Rina Corsi: One Hundred Years of Music

by Admin 24 novembre 2008 12.27

Rina Corsi, soprano and mezzo-soprano is an authentic star. She is a proud Florentine and a woman whose life spans much of the twentieth century.
It
is enough to say that she began her stage career in 1927 and stopped performing in 1965. During this time, she sang in the world’s largest theatres under the direction of prestigious Maestros and in the company of celebrated colleagues, such as Maria Callas.

She had her debut in Montevarchi in
“Boheme” in April of 1927. She interpreted the part of Mimì and the next year at the Politeama di Pia, she played Nedda in “Pagliacci”. In 1931, she sang in “Francesca da Rimini” by Zandonai in Trieste and in Palermo. During the same season she also performed in “Boris Godunov”. She played the part of Marina many times to great critical acclaim. In August of 1932, she successfully acted at the Littorale di Noto in “La Lupa” by Pierantonio Tasca. In 1933, at Teatro Verdi in Florence, she triumphed when she interpreted the part of Mariella in “Il Piccolo Marat” alongside Hipolito Labaro.

She was then the protagonist in
“Graziella” by Rossato at Teatro Bellini in Catania the 17th of March, 1934. Between 1933 and 1940 she added a lot of plays to her repertoire: “Mefistofele” (Margherita), “Madama Butterfly”, “Andrea Chenier”, “Mignon”, “Cavalleria Rusticana”, “La Favorita”, “Werther” (with Tito Schipa), “Il Franco Cacciatore”, “Fiorella” (by Italo Brancucci), “Adriana Lecouvreur”, “l’Heure Espagnole”, “L’Arlesiana”, “Fedora”, “Edopo Re”, “Il teatro dei Pupi”, “Mastro Pietro” by M. De Falla, “Il ballo delle Ingrate” by Monteverdi and in October of 1942, she debuted at the Fenice in Venice by singing the part of “Madonna Imperia” by Alfano.

Gifted with a prodigious musical memory that enabled her to learn many scores in only a number of days and to recite naturally, she was able to immediately immerse herself in characters. She was
even admired outside of Italy where she performed in operas and recorded records.
Places that she traveled to include: Nice, Bastia, Madrid, Lisbon, Oporto, Amsterdam, Aja, Cairo…and even Japan for the first competition organized by the RAI. After her luminous career as a soprano, she became a mezzo-soprano renewing her success. Thanks to the bright and polished tone of her voice, it is possible to say that she holds a place of prestige. After almost 100 years, we like to remember some curious anecdotes that are related to her career.

She called her leap to fame a “stroke of destiny”. She was less than 25 years old when, after having learned “Il Piccolo Marat” with M. Mugone perfectly, she took part in an audition that was too close to the debut of the opera that would soon be performed in Teatro Verdi. It is obvious that people were saying: ‘yes, you are good but you need to return because there are not vacancies in the company”.

At the debut of the opera, the soprano woke up without a voice! The manager remembered Corsi and exclaimed: ‘Only that girl can save me”. The evening of the performance, Corsi was presented to the public as “Your
fellow-citizen substituting the Soprano … who was all of a sudden unable to appear…”. From the first aria, it was a true triumph and at the end of the show, M. Mascagni was sent a telegram to inform him of the success of the performance. She often remembered with satisfaction that she had performed in her own city of Florence at the only, or certainly the first, showing of the Oberon put on at the Boboli Garden in June of 1951 during the XIVth Maggio Musicale Fiorentino event. She was often the guest of Count Chigi in Siena for concerts in the salon of his famous building.

Over
the course of her career, she sang with important colleagues. In September of 1948 she sang with Maria Callas in Perugia. Let’s conclude with another vivid memory… It was a provincial piazza in Empoli or Fucecchio and she was performing in “Carro di Tespi” when a young and elegant Indro Montanelli passed by “haughtily indifferent, without even giving her a passing glance!” Who knows how many vivid stories Rina Corsi still has left to tell us.
We wish her a happy birthday.

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An Etruscan baritone who charms the theatre stages worldwide

by nfondelli 24 novembre 2008 11.48
He is from Tuscany, actually from the Maremma and the nephew of a true Buttero, as he likes to specify. As you get to know him, you discover that the fierce, modest and peaceful spirit of the Etruscans whom he is passionate about, lives anew in him; from his strong handshake to the last note of his marvelous singing. It is true, for the person we are speaking of is an ambassador of bel canto.

We are referring to Roberto Nencini, a baritone with well-respected ancestry: it is difficult to count the shining prizes in his showcase and all the awards bestowed on him. It will suffice to say that he has performed with Ricciarelli, Cossotto and Casolla and under the direction of Petre, Metha and Muti, to name a few. Nencini though is an artist with multifaceted talent, an artist always looking for challenges. He has in fact worked in theatre and the movies under the direction of Zeffirelli, Comencini, Laudadio and Steno, not to mention a recent visit to the world of Musical.

He was the powerful Mangiafuoco/ Fire Eater of “Pinocchio”, directed by Pooh. On the stage he is amazing. He has a full voice and he is a charismatic interpreter and an actor with inborn qualities at times refined and at times impetuous and ironic. When the lights on the stage go off, years as a performer did not touch the essence of the man. We briefly talked to him as we caught up with him during a time of rest in his native Maremma. “I am here to work on a project that has been on my mind for a long time”.
 

What kind of project?  

Opening a school of bel canto. I remember I had to move to studyand I want to offer an opportunity to the young people of this area.And then, among the many requests, I received one from Lima,which I am particularly interested in. They asked me there toperform a Requiem by Verdi.

Why are the bel canto artists sought after abroad and almostignored in Italy?

Because our society is very superficial, the melomeniacs representa small niche. We forget the greatest authors are Italian and we gocrazy for imported music. Abroad, on the other hand, they adorethe Italian bel canto. Weird indeed! Is it a pity to be ignored in your own land and adored abroad?  No. Touring around the world makes you proud, knowing that youhave the honor to represent your own country.  How are the audiences in other countries?
Very attentive! They don’t miss a note…  

Is there a specific occurrence in your career which really stands out?  

It goes back to my debut at the Torre del Lago Puccini Festival. Iwas invited to sing for Simonetta Puccini, niece of the great Maestro.Before I started, she approached me and said abruptly: “I really wantto know how this Edgard sings”. At the end of the romance she askedme why I hadn’t been present at the mass for her grandfather’s soul– I really couldn’t tell her I had not been invited – and she added:“What a shame, grandfather would have loved you!”  

When you work, are you aware of your Maremma ties?

 

If the situation requires it, I reveal my disposition. I remember oncein Amsterdam, the theatre was full and I was about the get on thestage and the well-know singer who was due to perform with mehad a panic attack. I faced her resolutely and literally pushed heron the stage. She gave a beautiful performance and right after shesaid: You really come from the Maremma!” Ever since that day webecame best friends. 

What is the strongest emotion you feel as you sing?

 

An intimate feeling I feel every time I sing in church. When I sing, Ithank God for the precious gift of my voice. 

What about professionally?

 

The first time I sang at the Duomo di Milano with 150 orchestralplayers and 200 choralists behind me in front of an audience of 14,000 completely silent people! Breathtaking.

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