|Le Nozze di Figaro|
|Wolfgang Amadeus Mozart|
|Le Nozze di Figaro Synopsis|
|Le Nozze di Figaro Libretto|
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Mario Sammarco Figaro's aria from Le Nozze di Figaro "Non più andrai"
Mario Sammarco (1867/8-1930)
Mozart:Le Nozze di Figaro
"Non piu andrai"
an operbathosa video
Giuseppe Mario Sammarco
Role : Figaro, valet to the Count of Almaviva
Voice Part : bass-baritone
Fach : lyric bass
Setting : A room in Count Almaviva's castle
Range : C3 to E4.
Tessitura : C3 to E4
Synopsis : After the Count orders Cherubino to leave and join the Seville regiment for being infatuated with his wife, Figaro tells Cherubino that he must give up his easy life and his women and become a soldier.
(Giuseppe) Mario Sammarco (December 13, 1868, although some sources say 1867 - January 24, 1930) was an Italian operatic baritone.
Sammarco was born in Palermo, Sicily, and studied with Antonio Cantelli. He made his operatic début in Palermo as Valentine in Faust in 1888. He subsequently sang to acclaim in Milan, Buenos Aires and London. He appeared in 26 different roles, off and on between 1904 and 1919, at the Royal Opera House, Covent Garden.
In New York City, he was hired by Oscar Hammerstein I for his Manhattan Opera Company as a replacement for the great Maurice Renaud. He sang with the Manhattan company in 1908-1910, becoming its principal Italian baritone, but he never 'graduated' to the rival Metropolitan Opera.
Sammarco next joined the Chicago-Philadelphia opera company. His career there continued smoothly enough until 1913 when he encountered a disapproving Mary Garden in a Chicago production of Tosca. The soprano requested that he be replaced; but after he named some of his former distinguished (and uncomplaining) Tosca partners, notably Emmy Destinn, the performances proceeded to be given to critical success.
His final operatic appearances were at the Teatro di San Carlo in Naples in 1919.
Apart from Scarpia (his debut role at Covent Garden), he was a famous Rigoletto, Marcello, Germont, Renato, Enrico and Amleto, appearing opposite some of the finest singers of his day. He was at his best, however, in verismo works, creating the roles of Gerard in Giordano's Andrea Chénier in 1896 and Cascart in Leoncavallo's Zazà in 1900.
Sammarco was active during an era thronged with Italian baritones of exceptional ability. It was no small achievement for him to carve out a lucrative international career in the face of powerful competition from the likes of Mattia Battistini, Antonio Magini-Coletti, Giuseppe Campanari, Mario Ancona, Giuseppe Pacini, Antonio Scotti, Eugenio Giraldoni, Riccardo Stracciari, Titta Ruffo, Domenico Viglione-Borghesi, Pasquale Amato and the young Carlo Galeffi.
He taught singing after retiring from the stage and died in Milan.
Sammarco possessed a strong voice of wide range. He made numerous gramophone recordings prior to World War I. Some of his recordings are available on CD transfers issued by companies such as EMI, Symposium and Pearl. Considering Sammarco's stature as a performer, his records disappoint in terms of the vocal technique and tonal quality that they display. This suggests that much of his popularity with American and British audiences was due to his potent stage presence.
Celletti, Rodolfo (1964). Le Grandi Voci. Istituto per la Collaborazione Culturale (Rome)
Kutsch, K. J. and Riemens, Leo (1969). A Biographical Dictionary of Singers. Chilton Book Company (New York)
Warrack, John and West, Ewan (1992), The Oxford Dictionary of Opera, 782 pages, ISBN 0-19-869164-5
Scott, Michael (1977), The Record of Singing (Volume One). Duckworth (London), 243 pages, ISBN 0 7156 1030 9
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Non più andrai, farfallone amoroso,
notte e giorno d'intorno girando;
delle belle turbando il riposo
Narcisetto, Adoncino d'amor.
Non più avrai questi bei pennacchini,
quel cappello leggero e galante,
quella chioma, quell'aria brillante,
quel vermiglio donnesco color.
Tra guerrieri, poffar Bacco!
Gran mustacchi, stretto sacco.
Schioppo in spalla, sciabla al fianco,
collo dritto, muso franco,
un gran casco, o un gran turbante,
molto onor, poco contante!
Ed invece del fandango,
una marcia per il fango.
Per montagne, per valloni,
con le nevi e i sollioni.
Al concerto di tromboni,
di bombarde, di cannoni,
che le palle in tutti i tuoni
all'orecchio fan fischiar.
Cherubino alla vittoria:
alla gloria militar.
Partono tutti alla militare.
No more, you amorous butterfly,
Will you go fluttering round by night and day,
Disturbing the peace of every maid,
You pocket Narcissus, you Adonis of love.
No more will you have those fine feathers,
That light and dashing cap,
Those curls, those airs and graces,
That roseate womanish colour.
You'll be among warriors, by Bacchus!
Long moustaches, knapsack tightly on,
Musket on your shoulder, sabre at your side,
Head erect and bold of visage,
A great helmet or a head?dress,
Lots of honour, little money,
And instead of the fandango,
Marching through the mud.
Over mountains, through valleys,
In snow and days of listless heat,
To the sound of blunderbusses,
Shells and cannons,
Whose shots make your ears sing
On every note.
Cherubino, on to victory,
On to military glory!
Exeunt omnes to the sound of a march.