupation | Operatic baritone |
Renato Bruson (born 13 January 1936) is an Italian operatic baritone. Bruson is widely considered one of the most important Verdi baritones of the late 20th and early 21st century.
Bruson was born in Granze near Padua on 13 January 1936. [1] His passion for music matured in the parish choir when he was a child. He began his music studies at the conservatory of Padua where he was awarded a scholarship that allowed him to attend the courses in the face of economic problems. He did not receive much support from his family, who considered him a good-for-nothing. In his own words: "They thought that I only wanted to study music because I had no desire to work. At that time, the general feeling where I lived was that if someone worked, they had a future, whereas those who studied, especially if they studied music, were considered failures who would never find their path in life." [2] However, he could continue his studies with the help of the administration of the conservatory and the support of friends.
Bruson made his operatic debut as the Conte di Luna in Verdi's Il trovatore at the Teatro Lirico Sperimentale in Spoleto in 1960. The following year he was Riccardo in Bellini's I puritani at the Teatro dell'Opera di Roma in Rome. His first Metropolitan Opera appearance was as Enrico in Donizetti's Lucia di Lammermoor in 1969. In 1970 he started his collaboration with conductor Riccardo Muti as Renato in Verdi's Un ballo in maschera in Florence. He made his debut at La Scala in Milan in 1972 as Antonio in Donizetti's Linda di Chamonix , at the Edinburgh International Festival in 1972 as Ezio in Verdi's Attila , at the Royal Opera House in London in 1975 as Renato in Un ballo in maschera, substituting with great success for Piero Cappuccilli.
He first appeared at the Vienna State Opera in 1978 in the title role of Verdi's Macbeth , with such a success that the theatre awarded him the title of Kammersänger. In the 1980s he turned to the 18th century, in the title role of Mozart's Don Giovanni , and to Italian verismo with Umberto Giordano's Andrea Chénier .
Bruson is considered by some critics the finest Rigoletto since Tito Gobbi. They praise his elegant and expressive phrasing, velvety tone, musical intelligence and acting qualities. He excels in long, lyrical lines. He is also appreciated for not disdaining smaller roles and for not assuming a diva attitude. Bruson once described himselfs: "I am self critic enough to understand what I can get at. Since I knew I did not have a thundering voice to make coarse effects, I sought the interpretation since I think it is more important that the public go home with something in their hearts than some sounds in their ears". [3]
Bruson recorded the role of Macbeth on DVD in a performance from Deutsche Oper Berlin alongside Mara Zampieri and James Morris.
Bruson has received numerous honors, including:
He received the Orphée d'or by the French Académie du disque Lyrique in 1980 for the Luisa Miller on Deutsche Grammophon.
A baritone is a type of classical male singing voice whose vocal range lies between the bass and the tenor voice-types. The term originates from the Greek βαρύτονος (barýtonos), meaning "heavy sounding". Composers typically write music for this voice in the range from the second F below middle C to the F above middle C (i.e. F2–F4) in choral music, and from the second G below middle C to the G above middle C (G2 to G4) in operatic music, but the range can extend at either end. Subtypes of baritone include the baryton-Martin baritone (light baritone), lyric baritone, Kavalierbariton, Verdi baritone, dramatic baritone, baryton-noble baritone, and the bass-baritone.
Un ballo in maschera is an 1859 opera in three acts by Giuseppe Verdi. The text, by Antonio Somma, was based on Eugène Scribe's libretto for Daniel Auber's 1833 five act opera, Gustave III, ou Le bal masqué.
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