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Born: January 11, 1913 - Vicenza, Italy
Died: July 18, 1992 - Buenos Aires, Argentina |
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The Italian-born baritone, Angelo [Angel] Mattiello, came to Argentina at a young age, and received his training at the Instituto Superior de Arte del Teatro Colón in Buenos Aires. His teachers there were Edytha Fleischer, Luis La Vía and Juan Emilio Martini.
In 1939 Angelo Marttiello made his debut under the name Ricardo Maciel in Buenos Aires in a small role in Elektra by Richard Strauss under the direction of Erich Kleiber. He accepted the Argentine nationality and essentially completed his career (under his actual name Angel Mattiello) in Argentina. He had thereby great successes and was considered as one of the most important Argentine singers of his generation. For more than thirty years, until 1978, he worked as first baritone at the Teatro Colón in Buenos Aires. He appeared at this house in a numerous first performances and premieres: In 1949 in Die Frau ohne Schatten by R. Strauss (as Geisterbote), in 1953 in Cristóbal Colón (Christophe Colomb) by Darius Milhaud, in 1954 in The Rape of Lucretia by Benjamin Britten (as Junius), in 1954 in Il Prigioniero by Luigi Dallapiccola (in the title role), in 1959 in Igor Stravinsky's The Rake's Progress (as Nick Shadow), in 1968 in Giulio Cesare by Georg Frideric Handel (as Aquilas), in 1970 in Moses und Aron by Arnold Schoenberg (as Moses). In 1964 he took part there in the premiere of the opera Don Rodrigo by Alberto Ginastera.
Angelo Marttiello also appeared at other Argentine theatres, thus at the Teatro Argentino in La Plata, where he sang in 1961 the King in the first performance of Carl Orff's Die Kluge. In 1950 he sang as a guest at Milan's La Scala the role of Donner in Rheingold under Wilhelm Furtwängler. In 1955 he created in the Argentine capital the Opera da Cámera, with which he organised interesting performances. During his long career he appeared as a guest in Brazil and Uruguay, in Peru and Mexico, in Belgium, France and Italy. On the stage he sang variety of roles from the classical Italian and French repertoire, in addition, from the German (Minister in Fidelio, Jochanaan in Salome, Orest in Elektra by R. Strauss, Gunther in Götterdämmerung) and the Russian opera. He also dedicated himself to a very successful concert career with special preference to the interpretation of the German Lieder.
Recordings: Murray Hill (Donner in Rheingold), recordings of performances and radio broadcasts from Argentina, i.e. on Performance Disc Daphne by R. Strauss. |
