Umberto Borsò (La Spezia 1923 – Roma 2018) Followed by their debut with Manon Lescaut by Giacomo Puccini in Turin (September 18, 1953), then with Tosca at Gran Teatro La Fenice in Venice with Maria Caniglia and Tito Gobbi. In 1953 and 1954 he performed in the role of tutor in the world premiere of Medea directed by Pietro Canonica by Ottavio Ziino with Maria Pedrini at the Teatro dell'Opera in Rome on 12 May 1953 and at the Teatro Massimo of Palermo. The decisive debut on 8 May 1956 when it replaces Mario Del Monaco in Andrea Chénier with Renata Tebaldi.The press reports: We would not know think of a better hand, especially in the closed "Mom died," who gave her applause, flowers and a ba .. [...] Full-scale success, with over forty calls. (The Messenger - May 19, 1956)An important event, which will mark his international success: the couple Borsò - Tebaldi Andrea Chenier repeat several times in America (Miami 1961), and performed in Manon Lescaut (Barcelona 1959), in Adriana Lecouvreur (Havana 1959 ) and Aida.Aida with Renata Tebaldi at the Liceu in Barcelona (December 1956) had implications in the history of opera: on stage a young man was impressed by the interpretation of Borsò couple - Tebaldi, and knew that one day he trod the stage. That young man was José Carreras.In addition to the major Italian theaters, it found instant success in various US theaters USA (Boston, Philadelphia, Hartford, Miami, New Orleans, Pittsburgh) debut at the Metropolitan Opera with La Gioconda on April 16, 1962. The performances in South America led him from Mexico (Mexico City, Monterrey, Guadalajara), in Chile where culminate in Othello representation in Santiago in 1969 with Ramón Vinay in the role of Iago.In Europe, for many years the standard as required by the Gaiety in Dublin, and sings in London (Covent Garden), in various theaters in Germany (Augsburg, Hamburg, Mannheim, Cologne), in Vienna, at the Liceu in Barcelona, ​​Malaga and Valencia. In Australia collects the greatest hits granted to European singers (Sydney, Melbourne, Canberra in 1955, 1970, 1972), attested by the Australian critic John Cargher.As well as in Japan (Tokyo and Kyoto) and the Bolshoi performs until the 1980s in the major theaters of the former Yugoslavia. The composer Stjepan Šulek writes Oluja (The Tempest) for Borsò that inaugurates singing in Croatian in Zagreb in November 1969.The late debut at the Teatro alla Scala in Milan (in March 1963 with Il trovatore) and to the City of Florence (as Mario in Tosca, with Magda Olivero and Ettore Bastianini, January 1965) is the signal of an "uphill struggle" that characterizes difficult artist's relationship with the establishment of the Opera Italian opera despite the bright career taken by the content in the major opera houses in Italy and the world. Suffice it to recall that in Florence was so successful that the audience demands an encore shining brighter than the stars, against the veto of bis imposed by the rules of the theater. The last had been granted in 1948 by Beniamino Gigli. [5]He was named one of the outstanding performers of Othello, in which debuted in the river November 6, 1954, performing further 39 performances in Fermo, Malaga, Adria, Asti, Santiago de Chile (September 1969) and Australia (Sydney, Melbourne, Adelaide, Canberra).He sang with the greatest performers (Renata Tebaldi, Magda Olivero, Maria Caniglia, Marcella Pobbe, Gertrude Grob-Prandl (Turandot), Montserrat Caballé, Birgit Nilsson, Tito Gobbi, Giangiacomo Guelfi (Aida, La Fenice in Venice), under the direction of leaders like Napoleon Annovazzi, Arturo Basile, Oliviero De Fabritiis, Gianandrea Gavazzeni, Franco Patané, Tullio Serafin, and with directors such as Luchino Visconti (Trovatore, 09.25.1963, Moscow).Photography autograph of the famous tenor Photography; 18,2X13 cm Excellent condition