Renata Scotto - Revision history

Brian Joseph Morgan: #article-section-source-editor

2024-07-13T01:47:56Z

#article-section-source-editor

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	** Madama Butterfly (Bergonzi, di Stasio, Panerai; Barbirolli 1966) EMI		** Madama Butterfly (Bergonzi, di Stasio, Panerai; Barbirolli 1966) EMI
	** Madama Butterfly (Domingo; Maazel 1980). CBS		** Madama Butterfly (Domingo; Maazel 1980). CBS
	** ''[[La rondine]]''<ref name="Kutsch/Riemens" />
	** ''[[Tosca]]'' (Domingo, Bruson; Levine, 1980) EMI<ref name="Kesting" />		** ''[[Tosca]]'' (Domingo, Bruson; Levine, 1980) EMI<ref name="Kesting" />
	** Le Villi (~~Bergonzi,~~ 1978) CBS		** Le Villi (Domingo; 1978) CBS
	* Verdi:		* Verdi:
	** ''[[Nabucco]]'' (Luchetti, Manuguerra, Ghiaurov; Muti, 1977–78) EMI<ref name="Kesting" />		** ''[[Nabucco]]'' (Luchetti, Manuguerra, Ghiaurov; Muti, 1977–78) EMI<ref name="Kesting" />

Extraordinary Writ: Disambiguating links to Macbeth (disambiguation) (link changed to Macbeth (Verdi)) using DisamAssist.

2024-04-01T08:32:09Z

Disambiguating links to Macbeth (disambiguation) (link changed to Macbeth (Verdi)) using DisamAssist.

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	Scotto opened the series of [[Live from the Met]] telecasts in 1977 with ''La bohème'', alongside [[Luciano Pavarotti]].<ref name="Tichler" /> She starred in the telecasts of Puccini's ''[[Manon Lescaut]]'' and ''[[Il trittico]]'', Verdi's ''[[Luisa Miller]]'' and ''[[Don Carlo]]'', Zandonai's [[Francesca da Rimini]], and as Desdemona in Verdi's ''[[Otello]]'', alongside [[Jon Vickers]], among others.<ref name="Tichler" />		Scotto opened the series of [[Live from the Met]] telecasts in 1977 with ''La bohème'', alongside [[Luciano Pavarotti]].<ref name="Tichler" /> She starred in the telecasts of Puccini's ''[[Manon Lescaut]]'' and ''[[Il trittico]]'', Verdi's ''[[Luisa Miller]]'' and ''[[Don Carlo]]'', Zandonai's [[Francesca da Rimini]], and as Desdemona in Verdi's ''[[Otello]]'', alongside [[Jon Vickers]], among others.<ref name="Tichler" />

	Scotto also had success at the Met as Ponchielli's [[La Gioconda (opera)\|La gioconda]]. Moving into the heavier Verdi repertoire in the 1970s, she appeared as Elisabetta in ''[[Don Carlo]]'', [[Luisa Miller]], [[Macbeth (~~opera~~)\|Lady Macbeth]], Leonora in ''[[Il trovatore]]'', and in the ''[[Requiem (Verdi)\|Requiem]]'', all conducted by [[James Levine]]. She is remembered as a singing actress; [[Plácido Domingo]] said in a 1978 interview: "There is an emphasis, a feeling she puts behind every word she interprets."<ref name="Tichler" />		Scotto also had success at the Met as Ponchielli's [[La Gioconda (opera)\|La gioconda]]. Moving into the heavier Verdi repertoire in the 1970s, she appeared as Elisabetta in ''[[Don Carlo]]'', [[Luisa Miller]], [[Macbeth (Verdi)\|Lady Macbeth]], Leonora in ''[[Il trovatore]]'', and in the ''[[Requiem (Verdi)\|Requiem]]'', all conducted by [[James Levine]]. She is remembered as a singing actress; [[Plácido Domingo]] said in a 1978 interview: "There is an emphasis, a feeling she puts behind every word she interprets."<ref name="Tichler" />

	At the performance of Bellini’s ''[[Norma (opera)\|Norma]]'' which opened the Met's 1981/1982 season, fans of Maria Callas yelled negative remarks and booed Scotto from the moment she set foot on the stage. Many were removed from the opera house by security personnel. Writing for [[The New Yorker]], critic [[Andrew Porter (music critic)\|Andrew Porter]] observed, "'Casta diva" was a disaster. Sustained notes were often unsteady. The repeated A's at the climax lurched over, both times, into a sharp and strident B-flat, a curdled scream. The descending scales of the cabaletta were slithers. At coloratura passages she grabbed - and missed." Critic [[Peter G. Davis]] noted in [[New York (magazine)\|''New York'' magazine]]: "Time and again, Scotto reminded us of her sovereign musicality, her instinctive feeling for the rhythmic life of the notes, her ability to mold finely sculpted phrases, and her sensitivity for coloring the words into emotions that instantly define a dramatic situation."<ref name="Tichler" />		At the performance of Bellini’s ''[[Norma (opera)\|Norma]]'' which opened the Met's 1981/1982 season, fans of Maria Callas yelled negative remarks and booed Scotto from the moment she set foot on the stage. Many were removed from the opera house by security personnel. Writing for [[The New Yorker]], critic [[Andrew Porter (music critic)\|Andrew Porter]] observed, "'Casta diva" was a disaster. Sustained notes were often unsteady. The repeated A's at the climax lurched over, both times, into a sharp and strident B-flat, a curdled scream. The descending scales of the cabaletta were slithers. At coloratura passages she grabbed - and missed." Critic [[Peter G. Davis]] noted in [[New York (magazine)\|''New York'' magazine]]: "Time and again, Scotto reminded us of her sovereign musicality, her instinctive feeling for the rhythmic life of the notes, her ability to mold finely sculpted phrases, and her sensitivity for coloring the words into emotions that instantly define a dramatic situation."<ref name="Tichler" />

