Emanuele Carrion

Lithography of Emanuele Carrion as Edgardo, Victoria Theater Berlin 1859

Emanuele Carrion as Edgardo, Victoria Theater Berlin 1859

I wish to thank Daniele Godor for the lithograph.
Repertory

Belisario
Lucia di Lammermoor
Mosè
Rigoletto
Il Trovatore
Pitomessa d'Andor
Marco Visconti
La Sonnambula
Il Pirata
Fiorina
La Traviata
Il Barbiere di Siviglia
La Cenerentola
Don Giovanni
La Favorita
Lucrezia Borgia
Guglielmo Tell

From a paper clipping (dated 24 July 1876 written in pencil, but no mention of name), and Il Trovatore from 7 July 1858

Emanuele Carrion in Berlin and Hamburg
The success of the tenor Carrion in Berlin was extraordinary, incredible. Each opera was for him a triumph. From the first to the last performance, it was for him applause, curtain calls, celebration and honors. … The clamors were not less in Hamburg for this talented tenor. The choice of the first opera fell to a magical Barbiere. We cannot describe with words the bravos and applause that greeted Carrion, and also Artot, Delle Sedie and Frizzi. There was great enthusiasm for the serenata; for the Figaro & Almaviva duo; for the finale; for the quintetto; for the terzetto; in short complete enthusiasm. To unanimous demand the graceful Spanish duo, sung by Carrion and Artot at the cembalo, was repeated. The public showered the singers with flowers at the end. Il Pirata, 21 April 1860

Emanuele Carrion
The well known tenor, our good friend, is dead. A cruel disease, that suddenly attacked him, led him in a short time to his grave. The artistic career of Carrion was a continuous series of triumphs. I can say that he was an exceptional tenor. Who sang like him: la Sonnambula, Guglielmo Tell, il Barbiere di Siviglia, il Trovatore, la Cenerentola, and l'Africana? Carrion sang those diverse musical types with such confidence that came from his musical education at the real school of Italian singing; from his possession of the soul and talent of a real artist. The public of the main cities of Italy, and the capitals of Europe, acclaimed him with great enthusiasm; wherever he was, he received enviable decorations. The Spanish Government had given him many years ago the order of Carlo III. This artist was a model, and at the end a mentor for the young students, -among them his son Giuseppe, who could be his dignified successor-, Emanuele Carrion's death is a loss for art, for his friends the loss of a mild, gentle and honest man. Il Trovatore, 30 July 1876


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