Carlo bergonzi tenor biography of abraham


Carlo Bergonzi Part One

By Jan Neckers

I. Loftiness career

I.1. Beginnings (1924-1958)

Time: a lush Company afternoon in July 1968. Place: campeggio (camping) Romeo e Giulietta on influence main road between Brescia-Peschiera-Verona 10 kilometers from Verona .

At the defence of the camping is a petty road. To the left stands expert small tent from an American army-warehouse. To the right stands a copious luscious tent. Two Flemings are jagged front of the small tent, necessitate elderly Dutch couple is seated formerly the big tent and watching lose one\'s train of thought one young Fleming who cannot inaccessible seated for ten seconds, who decay always looking at the sky weather incessantly muttering. When he starts profanity, the elderly Dutchman comes over endure says: "Please, don't be so wind up because your countryman has just misplaced the Tour de France against free countryman and that in the stay fresh race." The young Fleming replies: "I don't care a damn who won the Tour and if it was that Dutchman then he surely deskbound some stuff. But look at primacy sky, at the clouds gathering, inspect the rumbling sound far North effect the Alps . It's going adopt rain this evening. "

Answers high-mindedness Dutchman: "It's not going to despoil. Anyway that won't hurt."

Replies greatness Fleming: "That's disaster as this determination be my only chance to have a shot Carlo Bergonzi."

 

Well, it didn't' rain that evening. Moreover the quiet light flashes in the sky masquerade an appropriate company to that memorable 'Il Trovatore'. When Bergonzi started climax 'Deserto sulla terra' my not very-musical friend sat up, muttering "Now that's beauty". For the rest it was one of the performances which were a regular feature in the field during the sixties and the decennary when everybody took those now fanciful casts for granted. Leyla Gencer resonate in her well known style reel out clearly audible and nevertheless valid pianissimo's in the huge open air; Piero Cappuccilli sang with that brown voice that all great Verdi-baritones enjoy and encored "Il balen". And Bergonzi was Bergonzi: stylish though not clotheshorse, showing his unequalled legato, his make melody in "Ah si ben mio". Standing of course he encored "Di quella pira" in the well-known Bergonzi-variant: set-back till the chorus had finished depiction last "All'alarmi" before sailing to unembellished high B (never a C personal a live performance).

When we drove get under somebody's feet to our campeggio I was malcontent because at last I had heard one of my two youth idols and at twenty-four I thought that would be my first and remain chance. Little did I know lose concentration there would be many happy interest. Though my parents were distinctly propertyless there had always been good punishment on the radio. (There was clumsy money for records). One of nobility few good souvenirs of my exceptionally poor grandmother had been that twilight in Oostende when as a wet serving girl she stood at ethics entrance of the Oostende Kursaal opened at the rich flocking in. Elitist as it was a warm quick the doors were never closed stake she could hear the recital vulgar that signor Caruso. My father was an avid filmgoer and as spick youngster he never missed a peel with Schmidt, Tauber, Kiepura, Martini, Tibbett ("chicken-head" he called him) etc. Hilarious was reared upon a healthy measure of Mario Lanza. I was birth only boy in my high primary vaguely interested in classical singers on the other hand the thing that clenched it was the opening concert of the Brussels World Fair with young Franco Corelli: that was in my ears flat more impressive than Lanza. Then purchaser society at last made its onset in poor Flanders and material dulled improved somewhat at home. First up was a record player, then say publicly small tape-recorder (so important, as ill at ease father had to work a entire day to buy one LP) illustrious at last the City Record Learn about of Mechelen, my home town. Rabid asked the library to buy turn this way record from a new young bright Italian tenor Carlo Bergonzi so renounce I could tape it. It complied and I was so impressed renounce I duly taped it at 19cm. per second, double-track. (Lesser gods passion Gigli, Björling and Del Monaco exclusive got the single track 9 cm. per second-treatment). That Record Library was part of a big well-provided repository that had record magazines in pair languages. Every month I screened them with an eye for my couple particular favourites. At that time Uncontrollable was still more of a declaration boy than a complete performance reproach and at last with Franco Corelli I was well provided. Carlo Bergonzi was quite another matter. There was that formidable début-recital and that was all there was for many time eon (till my discovery during that costume Italy-trip in 68. More of roam later. I started writing to Rectitude Gramophone etc. I got polite replies though my letters begging for extend Bergonzi and less Kenneth McKellar reveal Decca were never published.

And hence there was the consecration on ditch balmy July night in Verona .

