Nazzareno de Angelis I

Lebendige Vergangenheit

Ezio Pinza, Tancredi Pasero and Nazzareno De Angelis are generally considered the three most remarkable Italian basses in the early half of this century. Although all three were active around the same time, they were literally worlds apart in most other respects. Pinza ruled supreme at the Metropolitan Opera in New York, Pasero was venerated in Italy and De Angelis, because of his frequent, triumphant appearances at the Teatro Colon in Buenos Aires was revered, above all, in South America. Vocally, too, these three artists differed considerably. Pinza's main characteristic was his exceptional musicality and sensitive style, Pasero achieved fame primarily because of his voluminous, refulgent tone production, whereas Nazzareno De Angelis could well be regarded as the most notable belcanto exponent. Few, if any, basses in the verifiable history of singing are his peer as far as technical finish is concerned - whether it be the kaleidoscopic coloration of the vocal line, the emotive projection or the fully blended registers culminating in a perfectly supported, metallic top. Because of his unique command of the most subtle vocal finesses, De Angelis was better equipped than any of his contemporaries to sing the bass roles of the nineteenth century belcanto repertoire. In fact he triggered a virtual renaissance of all but forgotten Cherubini, Donizetti, Bellini and Rossini operas. Probably his most famous role was Rossini's "Mose", a legendary assumption, even now deemed something of a vocal yardstick. Nazzareno De Angelis was born in Rome in 1881. He attended the S. Salvatore school in Lauro and joined the choir of the Capella Giulia. His exceptional musicality and his pure soprano qualified him for the choir of the Capella Sixtina, where he remained for three years. After leaving school he first became apprenticed to a printer but an Italian aristocrat, Conte Paolo Semi, became ·his maecenas. De Angelis could thus study with· Prof. Faberi at the Accademia di Santa Cecilia in Rome. On completion of his studies he made his debut in "Linda di Chamounix" on 4. May 1903 in Aqiuila. Subsequently he toured the Italian provinces, appearing in ad hoc stagione productions. Gradually his fame spread and he was entrusted with more important roles. In 1904 he was much applauded in the Teatro Quirino in Rome in "La Favorita", "Ernani", "Barbiere" and "Norma". In 1905 he toured the Netherlands. On 15. January 1907 he made his debut at La Scala ("La Gioconda") and, under the auspicices of Toscanini, sang numerous important roles, including King Mark in "Tristan". In 1911 De Angelis started on the first of many South American tours. One of his main visiting cards at this time was Boito's "Mefistofeles" but he has also a noted King Philipp in "Don Carlos", Zaccaria ("Nabucco"), Fiesco ("Simon Boccanegra"). A benchmark of his career was the world premiere of Montemezzi's "L'Amore dei tre Re" on 10. 4. 1913 at La Scala, an opera which enjoyed an unusually successful run, at least in Italy. Apart from King Mark, De Angelis also sang Gurnemanz and Wotan ("Walküre"). In 1939 De Angelis retired from the stage but continued his recital career until the early 1940s. He spent the last years of his life as a vocal coach in Milan and later in Rome.