| Renata Scotto|| Soprano|
| The Three Sopranos: Together in Concert|
Opera Arias, Madama Butterfly, Favorite Puccini Arias by t, Puccini Heroines, Nabucco
Carlo Bergonzi, Renata Tebaldi, Mirella Freni, Alfredo Kraus, Sherrill Milnes
Renata Scotto Wikipedia
Renata Scotto (born 24 February 1934) is an Italian soprano and opera director.
Recognized for her sense of style, musicality and as a remarkable singer-actress, Scotto is considered one of the preeminent singers of her generation, specializing in the bel canto repertoire with excursions into the verismo and Verdi repertoires.
Since retiring from the stage as a singer in 2002, she has turned successfully to directing opera as well as teaching in Italy and America, along with academic posts at the Accademia Nazionale di Santa Cecilia in Rome and the Juilliard School in New York. She lives in Armonk, New York with her husband Lorenzo Anselmi.
Renata Scotto was born in Savona, Italy. She made her operatic debut in her home town on Christmas Eve of 1952 at the age of 18 in front of a sold-out house as Violetta in Verdi's La traviata. The next day, she made her 'official' opera debut at the Teatro Nuovo in Milan as Violetta. Shortly after, she performed in her first Puccini opera, Madama Butterfly, in Savona and was paid twenty-five thousand lire. Both roles would later become closely associated with her name.
In 1953, Scotto auditioned at La Scala for the role of Walter in Catalani's La Wally with Renata Tebaldi and Mario del Monaco. After her audition, one of the judges, the conductor Victor de Sabata, was heard to say, "Forget about the rest." La Wally opened on 7 December 1953 and Scotto was called back for fifteen curtain calls. Tebaldi and Del Monaco each received seven.
Scotto's major breakthrough came in 1957: At the Edinburgh Festival, La Scala performed their production of Bellini's La Sonnambula with Maria Callas as Amina. The production was so successful that the company added an unscheduled fourth performance. Callas, who was under contract for three performances, declined to perform in the added performance due to illness, saying that she had already appeared in the other performances against her doctor's orders. Scotto, covering the role of Amina, sang the role on 3 September 1957. The performance was a great success, and the 23-year-old Scotto became an international opera star.
In 1961 she performed Amina again at Venice's La Fenice with tenor Alfredo Kraus with whom she shared the same teacher, Mercedes Llopart, and a long professional association.
During the 1960s she became one of the leading singers in the belcanto revival initiated by Callas during the 1950s. She sang Bellini's Zaira and La straniera, plus Giulietta in Bellini's I Capuleti e i Montecchi, Donizetti's Maria di Rohan, Meyerbeer's Robert le Diable (in Italian) and other repertoire rarities. In 1964 she performed with La Scala at the Bolshoi Theatre in Moscow, the first opera company tour to the Soviet Union during the Cold War years.
Her American debut was as Mimì in La bohème at the Lyric Opera of Chicago in 1960, the same year she married violinist Lorenzo Anselmi. The couple has a daughter and a son. On 13 October 1965, Scotto made her Metropolitan Opera debut as Cio-Cio-San in Madama Butterfly. She went on to sing more than 300 performances in 26 roles at the Met through 1987 and settled to live with her family in nearby Westchester County.
With Luciano Pavarotti she opened the series of Live from the Met telecasts in 1977 with Puccini's La bohème. During the following years she starred in the telecasts of Manon Lescaut, Luisa Miller, Don Carlo, Il trittico, Francesca da Rimini and as Desdemona with Jon Vickers in Verdi's Otello.
She also sang regularly at the San Francisco Opera; Chicago Lyric Opera; Dallas Opera; Royal Opera, London; Liceo, Barcelona; La Fenice, Venice; and Teatro Colón, Buenos Aires. In addition she appeared in Madrid, Genoa, Florence, Bologna, Trieste, Palermo, Roma, Berlin, Paris, Miami, Tokyo, Pittsburgh, and Osaka among others.
In 1971, Scotto performed for a hostile audience for the first time in her career. While singing Elena in Verdi's I vespri siciliani, there was a demonstration from a small but very loud group shouting, "Brava, Callas". They continued to shout "Maria, Maria" and more "Brava, Callas" with Maria Callas sitting in the stage box watching Scotto's performance. Callas, though, would not acknowledge the shouts of the hecklers and instead gave Scotto a standing ovation at the end of her performance. Scotto's opening night Norma in 1981 was less than a great success but her subsequent performances at the Met during the 1981–82 season were very successful as they were on tour.
