Battistini, Mattia (original) (raw)

Comment:

Mattia Battistini is generally considered to be one of the great figures in 20th century vocal history. His recordings are unique examples of a vanished vocal culture. He marks the end of a vocal epoch that reaches far back into the 19th century. None of the singers to follow had this kind of elegance and finish of style.

It may come as a surprise to hear a voice that seems far more comfortable in the tenor than in the baritone range. His upper middle register was of extraordinary beauty, the low register astonishingly weak. In the tradition of the 19th century there existed the vocal category of a �Baritenore.� Some roles (e.g. Rossini�s Otello) were especially written for this type of voice. If one listens to Battistini�s recordings from the point of view of historical development, one will immediately acknowledge his singularity. He is a true singer�s singer.

My favorite recordings:

- Se dell�imen la dolce cura (Title role in Eugene Onegin / Tchaikovsky / G & T 1902)

- Largo al factotum (Figaro in Il Barbiere di Siviglia / Rossini / G & T 1902)

O Lisbona, alfin ti miro (Abayaldos in Dom Sebastien / Donizetti / G & T 1906)

- Eri tu che macchiavi (Renato in Il Ballo in Maschera / Verdi / G & T 1906)

- La Favorita - all arias (Alfonso in La Favorita / Donizetti / G & T 1902 and 1906)

- Ernani - all arias (Don Carlo in Ernani / Verdi / G & T 1906)

- Ah per sempre io ti perdei (Riccardo in I Puritani / Bellini / Gramophone 1911)

- Come il romito fior (Title role in Hamlet / Thomas / Gramophone 1911)

- Di provenza il mar (Germont-p�re in La Traviata / Verdi / Gramophone 1911)

- Averla tanto amata (Nelusko in L�Africana / Meyerbeer / Gramophone 1912)

- Per me giunto � il d� supremo...O Carlo, ascolta...Io morr� (Posa in Don Carlo / Verdi / Gramophone 1913)

- All songs by Tosti and Denza (Gramophone 1911 - 1912)

As Posa

Per me giunto � il d� supremo (1913)

�The pure, silk quality of his tone in a delicate cantilena was a joy, yet he lacked neither vigorous energy nor the vibrant power and depth of expression color that go to the make-up of a convincing dramatic singer. The flexibility of his organ and his rare vocal agility made him a complete master of the Rossinian roulades and fiorituri. He was more than a most excellent actor...�

The renowned music critic Herman Klein on Battistini�s Figaro

As Rigoletto

O mia Gilda (1913)

As Renato

Eri tu che macchiavi (1906)

�My school is in my records.�

...Elegance and finish of style, coupled with a consummate mastery of phrasing and expression. That is Battistini...