Denisarona: /* Life and career */

2024-03-01T17:35:52Z

Life and career

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	== Life and career ==		== Life and career ==
	Scotto was born in [[Savona]], an industrial town and port on the [[Ligurian Sea]], on 24 February 1934.<ref>{{cite news \|last1=Kendall \|first1=Jonathan \|title=Renata Scotto, Opera Diva Who Inhabited Roles, Dies at 89 \|url=https://www.nytimes.com/2023/08/16/arts/music/renata-scotto-dead.html \|access-date=19 August 2023 \|work=[[The New York Times]] \|date=16 August 2023}}</ref> Her father was a police officer and her mother a seamstress. During [[World War II]], her mother took her and her sister to the ~~near-by~~ mountains, taking sewing jobs from the fascists, the Nazis, and the Americans.<ref name="Tichler" /> After the war, the girl experienced her first opera in her hometown, Verdi's ''[[Rigoletto]]'' with [[Tito Gobbi]] in the title role, and decided then, at age twelve, that she would become an opera singer.<ref name="Tichler" />		Scotto was born in [[Savona]], an industrial town and port on the [[Ligurian Sea]], on 24 February 1934.<ref>{{cite news \|last1=Kendall \|first1=Jonathan \|title=Renata Scotto, Opera Diva Who Inhabited Roles, Dies at 89 \|url=https://www.nytimes.com/2023/08/16/arts/music/renata-scotto-dead.html \|access-date=19 August 2023 \|work=[[The New York Times]] \|date=16 August 2023}}</ref> Her father was a police officer and her mother a seamstress. During [[World War II]], her mother took her and her sister to the nearby mountains, taking sewing jobs from the fascists, the Nazis, and the Americans.<ref name="Tichler" /> After the war, the girl experienced her first opera in her hometown, Verdi's ''[[Rigoletto]]'' with [[Tito Gobbi]] in the title role, and decided then, at age twelve, that she would become an opera singer.<ref name="Tichler" />

	She studied music at the [[Milan Conservatory]],<ref name="Kutsch/Riemens" /> from age 16, living in a nuns' convent, and making a living by sewing and cleaning jobs. She studied first with Emilio Ghirardini as a [[mezzo-soprano]].<ref name="Kutsch/Riemens" /> She won a competition in 1952, with the prize of a debut at the [[Teatro Nuovo (Milan)\|Teatro Nuovo]] in Milan.<ref name="Tichler" /> She performed the title role of Verdi's ''[[La traviata]]'', first in her home town on [[Christmas Eve]] in front of a sold-out house. The next day, she made her 'official' opera debut at the Teatro Nuovo.<ref name="Tichler" />		She studied music at the [[Milan Conservatory]],<ref name="Kutsch/Riemens" /> from age 16, living in a nuns' convent, and making a living by sewing and cleaning jobs. She studied first with Emilio Ghirardini as a [[mezzo-soprano]].<ref name="Kutsch/Riemens" /> She won a competition in 1952, with the prize of a debut at the [[Teatro Nuovo (Milan)\|Teatro Nuovo]] in Milan.<ref name="Tichler" /> She performed the title role of Verdi's ''[[La traviata]]'', first in her home town on [[Christmas Eve]] in front of a sold-out house. The next day, she made her 'official' opera debut at the Teatro Nuovo.<ref name="Tichler" />

Denisarona: /* Italy */

2024-03-01T17:35:28Z

Italy

← Previous revision		Revision as of 17:35, 1 March 2024
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	=== Italy ===		=== Italy ===
	In 1953, Scotto auditioned at [[La Scala]] for the role of Walter in Catalani's ''[[La Wally]]'',<ref name="Kutsch/Riemens" /> with [[Renata Tebaldi]] and [[Mario del Monaco]] in lead roles. After her audition, one of the judges, the conductor [[Victor de Sabata]], was heard saying, "Forget about the rest." ''La Wally'' opened on 7 December 1953, and Scotto was called back for fifteen curtain calls while Tebaldi and Del Monaco each received seven. She was offered more supporting roles at La Scala, but rejected them in favour of performing larger roles at regional houses in Italy.<ref name="Tichler" /> She appeared at the [[Rome Opera]] in 1955 as Sophie in Massenet's ''[[Werther]]'', and at [[La Fenice]] in Venice in 1956 as Traviata, and as Micaela in Bizet's [[Carmen]].<ref name="Kutsch/Riemens" /> On a recommendation by tenor [[Alfredo Kraus]] she took extra voice training with [[Mercedes Llopart]]. Kraus was to become a frequent partner on stage and for recordings.<ref name="Kesting" /> She was a member of the ensemble at La Scala from 1957, performing roles such as Donizetti Adina in ''[[L'elisir d'amore]]'' and Norina in ''[[Don Pasquale]]'' but was not accepted as La ~~traviata~~ by [[Franco Zeffirelli]].<ref name="Kesting" />		In 1953, Scotto auditioned at [[La Scala]] for the role of Walter in Catalani's ''[[La Wally]]'',<ref name="Kutsch/Riemens" /> with [[Renata Tebaldi]] and [[Mario del Monaco]] in lead roles. After her audition, one of the judges, the conductor [[Victor de Sabata]], was heard saying, "Forget about the rest." ''La Wally'' opened on 7 December 1953, and Scotto was called back for fifteen curtain calls while Tebaldi and Del Monaco each received seven. She was offered more supporting roles at La Scala, but rejected them in favour of performing larger roles at regional houses in Italy.<ref name="Tichler" /> She appeared at the [[Rome Opera]] in 1955 as Sophie in Massenet's ''[[Werther]]'', and at [[La Fenice]] in Venice in 1956 as Traviata, and as Micaela in Bizet's [[Carmen]].<ref name="Kutsch/Riemens" /> On a recommendation by tenor [[Alfredo Kraus]] she took extra voice training with [[Mercedes Llopart]]. Kraus was to become a frequent partner on stage and for recordings.<ref name="Kesting" /> She was a member of the ensemble at La Scala from 1957, performing roles such as Donizetti Adina in ''[[L'elisir d'amore]]'' and Norina in ''[[Don Pasquale]]'' but was not accepted as La Traviata by [[Franco Zeffirelli]].<ref name="Kesting" />