For more than 40 years, Scotto performed in operas written by 18 composers and her repertoire included some forty-five roles. She is best known for her performances as Violetta in La traviata, Gilda in Rigoletto, Cio-Cio-San in Madama Butterfly, Mimì (and occasionally Musetta) in La bohème, Lucia in Lucia di Lammermoor, Adina in L'elisir d'amore, Liù in Turandot, Nedda in Pagliacci, all three leading soprano roles in Puccini's Il trittico, Adriana Lecouvreur, and Francesca in Zandonai's Francesca da Rimini.
She also had success at the Met in Meyerbeer's Le prophète, Ponchielli's La gioconda, as Vitellia in Mozart's La clemenza di Tito. Moving into the heavier Verdi repertoire in the 1970s, she sang Elisabetta in Don Carlo, Luisa Miller, Lady Macbeth, Leonora in Il trovatore and the Requiem, all under the baton of the Met's music director James Levine.
In the late part of her career, Scotto took on the roles of Fedora (Barcelona, 1988), Charlotte in Massenet's Werther, the Marschallin in Der Rosenkavalier (Charleston Spoleto Festival, 1995 and Catania), Kundry in Parsifal (Schwerin, 1995), Elle in La voix humaine (Florence, 1993; Amsterdam and Barcelona, 1996; Torino, 1999), Madame Flora in The Medium (Torino, 1999) and Klytemnestra in Elektra (Baltimore, 2000 and Sevilla, 2002).
Her later concert appearances included Berlioz's Les nuits d'été, Lieder of Mahler and Strauss, as well as Schoenberg's Erwartung with the Accademia di Santa Cecilia Orchestra and RAI Orchestra of Torino.
Scotto's director credits include: Madama Butterfly (Metropolitan Opera, Arena di Verona, Florida Grand Opera, Palm Beach Opera); Bellini's Il pirata (Festival Belliniano, Catania, 1993) and La sonnambula (Catania, 1994); an Emmy Award-winning telecast of La traviata (New York City Opera, 1995); Norma (Finnish National Opera); Adriana Lecouvreur (Santiago, 2002);Lucia di Lammermoor (Music Hall of Thessaloniki, 2004); La Wally (Dallas, Bern); La Bohème (Lyric Opera of Chicago, 2007 and Palm Beach Opera, 2009); Turandot (Athens, 2009); La sonnambula (Miami and Michigan Opera Theatre, 2008), and Un ballo in maschera, (Lyric Opera of Chicago, 2010) .
In February 2008, Scotto hosted an artists' roundtable during the intermission of the Met broadcast of Cilea's Adriana Lecouvreur and in 2009 she was back for another round-table with Natalie Dessay and Juan Diego Florez.2007 – Recipient of the Opera News Award by the Metropolitan Opera Guild
2009 – Opera Tampa's Anton Coppola Award for Excellence in the Arts.
2009 – Honorary doctorate by Juilliard School.
She won two Emmys, for the telecast of La Gioconda and her direction of La traviata from NYCO.
Award Franco Albiatti della Critica Italiana
Frankfurter Allgemeine Zeitung award for her interpretation of the Marschallin in Der Rosenkavalier.
Renata Scotto's recordings date from the late 1950s to the 1980s. Examples of Scotto's most noted recordings include Lucia di Lammermoor with Giuseppe di Stefano and Ettore Bastianini for the Mercury label in 1959, as well as Deutsche Grammophon recordings of La traviata with Gianni Raimondi and Ettore Bastianini and La bohème with Gianni Poggi and Tito Gobbi, both of which were conducted by Antonino Votto in the early 1960s. In 1966 she recorded Madama Butterfly with Carlo Bergonzi and Rolando Panerai, under John Barbirolli for EMI.
Other important commercial recordings include Rigoletto with Dietrich Fischer-Dieskau and Carlo Bergonzi under Rafael Kubelík, Liu in Turandot with Birgit Nilsson and Franco Corelli under Francesco Molinari-Pradelli, I Pagliacci with José Carreras, Cavalleria rusticana with Plácido Domingo, Norma with Tatiana Troyanos, Verdi's Otello, Adriana Lecouvreur and Andrea Chénier. The last three were all collaborations with Plácido Domingo, Sherrill Milnes and conductor James Levine.
Scotto recorded (either in studio or in live performance) the complete Puccini soprano repertoire with the exceptions of Turandot, Magda in La rondine and Minnie in La fanciulla del West. Many of these were recorded with Lorin Maazel for Columbia Records.
Scotto recorded with conductors Gianandrea Gavazzeni (her self-described personal favorite), Vittorio Gui, Francesco Molinari-Pradelli, Antonino Votto, and Tullio Serafin. She also enjoyed especially close musical partnerships with Claudio Abbado, Riccardo Muti, Lorin Maazel and James Levine.
