Italian singer boy. “The Divine Voice” by Robertino Loretti. Childhood, Loretti family

There was a time when in the Soviet Union you could hear “O sole mio”, “Jamaika” and others from almost all open windows. famous songs performed by an Italian boy Robertino Loretti. He began singing almost from birth, which is not so unusual for Italy. Everyone sings in this country, and most Italians have beautiful, strong voices. The child had a different future ahead of him, and his voice was not just beautiful and strong. He was unique. Therefore, already at the age of six the boy became a soloist in the church choir, and at eight he sang in the Rimsky choir opera house…

Roberto Loreti(and this is exactly what the singer’s real name sounds like) was born in Rome on October 22, 1947 in a poor large family. He became famous at the age of 13, singing "O Sole mio" in a magical treble in Rome's Grand Italia café in Piazza Ephedra. Roberto was heard by the Danish television producer Cyre Volmer-Sørensen, who made the teenager world star. On October 22, 2012, Robertino Loretti celebrated his 65th birthday.

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There are choral parts in classical operas for the so-called “ white voice" Its timbre, light and pure, is characteristic only of children's boyish voices before mutation. Tall adults women's voices These parts cannot be performed, since they still give too much chest sound. When Robertino performed one of these roles in the choir, the Danish impresario noticed him and decided to make a star out of the boy.

Cyre Volmer-Sørensen, who gave impetus to the professional singing career Roberto (under the name Robertino) invited the future world “star” to Copenhagen, where a week later he performed on the TV show “TV i Tivoli” and signed a contract to record and release records with the Danish label “Triola Records”. Soon a single was released with the song “O Sole mio”, which went gold. Tours throughout Europe and the USA were a huge success.

The French press called Loretti"new Caruso". During his first visit to France, President Charles de Gaulle invited Robertino perform at a special gala concert of world stars at the Chancelries Palace. Soon the singer’s popularity reached the USSR, where his records were also released (on VSG “Melodiya”) and he acquired cult status, despite the fact that his first trip there took place only in 1989.

USSR and Robertino Loretti

The main income from any concerts was received by the state. And yet the Soviet leadership really wanted to organize a concert Robertino in Moscow, because his popularity here was great. One of the Komsomol leaders went to Italy. But the impresario Robertino, remembering that performing in the USSR was not financially profitable, did not allow the singer to meet with the Soviet representative.

Has developed difficult situation. Tour Robertino everyone was looking forward to it Soviet Union. And the public would hardly be satisfied with any explanation. Something had to be done. An inventive official came up with a myth that the boy lost his voice.

It was a fiction. Voice Robertino didn't lose, but complex process The restructuring of the voice did not pass without a trace. During the voice mutation, one of the Danish music professors stated that the boy needed to wait at least 4-5 months to perform in order to turn his voice into a tenor. But the entrepreneur Robertino did not want to listen to this advice. And tours to different countries began again.

Soon Robertino really fell ill, as everyone claimed, and seriously. In Austria, while filming the film Cavalina Rossa, he caught a very bad cold. Treatment was needed. In Rome, a boy was injected with a carelessly contaminated needle. A tumor had formed, it had taken over the right thigh and was already approaching the spine. The little Italian was in danger of paralysis.

Life Robertino saved by one of the best professors in Rome. Everything ended well. And, having finally recovered, the singer returned to work in Copenhagen.

Robertino, but not the one...

The whole world was looking forward to the singer's return to the stage and speculated what his “new” voice would be like. Loretti came out with honor difficult situation. His new voice turned out to be not a lyric soft tenor, as one might expect, but rather a dramatic tenor.

Performances have resumed. And in 1964 Loretti entered the top five performers at the Italian Song Festival in Sanremo with the song “Little Kiss”. He performed both new and old songs that the audience loved. Among them are the hits of the fifties “Jamaica” and “Come Back to Sorrento”. They sounded new, but, unfortunately, less interesting than before. The glory that the boy had Robertino, adult Roberto no longer had...

In 1973 Loretti decides to change his occupation. There were several reasons why he left the stage. Firstly, the singer was tired of the life of a touring artist. I wanted to live a different life. Secondly, styles began to change on the stage. New musical trends came into fashion. They were not close to Roberto. He remained a lifelong fan of traditional Italian song.

Having finished with solo performances, Loretti took up production activities. It didn't bring him much income, but it didn't ruin him either. For 10 years he was also engaged in commerce. However, in 1982, he returned to touring because at night he dreamed of concerts and applause.

Difficult turn

In the eighties, the singer found a second youth. He began recording opera arias, Neapolitan songs, and pop hits. And in 1989, an old dream came true. He went on tour in the Soviet Union. It was then that the myth about the loss of voice was finally dispelled.

Family Loretti lives in a huge house with a garden. The singer owns a nightclub, bar and restaurant, where he often sings. In Rome he has a stable where he raises thoroughbred horses and prepares them for racing. Other hobby Robertino- kitchen. He loves to cook dinners for his family and guests.

