Mattia Battistini, 'Wie todes ahnung' (Wolfram's aria), Wagner: Tannhäuser (G&T, 1902)

The great Italian baritone Mattia Battistini (1856-1928), dubbed the "King of the baritones" and undisputably one of the giants from the "Golden Age of Opera", in Wolfram's aria 'Wie todes ahnung' from Act 3 of Wagner's Tannhäuser (sung in Italian). The recording was made in 1902 for the Gramophone & Typewriter Company.




The following biographical profile of Battistini comes from "Cantabile-Subito: A Site for Collectors of Great Singers of the Past" (www.cantabile-subito.de):
"Battistini was born in Rome and brought up in Contigliano, a village near Rome. His father, a professor of anatomy at Rome University, would have preferred his son to take up a career in medicine or law, but from the beginning Mattia showed a prodigous musical talent. He studied with Venceslao Persichini (who also taught Francesco Marconi, Titta Ruffo and Giuseppe de Luca). While still a student he sang in public. His debut was in Donizetti's La Favorita in 1878 which was an immediate success. In the first three years he toured Italy and appeared in roles of La Forza del Destino, Il Trovatore, Rigoletto, Il Guarany, Gli Ugenotti, Dinorah, LAfricaine, I Puritani, Lucia di Lammermoor, Aida, Ernani, as well as taking part in the world premieres of several new operas. What a repertory for a young singer! He went to South America in 1881 for the first time, where he travelled for more than one year. By his returning, he appeared in Barcelona and Madrid where he sang in Rossini's Il Barbiere di Siviglia. His success in this role was enormous. In 1883 he came to Covent Garden where he appeared opposite Marcella Sembrich, Francesco Marconi, Edouard de Reszke and Adelina Patti. In 1888 he travelled to South America again. It proved to be his last trans-Atlantic trip. He never appeared at the Met or any other American opera house. He was said to have developed a horror for the Atlantic-crossing. He more and more orientated his career to Imperial Russia. He used to travel to Warszaw, St. Petersburg and Moscow like a prince, with 30 trunks, each one embossed with the initials, M.B., and each one containing a wardrobe of different stage costumes! Warszaw (then in Imperial Russia) was the place where the famous Italian vocalists gathered at the turn of the century. Battistini's first recordings (1902) were made there. Battistini was a close friend to the Tsars family. He was the most acclaimed singer of his time by the Russian aristocracy. He returned to Russia regularly for 23 seasons! Other cities he appeared in were Paris, Lisbon, Barcelona, Madrid, Milano, Berlin, Vienna, Prague and Budapest. After Worldwar I he toured with his own company. His career lasted almost 50 years! He gave his last concert performance one year before his death, his voice was still in very fine condition."

Category:

Music

Tags:

• Mattia
• Battistini
• Wie
• todes
• ahnung
• Wagner
• Tannhäuser
• G&T
• 1902

[doomownage94]

Hmm. That's interesting. Why is his name in the bottom right corner written in the cyrillic script?

[dantitustimshu]

@doomownage94 Battistini sang often in imperial Russia, where he became highly popular. Many photos of him were produced there.

[meltzerboy]

Battistini may have had some difficulty with his lower notes and his tone had a nasal quality not admired by all listeners. All in all, however, I regard him as the greatest baritone on record, and certainly my own favorite. The beauty of tone, the formidable florid technique, the bold style and imagination, the suave finesse and interpretive nuance, and the thrilling top register are all virtually incredible. Thanks for sharing, Tim.

[dantitustimshu]

@meltzerboy Many thanks Nate, as always. Indeed as you said, the nasality in Battistini's voice is not to all tastes. There are many who prefer baritones with more rotound, 'fruity' voices with stronger lower registers, of which Stracciari and Merrill are good examples. Regarding this characteristic, I would echo AE's view and add that Battistini made it a great virtue in his vocal and interpretive armoury.

[Bivolari]

Wagner liked the Italian style of singing. He would have been pleased. Beautifully sung.

[dantitustimshu]

@Bivolari Thank you very much Stephen, as always. Actually, Battistini did have the privilege of meeting Wagner in person and receiving his compliments, according to a well-researched biography by Jacques Chuilon.

[AulicExclusiva]

@meltzerboy That nasality, which Battistini can turn into a snarl in dramatic declamation, is the mirignao, a favourite devise of Italian dramatic actors, and certainly heard in Galli-Curci's placement! I find it very aristocratic-sounding. Battistini was a princely singer. Everything he does denotes nobility. And did anybody ever have a finer legato?

[meltzerboy]

Battistini may have had some difficulty with his lower notes and his tone had a nasal quality not admired by all listeners. All in all, however, I regard him as the greatest baritone on record, and certainly my own favorite. The beauty of tone, the formidable florid technique, the bold style and imagination, the suave finesse and interpretive nuance, and the thrilling top register are all virtually incredible. Thanks for sharing this, Tim.

[meltzerboy]

Battistini may have had some difficulty with his lower notes and his tone had a nasal quality not admired by all listeners. All in all, however, I regard him as the greatest baritone on record, and certainly my own favorite. The beauty of tone, the formidable florid technique, the bold style and imagination, the suave finesse and interpretive nuance, and the thrilling top register are all virtually incredible. Thanks for sharing this, Tim.

[francesca7564]

Thanks Tim !!!

[dantitustimshu]

@BelSoggiorno Thank you very much for your comment Adriano, much appreciated! Your analysis is absolutely spot-on and makes enjoyable reading as well.

[BelSoggiorno]

Now THIS is great singing... There are so many colors in this recording: Desperation, resounding sorrow in "Wie Todesahnung / Corrier di morte" - and then the silver rays of the "Abendstern"... the long-breath line of the aria...

Battistini's lyrical sweetness and belcanto legato give this performance a dreamy quality. One of the best performances of this aria that I know.

Thanks to Tim for posting.

[paulostroff99]

Another lovely performance by the king of baritones.TY Tim for posting.