	Scotto's major breakthrough came in 1957 when she performed at the [[Edinburgh Festival]] in a La Scala production of Bellini's ''[[La Sonnambula]]''; [[Maria Callas]] was cast as Amina, and it was so successful that the company added an unscheduled fifth performance. Callas, who was under contract for four performances, declined to perform in the added performance but allowed the La Scala management, who had announced her for the fifth performance without her consent, to explain her departure from the festival as being due to illness. Scotto, stepping in as Amina, performed on 3 September 1957, and became an international opera star at age 23.<ref name="Tichler" /><ref name="Kesting" /><ref name="Langer" />		Scotto's major breakthrough came in 1957 when she performed at the [[Edinburgh Festival]] in a La Scala production of Bellini's ''[[La Sonnambula]]''; [[Maria Callas]] was cast as Amina, and it was so successful that the company added an unscheduled fifth performance. Callas, who was under contract for four performances, declined to perform in the added performance but allowed the La Scala management, who had announced her for the fifth performance without her consent, to explain her departure from the festival as being due to illness. Scotto, stepping in as Amina, performed on 3 September 1957, and became an international opera star at age 23.<ref name="Tichler" /><ref name="Kesting" /><ref name="Langer" />

Perspicax: Adding Category:Milan Conservatory alumni using Cat-a-lot

2023-09-12T12:22:59Z

Adding Category:Milan Conservatory alumni using Cat-a-lot

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	[[Category:Italian women music educators]]		[[Category:Italian women music educators]]
	[[Category:Commandeurs of the Ordre des Arts et des Lettres]]		[[Category:Commandeurs of the Ordre des Arts et des Lettres]]
			[[Category:Milan Conservatory alumni]]

FrescoBot: Bot: link syntax and minor changes

2023-09-05T00:47:16Z

Bot: link syntax and minor changes

Basil II at 20:54, 24 August 2023

2023-08-24T20:54:25Z

← Previous revision		Revision as of 20:54, 24 August 2023
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	== Life and career==		== Life and career==
	Scotto was born in [[Savona]], a ~~fishing~~ port, on 24 February 1934.<ref>{{cite news \|last1=Kendall \|first1=Jonathan \|title=Renata Scotto, Opera Diva Who Inhabited Roles, Dies at 89 \|url=https://www.nytimes.com/2023/08/16/arts/music/renata-scotto-dead.html \|access-date=19 August 2023 \|work=[[The New York Times]] \|date=16 August 2023}}</ref> Her father was a police officer and her mother a seamstress. During [[World War II]], her mother took her and her sister to the near-by mountains, taking sewing jobs from the fascists, the Nazis, and the Americans.<ref name="Tichler" /> After the war, the girl experienced her first opera in her hometown, Verdi's ''[[Rigoletto]]'' with [[Tito Gobbi]] in the title role, and decided then, at age twelve, that she would become an opera singer.<ref name="Tichler" />		Scotto was born in [[Savona]], an industrial town and port on the [[Ligurian Sea]], on 24 February 1934.<ref>{{cite news \|last1=Kendall \|first1=Jonathan \|title=Renata Scotto, Opera Diva Who Inhabited Roles, Dies at 89 \|url=https://www.nytimes.com/2023/08/16/arts/music/renata-scotto-dead.html \|access-date=19 August 2023 \|work=[[The New York Times]] \|date=16 August 2023}}</ref> Her father was a police officer and her mother a seamstress. During [[World War II]], her mother took her and her sister to the near-by mountains, taking sewing jobs from the fascists, the Nazis, and the Americans.<ref name="Tichler" /> After the war, the girl experienced her first opera in her hometown, Verdi's ''[[Rigoletto]]'' with [[Tito Gobbi]] in the title role, and decided then, at age twelve, that she would become an opera singer.<ref name="Tichler" />

	She studied music at the [[Milan Conservatory]],<ref name="Kutsch/Riemens" /> from age 16, living in a nuns' convent, and making a living by sewing and cleaning jobs. She studied first with Emilio Ghirardini as a [[mezzo-soprano]].<ref name="Kutsch/Riemens" /> She won a competition in 1952, with the prize of a debut at the [[Teatro Nuovo (Milan)\|Teatro Nuovo]] in Milan.<ref name="Tichler" /> She performed the title role of Verdi's ''[[La traviata]]'', first in her home town on [[Christmas Eve]] in front of a sold-out house. The next day, she made her 'official' opera debut at the Teatro Nuovo.<ref name="Tichler" />		She studied music at the [[Milan Conservatory]],<ref name="Kutsch/Riemens" /> from age 16, living in a nuns' convent, and making a living by sewing and cleaning jobs. She studied first with Emilio Ghirardini as a [[mezzo-soprano]].<ref name="Kutsch/Riemens" /> She won a competition in 1952, with the prize of a debut at the [[Teatro Nuovo (Milan)\|Teatro Nuovo]] in Milan.<ref name="Tichler" /> She performed the title role of Verdi's ''[[La traviata]]'', first in her home town on [[Christmas Eve]] in front of a sold-out house. The next day, she made her 'official' opera debut at the Teatro Nuovo.<ref name="Tichler" />