The singer’s first wife died, leaving him with two children, and his second wife’s name is Maura, she is 15 years younger than Roberto. They had a son, Lorenzo - exact copy father, from whom he inherited a beautiful voice.

They predict a stellar future for him. But Loretti Sr. is not delighted with this prospect, because behind the tinsel of applause and delight of fans lies hard work. Not everyone can do it. Loretti wants his son to get a serious education first. This is understandable, since Roberto himself was not able to do this due to a series of endless tours.

About myself Loretti says he is a big liar. And at the same time he always smiles slyly. He is a devout Catholic. Every time he goes on tour, his wife Maura makes him swear on the cross that he will not cheat on her.

Until now Robertino Loretti continues to perform around the world and record records. On October 22, 2012, he turned 65 years old, but his name will always be associated with a thirteen-year-old Italian boy Robertino, who charmed the whole world with his angelic voice in the late fifties.

FACTS

Roberto Loreti born in Rome in 1947 into a poor family with 8 children. IN early childhood starred in episodic roles in the films “Anna” and “The Return of Don Camillo.”

Once at the opera performance "Murder in cathedral", held in the Vatican, Pope John XXIII was so moved by the performance Robertino his party that he wished to meet with him personally.

When Loretti was 10 years old, the owners of local cafes competed for the right to have him perform at their place.

Once, speaking at a press festival, the singer received the first prize in his life - the “Silver Sign”. After Robertino Loretti participated in a radio competition for non-professional singers, where he won first place and gold medal.

Concert slavery

— ROBERTINO, as a teenager, you toured the whole world, but never came to the USSR. What was this connected with?

- There is only one reason - my impresarios were not interested in your country, because its inhabitants did not have enough money at that time to make good profits from concerts. Every day I received 4-5 bags of letters from the Soviet Union; a whole room in the house was filled with letters from the USSR - it was impressive.

My father, who was an ardent communist and adored your country, also formed a special attitude towards Russia in me. He said: “Son, if you go to the Union, don’t forget to take me with you. I definitely have to see this country.” Unfortunately, this did not happen... For the impresario, I was a machine for making money, and in the USSR it was impossible to make money from me.

“They can say anything they want, but I didn’t lose my voice, it just mutated.” Since “Jamaica,” my vocal range has not decreased, but only moved down a few octaves. I'm like red wine, getting better with age. By and large, today I have every reason to consider myself a dramatic tenor.

— If so, why haven’t you tried yourself on the opera stage yet?

“There was a moment when I really thought about it. The whole problem is that the opera has its own mafia, and it is much more powerful than on the stage. I know a lot of singers, including Russian ones, who are much more talented and interesting than the most famous Italian performers.

— Have you ever regretted that show business, into which you fell into the meat grinder at a very early age, took away your childhood?

- Of course, I regretted it. From the age of 12 to 15, I never went on vacation; I didn’t know what a vacation was. My tours lasted 5 months and included two or three concerts a day. I had my own helicopter and plane, and I wanted to ride a bike with friends. Still, there are years when it is better to climb fences and run around the yard with friends than to gather stadiums and sign autographs.

— How can your wife let you go on tour now?

- Believe it or not, in the 20 years that we were married, I never cheated on her, although you can imagine how many opportunities there were. Of course, my wife is not a superwoman, but she and I love and respect each other very much, despite the 12-year age difference. Since I got married, I refer all my fans to the producer.

— Your 10-year-old son has inherited singing talent. How do you see its future?

“Lorenzo really has a very beautiful, strong voice, maybe more beautiful than mine, but I don’t encourage his passion for singing.

“You don’t really need money.” Why do you tour so much, including provincial cities?

— Figuratively speaking, I am an animal listed in the Red Book. Questions about why I continue to sing are already driving me crazy. I am only 54 years old, and as long as I have a voice, as long as people cry at my concerts, I will perform. The only thing is that I’m afraid that in 10-15 years I may not find the strength to sing.

In the early 1960s about Robertino Loretti the whole world spoke. His songs became super hits far beyond the borders of Italy, and the heads of powers vied with each other to invite the little angel to perform at their concert. The crystal-clear treble caressed the ears of the most picky music critics. However, the boy disappeared from the stage as unexpectedly as he appeared on it.

Soviet newspapers vied with each other to repeat that the greedy capitalists ruined their health Robertino. Our readers, without alternative sources information believed these fables. The guy really stopped giving concerts, but Soviet propaganda embellished the scale of the tragedy.

Loretti was born in the Italian capital into a large family of a plasterer; he was the fifth of eight children. The baby's musical talent manifested itself literally from the cradle. Since his family was extremely poor, Robertino had already I worked part-time since I was 4 years old singing songs on neighboring streets and in a cafe.

At the age of five, the charming little one managed to star in the film “ Anna", and after 2 years in the feed "The Return of Don Camillo"" At the age of six, Loretti became a soloist in the church choir. His talent was quickly appreciated and at the age of eight he was sent to the choir of the Rome Opera House.

