Annica (Cremona, 1892) in a very humble family, he began studying with the great Antonio Cotogni while doing military service in Rome. He became one of the favorite disciples of the legendary teacher. Despite an early debut in the role of Alfonso XI (1915) finally started her career in 1919 just as Riccardo in "I Puritani" (both times in Viterbo). It happened Rigoletto, Renato, Germont and Figaro. After the corresponding period in the provinces, debuted at the Met (1925-26) where he continued working without interruption until 1932. There he competed face to face with the great names of the decade. Back in Italy, worked for six seasons at the Opera of Rome ("Otello", "Il Pirata" and "L'Arlesiana" among others). From 1932 data also presented at La Scala ("A partita" Zandonai) where again a few times until 1940 ("Rigoletto", "Linda di Chamounix," "La Straniera"). In Europe attended Barcelona, \u200b\u200bBerlin and London. A mid-forties he went to Australia on tour with an Italian company. He remained there teaching singing until his retirement in 1951. Previously he had as a student Aldo Protti. Since the sixties, his son Mario Jr. Basiola career was documented in a discreet disc. He died in 1965.
The voice, the singer:
From any point of view it would appear Basiola was the last representative of the school Cotogni, who carefully prepared their first papers. Owner of a voice aunaba breadth and lyrical warmth, had absorbed a first-rate technique is manifested by opening the mouth diction excellent, perfect welding of register, timbre morbid and easy high register, expansive, and Squillante . Also assumed mean pianissimi voices and authentic and was as effective in the song linked and collected as in the vigorous. Unlike most of his contemporaries did not break with the bel canto repertoire, which dominated best technical resources. However, it was able to update its guidelines, cleaning archaisms and arbitrariness. Of the new school verismo took expressive immediacy and warmth, but not the sleaze and the plates illegitimate. He always classical singing at the service of a way of phrasing and make amazing music today. According Rodolfo Celletti, who heard in the theater again and again, just missed an authoritarian personality. Lauri-Volpi reproached him his unwillingness to interpret without reference Cotogni.
http://www.divshare.com/folder/826029-3d6
From any point of view it would appear Basiola was the last representative of the school Cotogni, who carefully prepared their first papers. Owner of a voice aunaba breadth and lyrical warmth, had absorbed a first-rate technique is manifested by opening the mouth diction excellent, perfect welding of register, timbre morbid and easy high register, expansive, and Squillante . Also assumed mean pianissimi voices and authentic and was as effective in the song linked and collected as in the vigorous. Unlike most of his contemporaries did not break with the bel canto repertoire, which dominated best technical resources. However, it was able to update its guidelines, cleaning archaisms and arbitrariness. Of the new school verismo took expressive immediacy and warmth, but not the sleaze and the plates illegitimate. He always classical singing at the service of a way of phrasing and make amazing music today. According Rodolfo Celletti, who heard in the theater again and again, just missed an authoritarian personality. Lauri-Volpi reproached him his unwillingness to interpret without reference Cotogni.
http://www.divshare.com/folder/826029-3d6
unfortunately little Basiola recorded. Among the auditions from an old recital, include arias by Massenet. The vast refinement of the song makes the limits of the Italian language barrier, in tones too many singers exhibits open to the French style. However, the affinity for the verismo repertoire is far lower. The aria from "L'Arles" is a marvel of emotion and simplicity (also topped with a dazzling high G). To remember her bel canto style, "A much love" from "La Favorita" worthy to stand beside the great records of the first quarter century. Just listen to the arias from "Il Trovatore" and "Faust" to check that its peers Basiola had the most complete technique. The difficulties of tessitura is as if there were, the mechanism becomes so perfect that it goes unnoticed. Also worth mentioning the "Largo al factotum" and the rare aria "Il Figliola prodigal." Possibly we are to the best of the dozens of recordings cavatina Figaro. Breakneck speed in the "sillabati" (the ending is beyond belief), incomparably sharp and precise as pearls, irresistible charm and spectacular puntature but easy, never raucous. The beautiful page Ponchielli known for their supreme nobility mezzavoce.
De Basiola retain at least a full live recording, the historic "Il Trovatore" 's debut as Manrico Jussi Björling (1939). This count confirms their extreme versatility, the singer expansive and cordial in the exquisitely sentimental realism or singing Massenet, Verdi displayed here the accent genuine, vibrant and virile but always noble, great man. The ecstatic whisper of "Il balen of suo sorriso" the fierceness of the aristocrat in the Third Act, the amazing breadth of his curses at the end of the Second, are featured on a singing school in a few years recede forever.
Finally remember his masterful Tonio in "Pagliacci" Beniamino Gigli.
Franco Ghione - I Pagliacci: Complete Opera
Franco Ghione - I Pagliacci: Complete Opera
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