Martierra (Guerrero)  (Tino Folgar, Dorini de Diso, Luis Almodovar)  (Aria 1029)
Item# OP0289
Availability: Usually ships the same business day

Product Description

Martierra (Guerrero)  (Tino Folgar, Dorini de Diso, Luis Almodovar)  (Aria 1029)
OP0289. MARTIERRA (Guerrero) - Excerpts, recorded 1928, w.Tino Folgar, Dorini de Diso, Luis Almodóvar, etc.; TINO FOLGAR: Arias from Los Flamencos, Los Gavilanes, La Pícara Molinera & Los de Aragón, recorded 1928-29; Luis Almodóvar: Duets from Maruxa, recorded c.1920. (Spain) Aria 1029, w.Elaborate Brochure. Very long out-of-print, Final Rare Sealed Copy! - 8435035810294


"Born Juventino Folgar Ascaso in Barcelona, on 25 January 1892, Folgar studied in his native city with Esteban Pasqual and made his stage début at the Liceu as Rodolfo in LA BOHÈME, in 1922. He made his début in Italy in Acqui Terme, as Almaviva in IL BARBIERE DI SIVIGLIA, in 1925. He went on appearing in Genoa, Turin, Cremona, and scored a triumph at the Teatro Adriano in Rome, as Lindoro in L'ITALIANA IN ALGERI, opposite Conchita Supervia, in 1926. He is partly responsible for the Rossini renaissance, alongside Supervia. From 1929, he appeared mainly in Spain, singing in zarzuela and operetta. In 1932, he went to London, on tour with a zarzuela-ensemble. He then sang mostly in concert and on radio, he also appeared in a feature film LA CANCIÓN DEL DIA. In 1945, he went to Mexico City where he worked as a teacher, later moving to Buenos Aires, where he remained until his death in January 1983. A stylish and refined artist, Folgar possessed a rather small but attractive voice, which he passed to posterity through his 1927 recording of the Duke of Mantua in a complete RIGOLETTO, opposite Luigi Piazza, Lina Pagliughi and Salvatore Baccaloni."

- Ashot Arakelyan, Forgotten Opera Singers

"One of the finest lyric tenors of the Barcelona school, Folgar created leading roles in LOS CLAVELES, Guerrero’s MARTIERRA and many other works, and enjoyed major successes in LUISA FERNANDA, DOÑA FRANCISQUITA, and a host of similar opera and zarzuela revivals….His reputation as a recording artist centers on the first electric recording of any opera…RIGOLETTO from 1927; but his delectable sweet lightness and ear for interpretive detail are at least as well served by his many zarzuela records."

- Christopher Webber, THE ZARZUELA COMPANION, p.304