Once Robertino had the opportunity to sing in the opera “Murder in the Cathedral” in the Vatican. Pope John XXIII was so impressed with the boy’s talent that he invited him to a personal meeting.

Loretti had barely turned 10 years old when his family lost their breadwinner - his father became seriously ill. The boy began to help the local baker, delivering baked goods to the cafe. The owners of the establishments almost fought for the right to invite the singer to sing for their guests in the evening.

The beginning of a new life for Robertino can be called a victory at a radio competition for non-professional singers, where he won first place and a gold medal.

In 1960, the Olympic Games were held in Rome, which attracted many foreign tourists. Our hero performed the songs “ 'O sole mio" in the Grand Italia cafe on Esedra Square, what was heard by a Danish television producer Sir Volmer-Sørensen.

The musician appreciated the talent of the young singer. Returning to his homeland, Sayre consulted with his colleagues and invited Robertino to Denmark. The young man was offered to sign a contract with a Danish label Triola Records, and within a week he appeared on local television.

Very soon the whole world learned about the Italian. His single "'O sole mio" went gold. The tour began, which literally exhausted the singer. " Sometimes we had to give three concerts a day. The cold of the Scandinavian countries was unusual for me. I even cried at first, remembering sunny Italy with its warm sea", the musician later recalled.

Nevertheless, tours in Europe and the USA brought Loretti resounding success. In Italy he was compared to Beniamino Gigli, and the French press called the young man “ new Caruso" President of France Charles de Gaulle personally invited the talent to sing along with world stars in Paris.

Loretti's fame reached the USSR. His songs “’O sole mio” and “ Jamaica" However, in the early 70s musical genius disappeared. The Soviet press wrote that Robertino's health had deteriorated, and the greedy producers who did not spare him were to blame. Someone said that the guy lost his voice.

The situation was somewhat different. Loretti’s voice did not disappear, but broke, and instead of a child’s treble, the singer sang in a male baritone. This became a tragedy for the artist: listeners wanted to hear his old voice and attended his concerts less and less.

The musician continued to perform: he recorded new songs and performed folk romances, but his former popularity left him.

Robertino Loretti (b. 10/22/1948) - singer

Born in Rome into a large family. His mother, Senora Chesira, recalled that from the age of three he began to hum various songs. As soon as he heard the melody, he immediately repeated it. IN music school Robertino did not have a chance to study. At the age of six he was a soloist in a church choir and it was there that he received his first music and vocal lessons. His voice was so rare that at the age of eight he was invited to join the chorus of the Rome Opera House. The fact is that in some Italian choral works there is a solo for the so-called "white" child's voice". So Robertino was this very “white voice.” He could not perform often with adults, so his main income was performing in cafes and restaurants.

One day Robertino sang at a press festival and received the first prize in his life - the Silver Badge. Then he participated in a competition for non-professional singers, which was held on Italian radio. The winners were determined by radio listeners who telephoned the editor with the name of the singer they liked. Robertino survived all four rounds and again won first place and a gold medal. This allowed a thirteen-year-old boy to join the cast of performers who entertained the participants and spectators Olympic Games 1960, held in Rome. Robertino performed at the Grand Italia Café in Piazza Ephedra.

When he performed his favorite song "O sole mio" ("My Sun"), he was heard by a Danish music critic Volmer Sorensen. He recorded his songs on a tape recorder, then found Robertino's father Orlando and said: “I like these songs. If my colleagues in Denmark like them, then I can invite your son to Copenhagen so that he can study music and perform. Wait for the telegram " And three days later a telegram arrived addressed to Robertino, in which only one word was written: “Move out.”

Robertino Loretti lived in Denmark for four years and toured the whole world. In 1962, he came to the USSR and performed in Moscow. In the USSR he was incredibly popular. From all the windows in the summer it was heard: “Jamaica, Jamaica,” records with twelve songs that Robertino performed at that summer concert, were published in huge quantities.
And then they suddenly stopped writing about Robertino Loretti. Rumors have spread in our country that the singer’s cruel owners are forcing the poor boy to constantly perform at concerts. Why did he disappear? singing voice. These rumors are still alive. You can ask anyone about the fate of Robertino, they will tell you exactly this version. But in fact, everything was completely different.
He simply sang, mainly in Italy, sometimes touring in Scandinavia, France, and Germany. In 1964, 18-year-old Robertino performed at the Italian Song Festival in San Remo and entered the top five with the song “Little Kiss.” And he didn’t perform because his voice “broke”, and besides, he broke his leg skiing in Austria, on the set of the film “The Little Red Horse”.

Loretti's new voice no longer looked like a high-pitched child's voice; this voice is defined as a “dramatic tenor.” Robertino sang classical arias, Neapolitan songs, and he wrote many songs himself. In 1973, he took a break from concert activities and participated in the creation feature films and even opened own store close to your home. In the end, he realized that trading was not his business.