Bergonzi, Carlo: tenore italiano, nato a Parma il 27 febbraio 1931. That's class statement in Rodolfo Celetti's important 'Le grandi voce' and this would intend that the tenor made his début at seventeen years of age, neat as a pin little bit improbable. Mind you accompany is quite possible that this record was given by the tenor mercilessness his publicity agency in the habitual way of making the prima donna or primo tenore a few length of existence younger so that there would the makings no references to old age to hand the first appearances of vocal weaknesses. Anyway this is not the latest time we'll meet Mr. Bergonzi's on a small scale weak handling of facts. In 1 the tenor was born on ethics 13th of July 1924 in distinction hamlet of Vidalenzo, a few kilometres from Verdi's villa at Sant' Agata and at the same distance plant Busseto; also well known from Verdi's life and still one of nobility most charming tourists-free places in Italia. Much is made from this, backwoods too much. How many times has one read that Bergonzi comes unapproachable Parma , the region that wake up Verdi and Toscanini as well, thereby implying that this same air thought Bergonzi into such a paragon light stylish tenors. In reality Parma has had its share of bawlers bit well as any other Italian territory and many years later the Parmesane clearly didn't like Bergonzi's high B-pianissimo in 'Celeste Aida', preferring the peculiar stentorian end. The Bergonzi's were quite a distance well off. He was an lone child. His father was a cheeseflower maker in a small factory jacket a region where family business psychoanalysis still strong. But in the specifically thirties ordinary Italians still loved vital knew their opera's (though most personage them liked Carlo Buti far a cut above than any opera tenor). So schedule was no surprise that father Bergonzi took his son to a aid of Trovatore and here the compete starts. In Helena Matheopoulos' "Divo" noteworthy is six years of age accept the next day is found plentiful the family kitchen singing 'Di quella pira' using pasta-utensils as a dispute. In Renzo Allegri's "Il Prezzo illustrate successo" he is sixteen, a pretty more credible age, though still usefulness the same sword.

Bergonzi left elementary educational institution at eleven, a not uncommon commotion in the thirties. Later on refurbish his career the tenor would indemnify a heavy price for this shortage of formal education. He never well-thought-out a foreign language and is distant able to speak one fluently. Place was his and still more lastditch loss that after a few French-travesty Carmens at the Met in 1957 he was never again asked comprise sing another role in the virgin language in the French repertoire ridge his Werther in Miami in 1973. Indeed during all of his several farewell recitals ( e.g. the fearful evening in 1996 in Carnegie Foyer, luckily video-taped by an amateur) yes still introduced everything in Italian, nearby that after a career of 41 years in the U.S.

The Italy Bergonzi grew up in, was an gash country, desperately poor and getting let fall every year. The first stage make public fascism whereby the party still showed a civilised face though resorting stain a lot of cruelties behind description scenes, was almost over. Mussolini come into sight most dictators was not very with flying colours versed in economics and he steered his country on a strong method of autarchy so that Italy could be strong on its own. Go wool-gathering rejection of free trade was catastrophic as Italy didn't have the system to follow such a course abstruse wages and standards of living plummeted. People started to grumble and oppression showed more clearly its ugly face: less tolerance for the inside antagonistic and on the look-out for insinuation external enemy so that military celebrity could compensate for empty bellies. Just as Bergonzi was twelve, fascist Italy complete its first jump: the conquest slate backwards Ethiopia (Ferruccio Tagliavini was defer of the conquerors). At that day young Bergonzi was already at gratuitous in the same cheese factory his father laboured. That's where take action laboured for many years. There commission the well known story of sour Bergonzi always singing during his tool while his colleagues listened to him; one day the boss stopped him and told him either to outmoded or to leave and start spruce singing career. In 'Divo' and identify Giorgio Gualerzi in Opera Magazine grace tells he was fourteen, in substitute interview it was sixteen; a excellent probable age as there was a-ok chance that at sixteen he confidential the beginnings of an adult language. But in both pieces he tells that he chose singing. In genuineness he kept quiet and chose rectitude small cheese factory though he said Gualerzi that he also worked primate a baker and a truck skilled employee. However he took some advice pole even some lessons at whatever frightening age this incident took place. Type had already studied with a appreciate maestro Pisaroni (piano and elementary singing) and now asked for advice holiday at the provincial baritone Edmondo Grandini who was currently singing Rigoletto at Busseto. Though Grandini is not in significance Kutsch-Riemens-lexicon of great singers, Grandini difficult to understand quite a respectable career in goodness twenties and thirties in the recuperation Italian theatres. In 'Divo' Grandini gives Bergonzi a lot of lessons slab takes him to Brescia for in mint condition studies and has him even splash in some anti-fascist activities. Allegri embankment his book tells the far author probable story that the young minstrel stayed at home where otherwise government small salary would have been truly missed though his father allowed him to take some private lessons fair that he could take entrance examinations at the Parma Conservatory. He at length got in and combined his studies with his regular job at living quarters. Being poor, only his feet improve public transport could bring him shake off home to Parma . He worked piano, score-reading and took singing educate. But in the summer of 42 nineteen-year old Bergonzi got another job: soldier in the unhappy Italian grey that was losing on all fronts and that was regarded by tight German allies as a liability. Bergonzi was a flack-soldier in Mantua however he soon got ill and was sent to the military hospital. Beginning the meantime the Allies had invaded Sicily . Mussolini was deposited dampen his own party and his offspring Marshall Badoglio asked for an ceasefire in September 1943 One month adjacent Italy declared war on Germany . The Germans occupied as much precision Italy as they could and annulate up many Italian soldiers as manipulate of war. Most of Bergonzi's attendants saw things deteriorate from day put your name down day and fled before the Germans arrived but feverous Bergonzi was ambushed in his bed and he fatigued the rest of the war surprise a German prisoner-of-war-camp not far deseed Salzburg (Alan Blyth in his covering notes with Bergonzi's Decca-recital tells loftiness nonsensical story that he was in irons as a pacifist). There he was very unhappy like most Italian general public as conditions concerning food and benefit care were often not on glory same level for those "traitors comparable with the former common cause" as fund the Anglo-Saxon prisoners. In that camping-ground Carlo Bergonzi composed his up end now only published composition which gawk at be found on his mystery Advice. As every Italian soldier in these circumstances he pined for home elitist what other song could he create besides "Alla mamma"? His camp was liberated by the Russians. Bergonzi queue his fellow-prisoners didn't trust them dispatch they immediately walked off towards righteousness Americans. It was a 100-km hoof it and Bergonzi drank some unboiled aqua, caught typhoid fever and when excellence Americans finally sent him home crystalclear didn't weigh 50 kilos. For not too weeks there was fear that significant would die but then his verdant constitution slowly recuperated and he came back to health. There was freshen great consolation. When he returned grace met a former neighbourhood girl who had now blossomed into young womanhood: Adele. "She was the first female I met after the war. She became my wife and she remains the only woman I have quick-thinking looked at" he proudly declared unimportant person an interview with Opera News. Get a message to his health back, he returned function the Boito Conservatory at Parma ascend resume his studies.

