| Revision as of 19:34, 5 June 2007 editBrian Joseph Morgan (talk | contribs)Extended confirmed users7,148 editsm →International success← Previous edit | Revision as of 01:13, 9 June 2007 edit undoCatgut (talk | contribs)Pending changes reviewers, Rollbackers30,392 edits →International success: Siepi at the Vienna State OperaNext edit → | ||
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| His international reputation was established in 1950, when Sir ] brought him to the ] in New York to open the 1950 season as King Philip II in '']''. He was to remain principal bass at the Met until 1974, adding roles such as ] (in English) and Gurnemanz in '']'' (in German), and singing all the major roles of the bass repertoire. | His international reputation was established in 1950, when Sir ] brought him to the ] in New York to open the 1950 season as King Philip II in '']''. He was to remain principal bass at the Met until 1974, adding roles such as ] (in English) and Gurnemanz in '']'' (in German), and singing all the major roles of the bass repertoire. | ||
| His also gave his debut at the ], ], in 1950, and appeared there regularly until the mid 1970s. He made an immediate impact at the Salzburg Festival in the title role of ''Don Giovanni'' |
His also gave his debut at the ], ], in 1950, and appeared there regularly until the mid 1970s. | ||
| In 1953 Siepi debuted at the ] with a legendary ''Don Giovanni'' conducted by ] and designed by ]n architect ]. He made an immediate impact at the Salzburg Festival in the title role of ''Don Giovanni'' which became perhaps his best known role, as it had been for the most famous Italian bass of the generation before, ]. | |||
| Siepi was also a frequent guest at the ]. In 43 performances he sang Don Giovanni, more often than any other singer except for ]. In 1967 Siepi was Don Giovanni in a controversial production by ] and designer ] that showed Mozart's masterpiece in the light of the ] and emphasized the comic and ironic elements of this opera (conductor ] strongly opposed this production). In Vienna he also sang Basilio ('']''), Collin ('']''), Fiesco ('']''), Figaro ('']''), Padre Guardian ('']''), Gurnemanz ('']''), Mephisto ('']''), Filippo ('']''), and Ramphis ('']''). He continued to sing at the State Opera until the early 1980s. | |||
| He was a particularly fine recital artist, especially in Community Concerts under Columbia Artist Management, and a sensitive interpreter of German Lieder. He married Met ballerina Luellen Sibley and they have two children. | He was a particularly fine recital artist, especially in Community Concerts under Columbia Artist Management, and a sensitive interpreter of German Lieder. He married Met ballerina Luellen Sibley and they have two children. | ||
Revision as of 01:13, 9 June 2007
Cesare Siepi (born February 10, 1923) is an Italian opera singer, generally considered to be one of the finest basses of the post-war period. His voice was characterised by a deep, warm timbre, and a ringing, vibrant upper register. On stage, his tall, striking presence and his great elegance of phrasing made him a natural Don Giovanni, among his many other roles.
Early career
Born in Milan, he began singing as a member of a Madrigal group. He often claimed to be largely self-taught, having attended the Conservatory of Music in his home city for just a short time. His operatic career was interrupted by World War II. After his debut in 1941 (in Schio, near Venice, as Sparafucile in Rigoletto) Siepi, an opponent of the fascist regime, fled to Switzerland. Template:Sample box start variation 2 Template:Multi-listen start Template:Multi-listen item Template:Multi-listen end Template:Sample box end After the end of the war his career immediately took off. Success as Zaccaria in Nabucco at La Fenice in Venice was followed by the first of many engagements at La Scala, Milan. His early engagements there were in the Verdi bass roles, the title role in Boito's Mefistofele under Arturo Toscanini, as Colline in La bohème, and in La Gioconda, La Favorita, and I Puritani.
International success
His international reputation was established in 1950, when Sir Rudolf Bing brought him to the Metropolitan Opera in New York to open the 1950 season as King Philip II in Don Carlos. He was to remain principal bass at the Met until 1974, adding roles such as Boris Godounov (in English) and Gurnemanz in Parsifal (in German), and singing all the major roles of the bass repertoire.
His also gave his debut at the Royal Opera House, Covent Garden, in 1950, and appeared there regularly until the mid 1970s.
In 1953 Siepi debuted at the Salzburg Festival with a legendary Don Giovanni conducted by Wilhelm Furtwängler and designed by Austrian architect Clemens Holzmeister. He made an immediate impact at the Salzburg Festival in the title role of Don Giovanni which became perhaps his best known role, as it had been for the most famous Italian bass of the generation before, Ezio Pinza.
Siepi was also a frequent guest at the Vienna State Opera. In 43 performances he sang Don Giovanni, more often than any other singer except for Eberhard Waechter. In 1967 Siepi was Don Giovanni in a controversial production by Otto Schenk and designer Luciano Damiani that showed Mozart's masterpiece in the light of the commedia dell'arte and emphasized the comic and ironic elements of this opera (conductor Josef Krips strongly opposed this production). In Vienna he also sang Basilio (Il barbiere di Siviglia), Collin (La Bohème), Fiesco (Simon Boccanegra), Figaro (Le nozze di Figaro), Padre Guardian (La forza del destino), Gurnemanz (Parsifal), Mephisto (Faust), Filippo (Don Carlo), and Ramphis (Aida). He continued to sing at the State Opera until the early 1980s.
He was a particularly fine recital artist, especially in Community Concerts under Columbia Artist Management, and a sensitive interpreter of German Lieder. He married Met ballerina Luellen Sibley and they have two children.
Siepi enjoyed a long career, and performed regularly until the early 1980s, including lead roles in the ill-fated Broadway musicals Bravo Giovanni and Carmelina. In addition to his many studio recordings, there are also many live recordings of performances of his major roles. A dispute with the Met appears to have made the Met recordings that included Siepi unavailable for further release.
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