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He later left for '[[Latin America]], where he sang in [[Mexico City]], [[Montevideo]], [[Buenos Aires]], [[Caracas]], [[Santiago]], [[Rosario (Argentina) | Rosario]].
He later left for '[[Latin America]], where he sang in [[Mexico City]], [[Montevideo]], [[Buenos Aires]], [[Caracas]], [[Santiago]], [[Rosario (Argentina) | Rosario]].


Returning to La Scala in [[1939]] for the world premiere of '' [[La dama boba]] '' of [[Ermanno Wolf-Ferrari]]. In [[1947]] to [[Teatro Pergolesi]] of [[Jesi]] was the protagonist in '' [[Manon (Massenet) | Manon]] '' with a very young [[Renata Scotto]]. These roles were the most popular [[The Barber of Seville (Rossini) | Count Almaviva D']] and [[Manon (Massenet) | Des Grieux]].
Returning to La Scala in [[1939]] for the world premiere of '' [[La dama boba]] '' of [[Ermanno Wolf-Ferrari]]. In [[1947]] to [[Teatro Pergolesi]] of [[Jesi]] was the protagonist in '' [[Manon (Massenet) | Manon]] '' with a very young [[Renata Scotto]]. These roles were the most popular; The Barber of Seville (Rossini), Count Almaviva D', and [[Manon (Massenet) | Des Grieux]].


In the forties, in the heyday voice, recorded two complete works: '' The Barber of Seville '' [[Rossini]] anus and '' Rigoletto '', in addition to some individual tracks, now remastered in [[CD] ].
In the forties, in the heyday voice, recorded two complete works: '' The Barber of Seville '' [[Rossini]] anus and '' Rigoletto '', in addition to some individual tracks, now remastered in CD.


He retired from the stage at the end of the [[1950 | fifties]] and settled in Buenos Aires, where he taught singing with his wife, the [[soprano]] Argentine [[Hilde Reggiani]].
He retired from the stage at the end of the [[1950 | fifties]] and settled in Buenos Aires, where he taught singing with his wife, the [[soprano]] Argentine [[Hilde Reggiani]].

Revision as of 22:04, 15 December 2014

Biography

Bruno Landi was a "Light lyric tenor" "the clear voice, considerable extension and issue easy and very well controlled, but frequently resorted to the notes in falsetto" <ref> Evaristo Pagani, Collections Biographical Italian Opera Singers , published on his own, Albino, 2009. </ ref>, debuted in 1925 to Campi Bisenzio in the part of the Duke of Mantua in Rigoletto .

In 1927 to Florence he sang in the role of Count Almaviva in D' The Barber of Seville (Rossini), The Barber of Seville . In 1931 performed yet it The Barber of Seville to Teatro Regio of Parma, where he returned in 1939 in Faust , with Magda Olivero, Andrea Mongelli and Tancredi Pasero. In 1933 sang in Gianni Schicchi and it I quatro rusteghi to Rome Opera. During the 1936 debuted at Scala as Fenton in Falstaff , with the direction of Victor De Sabata and a cast which included Maria Caniglia, Mafalda Favero and Mariano Stabile.

In 1938 Bruno Landi took part in a tour in the United States, appearing in San Francisco, Philadelphia, Cincinnati and Metropolitan Theatre of New York, in Rigoletto , Leona Lewis , L'amico Fritz , Martha' '. At the Metropolitan he was cast for seven seasons.

He later left for 'Latin America, where he sang in Mexico City, Montevideo, Buenos Aires, Caracas, Santiago, Rosario.

Returning to La Scala in 1939 for the world premiere of La dama boba of Ermanno Wolf-Ferrari. In 1947 to Teatro Pergolesi of Jesi was the protagonist in Manon with a very young Renata Scotto. These roles were the most popular; The Barber of Seville (Rossini), Count Almaviva D', and Des Grieux.

In the forties, in the heyday voice, recorded two complete works: The Barber of Seville Rossini anus and Rigoletto , in addition to some individual tracks, now remastered in CD.

He retired from the stage at the end of the fifties and settled in Buenos Aires, where he taught singing with his wife, the soprano Argentine Hilde Reggiani.

His Repertoire

Discography

Notes


References

  • Dionisio Petrella, Los italianos en la historia de la Argentine culture , Asociación Dante Alighieri, 1979.