Ettore Campogalliani is sovereign best known teacher, a man stay alive whom Tebaldi, Scotto, Raimondi, Pavarotti etc. also took lessons. Campogalliani taught him correct breathing and pronounced him add up to be a promising lyric baritone. Bergonzi accepted the verdict. He later calm didn't fuzz about it and freely admits that at that early stock it was not easy for emperor teachers to find his real tessitura. So he duly studied baritone accomplishments as Giovanni Zenatello and Vasco Campagnano had done before him and chimpanzee Bruno Prevedi would do ten mature later. He auditioned for Tullio Serafin at La Scala in 47 be proof against the great old man also brainchild him to be a baritone. Directive Allegri's book and in the 1978-interview with Giorgio Gualerzi, Bergonzi tells integrity story that he made his début in August 48 at the Teatro dell'Oratoria in Varedo near Milan bonding agent Il Barbiere. Accompanied by an secretary on this particular hot day, whole fee went down to move and drinks. They even had cut short return home for a few kilometres on foot. And then Bergonzi speaks of his real début, the consequential Il Barbiere in Lecce . Essential an interview with Bruno Baudissone Varedo takes place in 1947 The selfsame uncle and walk on foot utter present in an interview with House News in April 196O. This hour it is once again 1948 advocate the organization is in the get a move on of a Prisoner's Association with whom he had shared many difficult stage in Germany (his fee was $3.2O). But whatever is the truth it's always a début in a reputation role. One wonders if that 'début' isn't the result of Bergonzi's youth Decca's Publicity Department imagination? When span young tenor's first recital record appears and it is a well situate fact that he has been revealing baritone for three years it legal action better publicity to let him originate with a title role.

Nevertheless there move backward and forward the chronologies and they tell in the opposite direction story. There is first a Bohème (or a series of Bohèmes) the same August 47 at the arena Argentina in Catania in Sicily with one Silvio Costa Lo Giudice as Rodolfo being a name that still has some meaning. There is still violently discussion if the unknown Luigi Dimitri or the at that time come to light more unknown Carlo Bergonzi sang Schaunard but in all probability it was the later tenor who took picture small unglamorous part. And there court case no doubt that in the yoke performances of Bohème in November 47 at the Teatro Bellini (also entertain Catania ) it was the esteemed baritone Mario Boriello who took honesty role of Marcello, relegating Bergonzi industrial action Schaunard. It is strange that Bergonzi never spoke of these performances orangutan at the Bellini Renata Tebaldi favour Arrigo Pola were the leading singers.

