Alberto Erede

Alberto Erede (born November 8, 1909 in Genoa ; † April 12, 2001 in Monte Carlo ) was an Italian conductor who mainly conducted in opera houses.

Life

Alberto Erede first studied piano and violoncello in Genoa , then composition in Milan . When Felix Weingartner in Basel he trained in conducting and practiced as an assistant to Fritz Busch in Dresden . In 1930 he was appointed director of the Accademia di Santa Cecilia orchestra in Rome . In 1934 Busch asked him to support him at the Glyndebourne Festival . This was repeated annually, in his last two years, 1938 and 1939, he himself took responsibility for The Marriage of Figaro and Don Giovanni . His first permanent position took him to Salzburg in 1934 , where he also made a contribution to the Salzburg Festival . For the following season he was engaged by the Turin Orchestra, with which he performed Wagner's Der Ring des Nibelungen . After this season he returned to Salzburg in 1935, because the multinational opera ensemble around the alto Herta Glaz called "Salzburg Opera Guild", which was specially geared to USA tours, was looking for a conductor. Erede performed this task from 1935 to 1938. It gave him sufficient time to hold guest performances, for example his conducting debuts in 1937 with the New York NBC Symphony Orchestra and in 1938 at La Scala in Milan . During the war he continued to work as a conductor in his home country. From 1945 to 1946 he headed the RAI Symphony Orchestra in Turin. From 1946 to 1948 he was music director of the New Opera Company at the Cambridge Theater in London, where he performed Verdi's Rigoletto , among other things . In 1949 he took over the radio symphony orchestra of the RAI Torino again before he was hired by Rudolf Bing as chief conductor for the Italian subject at the Metropolitan Opera New York in 1950 . Under his musical direction, Kirsten Flagstad said goodbye to the stage in Gluck's Alceste in 1952 . In the same year he appeared for the first time at the Vienna State Opera with three works: Tosca , Turandot and Aida . His first Covent Garden guest performance took place in 1953 with Verdi's troubadour . In 1955 his contract in New York ran out. Before he began his service at the Deutsche Oper am Rhein , he used the interim phase to conduct Rossini's The Barber of Seville in Glyndebourne . From 1956 to 1962 he worked at the Düsseldorf - Duisburg Rhine Opera, from 1958 as its general music director. Still unencumbered by work-intensive tasks, he held a guest performance with Verdi's Falstaff at the Städtische Oper Berlin in 1957 . But even in a senior position, he insisted on leaving for Tokyo in 1959 in order to hear other Verdi operas and put them on recordings. In Düsseldorf he remained a permanent guest conductor well into old age, with 1,100 performances, the last of which dates from March 4, 1989.

In 1961 he had already accepted the post of director of the Gothenburg Symphony Orchestra . The engagement lasted until 1967. During this employment period, in 1963, he conducted the Edinburgh Festival for the first time . As one of the few Italians, Erede took over the musical direction for the performances of Lohengrin at the Bayreuth Festival in 1968 . His next stop was the Teatro Colón Buenos Aires . In 1970 he conducted Handel's Agrippina among others at the Zurich Opera House . In the same year he honored the Hague with Haydn's La fedeltà Premiata . He spent the 1974/75 season again at the Metropolitan Opera New York. In 1976 he was appointed artistic director of the Premio Internazionale di Violino "Niccolò Paganini" . A guest performance in Sydney was on the program in 1985, one in Rome in 1988. He was a frequent guest in the Italian metropolises of Rome, Milan, Florence and Naples.

In the 1950s and 1960s he made various records as chief conductor of the " Decca record production for the Italian opera repertoire" , including with the orchestra of the Accademia di Santa Cecilia in Rome and soloists such as Renata Tebaldi , Inge Borkh , Giuseppe Campora and Mario del Monaco , Ettore Bastianini and Cesare Siepi .

Sources used

In order to avoid individual columns behind each fact, here is a general overview of the literature and internet sources used.

literature

• Erede, Alberto . In: Riemann Music Lexicon . Person part A - KB Schott's Sons, Mainz 1959, p. 471 .

• Erede, Alberto . In: Marc Honegger, Günther Massenkeil (ed.): The Great Lexicon of Music . In eight volumes. Third volume: Elsbeth - Haitink. Herder, Freiburg im Breisgau 1980, ISBN 3-451-18053-7 , p. 13 f . (French: Dictionnaire de la Musique .).

• Hanspeter Krellmann, Noel Goodwin: Erede, Alberto . In: Stanley Sadie (Ed.): The New Grove Dictionary of Opera . Volume Two: E-Lom. Macmillan Reference Limited, London 1997, ISBN 0-333-73432-7 , pp. 61 f . (or ISBN 1-56159-228-5 ; wrong year of birth).

• Martin Elste : Erede, Alberto . In: Ludwig Finscher (Hrsg.): The music in past and present . General encyclopedia of music. 2., rework. Edition. Person part 6: E - Fra. Bärenreiter, Metzler, Kassel, Basel, London, New York Prague, Weimar 2001, ISBN 3-7618-1116-0 , pp. 417 (or ISBN 3-476-41015-3 ).

• Various newspaper articles.

Web sources

• Klaus Ulrich Spiegel: Interpretation standards of an intact opera scene. Alberto Erede. In: Ostinato. Retrieved April 21, 2014 (wrong year of birth). 

• Alberto Erede. In: bayreuther-festspiele.de. Bayreuther Festspiele GmbH, accessed on April 21, 2014 . 

• Robert Adelsen: Alberto Erede. Artist Biography. In: allmusic.com. Allmusic, a division of All Media Network, accessed April 21, 2014 . 

Web links

• Recordings by Alberto Erede