Amato, Pasquale. (1878-1942). Signed Postcard of Padua. Autograph signature from the Italian baritone who made his career in the United States and left a large body of fine recordings. On a postcard of Padua, Amato has signed boldly and dated: Buenos Aires, May 29, 1906. On the verso, the postcard is addressed to the Argentinian collector Ramona Imaz Otaño, with the original stamp and postmark. In very fine condition. 5.5 x 3.5 inches (13.9 x 9 cm).
"Amato’s voice was of splendid quality and extensive range, with brilliant resonance in the upper register. During his New York years he became an exceptionally reliable and complete artist, with impeccable enunciation, classical purity of style, and strong dramatic powers. These and other qualities, including pathos and humor, are best shown in a long series of admirable recordings made for Victor (1911–15), among which the Pagliacci Prologue, Figaro’s “Largo al factotum,” and several duets with Caruso, Gadski, and Hempel may be called exemplary." (Desmond Shawe-Taylor, The Grove Dictionary of American Music, 2nd edition).
Amato, Pasquale. (1878-1942). Signed Postcard of Padua. Autograph signature from the Italian baritone who made his career in the United States and left a large body of fine recordings. On a postcard of Padua, Amato has signed boldly and dated: Buenos Aires, May 29, 1906. On the verso, the postcard is addressed to the Argentinian collector Ramona Imaz Otaño, with the original stamp and postmark. In very fine condition. 5.5 x 3.5 inches (13.9 x 9 cm).
"Amato’s voice was of splendid quality and extensive range, with brilliant resonance in the upper register. During his New York years he became an exceptionally reliable and complete artist, with impeccable enunciation, classical purity of style, and strong dramatic powers. These and other qualities, including pathos and humor, are best shown in a long series of admirable recordings made for Victor (1911–15), among which the Pagliacci Prologue, Figaro’s “Largo al factotum,” and several duets with Caruso, Gadski, and Hempel may be called exemplary." (Desmond Shawe-Taylor, The Grove Dictionary of American Music, 2nd edition).