Everything about Ezio Pinza totally explained
The
Italian bass Ezio Pinza (
18 May 1892 -
9 May
1957) was one of the outstanding
opera singers of the first half of the 20th century. He spent 22 seasons at
New York's
Metropolitan Opera, appearing in more than 750 performances of 50 operas. He also sang to great acclaim at
La Scala,
Milan, and at the
Royal Opera House in
London's
Covent Garden.
Biography
Pinza was born in modest circumstances in
Rome and grew up in
Ravenna. He studied at
Bologna's Conservatorio Martini. His operatic debut came in 1914 as Oroveso in
Norma in
Cremona.
After enduring four years of military service during
World War I, Pinza appeared at Rome in
1919. He then sang at Italy's foremost opera house,
La Scala, Milan, in February,
1922. At La Scala, under the direction of the brilliant and exacting conductor
Arturo Toscanini, Pinza's career blossomed during the next few seasons. Pinza's Met debut occurred in November
1926 in
Spontini's La Vestale, with the famed American soprano
Rosa Ponselle in the title role. In
1929, he sang
Don Giovanni, a role with which he was subsequently to become closely identified. He subsequently added the
Mozart roles
Figaro (in 1940) and
Sarastro (in 1942) to his repertoire, as well as a vast number of Italian operatic roles of
Bellini,
Donizetti, and
Verdi, as well as
Mussorgsky's
Boris Godunov (sung in Italian). Apart from the Met, Pinza appeared at the Royal Opera House, Covent Garden, in 1930-1939 and was invited to sing at the
Salzburg Festival in 1934-1937 by the celebrated German conductor
Bruno Walter.
Pinza sang again under the baton of Toscanini, this time with the
New York Philharmonic Orchestra, as the bass soloist in 1935 performances of
Beethoven's
Missa Solemnis. One of these performances was broadcast and preserved on
transcription discs; this recording has been issued on LPs and CDs.
Pinza's repertoire consisted of some 95 roles. He retired from the Met in
1948 and embarked on a second career on
Broadway. In April
1949, he appeared in the
Rodgers and Hammerstein musical South Pacific and his operatic, expressive performance of
"Some Enchanted Evening" made him a matinee idol and a national celebrity. He also appeared in the Broadway production of
Fanny in
1954, opposite
Florence Henderson.
Shortly before his death, Pinza completed his memoirs, which were published in 1958 by Rinehart & Co., Inc. Photos of his career, as well as his family, were included in the book.
Pinza died at age 64 in
Stamford,
Connecticut. His funeral was held at the
Cathedral of St. John the Divine in
New York City. He is interred at
Putnam Cemetery, in
Greenwich, Connecticut.
Being devoid of academic training, Pinza had been unable to sight-read a musical score. He would listen, however, to his part being played on the piano, and having heard it, he could sing it, such was the precision of his ear.
With regard to the lineage of great Italian basses, Pinza followed in the wake of Francesco Navarini and Vitorrio Arimondi, both of whom were at their peak prior to
World War One, and Spanish-born Jose Mardones, who sang with the Boston and New York Met companies between 1909 and 1926. During the 1920s and '30s, Pinza was confronted with an additional challenge to his crown as the supreme Italian bass of the inter-war period from the likes of Fernando Autori,
Nazzareno de Angelis, and
Tancredi Pasero. What set Pinza apart from these three outstanding rivals, however, was the magnetism of his theatrical performances coupled with the sheer beauty of his voice.
Most music critics would agree that no subsequent Italian bass has been as impressive as Pinza, either as a vocalist or a performer. He cut a dashing figure on and off the stage and was particularly popular with female audiences. He appeared in several films, beginning with 1947's
Carnegie Hall. This film featured a number of famous classical singers, musicians, conductors, and the
New York Philharmonic Orchestra. He also can be seen in a few
MGM movies (in
Technicolor), including
Mr. Imperium with
Lana Turner and
Strictly Dishonorable, both released in 1951. His final film appearance was as the famous Russian bass
Feodor Chaliapin in the Technicolor film biography of impressario
Sol Hurok, which was entiled
Tonight We Sing (1953). During the course of this film, Pinza sang a portion of
Mussorgsky's
Boris Godunov in the original Russian.
Pinza hosted his own television program during 1951. In
1953, he appeared as the lead character Babbo Bonino, a retired opera singer, on the short-lived
NBC series
Bonino. He also made several live television appearances between 1951 and 1955.
Pinza sang opposite many magnificent singers at the Met during his heyday. They included, among others, such international stars as
Rosa Ponselle,
Elisabeth Rethberg,
Giovanni Martinelli,
Beniamino Gigli,
Lawrence Tibbett and
Giuseppe De Luca.
Recordings
Pinza recorded extensively for
HMV and the
Victor Talking Machine Company in the 1920s and 1930s. These dics consist largely of individual operatic arias and some ensemble pieces (plus a complete
Verdi Requiem conducted by
Tullio Serafin). Pinza's recordings are prized by critics and general listeners alike, and are freely available on CD.
As late as 1953, Pinza was committing arias to disc, although his voice was now in obvious decline. Previously, in the mid-1940s, he'd made a few 78-rpm albums for
Columbia Records, which have been reissued on LP and CD. He occasionally recorded popular songs and was featured on Columbia's original cast recording of
South Pacific with
Mary Martin, released on both LP and 78-rpm discs; this recording has been digitally remastered from the original magnetic tape recording by
Sony for release on CD. He was also a singer on RCA's original cast album of
Fanny in 1954.
Further Information
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