208.83.172.214: /* Recordings */

2023-08-24T11:47:53Z

Recordings

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	** ''[[La bohème]]'' (1961) [[Deutsche Grammophon]]<ref name="Kutsch/Riemens" />		** ''[[La bohème]]'' (1961) [[Deutsche Grammophon]]<ref name="Kutsch/Riemens" />
	** ''[[Edgar (opera)\|Edgar]]'' (1977) [live] CBS<ref name="Kutsch/Riemens" />		** ''[[Edgar (opera)\|Edgar]]'' (1977) [live] CBS<ref name="Kutsch/Riemens" />
			** Madama Butterfly (Bergonzi, di Stasio, Panerai; Barbirolli 1966) EMI
			** Madama Butterfly (Domingo; Maazel 1980). CBS
	** ''[[La rondine]]''<ref name="Kutsch/Riemens" />		** ''[[La rondine]]''<ref name="Kutsch/Riemens" />
	** ''[[Tosca]]'' (Domingo, Bruson; Levine, 1980) EMI<ref name="Kesting" />		** ''[[Tosca]]'' (Domingo, Bruson; Levine, 1980) EMI<ref name="Kesting" />
			** Le Villi (Bergonzi, 1978) CBS
	* Verdi:		* Verdi:
	** ''[[Nabucco]]'' (Luchetti, Manuguerra, Ghiaurov; Muti, 1977–78) EMI<ref name="Kesting" />		** ''[[Nabucco]]'' (Luchetti, Manuguerra, Ghiaurov; Muti, 1977–78) EMI<ref name="Kesting" />

Kjell Knudde: Added more categories.

2023-08-23T12:59:48Z

Added more categories.

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	[[Category:20th-century Italian women opera singers]]		[[Category:20th-century Italian women opera singers]]
	[[Category:Italian music educators]]		[[Category:Italian music educators]]
	[[Category:~~Women~~ music educators]]		[[Category:Italian women music educators]]
	[[Category:Commandeurs of the Ordre des Arts et des Lettres]]		[[Category:Commandeurs of the Ordre des Arts et des Lettres]]

Gerda Arendt: then don't

2023-08-21T20:36:37Z

then don't

← Previous revision		Revision as of 20:36, 21 August 2023
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	Scotto was born in [[Savona]], a fishing port, on 24 February 1934.<ref>{{cite news \|last1=Kendall \|first1=Jonathan \|title=Renata Scotto, Opera Diva Who Inhabited Roles, Dies at 89 \|url=https://www.nytimes.com/2023/08/16/arts/music/renata-scotto-dead.html \|access-date=19 August 2023 \|work=[[The New York Times]] \|date=16 August 2023}}</ref> Her father was a police officer and her mother a seamstress. During [[World War II]], her mother took her and her sister to the near-by mountains, taking sewing jobs from the fascists, the Nazis, and the Americans.<ref name="Tichler" /> After the war, the girl experienced her first opera in her hometown, Verdi's ''[[Rigoletto]]'' with [[Tito Gobbi]] in the title role, and decided then, at age twelve, that she would become an opera singer.<ref name="Tichler" />		Scotto was born in [[Savona]], a fishing port, on 24 February 1934.<ref>{{cite news \|last1=Kendall \|first1=Jonathan \|title=Renata Scotto, Opera Diva Who Inhabited Roles, Dies at 89 \|url=https://www.nytimes.com/2023/08/16/arts/music/renata-scotto-dead.html \|access-date=19 August 2023 \|work=[[The New York Times]] \|date=16 August 2023}}</ref> Her father was a police officer and her mother a seamstress. During [[World War II]], her mother took her and her sister to the near-by mountains, taking sewing jobs from the fascists, the Nazis, and the Americans.<ref name="Tichler" /> After the war, the girl experienced her first opera in her hometown, Verdi's ''[[Rigoletto]]'' with [[Tito Gobbi]] in the title role, and decided then, at age twelve, that she would become an opera singer.<ref name="Tichler" />

	She studied music at the [[Milan Conservatory]],<ref name="Kutsch/Riemens" /> from age 16, living in a nuns' convent, and making a living by sewing and cleaning jobs. She studied first with Emilio Ghirardini as a [[mezzo-soprano]].<ref name="Kutsch/Riemens" /> She won a competition in 1952, with the prize of a debut at the [[Teatro Nuovo (Milan)\|Teatro Nuovo]] in Milan.<ref name="Tichler" /> She performed the title role of Verdi's ''[[La traviata]]'', first in her home town on [[Christmas Eve]] in front of a sold-out house. The next day, she made her 'official' opera debut at the Teatro Nuovo.<ref name="Tichler" /><!-- Shortly thereafter, she performed in Savona the title role of Puccini's ''[[Madama Butterfly]]'', and was paid twenty-five thousand lire. Both roles would become closely associated with her name. - wait for ref-->		She studied music at the [[Milan Conservatory]],<ref name="Kutsch/Riemens" /> from age 16, living in a nuns' convent, and making a living by sewing and cleaning jobs. She studied first with Emilio Ghirardini as a [[mezzo-soprano]].<ref name="Kutsch/Riemens" /> She won a competition in 1952, with the prize of a debut at the [[Teatro Nuovo (Milan)\|Teatro Nuovo]] in Milan.<ref name="Tichler" /> She performed the title role of Verdi's ''[[La traviata]]'', first in her home town on [[Christmas Eve]] in front of a sold-out house. The next day, she made her 'official' opera debut at the Teatro Nuovo.<ref name="Tichler" />

