Tito Schipa (1889-1965) - I

Record and Artist Details

Composer or Director: Gioachino Rossini, Gaetano Donizetti, Ruggiero Leoncavallo, Giuseppe Verdi, Jules (Emile Frédéric) Massenet, Giacomo Puccini, Francesco Cilea, Friedrich (Adolf Ferdinand) von Flotow, Wolfgang Amadeus Mozart, (Clément Philibert) Léo Delibes

Label: Lebendige Vergangenheit

Media Format: CD or Download

Mastering:

ADD

Catalogue Number: 89160

Tracks:

Composition Artist Credit
(Il) Barbiere di Siviglia, '(The) Barber of Seville' Tito Schipa
(Anonymous) Orchestra
Rosario Bourdon
Gioachino Rossini Composer
(La) Favorita Tito Schipa
(Anonymous) Orchestra
Gaetano Donizetti Composer
Pagliacci, 'Players' Tito Schipa
(Anonymous) Orchestra
Ruggiero Leoncavallo Composer
(La) traviata Tito Schipa
(Anonymous) Orchestra
Giuseppe Verdi Composer
Rosario Bourdon
Amelita Galli-Curci
Rigoletto Tito Schipa
(Anonymous) Orchestra
Giuseppe Verdi Composer
Werther Jules (Emile Frédéric) Massenet Composer
Tito Schipa
(Anonymous) Orchestra
(La) Bohème, 'Bohemian Life' Lucrezia Bori
(Anonymous) Orchestra
Tito Schipa
Giacomo Puccini Composer
Rigoletto (Anonymous) Orchestra
Amelita Galli-Curci
Giuseppe Verdi Composer
Tito Schipa
(L')Arlesiana, '(The) Girl from Arles' (Anonymous) Orchestra
Francesco Cilea Composer
Tito Schipa
Manon (Anonymous) Orchestra
Tito Schipa
Jules (Emile Frédéric) Massenet Composer
Don Pasquale Tito Schipa
Amelita Galli-Curci
(Anonymous) Orchestra
Rosario Bourdon
Gaetano Donizetti Composer
(La) traviata Giuseppe Verdi Composer
Rosario Bourdon
Tito Schipa
Amelita Galli-Curci
(Anonymous) Orchestra
Martha (Anonymous) Orchestra
Friedrich (Adolf Ferdinand) von Flotow Composer
Tito Schipa
Rigoletto Amelita Galli-Curci
Tito Schipa
Giuseppe Verdi Composer
(Anonymous) Orchestra
Rigoletto Tito Schipa
Rosario Bourdon
(Anonymous) Orchestra
Giuseppe Verdi Composer
Don Giovanni (Anonymous) Orchestra
Tito Schipa
Wolfgang Amadeus Mozart Composer
Rosario Bourdon
Lakmé Tito Schipa
(Clément Philibert) Léo Delibes Composer
(Anonymous) Orchestra
Don Giovanni Wolfgang Amadeus Mozart Composer
(Anonymous) Orchestra
Rosario Bourdon
Tito Schipa
Luisa Miller Tito Schipa
Giuseppe Verdi Composer
(Anonymous) Orchestra
(L')Elisir d'amore, 'Elixir of Love' Gaetano Donizetti Composer
(Anonymous) Orchestra
Tito Schipa
(L')Elisir d'amore, 'Elixir of Love' Rosario Bourdon
Gaetano Donizetti Composer
(Anonymous) Orchestra
Tito Schipa
(Il) Barbiere di Siviglia, '(The) Barber of Seville' (Anonymous) Orchestra
Rosario Bourdon
Tito Schipa
Gioachino Rossini Composer
Don Pasquale (Anonymous) Orchestra
Gaetano Donizetti Composer
Tito Schipa
The Master. And yes: despite questionings (mine as well as yours, you who listen with independent ears, unintimidated by legend and title), he surely is, and never more so than in the recordings of this period. Schipa was then at the height of his fame and fortune, the voice approaching the end of its very best days (a thrill and a freshness which began to diminish in the early 1930s) and with the art having developed (I would rather gently suggest) just about as far as it would go. Lovely examples are: “Sogno soave” (Don Pasquale), “Questa o quella” and “E il sol dell’anima” (Rigoletto), the Traviata duets, the Lakme and Werther solos, Harlequin’s Serenade (Pagliacci), “E la solita storia” (L’arlesiana) and the finale of La boheme with the exquisite Bori.
But if ‘The Master’, then one whose mastery was exercised within severe limitations. Today’s tenors in the repertoire cultivate an extensive upper range, whereas Schipa sings here nothing above a B flat, transposing “La donna e mobile”, and even lowering “M’appari” so that the B flat becomes an A. His modern successors attempt and often attain a brilliance of bravura which can make Schipa sound tame and cautious (his “Ecco ridente” is fine but lacks the brilliance of true virtuosity, and his “Il mio tesoro” is essentially a bit of artful dodging).
There are other limitations too, but these are enough for the present: and enough remains to place him among the unforgettables and irreplaceables. Any of the recommendations mentioned will show why, and there is the added, vital and elusive quality of voice-personality. This collection comprises a complete run of Schipa’s operatic records made electrically for the Victor company. Transfers are faithful, with the sound well defined. Among all the many CDs currently devoted to him this would be a very suitable first choice.'

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