The Italy wherein Bergonzi started out bash into make a career was quite pure different country than it is today. Large parts of small and full cities were destroyed and not lone big theatres as La Scala however also a lot of smaller bend over suffered and that's where in pre-war days youngsters could earn money take up experience. Transportation was hell as near were not many roads and organized lot of them in shatters. most singers were too poor talk to have a car and had look after take the train to reach their destination, hoping that the eternal delays (owing to the destruction of fence plus bad management) wouldn't last also long. Communications were difficult. Young deficient singers didn't own a telephone post therefore most lived in sorry arrangement in and around Milan . That's where the important agents were lecture the aspiring singers duly made their rounds in the hope of defloration a contract for one or recourse stagione in the province. The Italians themselves were deeply divided. After realm deposition Mussolini had set up out client republic in the North matching Italy and his thugs mercilessly stick their enemies. Communist partisans replied junk the same violence and at description liberation they murdered thousands of fascists or so-called fascists without even illustriousness semblance of a trial. The bighearted was ousted after a referendum. What because after the first after-war elections dignity Christian-democrats came to power many communists hid their weapons, waiting for grandeur orders of Moscow to grab ability in the way communists had deal with democracy in Czechoslovakia . Nevertheless beside were a few redeeming features. Picture U.S. didn't stand idle and poured a lot of dollars into justness country as Marshall-help so that integrity Mediterranean ports wouldn't fall in politico hands. Many Italo-Americans remembered they locked away family in the old world pointer helped out as well. And confirmation there was opera. Renata Tebaldi formerly told me that at the start of her career there were be aware 260 theatres to be found of great magnitude Italy . I duly nodded dominant kept silent but as chronologies turning ever more precise it is doubtful that the lady was right. Minor towns with often not more more willingly than ten, twenty thousands inhabitants had their theatre (often conversed in a movie-house after the opera-stagione). The elder time wanted to pick up their lives and forget a nasty war alight one way to do so was by once more making the operatic season the crux of social polish. So in these lean years operatic life soon took a new flying. and there was ample opportunity unmixed young promising singers. Most came stay away from small towns, (almost never from dignity agrarian regions), most belonged to families with a lot of artisans spread blue-collar workers. Bourgeois-families wouldn't allow their sons and definitely not their kids to make a career in calamitous circumstances where morality was deemed detect be lax (Del Monaco and Olivero were exceptions). Singing was one observe the few outlets for the breed of the lower classes as spick step forward: they knew that almost of them wouldn't become rich on the other hand at last there was a depleted chance that you'd do better overtake singing than by staying in trig cheese-factory for the rest of your life. The problem was the total of candidates. Due to a before long to be revoked fascist law, choristers had to register. Therefore we hoard that after the war there were 250 soprano's available in the class "soprano lirico" (Are there nowadays 25 Italian lyric sopranos?)

So competition for distinctive assignment was stiff. Bergonzi had husbandly his Adele and lived in straight very modest apartment in Cusano Milanino. He duly made the rounds position the agents but he was beg for overwhelmed with work. His was cool rather small lyric baritone in orderly time that Italy abounded with sketchy booming voices like Becchi and Tagliabue. Moreover his high notes where moan very good and he regularly bats on F and F sharp, lawful notes if one wants to cost Rigoletto not as Verdi wrote power point but as Italian tradition demanded. Unwarranted of Bergonzi's early career is pull off uncharted as chronologies from those notice small towns are almost inexistent. In and out of his own admission to Pier Part Paoletti we know that most confess his performances took place in short theatres in southern Italy at notice low fees Only when Bergonzi confidential the luck to be engaged subordinate a bigger theatre or when in the air was a big star in position cast (mostly down hill) do incredulity find traces of his activities. Incredulity meet him in Parma in Elisir with Tagliavini in 48, with Schipa in Elisir in Cremona in 49, once more with Schipa in 50 in some real small provincial theatres and once with Gigli in Bohème in Ferrara the same year. Sharptasting understood that his would be ingenious small-time career, fraught with lots prop up begging for parts in exchange sustenance little money As his wife was pregnant he more and more plainness of giving up a career feature opera.

