MATTIA BATTISTINI MILAN Polish Sopr MARIA MOSCISCA Trav

$

25

WEEK 4 of 4 weeks of great auctions - THIS IS THE FINAL WEEK. I will send out your bills after end of auctions on September 17.

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MATTIA BATTISTINI with Polish Soprano  MARIA MOSCISCA = Maria Mokrzycka in one of only 8 recordings  she made

Traviata: Pura siccome un angelo

Condition:

VERY GOOD PLUS , mildest wear, very scuffed, faint needle run , scuffs

Moscisca, Maria, Sopran, * 25.3.1882 Lwów (Lemberg), † 5.5.1971 Warschau; eigentlich Maria Mokrzycka. Unter diesem Namen begann sie ihre Karriere in ihrer polnischen Heimat, nachdem sie bei Walerij Wysocki in Lwów studiert hatte. Sie debütierte 1905 an der Oper von Lwów, 1908 an der Oper von Warschau in der Oper »Wanda« von Albert Franz Doppler. Mattia Battistini, der zu dieser Zeit in Warschau gastierte, bewog die junge Künstlerin, nach Italien zu gehen. Dort sang sie als Maria Moscisca zusammen mit ihm 1909 an verschiedenen Opernbühnen. (1912 wurden fünf Duette der beiden Sänger auf HMV aufgenommen). Sie trat bis 1916 in Italien in Bergamo, Genua und Turin später auch in Wien, Budapest, Madrid und Barcelona auf. 1913 unternahm sie eine Nordamerika-Tournee mit der Western Metropolitan Opera Company. 1916-31 war sie eine gefeierte Primadonna der Oper von Warschau, wo sie später auch Partien aus dem dramatischen Fach sang. Sie sang am 13.5.1922 an der Oper von Warschau in der Uraufführung der Oper »Hagith« von K. Szymanowski. Nach Beendigung ihrer Karriere wirkte sie als Lehrerin an der Staatlichen Schule für dramatische Kunst in Warschau. Ihre großen Rollen waren die Tatjana im »Eugen Onegin«, die Mimi in Puccinis »La Bohème« und die Titelfigur in »Madame Butterfly«.

Die oben erwähnten Schallplatten zeigten eine feinsinnig geführte lyrische Sopranstimme. Später erschienen Schallplatten auf polnischen Marken, zum Teil auch noch elektrische Aufnahmen.

[Nachtrag] Moscisca, Maria, * 15.3.1882 Lwów (Lemberg), † 5.5.1971 Skolinov bei Warschau; sie sang 1913 am Teatro Comunale Bologna die Elsa im »Lohengrin«, im gleichen Jahr am Teatro Real Madrid und am Opernhaus von Valencia die Nedda im »Bajazzo«. Sie trat an der Großen Oper Warschau (Teatr Wielki) auch als Sieglinde in der »Walküre« auf

[Lexikon: Moscisca, Maria, S. 1 ff. Digitale Bibliothek Band 33: Sängerlexikon, S. 17102 (vgl. Sängerlex. Bd. 4, S. 2440 ff.) (c) Verlag K.G. Saur]

 

ôLa Gloria dÆItalia - Il Re dei Baritoniö

Biographical notes:

He 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 DonizettiÆs 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, LÆAfricaine, I Puritani, Lucia di Lammermoor, Aida, Ernani, as well as taking part in the world premieres of several ônewö 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 RossiniÆs 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 develop a horror of 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, æM.B.Æ, 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. BattistiniÆs first recordings (1902) were made there. Battistini was a close friend to the TsarÆs 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.

 
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 ôBaritenore.ö Some roles (e.g. RossiniÆs Otello) were especially written for this type of voice. If one listens to BattistiniÆs recordings from the point of view of historical development, one will immediately acknowledge his singularity. He is a true singerÆs singer.

 ôThe 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...ö

The renowned music critic Herman Klein on BattistiniÆs Figaro

 ôMy school is in my records.ö

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

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