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Asile hereditaire

Opera details:

Opera title:

Guillaume Tell


Giaochino Rossini




Guillaume Tell Synopsis


Guillaume Tell Libretto



Aria details:









Previous scene: Corriam voliam
Next scene: Ne me quitte pas

Ken Neate - Asile héréditaire

Singer(s): John Brownlee Lionello Cecil Charles Kullman Max Lorenz Emilio de Gogorza Lucien Muratore

Ken Neate (1914-1997) was a tremendously gifted Australian tenor. Born in Cessnock, New South Wales, Neate studied at the University of Melbourne as well as privately with fellow Australian tenor Lionello Cecil. Before launching his operatic career, however, the future tenor joined the New South Wales police force and became a soloist with the police choir. Neate picked up the nickname “The Singing Policeman” and began to develop a reputation as a fine vocalist. His operatic debut came about in Brisbane in 1937 as Pinkerton in Madama Butterfly and the following year, he sang the title role in Lohengrin during a concert performance with Melbourne Symphony. Neate caught the attention of celebrated Australian baritone John Brownlee, who took the young tenor to New York in 1941 and arranged for lessons with famed Spanish baritone Emilio de Gogorza. Neate was also introduced to conductor Bruno Walter, who recommended that the tenor be engaged as a cover for Charles Kullman in the Metropolitan Opera’s upcoming production of Die Zauberflöte. However, as he was preparing the role of Tamino, America entered the war and the tenor was called to serve in the Royal Canadian Air Force. Sadly, Ken Neate would never return to the Met.

Despite this inconvenient interruption to his career, Neate made up for lost time after the end of the war. His career took off rapidly, with appearances at most of the major theaters of Europe. He became a particular favorite at London’s Covent Garden, where he debuted as Don José in Carmen in 1946. Neate was also a frequent visitor to the Opéra de Paris, the Opéra-Comique, Teatro La Fenice in Venice, Naples’ Teatro San Carlo, as well as the stages of Parma, Bologna, Palermo, Bordeaux, Nice, Marseille, Monte Carlo, Strasbourg, Vienna, Munich, Amsterdam, Zürich, Stockholm, Montreal and New York. His repertoire was wide ranging, encompassing everything from lyric to dramatic, classic to contemporary. Among the more than thirty roles at Neate’s command were Edgardo in Lucia di Lammermoor, Radames in Aïda, Cavaradossi in Tosca, Rodolfo in La Bohème, Calaf in Turandot, Raoul in Les Huguenots, Arnoldo in Guillaume Tell, Florestan in Fidelio, Bacchus in Ariadne auf Naxos, as well as the title roles in Les Contes d’Hoffmann, Faust, Oedipus Rex, Lohengrin, Tannhäuser, Don Carlo and Otello. Neate also created the title role in Henri Tomasi’s Sampiero Corso in Bordeaux in 1956 and the role of Danforth in The Crucible at New York City Opera in 1961. The busy tenor was also the first Australian to sing a major role at the Bayreuth Festival…Loge in Das Rheingold in 1963.

In addition to his operatic work, Neate was also an accomplished soloist in oratorio, cantata and other non-operatic works such as the Verdi Requiem (not to mention the Mozart and Berlioz Requiems), Beethoven’s 9th Symphony, Mahler’s Das Lied von der Erde and Symphony No. 8, Handel’s Messiah, Schoenberg’s Gurre-Lieder and Dvořák’s Stabat Mater. He also dabbled in composition and produced numerous operatic productions in his homeland and abroad.

After a duration of thirty-eight years, Ken Neate’s singing career came to an end in 1975. Following a final Otello in Innsbruck, the 61-year-old tenor left the stage to devote his time to teaching. Having accepted a position at Richard Strauss Conservatorium in 1972, he spent his time working with young singers until his retirement from that institution in 1980. Afterwards, he continued teaching privately in his Munich home. Ken Neate passed away at his home in the early morning hours of June 27, 1997, just a few weeks shy of his 83rd birthday.

Ken Neate was a remarkable artist who was equally at home in Italian, French and German opera. He was a perpetual student, always eager to learn and improve. When he found himself undertaking more and more French repertoire, he pursued studies with one of the great tenors of the past, Lucien Muratore. When it became obvious that he would be venturing into the realm of Wagnerian opera, he sought out Heldentenor Max Lorenz to perfect the style. As his vocal resources changed with the passage of time, his technique and approach evolved, as well. His rich, spinto-dramatic voice was captured well on numerous recordings, both commercial and private. Here, Neate sings "Asile héréditaire" from Rossini's Guillaume Tell. This rare, private recording was made during a performance in 1960.