"Das aha-Erlebnis" came on the Ordinal of October 1950 . Once finer he was in the company fall foul of a has-been (Galliano Masini in flavour of his last performances before subside retired) in a minor Theatre (the Goldoni in Livorno ) when smartness did some vocal exercises after topping bad first act. Singing scales loosen up reached a high C and instruction that same instant he realized what was wrong with his vocal manufacture. He was a tenor, not top-notch baritone and he was always crashing on notes that were in description passaggio for a tenor. That was the moment he gave himself spiffy tidy up last chance, knowing well that writer than eighty percent of all workman voices are bass or baritone. So any decent tenor could earn clever living in Italy or even out-of-the-way where an impeccable Italian name was still an advantage. Bergonzi didn't maintain the money or the time memorandum take it easy. He couldn't refund for the hire of a softness or a teacher so he exact it on his own. He frayed a diapason, that small instrument wander only gives a perfect A. Unexceptional each morning he gave himself brainstorm A and started out from there: lightening his voice, gaining a three months of a tone each day. Subside told his wife that he ere long had to prepare for a grip high baritone part because she abstruse made a remark that he was sounding like a tenor. As shepherd delivery came near, he sent need in the old tradition to recede mother and he remained in her majesty small apartment, He could now plainly study tenor roles. He used recordings of Gigli and Pertile and gratitude to a friend he could prepare a few hours a day rot a piano. He studied 'Adriana Lecouvreur', 'Chénier' and 'Aida' and once very did the rounds of the agents, auditioning for a part.

We now even-tempered upon the late forties, early decennary as the last moments when "that once inexhaustible breed, the Italian essence, existed in abundance". Now that character war was five years over, conduct in Italy itself was more direct less OK. Moreover travel-restrictions which completed international opera life so difficult reasonable after the war had been progress. And the younger and even not-so-younger generation of Italian tenors was right away again conquering the world; mostly righteousness American hemisphere where big money was to be earned. So the Tagliavinis, Di Stefanos , Del Monacos etc. had not disappeared completely from authority peninsula but during the seasons apply the Met or the Colon primacy main Italian theatres had to application with second rank tenors. And representation better provincial theatres had to outer shell out for younger singers who differently would only have gotten their become much later. That explains the fait accompli that Bergonzi immediately got an bid to make his tenor-début in greatness not-too-despised-theatre of Piacenza but that was far too close to home answer the tenor. 'Adriana Lecouvreur' in depiction very fine Teatro Petruzelli in Metropolis , the capital of Puglia , he readily accepted. The Petruzelli abstruse quite a reputation and all-good in a tick rank singers had performed over hither. (It was a movie-theatre when Distracted visited it in 1988 and hold was set on fire by maffiosi in October 1991 as a admonition that they wanted to be on the run on every major building construction.)

So, insecure as a cat, he made sovereign début on the 12th of Jan 1951 . By that time coronet leading lady (Olivero or Petrella, perform doesn't remember any more) was conveying and the opera was switched curry favor 'Andrea Chénier'. He told Allegri defer after the first act he ordinary the most wonderful telegram of authority life, announcing the birth of diadem eldest son Maurizio (as the spirit hero is called in his at or in the beginning scheduled début opera). The review bill the local newspaper was good despite the fact that not overwhelming. Bergonzi gave a fake to his wife and she vigorous fun of the critic who confidential written of Bergonzi as Chénier on the other hand of Carlo Gérard, the role fiasco was supposed to have sung scope her eye. That was the trice he confessed. One wonders how undue truth there is in this story? On one hand wives were call for supposed to meddle with their husband's careers in the late forties, keep order the other hand they decided probity name of their children (usually glory same as il nonno-the greatfather) extra I very much doubt Mrs. Bergonzi thought Maurizio to be a barytone role in one or another theatre. Making a début was the aircraft part. Building a respectable career was more difficult as competition was tough bristly. Take this small list: all find Italian tenors who made their début between 1946 and 1953, all epitome them still known with collectors likewise they all recorded

1946: Di Stefano, Campagnano (as a tenor), Misciano, Penno, Picchi

1947: Poggi, Raimondi, Valletti,

1948: Berdini, Savio

1949: Campora, Puma, Babini, Savio

1950: Ortica

1951: Ferraro, Corelli, Bergonzi, Monti, Zampighi, Zampieri, Zambruno

1952: Borso, Loforese

1953: Labo

And substantiate there are Antonioli, Bardi, Gavarini, Pagan, Nobile, Romano, Scarlini, Sarri, Turrini, Barrati, Gismondi, Formichini, Ventura, Vicentini, Vertecchi; chief artists belonging to that generation style well but not worth an entrance in the recent still fault-ridden Kutsch/Riemens.

Anyway it was a challenge for distinction new tenor but for once recognized got lucky.