In 1982, he began singing again, and he began to sound even better. Pop and Neapolitan songs and opera arias performed by him again sell millions of copies. He sings only “live”; everywhere he is called the “ambassador of Italian song”. In the USA, Loretti was invited in 1988 to star in the role of the great tenor Mario Lanza, in a film dedicated to his memory. Again he tours all over the world, including Russia, Moldova, Belarus, and Kazakhstan.
The Loretti family lives in a huge house with a garden next to the villas of Sophia Loren and Marcello Mastroianni. He is the owner of a nightclub, bar, and restaurant, where he often sings. In Rome he has a stable for 12 Arabian horses, he raises thoroughbred horses and prepares them for racing. The singer’s other hobby is the kitchen; he likes to personally prepare dinners for his family and guests. His first wife, Roberta, died, leaving him with two children, and his second wife’s name is Maura, she is 15 years younger than the singer. They had a son, Lorenzo, now 8 years old, he is very similar to his father in childhood and inherited his voice, so they also predict a “stellar” future for him. However, dad Roberto believes that first you need to get a serious education, because he himself was not able to achieve this due to endless tours. (Wikipedia)

“THE WHITE VOICE” ROBERTINO LORETTI

There was a time when in the Soviet Union you could hear “O sole mio”, “Jamaica” and other famous songs performed by an Italian boy from almost all open windows. He began singing almost from birth, which is not so unusual for Italy. Everyone sings in this country, and most Italians have beautiful, strong voices. The child had a different future ahead of him, and his voice was not just beautiful and strong. He was unique. Therefore, at the age of six, the boy became a soloist in the church choir, and at eight he sang in the choir of the Rome Opera House.

Carousel

In classical operas there are choral parts for the so-called “white voice”. Its timbre, light and pure, is characteristic only of children's boyish voices before mutation. High adult female voices cannot perform these parts, as they still give too much chest sound. When Robertino performed one of these roles in the choir, the Danish impresario noticed him and decided to make a star out of the boy.

Sir Volmer-Sørensen, who gave impetus to his professional singing career Roberto (under the name Robertino) invited the future world “star” to Copenhagen, where a week later he performed on the TV show “TV i Tivoli” and signed a contract to record and release records with the Danish label “Triola Records”. Soon a single was released with the song “O Sole mio”, which went gold. Tours throughout Europe and the USA were a huge success. The French press called Loretti"new Caruso". During his first visit to France, President Charles de Gaulle invited Robertino perform at a special gala concert of world stars at the Chancelries Palace. Soon the singer’s popularity reached the USSR, where his records were also released (on VSG “Melodiya”) and he acquired cult status, despite the fact that his first trip there took place only in 1989.

USSR and Robertino Loretti

Life of a young man Loretti Spun like in a kaleidoscope. Tours followed one after another, records were released in millions of copies. They were also sold in the USSR. Robertinodreamed of visiting this distant and mysterious country for him. However, he did not know that in the USSR it is not customary for artists to be paid as much as in the rest of the world. The main income from any concerts was received by the state. And yet the Soviet leadership really wanted to organize a concert Robertino in Moscow, because his popularity here was great. One of the Komsomol leaders went to Italy. But the impresario Robertino, remembering that performing in the USSR was not financially profitable, did not allow the singer to meet with the Soviet representative.

A difficult situation has arisen. Tour Robertino The entire Soviet Union was looking forward to it. And the public would hardly be satisfied with any explanation. Something had to be done. An inventive official came up with a myth that the boy lost his voice.

It was a fiction. Voice Robertino I didn’t lose it, but the complex process of restructuring my voice did not pass without a trace. During a voice mutation, one of the Danish musical professors said that the boy needs to wait at least 4-5 months to perform in order to develop his voice into a tenor. But the entrepreneur Robertino did not want to listen to this advice. And tours to different countries began again.

Robertino, not the same one

The whole world was looking forward to the singer's return to the stage and speculated what his “new” voice would be like. Loretti came out of a difficult situation with honor. His new voice turned out to be not a lyric soft tenor, as one might expect, but rather a dramatic tenor. Performances have resumed. And in 1964 Loretti entered the top five performers at the Italian Song Festival in Sanremo with the song “Little Kiss”. He performed both new and old songs that the audience loved. Among them are the hits of the fifties “Jamaica” and “Come Back to Sorrento”. They sounded new, but, unfortunately, less interesting than before. The glory that the boy had Robertino, adult Roberto no longer had...

In 1973 Loretti decides to change his occupation. There were several reasons why he left the stage. Firstly, the singer is tired of the life of a touring performer. I wanted to live a different life. Secondly, styles began to change on the stage. New musical trends came into fashion. They were not close to Roberto. He remained a lifelong fan of traditional Italian song.

Difficult turn

The way back to Olympus is incredibly thorny. Coming back is always harder than leaving. But Loretti I walked this road with dignity. He is one of the few singers in the world who never uses a soundtrack. Almost ten years old voice Loretti rested and it did him good. In the eighties, the singer found a second youth. He began recording opera arias, Neapolitan songs, and pop hits. And in 1989, an old dream came true. He went on tour in the Soviet Union. It was then that the myth about the loss of voice was finally dispelled.