Watch videos with other singers performing Asile hereditaire:

MICHAEL SPYRES Asile hereditaire Amis amis GUILLAUME TELL 21977
5 - Michael Spyres
Placido Domingo s Operalia 2016 KeonWoo Kim First Prize 90354
5 - Plácido Domingo

Bryan Hymel sings Asile hereditaire from Rossini s Guillaume Tell  21978
5 - Bryan Hymel
Nicolai Gedda Guillaume Tell Asile hereditaire Amis amis  21980
5 - Nicolai Gedda

Gregory Kunde Guillaume Tell Asile hereditaireAmis secondez ma vengeance 21982
5 - Gregory Kunde
Juan Diego Florez Asile Hereditaire Tell Pesaro 14082013 21990
5 - Juan Diego Flórez

Asile hereditaireAmis amis secondez ma vengeance 90357
5 - Marcello Giordani

G Rossini GUILLAUME TELL Ne m abandonne pointAsile hereditaireAmis amis  22004
5 - Chris Merritt

Kurt Baum O muto asil del pianto 1950 32243
5 - Kurt Baum
Tony Poncet Asile hereditaire Extrait de l opera Guillaume Tell  22008
5 - Tony Poncet

Giacchino Rossini Guillaume Tell Arnold Aria 90363
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Georges Thill Asile hereditaire Extrait de l opera Guillaume Tell  21993
5 - Georges Thill

Roberto Alagna Ne M Abandonne PointAsile Hereditaire 22009
5 - Roberto Alagna
Justin LavenderGuillaume Tell Ne m abandonne pointAsile hereditaire  22007
5 - Justin Lavender

Rossini Tell Vilmos Arnold ariaja Ilosfalvy Robert 90371
5 - Róbert Ilosfalvy
Tenor Stuart Howe Asile Hereditaire Guillame Tell 90373
5 - Stuart Howe

Leon Escalais Asile Hereditaire Guillaume Tell 1905 90377
5 - Léon Escalaïs
Ne m abandonne point Asile hereditaire Vengeance vengeance Plus de crainte inutile 90393
5 - Marcelo Álvarez

Guillaume Tell Act 4 Scene 1 Asile hereditaire Arnold 90399
5 - John Osborn
Guillaume Tell Asile Hereditaire Recorded 1924 90404
5 - César Vezzani

Guillaume Tell Asile hereditaire Arnold 90410
5 - Gustave Botiaux

Juan Diego Florez Rossini Guillaume Tell Baden Baden 2008 34 21979
5 - Juan Diego Flórez
5 - Salvatore Fisichella

Salvatore Fisichella Rossini Guillaume Tell Zurich 1987 22000
5 - Juan Diego Flórez
5 - Salvatore Fisichella
6 - Alfred Muff
Cesar Vezzani Asile hereditaire 90372
5 - César Vezzani
6 - Louis Musy

Guillaume Tell Asile hereditaire 22013
5 - Gilbert Duprez
5 - John Osborn
Agustarello Affre Asile hereditaire 90384
5 - Agustarello Affre
6 - Edmond Duvernoy

Ken Neate Asile hereditaire 90385
5 - Charles Kullman
5 - Lionello Cecil
5 - Lucien Muratore
5 - Max Lorenz
6 - Emilio de Gogorza
6 - John Brownlee
Cesar Vezzani Guillaume Tell Asile hereditaire Gramophone P 816 enregistre le 20 fevrier 1929 90395
5 - César Vezzani
5 - Franco Corelli
6 - Marcel Journet


Ne m'abandonne point, espoir de la vengeance!
Guillaume est dans les fers, et mon impatience
Presse le moment des combats.
Dans cette enceinte quel silence!
J'écoute: je n'entends que le bruit de mes pas.
Entrons... Quelle terreur secrète!
Devant le seuil, malgré moi je m'arrête;
Je n'y rentrerai pas.

Asile héréditaire,
Où mes yeux s'ouvrirent au jour,
Hier encor, ton abri tutélaire
Offrait un père à  mon amour.

J'appelle en vain, douleur amère!..
J'appelle, il n'entend plus ma voix!
Murs chéris qu'habitait mon père,
Je viens vous voir pour la dernière fois!

English Libretto or Translation:

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Sheetmusic in our database with this aria

Rossini: Arias for Tenor

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