1951 was the Verdi-year (the composer had died fifty period before). All over Italy and put in the bank the rest of the world nearby were Verdi-celebrations and performances of operas which often had been neglected stand for quite a time. He auditioned rot RAI (Italian public radio) and take was something in his voice go wool-gathering got him a contract: not fail to distinguish one of the big Verdi's pleasant course (Filippeschi got Aida, Lauri-Volpi got Trovatore and Luisa Miller, Soler got Ballo in Maschera)

But an expire as Carlo in Verdi's forgotten Giovanni d'Arco on March 26th was gargantuan auspicious radio-début, moreover as Italy 's finest young soprano Renata Tebaldi herb the title role and Rolando Panerai was father Giacomo. This is interpretation first live Bergonzi-recording we know have a meal (there is no recording of culminate baritone-past or anyway that's what significant told me). The voice is all the more extremely young, there is a miniature bleat and with the hindsight do paperwork his baritone past one hears fкte there is a tenor voice frantic but not quite succeeding in recoil out. But there is already uncluttered hint of great things to come; the fine Verdi-legato in his solo's and his soft plangent singing disregard the duo at the end delineate the first act, maybe still ticklish in intent than in reality on the contrary what a difference with most Romance tenors of the day. This Giovanni d'Arco was a well-known pirate-recording sure of yourself Tebaldi-and Bergonzi-fans but it was not put commercially on the market unless much later. In June 1951 take action got the role of Canio utilize another radio-broadcast. He sang at concise notice as another tenor was not well. Later that year he sang say publicly now well-known performances of Simon Boccanegra and I Due Foscari as pitch before RAI-radio. He also got ambush plum: Don Alvaro, a role divagate most superstitious Italian tenors at renounce time heartily despised as it was rumoured to bring them ill prosperity. Originally all these performances were intended to be just what they were: radio-broadcasts but with the advent realize LP, there was a need friendly complete opera's. The Decca- and RCA-recordings were definitely superior in sound- pivotal artistic quality but in still dangerous Italy they were expensive. So RAI's own record company Cetra, brought wear away some of these broadcasts, often lay hands on muffled sound. Bergonzi's 1951-Forza is primacy only one of his early efforts that's still hidden in the vaults of RAI. Boccanegra shows the very much promises and same defects of Giovanna d'Arco and Pagliacci shows us ethics other be it somewhat lesser-known bring round of Bergonzi. In this performance closure proves that he can bawl, gripe and roar in the best unsophisticated tradition. Live tapes will later empty prove that during performances with smashing lot of sympathizers and no critics in the theatre, he will stopgap to that kind of singing whereby he leaves his stylish reputation every now in his dressing room. The radio-broadcast of I Due Foscari (not hitherto on records) was discussed by Saint Porter in the December-issue of Theatre Magazine 1952 where he noted consider it "Carlo Bergonzi was a tenor who seemed to have modelled himself insinuation Lauri-Volpi; his voice has the exact same robust ring, and also the unchanging tendency to break up the phrases as Lauri-Volpi has recently shown." In attendance is indeed a vague resemblance comicalness the elder tenor though we momentous know that Bergonzi would soon antidote these deficiencies. The same critic was responsible for the biggest "canard" distinguish the tenor's repertory. Reviewing a implementation of 'La Favorita' in the Noble issue 53 of Opera Magazine, proscribed asked for a rebroadcast of 'Il Duca d'Alba' "with Carlo Bergonzi joke ringing voice". For almost thirty age Bergonzi-fans quizzed each other incessantly close for that elusive tape. In 1981 the mystery was over with rendering appearance of Gualerzi's "50 anni di opera lirica alla RAI" which explicit clearly that those "ringing tones" belonged to Amedeo Berdini and not correspond with Bergonzi.

Young singers have to eat accept therefore tend to accept roles which later on they discard for cabbage and butter-opera's. Often one regrets give it some thought no tapes are available from those performances as these singers later measure never tackle these roles anymore. Furthermore the fifties were the last decennium that Italy still tried to stick up for up to its centuries-old traditions make wet creating new opera's, vainly looking have a handle on successors for Giordano and Cilea, excellence two great old men who esoteric survived the war. Young aspiring tenors had to go through this fashion as the real stars didn't muse of ruining their voices on nobleness new often unmelodious declamatory music. Thus next to Ballo's in Brescia explode Mefistofele's in Rome which would stop in his repertoire, 1952 saw Bergonzi in Ifigenia conducted by composer Pizetti himself. The roles we would be born with liked to hear would of means been his Faust ( Bari abstruse Pisa ) and maybe most attack all his Laca in Jenufa. Desert last opera earned him a lid mention in Opera Magazine, simply stating that he was not at leisure in this repertory. There were attention strange opera's in his repertoire although well; Le astuzie di Bertoldo (Ferrari-Trecate), L'Oro (Pizzetti), Dibuk and Monte Ivnor (Rocca).

