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Venti scudi

Opera details:

Opera title:

L' Elisir d'amore

Composer:

Gaetano Donizetti

Language:

Italian

Synopsis:

L' Elisir d'amore Synopsis

Libretto:

L' Elisir d'amore Libretto

Translation(s):

English

Duet details:

Type:

duet

Role(s):

Nemorino / Belcore

Voice(s):

Tenor / Baritone

Act:

2.06a

Previous scene: Ai perigli della guerra
Next scene: Qua la mano giovinotto

Cesare Valletti; "Venti scudi!"; L'ELISIR D'AMORE; Gaetano Donizetti

Singer(s): Tito Schipa Mariano Stabile Cesare Valletti

THIS IS THE SUCCESSOR CHANNEL TO "liederoperagreats" WHICH WAS RECENTLY TERMINATED.
Cesare Valletti--tenor
No recording information
=============
"The son of a doctor, Valletti studied music privately in Rome and became a student of the tenor Tito Schipa. He made his operatic stage debut at Bari in 1947 at the Teatro Petruzelli as Alfredo / La traviata, after which he appeared in many Italian opera houses in both the Mozartian and bel canto repertoires.

Internationally, Valletti’s breakthrough came in 1950 when he sang Narciso / Il turco in Italia at the Teatro Eliseo, Rome opposite Maria Callas and Mariano Stabile. He also deputized as Fenton / Falstaff at La Scala, Milan in a production which subsequently toured to the Royal Opera House, London. The following year he sang Alfredo in Mexico City, once again opposite Maria Callas, and went on to appear at the Teatro Colón, Buenos Aires; Rio de Janeiro; the Vienna State Opera and in Paris and Amsterdam. His international presence was also greatly aided by his participation in numerous Italian radio opera productions released as commercial recordings on the Cetra label.

In North America Valletti first appeared in 1953 in San Francisco, singing the title role of Werther opposite Giulietta Simionato. During the same year he made his debut at the Metropolitan Opera, New York as Don Ottavio / Don Giovanni. He was welcomed by Olin Downes, who wrote in the New York Times: ‘His voice is not overlarge, but he has a beautiful style and he delivered with finish, flexibility and fine taste the two great airs of the first and second acts. He even looked like a man and not a ‘ham’ as customarily is the case.’ The Met became a major focus for Valletti’s operatic work until 1960, his roles including Count Almaviva / Il barbiere di Siviglia, Des Grieux / Manon (both 1954), Ferrando / Così fan tutte (in English), Ernesto / Don Pasquale in which he ‘spun out the most delectable pianissimos’ (Musical America) (both 1955), Alfredo and Alfred / Die Fledermaus (both 1958) and Tamino / Die Zauberflöte (1959). His last (unplanned) performance at the Met was as Don Ottavio in February 1960; the following November he returned to sing Nemorino in a new production of L’elisir d’amore but was relieved of his position after the dress rehearsal by Rudolf Bing and never returned to the Met, despite many invitations to do so.

In Europe Valletti sang Elvino / La sonnambula in 1955 at La Scala opposite Callas with Leonard Bernstein conducting; and at the Maggio Musicale, Florence as Giacomo / La donna del lago (1958), Idamante / Idomeneo (1962) and Giannetto / La gazza ladra (1965). He returned to Covent Garden in 1958 to sing opposite Callas in La traviata (1958) in what is generally considered to be one of her finest performances. Valletti first appeared at the Salzburg Festival as Don Ottavio in 1960 with Karajan conducting (another classic performance) and also gave a highly praised song recital there, marking his emergence as a recitalist of considerable note.

Having formally retired in 1967 (although he sang Nerone in L’incoronazione di Poppea at the Caramoor Festival in America in 1968) Valletti left the world of opera completely, turning instead to the pasta-machine manufacturing business of his father-in-law, of which he was to become a director. His wife was a grand-daughter of the composer Ildebrando Pizzetti. He died, a wealthy man, of a heart attack while having treatment for liver cancer.

Like his teacher Schipa, Valletti possessed an innate sense of style, line and phrasing. His voice was not large, but was agile and carried well; while on-stage he struck a good figure and was an effective actor. In sum he was the leading tenore di grazia of the 1950s, as his recordings clearly demonstrate."; naxos

Watch videos with other singers performing Venti scudi:

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6 - Juan Pons
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Mariusz Kwiecien Juan Diego Florez L Elisir d Amore Venti scudi  42198
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Venti Scudi Donizetti L elisir d amore 42205
6 - Bryn Terfel
6 - Mariusz Kwiecień

Giuseppe Filianoti Venti scudi L elisir d amore Nathan Gunn 42209
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Enrico Caruso Giuseppe De Luca Venti scudi L elisir d amore Donizetti 42217
5 - Enrico Caruso
6 - Giuseppe De Luca

