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ALBUMRenata Tebaldi, Vol. 1Orchestre de la Suisse Romande, Renata Tebaldi, Orchestra del Teatro alla Scala di Milano, Coro del Teatro alla Scala di Milano, Orchestra Sinfonica della RAI di Torino, Antonino Votto, Guido Cantelli, Arturo Basile, Alberto Erede, Fedora Barbieri, Giacinto Prandelli, Cesare Siepi, Jose Soler, Ugo Savarese, Armando Benzi & Ernesto Panizza
ALBUMSpontini: Fernando Cortez, ou La conquete du Mexique (1950, 1951)Renata Tebaldi, Italo Tajo, Oliviero de Fabritiis, Aldo Protti, Gabriele Santini, Luigi Paolillo, Augusto Romano, Afro Poli, San Carlo Theatre Chorus, Gianni Avolanti, Gino Penno, San Carlo Theatre Orchestra, Gerardo Gaudioso, Antonio Cassinelli, Milan La Scala Orchestra, Nino Sanzogno & Antonino Votto
ALBUMOuvertures E Cori CelebriAntonino Votto, Dimitri Mitropoulos, Francesco Molinari-Pradelli, Gianandrea Gavazzeni, Herbert von Karajan, Nicola Rescigno, Sir Georg Solti, Orchestra del Covent Garden Royal Opera House di Londra, Orchestra del Maggio Musicale Fiorentino, Orchestra del Teatro alla Scala di Milano, Orchestra of the Rome Opera House, Orchestra del Teatro La Fenice di Venezia, Orchestra del Teatro Metropolitan di New York & Orchestra Filarmonica di Vienna
About Antonino Votto
Artist Biography
Italian conductor Antonino Votto was a highly successful protégée of Arturo Toscanini. Votto rose to worldwide prominence in the 1950s largely on the strength of his numerous successful operatic recordings for EMI with popular soprano Maria Callas. But he also developed a reputation as one of the leading operatic conductors of his time owing to his many acclaimed performances at La Scala, in Milan, where he worked regularly for nearly two decades.
Votto was born in Piacenza, Italy, on October 30, 1896. He enrolled at the Naples Conservatory for music studies and after graduation served as répétiteur at La Scala. He was also an assistant conductor there to Arturo Toscanini. In 1923 Votto made his official debut, leading a performance of Puccini's Manon Lescaut.
With occasional appearances at La Scala and other major operatic venues in Italy and abroad, Votto gradually built a reputation as the one of the most outstanding conductors of Italian opera of his time. In 1941 he began teaching at the Giuseppe Verdi Conservatory in Milan, the war limiting operatic activity in Italy and most parts of Europe. Over the years, his students included Claudio Abbado and Riccardo Muti.
Votto began conducting regularly at La Scala in 1948, though Victor de Sabata was the music director. In the recording studio and arguably in the live performances he led over the next two decades at La Scala, Votto would rival de Sabata, as well as his young successors there, Carlo Maria Giulini and Guido Cantelli.
Votto made a series of highly successful recordings in the 1950s with Callas, based on extravagant productions staged at La Scala with the iconic soprano. Their collaborations on Puccini's La bohème (1956), Verdi's Un Ballo in Maschera (1956), and Bellini's La Sonnambula (1957), for EMI, were enthusiastically received by both critics and public. Surpassing this imposing trio, many believe, were their two live recordings of Bellini's Norma and Giordano's Andrea Chenier, both from 1955.
Though Votto had debuted at Covent Garden in 1924 in performances of Puccini's Madama Butterfly and Leoncavallo's I Pagliacci, his American debut did not come until 1960, when he appeared at the Chicago Lyric Opera to conduct two Verdi staples, Aida and Don Carlo. Votto remained active at La Scala until 1967. In his remaining years he limited conducting appearances. Votto died in Milan on September 9, 1985.
Hometown
Piacenza, Italy
Genre
Classical
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