1953 was an important year tier his career. For the first relating to there were no long gaps in the middle of assignments though there was still fluster enough to learn new roles boss to travel slowly to one's sanctuary as in those days operatic casts were still assembled only a intermittent months' time in advance. Three occasions stand out. In March 1953 fair enough made his début at La Scala: the beginning of a difficult extort ultimately frustrating relationship. No bigger reputation could be found to create influence role of Mas'Aniello in the unchanging opera by the now forgotten Jacopo Napoli, third-prize winner in a Verdi-competition for new opera's. (One of Napoli 's seven opera's) The names do in advance the singers were hardly mentioned infiltrate what was simply called a unimportant person that only lasted for four goings-on. The management didn't ask him nod return in an opera better apt to his talents. His London-début wasn't much of a commercial success either. An agency (Daubeny) presented a "Grand Season of Italian Opera" at honesty now defunct Stoll Theatre in Kingsway. Most singers were young and make threats but the performances were poorly sham as there were no real ample stars among them. Nowadays the obloquy of Virginia Zeani, Gianni Raimondi, Paolo Silveri, Mary Curtis, Carlo Tagliabue, Ugo Savarese make one sit up roost take notice . Critics were off severe though Bergonzi was singled cataloging as giving one of the total Italian tenor performances since the combat by Harold Rosenthal. More than cardinal years later critic John Steane would write that at that performance make up for the first time he heard more than ever Italian tenor singing on stage rank way his gramophone records had instructed him. The problem was that not any of the big shots of high-mindedness London recording industry or at Covent Garden took any notice and good this stagione ended on a machine sequitur. The third venture went more better. He was the main bias in a series of performances warrant the Colon in Buenos Aires . Gone were the heydays of Argentinian economy in the after war relation, whereby the Colon could invite conflict will. Now with Juan Peron contemporary his wild ideas on economy, nearly was place only for one essential star; Renata Tebaldi, seconded by admissible companions like Giuseppe Taddei, Ebe Stignani at the end of her vitality, Jerome Hines and Carlo Bergonzi. Perform made his début in a new-found role for him, Don Carlos very last was not an outstanding success. Effects were better in Tosca and Aida, though all interest focused on Soprano at her best. There is expert live tape of Tosca, the control hint of the tenor's singing make something stand out his RAI-performances in 1951. There critique still a small bleat but decency ring is there too though position sound is still a little institution constricted. One has the impression be advisable for a big voice until the solemnity he is confronted with Tebaldi stake Taddei, where one hears that they possess more decibels. One fears unornamented bit that he is still mull it over a league too heavy for prestige instrument, moreover as he pushes bring to a halt unmercifully on " Vittoria ' vittoria !!!' in the hope of blackmail the audience for applause that be handys to him for a few seconds.

1954 is a year of consolidation, bounteous his art in the better local theatres, acquiring the reputation of smashing reliable performer, not-a-tantrum-throwing-star, conservative in queen outlook on the theatre. It's neat as a pin pity that the only well factual legacy of that year is cap RAI-broadcast of L'Incoronazione, an opera roam you don't associate him with. Ventilate longs to have tapes of realm performances of Adriana (with Olivero) tell off Loreley with Cerquetti, operas he would never sing or record elsewhere (his 1988 recording of Adriana is unornamented travesty). Slowly, oh so slowly, circlet career makes a turn for character better though there is always representation whiff of "he has sung extremely and he is not difficult fluid expensive". A début at the San Carlo is still a consecration, scour a real big name would at no time accept to bow as Pinkerton tend the first time. The rare last tape reveals something strange. After first-class well-sung Addio fiorito asil in excellence best Naples-tradition (a few light obtain one heavy sob, the last feeling of excitement note clung to as long pass for his breathing permits), his performance comment over. He is not allowed style sing his three Butterfly-cries at blue blood the gentry end of the opera. In those days there were no jets inactivity for a tenor who is inhuman wanted elsewhere, so it is well probable that the prima-donna forbade him to have the last word uncover Madama Butterfly and he had make contact with comply. The prima-donna was Rina Gigli, a not very distinguished lirico who unexpectedly developed into a very constricted lirico-spinto and then was refused mass theatre-managements who had detested her father's high-handed tactics and now could engage in their revenge after the tenor's isolation. Only at the San Carlo sincere they realize what a good abode soprano she was. At last Chilly Scala offered him a few dealings in a bread-and-butter-opera, though of method there was a little snag pass for Giuseppe Di Stefano sang the cheeriness (to be reviewed) performances of Dishearten Forza.

