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PEDRO MIRASSOU - TENOR

Autographed and inscribed 4” x 7” sepia, matte, double-weight photograph as Manrico in “Il Trovatore”, 1938.

 

Mirassou (1896-1963) was from Buenos Aires where he trained with baritone Tullio Quercia.  He made his debut in 1922 at the Teatro Colon as the Messanger in Aida. Where he became an important part of the company until his retirement in 1949.  By 1925 he made his European and Italian debut in Brescia and the Teatro Massimo in Palermo.  A spinto tenor with ringing high notes was well appreciated and he was further contracted in the same year to sing Canio in Parma.  The following year, 1926 marked his La Scala debut in an opera which he created the tenor lead Rodion Romanovitch Raskolnikov in Pedrollo’s opera “Delitto e Castigo”, based upon Dostoyevsky’s “Crime and Punishment”.  He returned to Argentina in 1928 well seasoned from his performances in Italy and sung at the Colon, Radames in “Aida”, Alfredo in “La Traviata”, Cavaradossi in “Tosca”, Pollione in “Norma, Don Jose in “Carmen” Canio in “I Pagliacci” and Demetrios in “Afrodita” in that one season!  The following year, 1929,  he increased his repertoire there, Pinkerton in “Madama Butterfly” and Pedro Cruz in “El Matrero”.  He also sung reprisals of his past roles, Pollione, Don Jose and Radames.  Other roles also came his way at the Colon over the years, intermixed with the roles by European composers are Argentine operas in which he created roles; Andre Chenier, The False Dimitri, the title role of the opera Tabaré, Walther in “Die Lorely, Donello in “La Fiamma”, Henderson in “La Novia del Herje”,  Marcelo Miranda in “Las Sangres de la Guitarras”, Mark Anthony in “Giulio Cesare”, Enrique Carranza in “La Cuidad Roja”, the title role of “Cyrano de Bergerac”, Sebastian Hurtado in “Siripo”, Bruto in “Lucrezia”, the title role of “Petronio”, Manrico in “Il Trovatore”, the title role of “Otello”, the title role of “Sadko”, Edgardo in “Lucia di Lammermoor” and Golitzin in Khovanschina”.  He did return to Europe mant times, he was heard as Pollione at La Scala in 1931and also the Liceo in Barcelona.  The 1933-34 season he sung in Amsterdam including a concert with the Concertgebouw Orchestra.  Other guest appearances included opera in Cremona, Genoa, Catania, Rome, Pisa, Torino, Cairo, Warsaw, Sofia, Ghent, Melbourne, Sydney, Auckland and San Paolo, Santiago and Valparaiso. 

 

Recordings of Mirassou are rare and include the Argentine National Anthem, Spanish songs and selections from the Argentine opera “El Matrero” with Apollo Granforte on Argentine labels.