Italian bass, 1893 - 1983
Biographical notes:
He studied with Arturo Pessina (a former well-known baritone) and made his debut in 1917 in Turin, the city of his birth, as Ramphis in Aida. The singer later considered the beginning of his
artistic life on December 15, 1918 as Rodolfo in Bellini’s La Sonnambula. Shortly afterwards he repeated the role at La Scala. Pasero’s illustrious and unusually long career was mostly centered
in Italy. His main house was La Scala, where Arturo Toscanini engaged him for leading roles. He made guest appearances at Covent Garden, and also in Paris, Brussels, Barcelona, Buenos Aires,
Berlin and Hamburg. He was a member of the Met from 1929 until 1933. His most memorable roles were in Aida, Il Trovatore, Luisa Miller, La Gioconda, Norma, La Bohème, La Forza del
Destino, Guglielmo Tell, Lucia di Lammermoor, Simon Boccanegra and Don Giovanni (as Leporello). At the Met he appeared opposite an amazing number of glorious voices. In 1933 he enjoyed an
enormous success at the Maggio Musicale in Florence in Spontini’s La Vestale opposite the great Rosa Ponselle
. He often appeared at the Arena di Verona. In 1948 he sang at a concert commemorating the 100th anniversary of Donizetti’s deat, and in 1950 he appeared for the last
time as Wotan in The Walkyrie. To Pasero’s most famous roles must be numbered the following roles: Rossini’s Mosè, Sarastro, Don Basilio, Philip, Boris Godunov and Escamillo as well as
several important Wagner assumptions: King Heinrich, Gurnemanz, King Marke, Pogner and Hagen (in Italian). He also participitated in the world premières of several operas, among them
Mascagni’s Nerone at La Scala and Pinzetti’s Orseolo in Florence.
Comment: He is a splendid bass of unique beauty. In my opinion, the tonal opulence makes it to one of the
most exquisite basses to be heard on recordings. His voice impresses by its richness and the eveness of its quality from top to bottom of the wide range (Pasero added some baritone roles at the end of his career).
Pasero’s expression is not only distinguished by its lyrical qualities but also of great feeling and dignity. He avoids to exhibit the voice in the sort of overt emotionalism. In this, he is an antipode
to Nazzareno de Angelis. My favorite recordings:
- Tu non sai conquei begli occhi (Rodolfo in La Sonnambula / Bellini / Columbia 1928) - Vi ravviso o luoghi ameni (Rodolfo in La Sonnambula / Bellini / Columbia 1928 and Cetra 1936) - Il lacerato spirito (Fiesco in Simon Boccanegra / Verdi / Fonotopia 1927) - Sì, morir ella de’ (Alvise Badoero in La Gioconda / Ponchielli / Columbia 1928) - Ite sul colle, o Druidi (Oroveso in Norma / Bellini / Columbia 1927) - Vecchia zimarra (Colline in La Bohème / Puccini / Fonotopia 1927)
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