Renato Capecchi (1923–1998) was a distinguished Italian baritone, actor, and opera director celebrated for his vast repertoire and exceptional dramatic versatility. While he performed many major dramatic roles, he was particularly renowned for his mastery of “buffo” (comic) characters. He made his operatic debut in 1949 as Amonasro in Aida at Reggio Emilia. By 1951, he debuted at the Metropolitan Opera as Germont in La Traviata, where he sang regularly until 1954.
He did not return to the Met until 1975 by which time he had changed the arc of his career from conventional Italian baritone to one based on a light, flexible voice with clean legato and diction and a strong affinity for Mozart and Rossini. His singing was characterized by intelligence rather than vocal opulence. His performances showed natural comic timing, but still within classical restraint. This was the period in which Capecchi built his reputation in Italy and internationally as a stylish Mozart and Rossini baritone in the post-war Italian tradition.
Altogether, he gave 305 performances at the Met, mostly during his second sojourn with the company. In the second phase, Capecchi transitioned into a full character baritone, emphasizing theatrical personality over vocal beauty. His core repertoire included Falstaff (Falstaff and Ford), Dr Bartolo, Don Pasquale, Gianni Schicchi, and Dr Dulcamara (L’elisir d’amore). He also appeared regularly as the Sacristan in Tosca and Fra Melitone in Forza.
His voice darkened and lost some flexibility, but gained weight and character as he focused more on buffo and semi-buffo roles. His mastery of timing, diction, and stagecraft made him known for larger-than-life portrayals, especially in Verdi and Donizetti comedies. This phase shows Capecchi evolving into a true singing actor, where personality, irony, and theatrical intelligence were paramount. Capecchi’s dramatic insights made him one of the most intelligent and insightful performers of the last quarter of the 20th century.
Below are a few excerpts recorded during the two phases of the singer’s career. The first is from Bellini’s’ I Puritani. Set during the English Civil War, the action opens on a fortress near Plymouth where Puritan soldiers anticipate victory over the Royalists. Riccardo has been promised Elvira’s hand in marriage by her father, Lord Walton, commander of the Puritan fortress. However, when he returns to Plymouth, Riccardo learns that Elvira is in love with the Royalist, Arturo (Lord Arthur Talbot). Troubled by his loss of Elvira, he confides in his comrade Bruno in the aria, “Ah! Per sempre io ti perdei” (“Have I lost thee indeed forever?”).
Capecchi was a notable Ford before he became an acclaimed Falstaff. This performance is from Naples in 1962.
A role not usually associated with Capecchi was Iago in Verdi’s Otello. In 1958, he made a film of it under the direction of Tulio Serafin, featuring Mario Del Monco in the title role. Capecchi’s performance is unique in that it captures the ordinariness that Verdi wanted Iago to project. The composer did not want the arch-villain to appear that way. He wanted him to seem like a harmless fellow, making his venom that much more potent. Capecchi manages this effect to perfection. Despite the lip-synch issues, this is perhaps the most effective rendition of the opera’s famous Act 2 conclusion. Del Monaco was, of course, the greatest Otello of the 20th century.
Recoreded in1959, Capecchi’s version of Rigoletto’s great Act 2 aria shows how effective he was as a conventional Verdi baritone before his career change.
Here is Capecchi singing Falstaff’s first act Honor Monologue. He’s in civies and performing in an outdoor concert venue. Yet notice how effectively he brings the piece to life. Only a performer of genius could bring off the seldom excerpted piece with the verve and life that he does under the most unusual of conditions.
Gianni Schichi was one of Capucchi’s best roles. Era uguale la voce? This line is spoken/sung by the character Gianni Schicchi himself, just before he begins to impersonate the deceased Buoso Donati to dictate a new will. He is asking the assembled, anxious relatives if his imitation of Buoso’s voice was accurate enough to fool the notary who is about to arrive.
Dr Dulcamarra from L’elisir d’amorre was one of Capecchi’s signature roles. Travelling on a cart, he sells fake medicines to villagers, most famously selling Bordeaux wine to the gullible Nemorino as a “love potion” to win Adina’s affection.
Finally, one of Capecchi’s most famous roles – Dr Bartolo from Rossini’s Barber – A un dottor della mia sorte.
Capecchi was agreat artist who understood and expressed singing and acting at the highest level. A performer like him comes along very rarely. We are lucky to have so many of his recordings.
