Media library
The memory of Giacomo Matteotti is also – and now especially – transmitted through images and audiovisual recordings. You will find a selection of them in this room, which, like the others, is open to new contributions that you would like to point out to us.
The Media library opens with messages of greeting from Giacomo Matteotti’s granddaughters, Elena and Laura, and then presents-in reverse chronological order-films, documentaries, interviews, and recordings of commemorative events dedicated to Matteotti.
The room closes with a selection of musical contributions ranging from the soundtracks of the most recent Matteotti films to historical recordings of opera pieces performed by the great Titta Ruffo, Giacomo’s brother-in-law.
1. Greetings from Elena and Laura Matteotti, granddaughters of Giacomo and Velia
Elena and Laura Matteotti at the June 10, 2024 commemoration at Lungotevere Arnaldo da Brescia in Rome
2. Films, documentaries, recordings
film, Giacomo Matteotti Foundation, Directed by Luca Di Cecca 2024 – 30′
film, Giacomo Matteotti Foundation, Directed by Luca Di Cecca 2024 – 30′
documentary, Filippo Turati Foundation for Historical Studies, directed by Vittorio Giacci, 2024 – 43′
documentary, Filippo Turati Foundation for Historical Studies, directed by Vittorio Giacci, 2024 – 43′
registration of the celebrations June 10, 2020, Giacomo Matteotti Foundation, 2020 – directed by Patrizia Arizza, 1:15′
registration of the celebrations June 10, 2020, Giacomo Matteotti Foundation, 2020 – directed by Patrizia Arizza, 1:15′
recording of the play, Giacomo Matteotti Foundation and Filippo Turati Foundation for Historical Studies, directed by Massimiliano Perrotta, 2015, 18′
recording of the play, Giacomo Matteotti Foundation and Filippo Turati Foundation for Historical Studies, directed by Massimiliano Perrotta, 2015, 18′
Short film, Filippo Turati Foundation for Historical Studies, 2012, 7′:34″
Short film, Filippo Turati Foundation for Historical Studies, 2012, 7′:34″
by Antonio G. Casanova, with Giulio Bosetti, directed by Walter Licastro, 1974 – 1:05:58″
by Antonio G. Casanova, with Giulio Bosetti, directed by Walter Licastro, 1974 – 1:05:58″
film, directed by Florestano Vancini, 1973 – 1′:53” (Courtesy Gloria Vancini)
film, directed by Florestano Vancini, 1973 – 1′:53” (Courtesy Gloria Vancini)
interviews with Giorgio Amendola and Pietro Nenni, AccasFilm 1973 – 10′:07″
interviews with Giorgio Amendola and Pietro Nenni, AccasFilm 1973 – 10′:07″
film, directed by Nelo Risi, 1956, 11′:25″ – (courtesy AAMOD)
film, directed by Nelo Risi, 1956, 11′:25″ – (courtesy AAMOD)
on the centenary of his death at Lungotevere Arnaldo da Brescia 1:06′:40″ – Giacomo Matteotti Foundation
on the centenary of his death at Lungotevere Arnaldo da Brescia 1:06′:40″ – Giacomo Matteotti Foundation
on the centenary of his death, Rome, Chamber of Deputies – 1:14′:53″
on the centenary of his death, Rome, Chamber of Deputies – 1:14′:53″
On the 90th anniversary of his death, Rome, Chamber of Deputies – 1:49′
On the 90th anniversary of his death, Rome, Chamber of Deputies – 1:49′
3. Music
by M° Dario Vero – James Matteotti Foundation 2024
by M° Dario Vero – James Matteotti Foundation 2024
by M° Dario Vero – James Matteotti Foundation 2022
by M° Dario Vero – James Matteotti Foundation 2022
Livorno’s Garibaldi d’Assalto Choir directed by Paolo Edoardo “Pardo” Fornaciari, with Laura Bastogi, directed by Filippo Scarparo, performs songs, choruses, hymns and folk ballads in memory of Giacomo Matteotti in Livorno’s folk and working-class tradition.
Recording made in Rome on July 4, 2024 for the FELICITTA’ festival at the headquarters of the Modigliani and Matteotti Foundations
Livorno’s Garibaldi d’Assalto Choir directed by Paolo Edoardo “Pardo” Fornaciari, with Laura Bastogi, directed by Filippo Scarparo, performs songs, choruses, hymns and folk ballads in memory of Giacomo Matteotti in Livorno’s folk and working-class tradition.
Recording made in Rome on July 4, 2024 for the FELICITTA’ festival at the headquarters of the Modigliani and Matteotti Foundations
lyrics by José Santacreu, music by Abel Mus
Recording made during the concert “Giacomo Matteotti, the sonorous voice of freedom,” by the Antonio Cotogni National Association, Rome, Valdese Faculty, May 5, 2024 – 3′:44″ (Courtesy Rosa Rodriguez)
lyrics by José Santacreu, music by Abel Mus
Recording made during the concert “Giacomo Matteotti, the sonorous voice of freedom,” by the Antonio Cotogni National Association, Rome, Valdese Faculty, May 5, 2024 – 3′:44″ (Courtesy Rosa Rodriguez)
On music from a late 19th-century protest song, recorded here in the performance by Ivan Della Mea – 1′:50″
On music from a late 19th-century protest song, recorded here in the performance by Ivan Della Mea – 1′:50″
By Marco Chiavistrelli, Maremma storyteller 2024, 4′:12″
By Marco Chiavistrelli, Maremma storyteller 2024, 4′:12″
historical recording, 3′:26″ ©Eredi Titta Bernardini
historical recording, 3′:26″ ©Eredi Titta Bernardini
historical recording, 3′:26″ ©Eredi Titta Bernardini
historical recording, 3′:26″ ©Eredi Titta Bernardini
Two brief notes by baritone Vittorio Vitelli
About “Cortigiani”:
Acclaimed since his debut at only 25 years old, Titta Ruffo’s Rigoletto became his audience’s most beloved title. The Pisan baritone was chosen by Toscanini himself to perform it at La Scala in Milan 1904 when Ruffo was just 27 years old. An unmatched example for his contemporary colleagues and those to come, Ruffo’s Rigoletto combines the declamatory force of invectives with the more pathetic pages in the duets with Gilda. In June 1924, upon the death of his beloved brother-in-law Giacomo Matteotti, the Pisan baritone was in Bogotá (Colombia) to sing Rigoletto itself. Upon his renunciation to rush to Italy, the Colombian audience even went so far as to besiege the hotel that housed Ruffo. Forced to sing by the riot, thereafter the Tuscan baritone refused to repeat the title (except on a couple of occasions) for the rest of his career, which lasted roughly until 1933.
About the “Barbiere”:
Titta Ruffo made his debut in the Barber of Seville at Covent Garden in 1903 after having already sung Rigoletto, Ernani, Ruy Blas, Aida, Trovatore, Otello, and Zazà. So, in some ways, the Pisan baritone tackled the character of the Sevillian guitto when his career had taken a very clear interpretive path. Ruffo was the prince of prevailing verismo and a profound innovator of the 19th-century repertoire. However, after the English debut, Ruffo’s Barbiere remained a beloved role for both the audience and the performer himself, accompanying his entire career. To the Rossini character Titta Ruffo donated, in addition to his powerful vocal qualities (especially in the cavatina), an amazing ease and brilliant manner.