World Library  
Flag as Inappropriate
Email this Article

Antonio Scotti

Article Id: WHEBN0006558129
Reproduction Date:

Title: Antonio Scotti  
Author: World Heritage Encyclopedia
Language: English
Subject: Enrico Caruso, Giuseppe Verdi, Pasquale Amato, Emilio De Marchi, Frieda Hempel
Collection: 1866 Births, 1936 Deaths, Italian Baritones, Italian Opera Singers, Operatic Baritones, People from Naples
Publisher: World Heritage Encyclopedia

Antonio Scotti

Antonio Scotti
Antonio Scotti, SS George Washington on 29 October 1912
Scotti in 1915

Antonio Scotti (25 January 1866 – 26 February 1936) was an Italian baritone. He was a principal artist of the New York Metropolitan Opera for more than 33 seasons, but also sang with great success at London's Royal Opera House, Covent Garden, and Milan's La Scala.[1]


  • Life 1
  • Recordings and vocal characteristics 2
  • Some notable Scotti roles 3
  • References 4
  • Further reading 5
  • External links 6


Antonio Scotti was born in Naples, Italy. His family wanted him to enter the priesthood but he embarked instead on a career in opera. He received his early vocal training from Esther Trifari-Paganini and Vincenzo Lombardi. According to most sources, he made his debut at Malta's Theatre Royal in 1889, performing the role of Amonasro in Giuseppe Verdi's Aida. Engagements at various Italian operatic venues ensued and he later gained valuable stage experience singing in Spain, Portugal, Russia and South America.

In 1898, he debuted at Italy's most renowned opera house, La Scala, Milan, as Hans Sachs in Die Meistersinger. This now seems a surprising choice of role for Scotti because his subsequent career did not encompass the operas of Richard Wagner.

Scotti's American debut took place in the fall (autumn) of 1899, when he sang in Chicago.

On 27 December 1899 he made his first appearance in New York City at the Metropolitan Opera, undertaking the title role in Mozart's Don Giovanni. He would become an audience favorite at the Met, earning acclaim for his graceful singing of Donizetti's bel canto music as well as for the touch of elegance that he brought to his more forceful Verdi and verismo interpretations. Scotti appeared at Covent Garden in London for the first time in 1899, singing Don Giovanni. He would return to London on many occasions prior to World War I.

At the Met in 1901, Scotti became the first artist to sing the role of Baron Scarpia in Giacomo Puccini's Tosca in America. He appeared, too, in the American premieres of Francesco Cilea's Adriana Lecouvreur, Ermanno Wolf-Ferrari's Le donne curiose, Umberto Giordano's Fedora, Franco Leoni's L'Oracolo and Isidore de Lara's Messaline. Scotti also sang a variety of mainstream baritone parts during his time at the Met, including Rigoletto, Malatesta, Belcore, Iago, Falstaff, Marcello, Sharpless and, as we have seen, Don Giovanni and Scarpia. He performed opposite his close friend Enrico Caruso when the illustrious tenor made his Met debut as the Duke of Mantua in 1903, and partnered 15 different Toscas over the course of his long career at the house.

In 1912, Scotti's arrival in the United States with Pasquale Amato and William Hinshaw for his next Met season received extensive newspaper coverage (see photograph, right).[2]

He performed at Covent Garden on a regular basis until 1910, with additional appearances in the 1913–1914 season. During this period, he became not only London's first Scarpia but also its first Sharpless in Puccini's Madama Butterfly (in 1900 and 1905 respectively). In 1917, he was elected an honorary member of Phi Mu Alpha Sinfonia, the American fraternity for male musicians, at the New England Conservatory of Music. He formed his own troupe of singers in 1919, calling it, naturally enough, the Scotti Opera Company. He managed it for several seasons while touring the United States. Scotti celebrated his 25th anniversary with the Met on 1 January 1924 in a gala performance of Tosca. By the 1930s, Scotti's voice had declined considerably but he retained his place on the Met's roster of singers due to his outstanding histrionic ability. His final Met appearance occurred on 20 January 1933, when he sang Chim-Fen in L'Oracolo; he had created the role in 1905.