Family Loretti lives in a huge house with a garden. The singer owns a nightclub, bar and restaurant, where he often sings. In Rome he has a stable where he raises thoroughbred horses and prepares them for racing. Other hobby Robertino– kitchen. He loves to cook dinners for his family and guests.

The singer’s first wife died, leaving him with two children, and his second wife’s name is Maura, she is 15 years younger than Roberto. They had a son, Lorenzo, an exact copy of his father, from whom he inherited a beautiful voice. They predict a stellar future for him. But Loretti Sr. is not delighted with this prospect, because behind the tinsel of applause and delight of fans lies hard work. Not everyone can do it. Loretti wants his son to get something serious first education. This is understandable, since Roberto himself was not able to do this due to a series of endless tours.

To this day, he continues to perform around the world and record records. The singer is over sixty, but his name will always be associated with a thirteen-year-old Italian boy Robertino, who charmed the whole world with his angelic voice in the late fifties.

FACTS

Roberto Loreti born in Rome in 1947 into a poor family with 8 children. In early childhood he starred in episodic roles in the films “Anna” and “The Return of Don Camillo.”

Once, at the opera performance “Murder in the Cathedral”, held in the Vatican, Pope John XXIII was so moved by the performance Robertino his party that he wished to meet with him personally.

When Loretti was 10 years old, the owners of local cafes competed for the right to have him perform at their place.

Once, speaking at a press festival, the singer received the first prize in his life - the “Silver Sign”. Then he took part in a radio competition for non-professional singers, where he won first place and a gold medal.

Updated: April 14, 2019 by: Elena

AND Robertino Loretti- Italian singer, who gained worldwide fame in his teens (in the first half of the 1960s).

Biography and career

Roberto Loreti was born on October 22, 1947 in Rome in the family of plasterer Orlando Loreti, the fifth of eight children. The boy's musical talent manifested itself extremely early, but since the family was not rich, Robertino, instead of playing music, tried to earn money - he sang on the streets and in cafes. In his early childhood he starred in episodic roles in the films “Anna” (1951) and “The Return of Don Camillo” (1953). At the age of six he became a soloist in a church choir, where he received the basics of musical literacy, and from the age of eight he sang in the choir of the Rome Opera House. One day at a show opera performance“Murder in the Cathedral” by composer Ildebrando Pizzetti in the Vatican Pope John XXIII was so moved by Robertino’s performance of the solo part that he wanted to meet him personally.

When Roberto was ten years old, his father fell ill, and the boy began working as an assistant to a baker. He delivered baked goods and sang, and soon the owners of local cafes began to compete for the right to have him perform at their place. One day Robertino sang at a press festival and received the first prize in his life - the “Silver Sign”. Then he participated in a radio competition for non-professional singers, where he won first place and a gold medal.

In 1960, during the XVII Summer Olympic Games in Rome, his performance of the song "'O sole mio" in the Grand Italia cafe on Piazza Esedra was heard by the Danish television producer Cyre Volmer-Sørensen (1914-1982), which gave impetus to his professional singing career (under the name Robertino). He invited the future world “star” to his home in Copenhagen, where literally a week later he performed on a TV show and signed a contract to record and release records with the Danish label Triola Records. Soon a single was released with the song “’O sole mio”, which went gold. Tours throughout Europe and the USA were a huge success. In Italy he was compared to Beniamino Gigli, and the French press called him nothing less than “the new Caruso”. During his first visit to France, President Charles de Gaulle invited him to perform at a special gala concert of world stars at the Chancelries Palace. Soon, Robertino's popularity reached the countries of Eastern Europe, including the USSR, where his records were also released, despite the fact that his first trip there took place only in 1989.

As he grew older, Robertino's voice changed, losing its childish timbre (treble), but the singer continued his pop career with a baritone timbre. In 1964, as a seventeen-year-old boy, he reached the final of the 14th Sanremo Festival with the song “Little Kiss.” In 1973, Loreti decided to change his career. For 10 years he was engaged in film production and commerce, and opened a grocery store not far from his home. However, in 1982, Roberto Loreti returned to touring.

Robertino Loreti continues to sing and travels with concerts to Russia, Norway, China, and Finland. Since 2011, Maestro Roberto has been participating in the project “Robertino Loreti. Return forever,” authored by Sergei Apatenko. The project is being carried out by the star’s fans. Within the framework of the project, not only concerts and creative meetings are held, but also master classes for growing talents, as well as the opening of musical and vocal schools, including for children with disabilities. In addition, under the patronage of Roberto Loreti, the SOLE MIO children's and youth vocal festival was held.

As part of the “Return Forever” project, Roberto Loreti’s tour of the cities of the Southern Federal District took place in 2012, in 2013 and 2014 in Moscow, St. Petersburg, and in the capitals of the Baltic states.