	=== Italy ===		=== Italy ===
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	Scotto also had success at the Met as Ponchielli's [[La Gioconda (opera)\|La gioconda]]. Moving into the heavier Verdi repertoire in the 1970s, she appeared as Elisabetta in ''[[Don Carlo]]'', [[Luisa Miller]], [[Macbeth (opera)\|Lady Macbeth]], Leonora in ''[[Il trovatore]]'', and in the ''[[Requiem (Verdi)\|Requiem]]'', all conducted by [[James Levine]]. She is remembered as a singing actress; [[Plácido Domingo]] said in a 1978 interview: "There is an emphasis, a feeling she puts behind every word she interprets."<ref name="Tichler" />		Scotto also had success at the Met as Ponchielli's [[La Gioconda (opera)\|La gioconda]]. Moving into the heavier Verdi repertoire in the 1970s, she appeared as Elisabetta in ''[[Don Carlo]]'', [[Luisa Miller]], [[Macbeth (opera)\|Lady Macbeth]], Leonora in ''[[Il trovatore]]'', and in the ''[[Requiem (Verdi)\|Requiem]]'', all conducted by [[James Levine]]. She is remembered as a singing actress; [[Plácido Domingo]] said in a 1978 interview: "There is an emphasis, a feeling she puts behind every word she interprets."<ref name="Tichler" />

	Scotto sang and performed regularly at the [[San Francisco Opera]], [[Dallas Opera]], [[Royal Opera House]] in London, and [[Teatro Colón]] in Buenos Aires. In addition she appeared in Madrid, [[Genoa]], [[Bologna]], [[Trieste]], [[Palermo]], Berlin, Paris, [[Miami]], Tokyo, Pittsburgh, and [[Osaka]], among other places.{{cn\|date=August 2023}}

	For more than 40 years, Scotto performed in operas written by 18 composers and her repertoire included some forty-five roles. She is known for her performances as La traviata, Gilda in ''Rigoletto'', Madama Butterfly, Mimì (and occasionally Musetta) in ''La bohème'', Liù in Puccini's ''[[Turandot]]'', Nedda in Leoncavallo's ''[[Pagliacci]]'', and in Cilea's ''[[Adriana Lecouvreur]]''.{{cn\|date=August 2023}}

	At the performance of Bellini’s ''[[Norma (opera)\|Norma]]'' which opened the Met's 1981/1982 season, fans of Maria Callas yelled negative remarks and booed Scotto from the moment she set foot on the stage. Many were removed from the opera house by security personnel. Writing for [[The New Yorker]], critic [[Andrew Porter (music critic)\|Andrew Porter]] observed, "'Casta diva" was a disaster. Sustained notes were often unsteady. The repeated A's at the climax lurched over, both times, into a sharp and strident B-flat, a curdled scream. The descending scales of the cabaletta were slithers. At coloratura passages she grabbed - and missed." Critic [[Peter G. Davis]] noted in [[New York (magazine)\|''New York'' magazine]]: "Time and again, Scotto reminded us of her sovereign musicality, her instinctive feeling for the rhythmic life of the notes, her ability to mold finely sculpted phrases, and her sensitivity for coloring the words into emotions that instantly define a dramatic situation."<ref name="Tichler" />		At the performance of Bellini’s ''[[Norma (opera)\|Norma]]'' which opened the Met's 1981/1982 season, fans of Maria Callas yelled negative remarks and booed Scotto from the moment she set foot on the stage. Many were removed from the opera house by security personnel. Writing for [[The New Yorker]], critic [[Andrew Porter (music critic)\|Andrew Porter]] observed, "'Casta diva" was a disaster. Sustained notes were often unsteady. The repeated A's at the climax lurched over, both times, into a sharp and strident B-flat, a curdled scream. The descending scales of the cabaletta were slithers. At coloratura passages she grabbed - and missed." Critic [[Peter G. Davis]] noted in [[New York (magazine)\|''New York'' magazine]]: "Time and again, Scotto reminded us of her sovereign musicality, her instinctive feeling for the rhythmic life of the notes, her ability to mold finely sculpted phrases, and her sensitivity for coloring the words into emotions that instantly define a dramatic situation."<ref name="Tichler" />

← Previous revision		Revision as of 20:36, 21 August 2023
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	Scotto was born in [[Savona]], a fishing port, on 24 February 1934.<ref>{{cite news \|last1=Kendall \|first1=Jonathan \|title=Renata Scotto, Opera Diva Who Inhabited Roles, Dies at 89 \|url=https://www.nytimes.com/2023/08/16/arts/music/renata-scotto-dead.html \|access-date=19 August 2023 \|work=[[The New York Times]] \|date=16 August 2023}}</ref> Her father was a police officer and her mother a seamstress. During [[World War II]], her mother took her and her sister to the near-by mountains, taking sewing jobs from the fascists, the Nazis, and the Americans.<ref name="Tichler" /> After the war, the girl experienced her first opera in her hometown, Verdi's ''[[Rigoletto]]'' with [[Tito Gobbi]] in the title role, and decided then, at age twelve, that she would become an opera singer.<ref name="Tichler" />		Scotto was born in [[Savona]], a fishing port, on 24 February 1934.<ref>{{cite news \|last1=Kendall \|first1=Jonathan \|title=Renata Scotto, Opera Diva Who Inhabited Roles, Dies at 89 \|url=https://www.nytimes.com/2023/08/16/arts/music/renata-scotto-dead.html \|access-date=19 August 2023 \|work=[[The New York Times]] \|date=16 August 2023}}</ref> Her father was a police officer and her mother a seamstress. During [[World War II]], her mother took her and her sister to the near-by mountains, taking sewing jobs from the fascists, the Nazis, and the Americans.<ref name="Tichler" /> After the war, the girl experienced her first opera in her hometown, Verdi's ''[[Rigoletto]]'' with [[Tito Gobbi]] in the title role, and decided then, at age twelve, that she would become an opera singer.<ref name="Tichler" />