Scotti returned to Italy to spend his retirement. He died in poverty in Naples in 1936, aged 70.[1][3]

Recordings and vocal characteristics

Scotti can be heard singing snatches of Scarpia's music in part of a clearly exciting performance of Tosca that was recorded live at the Met on faint and crackly Mapleson Cylinders in 1903. He is partnered by soprano Emma Eames and tenor Emilio De Marchi, with Luigi Mancinelli conducting.

He also made intermittent visits to commercial recording studios from 1902 until the outbreak of hostilities in Europe in 1914. Records which he cut for the British Gramophone and Typewriter Company and the American Victor Talking Machine Company and Columbia Phonograph Company have been reissued on CD. Featuring a range of solo arias and some operatic duets with Caruso, Marcella Sembrich and Geraldine Farrar, these records of Scotti's confirm that he was a stylish, well-trained and aristocratic singer. His voice was not particularly large or resonant; but it was steady, smooth toned and accurate in its execution of difficult vocal ornaments.

A striking and extroverted person on stage and off, Scotti was adept at portraying both dramatic and comic characters.

Some notable Scotti roles

Rigoletto: a 1907 Victor recording with Antonio Scotti, Enrico Caruso, Bessie Abott, and Louise Homer.

Problems playing these files? See .


  1. ^ a b "Scotti, Baritone King of Opera, Dies in Poverty. Only 4 Mourners Follow His Body to Grave".  
  2. ^ "$2,000 Baritone Says the Art of Song Is Declining in Italy – Likes Shakespearean Roles.".  
  3. ^ "Antonio Scotti, 70, Noted Singer, Dies. Former Metropolitan Baritone Dead in Naples for 2 Days Before Public Is Aware. 4 Mourners Follow Body. Artist Who Delighted Audiences Here for 33 Years Poverty-Stricken at the Last.".  

Further reading

  • David Ewen, Encyclopedia of the Opera.
  • John Steane, The Grand Tradition.
  • Michael Scott, The Record of Singing (Volume One).
  • Harold Rosenthal & John Warrack, The Concise Oxford Dictionary of Opera (second edition).
  • Alan Blyth, liner notes for Antonio Scotti, Pearl compact disc, GEMM CD 9937.
  • Jean-Pierre Mouchon, "Le baryton Antonio Scotti" and "Discographie d'Antonio Scotti" in "Étude" n°22,avril-mai-juin 2003, pp. 4–11 (Association internationale de chant lyrique "Titta Ruffo", Marseilles, France).

External links

  • Scotti singing "Eri tu" from Un Ballo in Maschera on Basso Cantante.
  • "Antonio Scotti" in journal "Étude" n° 22, April–May–June 2003 (see above in bibliography), published by
This article was sourced from Creative Commons Attribution-ShareAlike License; additional terms may apply. World Heritage Encyclopedia content is assembled from numerous content providers, Open Access Publishing, and in compliance with The Fair Access to Science and Technology Research Act (FASTR), Wikimedia Foundation, Inc., Public Library of Science, The Encyclopedia of Life, Open Book Publishers (OBP), PubMed, U.S. National Library of Medicine, National Center for Biotechnology Information, U.S. National Library of Medicine, National Institutes of Health (NIH), U.S. Department of Health & Human Services, and, which sources content from all federal, state, local, tribal, and territorial government publication portals (.gov, .mil, .edu). Funding for and content contributors is made possible from the U.S. Congress, E-Government Act of 2002.
Crowd sourced content that is contributed to World Heritage Encyclopedia is peer reviewed and edited by our editorial staff to ensure quality scholarly research articles.
By using this site, you agree to the Terms of Use and Privacy Policy. World Heritage Encyclopedia™ is a registered trademark of the World Public Library Association, a non-profit organization.

Copyright © World Library Foundation. All rights reserved. eBooks from Project Gutenberg are sponsored by the World Library Foundation,
a 501c(4) Member's Support Non-Profit Organization, and is NOT affiliated with any governmental agency or department.