Aureliano Pertile - Non piangere, Liù (Fonotipia, 1927)

Aureliano Pertile (1885-1952) was a celebrated Italian tenor who enjoyed a 35 year career in major theaters on both sides of the Atlantic. The son of a poor shoemaker and his wife, Pertile was born in Montagnana…just a few blocks away and 18 days after the birth of fellow tenor Giovanni Martinelli. His vocal talents were apparent from a very early age. In 1894, Pertile began singing alto with the choir of the Cathedral of Santa Maria Assunta. At his parents’ insistence, he apprenticed as a goldsmith during his teens, but continued singing. At age 20, he was heard by composer Vittorio Orefice, who invited the young man to study with him in Padua. After five years of work, Pertile made his debut as Lionel in Martha at Vicenza’s Teatro Eretenio on February 16, 1911. In May, he sang the role of Vinicius in the Italian premiere of Jean Nouguès’ Quo Vadis? at Milan’s Teatro dal Verme. Reviews were stellar and the tenor’s career took off quickly. Over the next two years, Pertile made appearances in Brescia, Torino, Asti, Padua and Genoa, with his international debut occurring in Santiago as des Grieux in Manon Lescaut during the fall of 1913. While in South America, the tenor also sang in Buenos Aires and Valparaiso in such works as Un Ballo in Maschera, Mefistofele, Tosca, and La Traviata. Late in 1913, Pertile returned to Italy, where he spent the next few years appearing in Naples, Palermo, Florence, Bologna, and Rome. His La Scala debut occurred on February 22, 1916 as Paolo in Francesca da Rimini, leading to a lengthy association with the company.
By 1921, Pertile had appeared at most of the major theaters of Italy, Spain and South America. Following his Mexico City debut as Faust in Mefistofele in August, Pertile began his only season at New York’s Metropolitan as Cavaradossi in Tosca on December 1. Henderson of the New York Sun reported, “His voice has a tendency toward whiteness, but in its fullest volume it is warmer and resonant. His acting was that of the everyday tenor.” …not exactly the definition of a glowing review. In addition to Cavaradossi, he also sang des Grieux in Manon Lescaut, Grigori in Boris Godunov, Turiddu in Cavalleria Rusticana, Canio in Pagliacci, Radames in Aïda, and Julien in Louise. Sadly, the New York public never quite warmed up to Pertile. After only 13 performances of the aforementioned roles, as well as a pair of Sunday Night Concerts, Pertile was finished in the U.S. His Met career had lasted exactly seven weeks.
Pertile fared much better in his homeland. Arturo Toscanini, who had recently taken the reins at La Scala, invited the tenor to join him for a production of Mefistofele in March. This began a decade long alliance between the two, a highlight of which was Pertile’s creation of the title role of Boito’s Nerone at its premiere on May 1, 1924. Other world premieres entrusted to Pertile during his La Scala tenure were Wolf Ferrari’s Sly in 1927 (under Ettore Panizza) and Mascagni’s Nerone in 1935 (under the composer). The tenor was a superstar at La Scala, with “Pertile Nights” marketed to an adoring public. After Toscanini’s departure in 1929, however, Pertile’s importance in Milan began to diminish. Although the tenor would remain at La Scala until the early 1940s, he was no longer the central figure he had been during the 1920s.
During the mid 1930s, Pertile began to curtail his appearances, sometimes singing fewer than 15 performances per season. He was now in his 50s and had added Verdi’s Otello to his vast repertoire. In the final years of his career, Pertile sang little else but the Moor, appearing in this role almost twice as often than his other roles combined. Following one last Pagliacci in Salerno in 1946, the aging tenor retired from the stage. Pertile spent his final years teaching at the Milan Conservatory, dying on January 11, 1952 at the age of 66.
During his lengthy career, Pertile sang at most of the major houses of Europe and South America, among them London’s Covent Garden, the Teatro Colón in Buenos Aires, Madrid’s Teatro Reale, Rome’s Teatro Costanzi and Teatro dell’ Opera, Genoa’s Teatro Carlo Felice and the San Carlo in Naples. His vast repertoire of nearly 70 roles included the leads in La Gioconda, Andrea Chénier, Isabeau, Fedora, La Bohème, La Fanciulla del West, Salome, Carmen, Samson et Dalila, Werther, Norma, Lucia di Lammermoor, La Favorita, Poliuto, L’Amore dei Tre Re, La Rondine, Loreley, Fra Diavolo, Lohengrin, Die Meistersinger, Iris, Rigoletto, Il Trovatore and La Forza del Destino. Pertile’s recorded legacy, made between 1922 and 1942 for Columbia, Fonotipia, Pathé, HMV and Telefunken, reveals a sturdy spinto instrument. Although his was not a voice that was often described as beautiful, he used it to great effect, always imbuing the music with tremendous artistry and intensity. Here, Pertile sings “Non piangere, Liù” from Puccini’s Turandot. This was recorded in Milan for the Fonotipia label on January 24, 1927.

[@luigimaffei9132]

Nessuno come Pertile sa trasmettere il senso di angoscia,, di dolore. Il colore della sua voce non bellissima ma allo stesso tempo con armonici che predispongono l'animo allo sconforto, fanno questo grandissimo artista immenso per trasmettere pathos, emozione come pochi altri.!!!!

[@Mariano-ge6de]

Yo prefiero voces que transmiten y con técnicas excelentes como lo hacía Pertile y Kraus por ejemplo. Dos voces que no tenían la belleza de otros pero no les hacía falta, de que sirve una bella voz si después no te llegan al alma.

[@lorenagaleazzi5026]

Straordinario tenore!!!

[@bodiloto]

Divino .
❤

[@antoniorebello3327]

Bravo

[@massimilianocostantino7637]

Un mito❤

[@alfredbernasek6761]

FANTASTISCH

[@matthenrick5531]

I have not heard a better version of this aria not even Corelli…

[@BrianJosephMorgan]

Bravo.

[@puccini4530]

Wonderful. Rivals Corelli.