	She studied music at the [[Milan Conservatory]],<ref name="Kutsch/Riemens" /> from age 16, living in a nuns' convent, and making a living by sewing and cleaning jobs. She studied first with Emilio Ghirardini as a [[mezzo-soprano]].<ref name="Kutsch/Riemens" /> She won a competition in 1952, with the prize of a debut at the [[Teatro Nuovo (Milan)\|Teatro Nuovo]] in Milan.<ref name="Tichler" /> She performed the title role of Verdi's ''[[La traviata]]'', first in her home town on [[Christmas Eve]] in front of a sold-out house. The next day, she made her 'official' opera debut at the Teatro Nuovo.<ref name="Tichler" /><!-- Shortly thereafter, she performed in Savona the title role of Puccini's ''[[Madama Butterfly]]'', and was paid twenty-five thousand lire. Both roles would become closely associated with her name. - wait for ref-->		She studied music at the [[Milan Conservatory]],<ref name="Kutsch/Riemens" /> from age 16, living in a nuns' convent, and making a living by sewing and cleaning jobs. She studied first with Emilio Ghirardini as a [[mezzo-soprano]].<ref name="Kutsch/Riemens" /> She won a competition in 1952, with the prize of a debut at the [[Teatro Nuovo (Milan)\|Teatro Nuovo]] in Milan.<ref name="Tichler" /> She performed the title role of Verdi's ''[[La traviata]]'', first in her home town on [[Christmas Eve]] in front of a sold-out house. The next day, she made her 'official' opera debut at the Teatro Nuovo.<ref name="Tichler" />

	=== Italy ===		=== Italy ===
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	Scotto also had success at the Met as Ponchielli's [[La Gioconda (opera)\|La gioconda]]. Moving into the heavier Verdi repertoire in the 1970s, she appeared as Elisabetta in ''[[Don Carlo]]'', [[Luisa Miller]], [[Macbeth (opera)\|Lady Macbeth]], Leonora in ''[[Il trovatore]]'', and in the ''[[Requiem (Verdi)\|Requiem]]'', all conducted by [[James Levine]]. She is remembered as a singing actress; [[Plácido Domingo]] said in a 1978 interview: "There is an emphasis, a feeling she puts behind every word she interprets."<ref name="Tichler" />		Scotto also had success at the Met as Ponchielli's [[La Gioconda (opera)\|La gioconda]]. Moving into the heavier Verdi repertoire in the 1970s, she appeared as Elisabetta in ''[[Don Carlo]]'', [[Luisa Miller]], [[Macbeth (opera)\|Lady Macbeth]], Leonora in ''[[Il trovatore]]'', and in the ''[[Requiem (Verdi)\|Requiem]]'', all conducted by [[James Levine]]. She is remembered as a singing actress; [[Plácido Domingo]] said in a 1978 interview: "There is an emphasis, a feeling she puts behind every word she interprets."<ref name="Tichler" />

	Scotto sang and performed regularly at the [[San Francisco Opera]], [[Dallas Opera]], [[Royal Opera House]] in London, and [[Teatro Colón]] in Buenos Aires. In addition she appeared in Madrid, [[Genoa]], [[Bologna]], [[Trieste]], [[Palermo]], Berlin, Paris, [[Miami]], Tokyo, Pittsburgh, and [[Osaka]], among other places.{{cn\|date=August 2023}}

	For more than 40 years, Scotto performed in operas written by 18 composers and her repertoire included some forty-five roles. She is known for her performances as La traviata, Gilda in ''Rigoletto'', Madama Butterfly, Mimì (and occasionally Musetta) in ''La bohème'', Liù in Puccini's ''[[Turandot]]'', Nedda in Leoncavallo's ''[[Pagliacci]]'', and in Cilea's ''[[Adriana Lecouvreur]]''.{{cn\|date=August 2023}}

	At the performance of Bellini’s ''[[Norma (opera)\|Norma]]'' which opened the Met's 1981/1982 season, fans of Maria Callas yelled negative remarks and booed Scotto from the moment she set foot on the stage. Many were removed from the opera house by security personnel. Writing for [[The New Yorker]], critic [[Andrew Porter (music critic)\|Andrew Porter]] observed, "'Casta diva" was a disaster. Sustained notes were often unsteady. The repeated A's at the climax lurched over, both times, into a sharp and strident B-flat, a curdled scream. The descending scales of the cabaletta were slithers. At coloratura passages she grabbed - and missed." Critic [[Peter G. Davis]] noted in [[New York (magazine)\|''New York'' magazine]]: "Time and again, Scotto reminded us of her sovereign musicality, her instinctive feeling for the rhythmic life of the notes, her ability to mold finely sculpted phrases, and her sensitivity for coloring the words into emotions that instantly define a dramatic situation."<ref name="Tichler" />		At the performance of Bellini’s ''[[Norma (opera)\|Norma]]'' which opened the Met's 1981/1982 season, fans of Maria Callas yelled negative remarks and booed Scotto from the moment she set foot on the stage. Many were removed from the opera house by security personnel. Writing for [[The New Yorker]], critic [[Andrew Porter (music critic)\|Andrew Porter]] observed, "'Casta diva" was a disaster. Sustained notes were often unsteady. The repeated A's at the climax lurched over, both times, into a sharp and strident B-flat, a curdled scream. The descending scales of the cabaletta were slithers. At coloratura passages she grabbed - and missed." Critic [[Peter G. Davis]] noted in [[New York (magazine)\|''New York'' magazine]]: "Time and again, Scotto reminded us of her sovereign musicality, her instinctive feeling for the rhythmic life of the notes, her ability to mold finely sculpted phrases, and her sensitivity for coloring the words into emotions that instantly define a dramatic situation."<ref name="Tichler" />