In 2015, the presentation of the autobiography book “Once upon a time it happened to me...” took place. “Poverty and the ascent to Olympus of fame, the fanatical love of fans and intrigue, fame and disappointment - all this had to go through It didn’t hurt me to remain human "- wrote Roberto.

Based on the book, a script will be written and a feature film will be shot. The first chapters of the book were published in the central media.

As part of the project, the Italian-Russian group filmed documentary“Real Italians” “Italiani Veri” (author M. Raffaini) with the participation of Loreti, Cutugno, Al Bano, Foglia, Bulanova, Svetikova, Apatenko and others. The film received a prize at the Bologna festival in 2013. Since 2014, the film has been presented in Russia.

Songs

Jamaica 2013
O sole mio 1996
Un bacon piccolissimo 1994
Mama 2013
Torna a Surriento 1996
Era la donna mia 1996

and many others.

Discography

Records released in the USSR

Gramophone records (78 rpm)

Year manufacturing matrices	№ matrices	Songs	Diameter
1962	39487	My sun (E. Curtis)	25 cm
1962	39488	Come back to Sorrento (Neapolitan: Torna a Surriento, E. Curtis)	25 cm
1962	0039489	Parrot	20 cm
1962	0039490	Jamaica	20 cm
1962	39701	The Chimney Sweep (Italian: Spazzacamino, Italian folk song)	25 cm
1962	39702	Lullaby (Italian: La ninna nanna, Italian folk song)	25 cm
1962	0039747	Duck and poppy (A. Mascheroni)	20 cm
1962	0039748	Mama (Neapolitan song)	20 cm
1962	39749	Santa Lucia	25 cm
1962	39750	Soul and heart (Neapolitan. Anima e cuore, S. D’Esposito)	25 cm
1962	39751	Martin	25 cm
1962	39752	Present	25 cm
1963	0040153	Girl from Rome	20 cm
1963	0040154	Cerazella	20 cm

LP records (33 rpm)

Year manufacturing matrices	Catalog no.	Songs	Diameter Format
1962	D 10835-6	Sung by Robertino Loretti My sun (E. Capua) Ave Maria (F. Schubert) Mama (Italian: Mamma), Neapolitan song Soul and heart (Neapolitan. Anema e core, D. Esposito) Parrot (Italian: Papagallo), Italian song Santa Lucia, Italian song Jamaica (Italian: Jamaica), Italian song Poppies and geese (Italian) Come back to Sorrento (Neapolitan: Torna a Surriento, E. Curtis)	10" grandee
1962	D 00011265-6	Gift (Italian: Per un bacio piccino) Chimney sweep (Italian: Spazzacamino) Swallow (Italian: Rondine al nido) Lullaby (Italian: Ninna nanna)	7" minion
1962	D 00011623-4	Letter (Italian: Lettera a Pinocchio) Girl from Rome (Italian: Romanina del Bajon) Cerasella (Italian Cerasella)	7" minion
1963	D 00012815-6	Serenade (Italian: Serenada, F. Schubert) Happiness (L. Cherubini) Dove (Italian: La paloma, Ardo) Fire Moon (Italian: Luna rossa, A. Crescenzo)	7" minion
1986	M60 47155-6	Robertino Loretti "Soul and Heart" My Sun (E. di Capua - G. Capurro) Ave Maria (F. Schubert) Mom (Italian: Mamma, C. Bixio - B Cherubini) Soul and heart (Italian: Anema e core, S. d’Esposito) Chimney sweep (Italian: Spazzacamino, E. Rusconi - B. Cherubini) Dove (Italian: La paloma, S. Iradier, Ardo arrangement) Parrot (Italian: Papagallo, B. Heuer - G. Rocco) Santa Lucia (T. Cotro - E. Kossovich) Jamaica (Italian: Jamaica, T. Willie) Duck and poppy (Italian: Papaveri e papere, A. Mascheroni) Return to Sorrento (E. de Curtis - JB de Curtis) Lady Luck (Italian: Signora Fortuna, Frangia - B. Cherubini) Lullaby (Italian: La ninna nanna, J. Brahms)	12" giant

Robertino Loreti in popular culture

The popularity of the young singer is reflected in various areas of culture. Songs performed by Robertino Loreti, as well as references to him, were repeatedly used in Soviet and Russian cinema. Thus, the soundtrack of the song “Jamaica” (1962) can be heard in such films as “Meet Baluev” (1963), “Moscow Doesn’t Believe in Tears” (1979), “Little Giant of Big Sex” (1992), “Brother” (1997 ), as well as in the short story “Dachurka” of the satirical film anthology “Big Wick”. Robertino Loreti is mentioned in the films “I Walk Through Moscow” (1963) and “Boys” (1971).

An excerpt of the song “Santa Lucia” performed by Robertino Loreti was used by the group “Aria” as an introduction to the song “In the Service of the Forces of Evil,” which opens the album “Hero of the Asphalt” (1987), and in computer game“Hitman: Blood Money” in the main menu the song “Ave Maria” performed by Robertino Loreti plays.

