V0899. FRANCESCO ALBANESE: Songs by Falvo, Tagliaferri, de Gregorio, Alfieri, Cannio, Acampora, Cioffi, Anepeta, de Curtis, Campanino, d’Esposito, Buongiovanni, Capolongo, Caslar, Mangieri, Corcina, Carrillo, Manes, Bixio, Ruccione, Denza, de Crescenzo, Scaramucci, d’Alba, de Robertis, Sciorilli, Sordi, Derewitsky, Vico, Mazzocco, Valente, di Chiara, Cotrrau, d’Anzi & Leoncavallo. (Italy) 2-Clama 49. w.48pp. Brochure, Biography, Chronology & Photo. Very Long out-of-print, Final Copy!
“Francesco Albanese was born in 1912 at Torre del Greco near Naples. He was a lyric tenor and made appearances after 1941 at many of Italy's leading theatres, the San Carlo Naples, the Rome Opera, La Fenice in Venice, the Comunale Florence, La Scala, Milan, and abroad at the São Carlos, Lisbon, Covent Garden, London, the Colón, Buenos Aires, and Kiralyi in Budapest. For twenty years he sang Almaviva in IL BARBIERE DI SIVIGLIA, Ramiro in LA CENERENTOLA, Nemorino in L'ELISIR D'AMORE, Jeník in Smetana's LA SPOSA VENDUTA, Fenton in FALSTAFF, Ernesto in DON PASQUALE, Ismael in NABUCCO, Faust, Rodolfo, Giuliano in Charpentier's LOUISE, Wolfgang Capito in Hindemith's MATHIS DER MALER, Avito in Montemezzi's L'AMORE DEI TRE RE, Giasone in Cherubini's MEDEA, Pilade in Gluck's IFIGENIA IN TAURIDE and Rinaldo in Rossini's ARMIDA, the last three of which he sang opposite Callas; of the last two recordings survive of broadcasts.
It was not only in opera that Albanese had a good career. For lovers of Neapolitan music, Albanese is commonly considered one of the greatest of all singers of Neapolitan songs, which have a remarkable history all their own. As I always hasten to point out, whenever I speak of Neapolitan songs, there is a great misconception about what they are. It seems, for example, that nearly every operatic tenor and baritone on earth feels obliged to sing these songs, whether or not they know anything about Naples, its language, literature, or musical history. As a result of this, many of the songs are done poorly. In fact, the Neapolitan song has a style all its own, because these songs have a long history and in their earliest iterations, they were art songs, much more restrained and dignified in tone than they now often appear in the hands of many singers. Further, they were, in the late 18th and early 19th centuries, a principle means of instructing a large and unlettered populace in Neapolitan cultural and literary history - they served as a kind of instruction in ‘napolitanità', which is to say in what it meant to be Neapolitan. Therefore, a great familiarity with Naples, its music, its political history, its language and its literature is required to do them well. Several names come immediately to mind, including Fernando de Lucia - still the all-time favorite tenor of many Neapolitans - modern singers Roberto Murolo and Aurelio Fierro, and of course Francesco Albanese.”
- Edmund St. Austell