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Cortis, Antonio. (1891–1952). Original Photograph as Avito in "The Love of Three Kings".
Magnificent Daguerre of Chicago doubleweight photograph of one of the greatest tenors of the post-Caruso era, shown in costume as Avito for a production of The Love of Three Kings with the Chicago Civic Opera Company.  Light wear to corners, overall in very fine condition.  8 x 10 inches (20.3 x 25.4 cm.).

"Cortis was considered to be one of the best of Spanish tenors, standing in a direct line between Francisco Viñas and Plácido Domingo.  His voice possessed a very rich tone which, combined with his spontaneity of style, made him an ideally romantic singer.  A man of a certain reserve, he did not overplay emotions, as other contemporaries were inclined to do, yet was a superlative interpreter of verismo operas by composers such as Giordano and Mascagni, whose music he performed with an apparent extraordinary ease.  The critic John Steane has described his recorded interpretation of Giannetto in Giordano’s La cena delle beffe as ‘one of the most vivid pieces of vocal characterisation on record’." (Naxos)

Cortis, Antonio. (1891–1952) Original Photograph as Avito in "The Love of Three Kings"

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Cortis, Antonio. (1891–1952). Original Photograph as Avito in "The Love of Three Kings".
Magnificent Daguerre of Chicago doubleweight photograph of one of the greatest tenors of the post-Caruso era, shown in costume as Avito for a production of The Love of Three Kings with the Chicago Civic Opera Company.  Light wear to corners, overall in very fine condition.  8 x 10 inches (20.3 x 25.4 cm.).

"Cortis was considered to be one of the best of Spanish tenors, standing in a direct line between Francisco Viñas and Plácido Domingo.  His voice possessed a very rich tone which, combined with his spontaneity of style, made him an ideally romantic singer.  A man of a certain reserve, he did not overplay emotions, as other contemporaries were inclined to do, yet was a superlative interpreter of verismo operas by composers such as Giordano and Mascagni, whose music he performed with an apparent extraordinary ease.  The critic John Steane has described his recorded interpretation of Giannetto in Giordano’s La cena delle beffe as ‘one of the most vivid pieces of vocal characterisation on record’." (Naxos)