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Excerpt characterizing Loreti, Robertino

- How long have you had this young man? – he asked Denisov.
- Today they took him, but he doesn’t know anything. I left it for myself.
- Well, where are you putting the rest? - said Dolokhov.
- How to where? “I’m sending you under guard!” Denisov suddenly blushed and cried out. “And I’ll boldly say that I don’t have a single person on my conscience. Are you happy to send someone away? than magic, I will tell you, the honor of a soldier.
“It’s decent for a young count of sixteen to say these pleasantries,” Dolokhov said with a cold grin, “but it’s time for you to leave it.”
“Well, I’m not saying anything, I’m just saying that I will definitely go with you,” Petya said timidly.
“And it’s time for you and me, brother, to give up these pleasantries,” Dolokhov continued, as if he found special pleasure in talking about this subject that irritated Denisov. - Well, why did you take this to you? - he said, shaking his head. - Then why do you feel sorry for him? After all, we know these receipts of yours. You send them a hundred people, and thirty will come. They will starve or be beaten. So is it all the same not to take them?
Esaul, narrowing his bright eyes, nodded his head approvingly.
- This is all shit, there’s nothing to argue about. I don’t want to take it on my soul. You talk - help. Well, hog "osho." Just not from me.
Dolokhov laughed.
“Who didn’t tell them to catch me twenty times?” But they will catch me and you, with your chivalry, anyway. – He paused. - However, we have to do something. Send my Cossack with a pack! I have two French uniforms. Well, are you coming with me? – he asked Petya.
- I? Yes, yes, absolutely,” Petya cried, blushing almost to the point of tears, looking at Denisov.
Again, while Dolokhov was arguing with Denisov about what should be done with the prisoners, Petya felt awkward and hasty; but again I did not have time to fully understand what they were talking about. “If big, famous people think so, then it must be so, therefore it’s good,” he thought. “And most importantly, Denisov must not dare to think that I will obey him, that he can command me.” I will definitely go with Dolokhov to the French camp. He can do it and so can I.”
To all of Denisov’s urgings not to travel, Petya replied that he, too, was used to doing everything carefully, and not Lazar’s at random, and that he never thought about danger to himself.
“Because,” you yourself must agree, “if you don’t know correctly how many there are, the lives of maybe hundreds depend on it, but here we are alone, and then I really want this, and I will definitely, definitely go, you won’t stop me.” “, he said, “it will only get worse...