← Previous revision		Revision as of 00:47, 5 September 2023
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	For more than 40 years, she performed in some 45 roles, first in Italy, then as a leading soprano of the [[Metropolitan Opera]] (Met). She is remembered especially for the title roles of Verdi's ''[[La traviata]]'', performed for her stage debut in Milan in 1952, and Puccini's ''[[Madama Butterfly]]'', which was her first role at the Met and her last there in 1987, but also for [[belcanto]] works such as Donizetti's ''[[Lucia di Lammermoor]]''. She appeared in the first telecast from the Met in 1977, as Mimi in Puccini's ''[[La bohème]]'', alongside [[Luciano Pavarotti]] and conducted by [[James Levine]]. She later expanded her repertoire by roles such as the Marschallin in ''[[Der Rosenkavalier]]'' by Richard Strauss, Elle in Poulenc's ''[[La voix humaine]]'', and Madame Flora in Menotti's ''[[The Medium]]''. As opera director she worked for the Met, the [[Arena di Verona]], and other leading opera houses.		For more than 40 years, she performed in some 45 roles, first in Italy, then as a leading soprano of the [[Metropolitan Opera]] (Met). She is remembered especially for the title roles of Verdi's ''[[La traviata]]'', performed for her stage debut in Milan in 1952, and Puccini's ''[[Madama Butterfly]]'', which was her first role at the Met and her last there in 1987, but also for [[belcanto]] works such as Donizetti's ''[[Lucia di Lammermoor]]''. She appeared in the first telecast from the Met in 1977, as Mimi in Puccini's ''[[La bohème]]'', alongside [[Luciano Pavarotti]] and conducted by [[James Levine]]. She later expanded her repertoire by roles such as the Marschallin in ''[[Der Rosenkavalier]]'' by Richard Strauss, Elle in Poulenc's ''[[La voix humaine]]'', and Madame Flora in Menotti's ''[[The Medium]]''. As opera director she worked for the Met, the [[Arena di Verona]], and other leading opera houses.

	== Life and career==		== Life and career ==
	Scotto was born in [[Savona]], an industrial town and port on the [[Ligurian Sea]], on 24 February 1934.<ref>{{cite news \|last1=Kendall \|first1=Jonathan \|title=Renata Scotto, Opera Diva Who Inhabited Roles, Dies at 89 \|url=https://www.nytimes.com/2023/08/16/arts/music/renata-scotto-dead.html \|access-date=19 August 2023 \|work=[[The New York Times]] \|date=16 August 2023}}</ref> Her father was a police officer and her mother a seamstress. During [[World War II]], her mother took her and her sister to the near-by mountains, taking sewing jobs from the fascists, the Nazis, and the Americans.<ref name="Tichler" /> After the war, the girl experienced her first opera in her hometown, Verdi's ''[[Rigoletto]]'' with [[Tito Gobbi]] in the title role, and decided then, at age twelve, that she would become an opera singer.<ref name="Tichler" />		Scotto was born in [[Savona]], an industrial town and port on the [[Ligurian Sea]], on 24 February 1934.<ref>{{cite news \|last1=Kendall \|first1=Jonathan \|title=Renata Scotto, Opera Diva Who Inhabited Roles, Dies at 89 \|url=https://www.nytimes.com/2023/08/16/arts/music/renata-scotto-dead.html \|access-date=19 August 2023 \|work=[[The New York Times]] \|date=16 August 2023}}</ref> Her father was a police officer and her mother a seamstress. During [[World War II]], her mother took her and her sister to the near-by mountains, taking sewing jobs from the fascists, the Nazis, and the Americans.<ref name="Tichler" /> After the war, the girl experienced her first opera in her hometown, Verdi's ''[[Rigoletto]]'' with [[Tito Gobbi]] in the title role, and decided then, at age twelve, that she would become an opera singer.<ref name="Tichler" />