AudioBellini; I Capuleti e i Montecchi. Claudio Abbado, 1968
Bellini, La Sonnambula. Cillario, 1972, Covent Garden
Bellini, La Sonnambula, Santi, La Fenice 1961
Bellini, La straniera, Gracis.
Bellini; Norma; Levine; Sony 1979
Bellini, Norma, Muti, Firenze 1981
Bellini, Zaira, Belardinelli
Bizet, Carmen (Micaela), Molinari-Pradelli
Cilea; Adriana Lecouvreur; Levine; Sony
Cilea; Adriana Lecouvreur; Gavazzeni
Cherubini; Medea (Glauce), Serafin, EMI 1957
Donizetti, Don Pasquale, Franci
Donizetti, L'elisir d'amore, Gavazzeni
Donizetti. Lucia di Lammermoor, Sanzogno, 1959
Donizetti. Lucia di Lammermoor, Gavazzeni
Donizetti. Lucia di Lammermoor, Sanzogno
Donizetti. Lucia di Lammermoor, Rigacci
Donizetti, Maria di Rohan, Gavazzeni
Donizetti, Anna Bolena, Dallas, Rudel, 1980
Giordano; Andrea Chénier; Levine; RCA 1978
Gounod, Philemon et Baucis, Sanzogno
Gounod, Faust, Parodi
Leoncavallo; I pagliacci. Muti. EMI
Mascagni; Cavalleria rusticana; Levine; RCA
Meyerbeer, Roberto Il diavolo, Sanzogno
Meyerbeer, Le prophète, Lewis, CBS
Pergolesi, La serva padrona, Fasano
Ponchielli, La Gioconda, Bartoletti
Puccini: Edgar. Queler. CBS
Puccini; La bohème; Votto DG, 1962
Puccini; La bohème; Levine, EMI, 1979
Puccini; Le villi; Maazel, CBS
Puccini; Il trittico (in Il tabarro & Suor Angelica); Maazel; CBS 1979
Puccini; Madama Butterfly; Barbirolli. EMI 1966
Puccini; Madama Butterfly; Maazel. Sony 1978
Puccini; Madama Butterfly, Adler, San Francisco 1965
Puccini, Madama Butterfly, Basile
Puccini; Tosca. Levine, EMI, 1980
Puccini; Turandot (Liù), Molinari-Pradelli, EMI, 1967
Refice; Cecilia, Campori
Respighi; Il Tramonto, Fulton, Tokyo String Quartet
Rossini, Il barbiere di Siviglia, Bellezza
Rossini, , ''Petite Messe Solennelle", Bertola
Spontini, La vestale, Picchi
Verdi, I Lombardi, Gavazzeni
Verdi, I Vespri Siciliani, Gavazzeni
Verdi, I Vespri Siciliani, Muti
Verdi, La traviata, Cillario
Verdi; La traviata; Votto DG 1963
Verdi; La traviata; Muti. EMI 1980
Verdi; Nabucco; Muti ; EMI
Verdi; Requiem; Muti; EMI
Verdi, Requiem, Abbado, Rome 1977
Verdi; Rigoletto; Gavazzeni; RCA
Verdi; Rigoletto; Kubelik; RCA
Verdi, Rigoletto, Giulini
Verdi; Otello; Levine; RCA
Verdi, Otello, Muti, Firenze, 1978
Verdi; Songs, Washington
Wolf-Ferrari; Il segreto di Susanna, Pritchard, CBS 1980
The very best of Renata Scotto; Arias y escenas; EMI
Italian Opera Arias; Gavazzeni; Sony 1976
Aria & Song, Mascagni-Liszt-Scarlatti-Rossini, Ivan Davis
French Recital (Berlioz, Offenbach, Massenet, Thomas, Gounod), Rosenkrans
Haydn-Donizetti-Faure-Puccini Recital, Arnaltes
Christmas with Scotto, Anselmi
In Moscow. Recorded Live In 1964 (Melodiya, 2009)
VideoDonizetti. L'elisir d'amore. Gavazzeni. Firenze, 1967
Donizetti. Lucia di Lammermoor. Bartoletti, Tokyo 1967
Gounod. Faust. Ethuin, Tokyo, 1973
Puccini. La Bohème; Levine (Mimì), Met 1977
Puccini. La Bohème; Levine (Mussetta), Met 1982
Puccini. Manon Lescaut; Levine; Met 1983
Verdi. Otello; Levine; Met 1978
Verdi. La traviata; Verchi, Tokyo 1973
Verdi. Luisa Miller; Levine; Met 1979
Zandonai. Francesca da Rimini, Levine; Met 1984
Recital in Budapest 1991, Lukacs
In Concert and Recital in Montreal 1986, Fulton, Armenian