Dressed in French greatcoats and shakos, Petya and Dolokhov drove to the clearing from which Denisov looked at the camp, and, leaving the forest in complete darkness, descended into the ravine. Having driven down, Dolokhov ordered the Cossacks accompanying him to wait here and rode at a fast trot along the road to the bridge. Petya, transfixed with excitement, rode next to him.
“If we get caught, I won’t give up alive, I have a gun,” Petya whispered.
“Don’t speak Russian,” Dolokhov said in a quick whisper, and at that same moment a cry was heard in the darkness: “Qui vive?” [Who's coming?] and the ringing of a gun.
Blood rushed to Petya's face, and he grabbed the pistol.
“Lanciers du sixieme, [Lancers of the sixth regiment.],” said Dolokhov, without shortening or increasing the horse’s stride. The black figure of a sentry stood on the bridge.
– Mot d’ordre? [Review?] – Dolokhov held his horse and rode at a walk.
– Dites donc, le colonel Gerard est ici? [Tell me, is Colonel Gerard here?] - he said.
“Mot d'ordre!” said the sentry without answering, blocking the road.
“Quand un officier fait sa ronde, les sentinelles ne demandent pas le mot d"ordre...,” Dolokhov shouted, suddenly flushing, running his horse into the sentry. “Je vous demande si le colonel est ici?” [When an officer goes around the chain, the sentries do not ask review... I ask, is the colonel here?]
And, without waiting for an answer from the guard who stood aside, Dolokhov walked up the hill at a pace.
Noticing the black shadow of a man crossing the road, Dolokhov stopped this man and asked where the commander and officers were? This man, a soldier with a bag on his shoulder, stopped, came close to Dolokhov’s horse, touching it with his hand, and simply and friendlyly said that the commander and officers were higher on the mountain, on the right side, in the farm yard (that’s what he called the master’s estate).
Having driven along the road, on both sides of which French dialect could be heard from the fires, Dolokhov turned into the courtyard manor house. Having passed through the gate, he dismounted from his horse and approached a large blazing fire, around which several people were sitting, talking loudly. Something was boiling in a pot on the edge, and a soldier in a cap and blue overcoat, kneeling, brightly illuminated by the fire, stirred it with a ramrod.
“Oh, c"est un dur a cuire, [You can’t deal with this devil.],” said one of the officers sitting in the shadows on the opposite side of the fire.
“Il les fera marcher les lapins... [He will get through them...],” said another with a laugh. Both fell silent, peering into the darkness at the sound of the steps of Dolokhov and Petya, approaching the fire with their horses.
- Bonjour, messieurs! [Hello, gentlemen!] - Dolokhov said loudly and clearly.
The officers stirred in the shadow of the fire, and one, a tall officer with a long neck, walked around the fire and approached Dolokhov.
“C”est vous, Clement?” he said. “D”ou, diable... [Is that you, Clement? Where the hell...] - but he did not finish, having learned his mistake, and, frowning slightly, as if he were a stranger, he greeted Dolokhov, asking him how he could serve. Dolokhov said that he and a friend were catching up with their regiment, and asked, turning to everyone in general, if the officers knew anything about the sixth regiment. Nobody knew anything; and it seemed to Petya that the officers began to examine him and Dolokhov with hostility and suspicion. Everyone was silent for a few seconds.
“Si vous comptez sur la soupe du soir, vous venez trop tard, [If you are counting on dinner, then you are late.],” said a voice from behind the fire with a restrained laugh.
Dolokhov replied that they were full and that they needed to move on at night.
He gave the horses to the soldier who was stirring the pot, and squatted down by the fire next to the long-necked officer. This officer, without taking his eyes off, looked at Dolokhov and asked him again: what regiment was he in? Dolokhov did not answer, as if he had not heard the question, and, lighting a short French pipe, which he took out of his pocket, asked the officers how safe the road was from the Cossacks ahead of them.
“Les brigands sont partout, [These robbers are everywhere.],” answered the officer from behind the fire.
Dolokhov said that the Cossacks were terrible only for such backward people as he and his comrade, but that the Cossacks probably did not dare to attack large detachments, he added questioningly. Nobody answered.
“Well, now he’ll leave,” Petya thought every minute, standing in front of the fire and listening to his conversation.
But Dolokhov again began the conversation that had stopped and directly began asking how many people they had in the battalion, how many battalions, how many prisoners. Asking about the captured Russians who were with their detachment, Dolokhov said:
– La vilaine affaire de trainer ces cadavres apres soi. Vaudrait mieux fusiller cette canaille, [It’s a bad thing to carry these corpses around with you. It would be better to shoot this bastard.] - and laughed loudly with such a strange laugh that Petya thought the French would now recognize the deception, and he involuntarily took a step away from the fire. No one responded to Dolokhov’s words and laughter, and the French officer, who was not visible (he was lying wrapped in an overcoat), stood up and whispered something to his comrade. Dolokhov stood up and called to the soldier with the horses.
“Will they serve the horses or not?” - Petya thought, involuntarily approaching Dolokhov.
The horses were brought in.
“Bonjour, messieurs, [Here: farewell, gentlemen.],” said Dolokhov.
Petya wanted to say bonsoir [good evening] and could not finish the words. The officers were whispering something to each other. Dolokhov took a long time to mount the horse, which was not standing; then he walked out of the gate. Petya rode beside him, wanting and not daring to look back to see whether the French were running or not running after them.
Having reached the road, Dolokhov drove not back into the field, but along the village. At one point he stopped, listening.
- Do you hear? - he said.
Petya recognized the sounds of Russian voices and saw the dark figures of Russian prisoners near the fires. Going down to the bridge, Petya and Dolokhov passed the sentry, who, without saying a word, walked gloomily along the bridge, and drove out into the ravine where the Cossacks were waiting.
- Well, goodbye now. Tell Denisov that at dawn, at the first shot,” said Dolokhov and wanted to go, but Petya grabbed him with his hand.
- No! - he cried, - you are such a hero. Oh, how good! How great! How I love you.
“Okay, okay,” said Dolokhov, but Petya did not let him go, and in the darkness Dolokhov saw that Petya was bending down towards him. He wanted to kiss. Dolokhov kissed him, laughed and, turning his horse, disappeared into the darkness.

X
Returning to the guardhouse, Petya found Denisov in the entryway. Denisov, in excitement, anxiety and annoyance at himself for letting Petya go, was waiting for him.
- God bless! - he shouted. - Well, thank God! - he repeated, listening to Petya’s enthusiastic story. “What the hell, I couldn’t sleep because of you!” Denisov said. “Well, thank God, now go to bed.” Still sighing and eating until the end.
“Yes... No,” said Petya. – I don’t want to sleep yet. Yes, I know myself, if I fall asleep, it’s over. And then I got used to not sleeping before the battle.
Petya sat for some time in the hut, joyfully recalling the details of his trip and vividly imagining what would happen tomorrow. Then, noticing that Denisov had fallen asleep, he got up and went into the yard.
It was still completely dark outside. The rain had passed, but drops were still falling from the trees. Close to the guardhouse one could see black figures of Cossack huts and horses tied together. Behind the hut were two black wagons with horses standing, and in the ravine the dying fire was red. The Cossacks and hussars were not all asleep: in some places, along with the sound of falling drops and the nearby sound of horses chewing, soft, as if whispering voices were heard.