Giuseppe Di Stefano Giulio Fioravanti Venti scudi L elisir d amore Gaetano Donizetti  42213
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Giuseppe Di Stefano and Saturno Meletti Venti Scudi  113050
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6 - Saturno Meletti

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6 - Tito Gobbi

Venti Scudi from L Elisir d amore 113073
5 - Plácido Domingo
6 - Ingvar Wixell
L elisir d amore Venti scudi Nemorino and Belcore 113067
5 - Giacomo Aragall
6 - Eduard Tumagian

Donizetti L elisir d amore Act 2 Venti scudi Ai perigli della guerra  42204
5 - José Carreras
6 - Leo Nucci
Donizetti L elisir d amore Act 2 La donna e un animale Venti scudi  42227
5 - Luciano Pavarotti
6 - Dominic Cossa

Roberto Alagna L Elisir d amore Venti Scudi Act II Scene I Gaetano Donizetti 42197
5 - Roberto Alagna
Bulent BEZDUZ OrhanYILDIZ Venti Scudi L elisir D amore  42229
5 - Bülent Bezdüz

1115 L ELISIR D AMORE 2012 Rolando Villazon Roman Trekel Venti scudiSara possibile  42225
5 - Rolando Villazón
6 - Ildebrando D'Arcangelo
6 - Roman Trekel
Giorgio Misseri Mario Cassi Donizetti L elisir d amore Venti scudi 113052
6 - Mario Cassi

Vincenzo La Scola Alberto Rinaldi Venti scudi L elisir d amore Gaetano Donizetti  42218
5 - Vincenzo La Scola
Luigi Boccia Wes Mason Venti Scudi L Elisir d amore by G Donizetti 42210
6 - Wes Mason

Pavol Breslik Paolo Bordogna Venti scudi L Elisir d Amore 2018 236957
6 - Paolo Bordogna

L elisir d amore Act 2 La donna e un animale stravagante Venti scudi Belcore Nemorino 113080
6 - Pietro Spagnoli

Donizetti Venti scudi duetto NemorinoBelcore da L elisir d amore Ugo Benelli 42214
5 - Ugo Benelli
L elisir d amore The Elixir of Love Act II Venti scudi 113082
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Salvatore Ragonese Venti scudi L elisir d amore 113074
6 - Angelo Veccia
L elisir d amore Venti scudi Vocal 113083
5 - Plácido Domingo
6 - Geraint Evans
6 - Ingvar Wixell

Thomas Hampson Jerry Hadley Venti scudi L ELISIR D AMORE Gaetano Donizetti 236977
6 - Thomas Hampson
L elisir d amore Act II Venti scudi Nemorino Belcore 113091
5 - Giuseppe Di Stefano
6 - Giulio Fioravanti
7 - Fernando Corena

Cesare Valletti Venti scudi L ELISIR D AMORE Gaetano Donizetti 236981
5 - Cesare Valletti
5 - Tito Schipa
6 - Mariano Stabile

Libretto/Lyrics/Text/Testo:

NEMORINO
Venti scudi!

BELCORE
Su due piedi.

NEMORINO
Ebben, vada. Li prepara.

BELCORE
Ma la carta che tu vedi
Pria di tutto dêi segnar.
Qua una croce.
Nemorino segna rapidamente e prende la borsa

NEMORINO
(Dulcamara
Volo tosto a ricercar.)

BELCORE
Qua la mano, giovinotto,
Dell'acquisto mi consolo:
In complesso, sopra e sotto,
Tu mi sembri un buon figliuolo.
Sarai presto caporale
Se me prendi ad esemplar.
(Ho ingaggiato il mio rivale:
Anche questa è da contar.)

NEMORINO
Ah! non sai chi m'ha ridotto
A tal passo, a tal partito:
Tu non sai qual cor sta sotto
A sì semplice vestito;
Quel che a me tal somma vale
Non potresti imaginar.
(Ah! non v'ha tesoro eguale
Se riesco a farmi amar.)
Partono

English Libretto or Translation:

Nemorino
Twenty shields!

BELCORE
On two feet.

Nemorino
Ebben, go. He prepares them.

BELCORE
But the card you see
Pria di tutto dêi segnar.
Here a cross.
Nemorino quickly marks and takes the bag

Nemorino
(Dulcamara
Flight soon to search.)

BELCORE
Here the hand, young man,
I'm comfortable with the purchase:
Overall, above and below,
You look like a good son.
You will soon be corporal
If you take me to exemplar.
(I hired my rival:
This too is to be counted.)

Nemorino
Ah! you do not know who has reduced me
At such pace, to this party:
You do not know what is underneath
A so simple dress;
What is worth this to me
You could not imagine it.
(Ah, there is no equal treasure
If I can make me love.)
They leave

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