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	=== Italy ===		=== Italy ===
	In 1953, Scotto auditioned at [[La Scala]] for the role of Walter in Catalani's ''[[La Wally]]'',<ref name="Kutsch/Riemens" /> with [[Renata Tebaldi]] and [[Mario del Monaco]] in lead roles. After her audition, one of the judges, the conductor [[Victor de Sabata]], was heard saying, "Forget about the rest." ''La Wally'' opened on 7 December 1953, and Scotto was called back for fifteen curtain calls while Tebaldi and Del Monaco each received seven. She was offered more supporting roles at La Scala, but rejected them in favour of performing larger roles at regional houses in Italy.<ref name="Tichler" /> She appeared at the [[Rome Opera]] in 1955 as Sophie in Massenet's ''[[Werther]]'', and at [[La Fenice]] in Venice in 1956 as Traviata, and as Micaela in Bizet's [[Carmen]].<ref name="Kutsch/Riemens" /> On a recommendation by tenor [[Alfredo Kraus]] she took extra voice training with [[Mercedes Llopart]]. Kraus was to become a frequent partner on stage and for recordings.<ref name="Kesting" /> She was a member of the ensemble at La Scala from 1957, performing roles such as Donizetti Adina in ''[[L'elisir d'amore]]'' and Norina in ''[[Don Pasquale]]'' but was not accepted as La traviata by [[Franco Zeffirelli]].<ref name="Kesting" />		In 1953, Scotto auditioned at [[La Scala]] for the role of Walter in Catalani's ''[[La Wally]]'',<ref name="Kutsch/Riemens" /> with [[Renata Tebaldi]] and [[Mario del Monaco]] in lead roles. After her audition, one of the judges, the conductor [[Victor de Sabata]], was heard saying, "Forget about the rest." ''La Wally'' opened on 7 December 1953, and Scotto was called back for fifteen curtain calls while Tebaldi and Del Monaco each received seven. She was offered more supporting roles at La Scala, but rejected them in favour of performing larger roles at regional houses in Italy.<ref name="Tichler" /> She appeared at the [[Rome Opera]] in 1955 as Sophie in Massenet's ''[[Werther]]'', and at [[La Fenice]] in Venice in 1956 as Traviata, and as Micaela in Bizet's [[Carmen]].<ref name="Kutsch/Riemens" /> On a recommendation by tenor [[Alfredo Kraus]] she took extra voice training with [[Mercedes Llopart]]. Kraus was to become a frequent partner on stage and for recordings.<ref name="Kesting" /> She was a member of the ensemble at La Scala from 1957, performing roles such as Donizetti Adina in ''[[L'elisir d'amore]]'' and Norina in ''[[Don Pasquale]]'' but was not accepted as La traviata by [[Franco Zeffirelli]].<ref name="Kesting" />

	Scotto's major breakthrough came in 1957 when she performed at the [[Edinburgh Festival]] in a La Scala production of Bellini's ''[[La Sonnambula]]''; [[Maria Callas]] was cast as Amina, and it was so successful that the company added an unscheduled fifth performance. Callas, who was under contract for four performances, declined to perform in the added performance but allowed the La Scala management, who had announced her for the fifth performance without her consent, to explain her departure from the festival as being due to illness. Scotto, stepping in as Amina, performed on 3 September 1957, and became an international opera star at age 23.<ref name="Tichler" /><ref name="Kesting" /><ref name="Langer" />		Scotto's major breakthrough came in 1957 when she performed at the [[Edinburgh Festival]] in a La Scala production of Bellini's ''[[La Sonnambula]]''; [[Maria Callas]] was cast as Amina, and it was so successful that the company added an unscheduled fifth performance. Callas, who was under contract for four performances, declined to perform in the added performance but allowed the La Scala management, who had announced her for the fifth performance without her consent, to explain her departure from the festival as being due to illness. Scotto, stepping in as Amina, performed on 3 September 1957, and became an international opera star at age 23.<ref name="Tichler" /><ref name="Kesting" /><ref name="Langer" />
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	* Cilea: ''[[Adriana Lecouvreur]]'' (1977) CBS<ref name="Kutsch/Riemens" />		* Cilea: ''[[Adriana Lecouvreur]]'' (1977) CBS<ref name="Kutsch/Riemens" />
	* Donizetti: ''[[Lucia di Lammermoor]]'' (di Stefano, Bastianini; Sanzogno, 1959) [[Deutsche Grammophon]]<ref name="Kutsch/Riemens" />		* Donizetti: ''[[Lucia di Lammermoor]]'' (di Stefano, Bastianini; Sanzogno, 1959) [[Deutsche Grammophon]]<ref name="Kutsch/Riemens" />
	* Giordano: ''[[~~Andrea Chénier \|~~Andrea Chénier]]'' (Domingo, Milnes; Levine, 1976) [[RCA Red Seal]]<ref name="Kutsch/Riemens" />		* Giordano: ''[[Andrea Chénier]]'' (Domingo, Milnes; Levine, 1976) [[RCA Red Seal]]<ref name="Kutsch/Riemens" />
	* Leoncavallo: ''[[Pagliacci]]'' (1978) [[EMI Records\|EMI]]<ref name="Kutsch/Riemens" />		* Leoncavallo: ''[[Pagliacci]]'' (1978) [[EMI Records\|EMI]]<ref name="Kutsch/Riemens" />
	* Mascagni: ''[[Cavalleria rusticana]]'' (Domingo, Elvira; Levine, 1978) [[RCA Red Seal]]<ref name="Kutsch/Riemens" /><ref name="Kesting" />		* Mascagni: ''[[Cavalleria rusticana]]'' (Domingo, Elvira; Levine, 1978) [[RCA Red Seal]]<ref name="Kutsch/Riemens" /><ref name="Kesting" />
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	** ''[[Edgar (opera)\|Edgar]]'' (1977) [live] CBS<ref name="Kutsch/Riemens" />		** ''[[Edgar (opera)\|Edgar]]'' (1977) [live] CBS<ref name="Kutsch/Riemens" />
	** Madama Butterfly (Bergonzi, di Stasio, Panerai; Barbirolli 1966) EMI		** Madama Butterfly (Bergonzi, di Stasio, Panerai; Barbirolli 1966) EMI
	** Madama Butterfly (Domingo; Maazel 1980). CBS		** Madama Butterfly (Domingo; Maazel 1980). CBS
	** ''[[La rondine]]''<ref name="Kutsch/Riemens" />		** ''[[La rondine]]''<ref name="Kutsch/Riemens" />
	** ''[[Tosca]]'' (Domingo, Bruson; Levine, 1980) EMI<ref name="Kesting" />		** ''[[Tosca]]'' (Domingo, Bruson; Levine, 1980) EMI<ref name="Kesting" />