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Lando
Bartoloini
Tenor
Lando Bartolini
was born in Prato (Florence) Italy, and received his musical education
at the Academy of Vocal Arts in Philadelphia after winning the
Mario Lanza Award in 1968. His voice teacher was the famous bass
Nicola Moscona. In 1973 he made his debut as Osaka in Mascagni´s
Iris at the Gran Teatre del Liceu in Barcelona and as Turiddu
in Cavalleria Rusticana at the New York City Opera
where he sang nearly all the major spinto roles during the following
years.
Having become
a naturalized American, Lando Bartolini returned to Italy in January
1982 to make his debut at La Scala di Milano in the title role
of “Ernani”,where he also sang Luigi in Tabarro
the following year. He was invited to all the major opera houses
in Europe (Vienna, Paris, Munich, Hamburg, Berlin, Covent Garden
and the Arena di Verona) and the United States as well as South
America.
In 1986, he
replaced Luciano Pavarotti in a new production of Ernani
at the Lyric Opera of Chicago and had a huge success with the
audience and the critics, which finally secured him a place among
the leading tenors of these days. In 1988 Lando Bartolini made
his debut with the Metropolitan Opera, where he has been a regular
guest since then, (singing Radames in Aida,
Manrico in Il Trovatore and the title role in Andrea
Chenier).
In 1991, Mr.
Bartolini returned to “his city”, Florence, to sing Turiddu in
Cavalleria Rusticana. One of his most prestigious projects
was Calaf in the new production of Turandot at the
Maggio Musicale in 1997, which later toured to Beijing, China,
to be shown “at the original place”.
Lando Bartolini
has worked with nearly all the important conductors and leading
opera singers of the 80’s and 90’s. His repertoire
includes (with the exception of Riccardo in Un Ballo in Maschera)
all major tenor roles including the ultimate tenor challenge,
Otello. He has become a specialist in all the dramatic
Italian tenor roles, such as Manrico in Il Trovatore,
Radames in Aida, Alvaro in La Forza del Destino, Dick Johnson in La Fanciulla del West and Pollione in Norma. He also sings Canio and Turiddu in “Cavalleria/Pagliacci in the same evening but his most important role seems
to be Calaf in Turandot,
which he has sung more than 200 times in more than 30 different
productions all over the world.
Lando Bartolini
has made a number of recordings, which include Zandonai´s
I
Cavalieri di Ekebu (Fonit Cetra), and Respighi´s
Semirama (Hungaroton), as well as Puccini's Turandot
(Naxos). Also available from Hungaroton is a studio recital of
opera arias. Most interesting is the CD “Lando Live”
with live clips from performances between 1980 and 1992 (Legato
Classics).
During the
past several years, Mr. Bartolini toured with the famous Turandot
production from Florence. In March 2002 he sang Otello
at the Hamburg Opera. He also is a regular guest at Torre del
Lago each summer where he recently sang Calaf and Des Grieux.
This year also brought him to many houses in France, Italy, Greece,
and Korea, in his signature role of Calaf, as well as Radames
in Aida.
Included in
his recent appearances in the United States was his return to the
Baltimore Opera for their 50th Anniversary Season, repeating
his spectacular portrayal of Radames in Aida.
He also sang Turiddu in Cavalleria Rusticana and Canio
in Pagliacci with the Palm Beach Opera.
In November 2003, he celebrated his 30th
Anniversary, making his debut in the fiendishly difficult title
role of Guglielmo Ratcliff at Lincoln Center with
Teatro Grattacielo, for which he received many rave reviews, including
one from the New York Times which said “Lando Bartolini was excellent
in the notoriously demanding title role”. The review in
New York Magazine said “the title role was almost impossible to
sing. So congratulations to Lando Bartolini, who tirelessly
belted out this killer part and probably didn’t need to be accommodated
by so many cuts”. This past November brought him to Lincoln
Center again with Teatro Grattacielo, this time for La Cene
delle beffe, scoring yet another triumph, receiving
more great reviews including one in the New York Times which said
“Giordano had to be a bit of a sadist to create the role of Giannetto,
which requires big, powerful, high singing in aria after aria.
Lando Bartolini acquitted himself honorably”. |