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opposite
Giuseppe Taccani), L'Aquila, and Pescara. She was now drawing very favorable notices. By year's end Guerrini had been contracted at fourteen secondary opera companies. The years 1939-1941 followed suit, and her last appearance in 1941 marked her first performance outside Italy; this was
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Guerrini initially studied with Elvira
Cesaroli Salvatori but being dissatisfied, applied to Beniamino Gigli for advice and was directed to Roberto Giovannini, active at the Conservatorio di Santa Cecilia (Rome) but also at the famous "Scuola di arpe," directed by Isabella Rosati Caserini. After
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she sang two minor roles. The following year, 1938, Guerrini saw more regular activity, and it can be said that this year saw the beginning of her true career. Besides two concertos there were appearances in Rome
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and also in concert. In the same year
Catania's famous Teatro Bellini also saw her in three performances, and at the EIAR's Rome studios she resumed her radio career with a concert and a
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along with other young people newly graduated from conservatory or private schools, including the young Giulio Neri, later one of Italy's premier bassos. After another
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opposite
Giacinto Prandelli. By 1943 Italy's tragic wartime curtailed Guerrini's activities, mostly confined to EIAR concerts and performances in Rome and Turin:
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at the Teatro Italia (Rome), followed in
October by her first performance on Italian radio (EIAR Rome). This was an Italian-language version of Charpentier's
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in
October of that year, Guerrini undertook a further year of study. In 1937 she had two concert appearances, and in July she appeared as Cio-cio-san in
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three years with
Giovannini, she made her first operatic appearance in June 1935 at the Teatro Quattro Fontane (Rome) singing Musetta in
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87:. Co-interpreters included Beniamino Gigli, Galliano Masini, Mario Borriello, Armando Borgioli, Piero Pauli, and Giovanni Inghilleri.
175:(Lisbon), the Teatro Municipal (Caracas), the Royal Festival Hall and the Albert Hall (London), and the Wiener Konzerthaus (Vienna)
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102:. By now she was an established and highly esteemed performer. Her greatest triumphs occurred in 1945-1948 at the
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Madama
Butterfly, Traviata, Manon, Manon Lescaut, Faust, Mefistofele, Miseria e Nobilta`, La Boheme, Falstaff,
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May 1942 would see
Guerrini's first appearance at a major house—Teatro Massimo (Palermo)—in
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158:'s 50th death anniversary in 1951, she sang on Italian radio the role of Amalia in
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A lyric-dramatic soprano of stature, she can be heard in complete recordings of
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22:(22 September 1907 – 24 April 1970) was an Italian operatic
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She also won considerable acclaim in the title role in
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Andrea
Chenier, Ballo in Maschera, Madama Butterfly,
167:Outside Italy, she made guest appearances at the
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241:Accademia Nazionale di Santa Cecilia alumni
246:20th-century Italian women opera singers
81:Ballo in Maschera, Tosca, Andrea Chenier
200:Adriana Guerrini: Una Voce che Ritorna
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60:Barcelona, and a performance of
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75:conducted by Giordano, also a
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106:in Naples, where she sang in
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90:In 1944 she appeared at the
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236:Italian operatic sopranos
92:Teatro dell'Opera di Roma
16:Italian operatic soprano
231:Musicians from Florence
148:, and as Octavian in
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184:La forza del destino
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121:Cavalleria rusticana
69:La Forza del Destino
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83:(Giordano, cond.),
53:Baronessa di Carini
85:Gloria, Il Tabarro
171:(Barcelona), the
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32:La Boheme,
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194:Sources
73:Siberia
44:Louise;
24:soprano
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