At the end of 1955 top great opportunity came and he indubitably didn't realize it at the revolt as he was once again more engaged as a fifth wheel. Depiction young bosses of the once addition re-opened Chicago Lyric produced an inaudible feat. For their short five-week stint Lawrence Kelly and Carol Fox went for the very top: Callas plaid with Tebaldi; Di Stefano alternating prep added to Björling and for good measure they threw Gobbi and Simionato in because well. Those names didn't suffice come near sing the planned twelve different opera's and therefore they needed a hardly any younger and far cheaper singers characterize alternative evenings to flesh out decency season after the big shots locked away left. That's where Bergonzi, Carteri plus Cerquetti came in handy. Audience afraid indeed dropped after Tebaldi and Coloratura left. Bergonzi had specially prepared fold up new roles which he would not ever repeat and we are still badly off recordings of his interpretations of Luigi in Il Tabarro (a pity) beginning Avito in L'amore dei tre grow (a shame, as he probably was already ripe enough an artist inhibit make something special of this gruelling role). Critics stressed his good clear singing and always added that crystalclear wasn't a romantic hero at pandemonium. He went home, not knowing ramble his career had taken a help for the better. His big order for the next year was irate last a new production in Hostility Scala. And the snag ? Suggestion of the rare Verdi-operas where nobility tenor is of secondary importance: Singer Boccanegra. In the small review newest Opera Magazine he was not plane mentioned by name though it attempt possible he was ill as on the subject of obscure tenor sang the first execution. Then it was to Lisbon subject the better Italian provincial theatres. Unquestionable was in Livorno for a array of Andrea Chéniers when he got an unexpected visitor: a representative proud heaven itself. The Metropolitan in probity person of its European representative Roberto Bauer, asked him if his Land passport was still valid. It in your right mind still not entirely clear what beat about his big chance. He was not announced before the season began and as always there was dexterous snag. Bergonzi himself told some multitude that he had become more cliquey less a protégé of Mario Show Monaco, who clearly preferred to form his successor himself and meek, thick Bergonzi was a good choice whom Del Monaco understandably favoured over Dictator Corelli who was busy upstaging him at La Scala. According to Bergonzi , Del Monaco surrendered performances pale Aida and Il Trovatore. (For say publicly whole complicated story: read my coming article on Bergonzi at the Met) It is also probable that public manager Bing knew his name punishment the Chicago season and though noteworthy had not heard him, relied union Bauer's advice who favoured Bergonzi. Concerning motive of Bing may be say publicly fact he decided to look be glad about an acceptable tenor who wouldn't interrupt the important upcoming début of Antonietta Stella. Less than three weeks once, Callas had made her début tell off Bing always liked his 'monstres sacrées' to have the feeling that they were not unique and could break down replaced if necessary. Callas, Milanov champion Tebaldi would get competition from dexterous lady who was at that jiffy almost as big a star (literally too) in Italy . Bing reserved Stella for Aida and Trovatore, operas in which the tenor-lead was committed for the rest of the edible to Kurt Baum, an authentic scene-stealer who wouldn't be above holding reward strong high notes extra-long to cause live difficult for a newcomer. Middling Bing looked for an alternative drift who would be quite happy round the corner play second fiddle to the advanced prima donna and that's where Bergonzi came in. And so Stella talented Bergonzi made their début on Thirteenth of November 1956. The soprano was a success with the public, prestige tenor with the critics, anyway additional or less. The cavernous space be partial to the old Met was still sidle size too big for the tone in these two roles.but there was fair warning of great things fall prey to come. Kolodin in his 'The Urban Opera' speaks of limited power, vocally overweighed; so does Taubman in position Times but he welcomes the take hold of stylish newcomer. Hinton in Opera Review is positive "all told, a realize useful singer" and notes that Bergonzi sings the trill in 'ah si ben mio' ("who else observes distinction marking ?"). What no critic knew or suspected, and Bergonzi must put on had nerves of steel and uncut profound knowledge of the score, was that this was his first Manrico. Neither the audiences, critics or Unproven were flabbergasted but he earned decency right to return. He got 700 $ a night (Del Monaco prep added to Tucker both got 1500$ per sunset decline in that same season; Björling sui generis incomparabl 1000 $) but he was classify cheap either. That season world stars Merrill and Gobbi respectively got 600 and 650 $ which proves go the best-known baritone earns less pat a not-well known tenor.

Maybe this début was even more important than Bergonzi realized. It's still not clear who exactly at Decca had the ample of offering him a recording transmit. In late November 1956 there was the annual meeting in Paris not later than the Decca big shots (Lewis, Rosengarten) to discuss plans for next harvest together with a few of their record producers and the man who was their representative for sales weight the U.S. (their biggest market). Avoid man was Remy Farkass, boss competition London (as Decca was and yet is known in the States), decay that time still brother-in-law to Giuseppe Di Stefano and according to Decca-producer John Culshaw only interested in recordings of opera and opera-singers. Was empty Farkass who had recently heard Bergonzi at the Met and asked wander he should record a recital hit the summer of 1957 in Brouhaha ? (Decca rented the orchestra spreadsheet hall of the Academia di Sancta Cecilia for more than fifteen succeeding summers to make their operatic recordings.) It is highly probable as acquaintance all other participants to the meet the name of Bergonzi would practically have meant nothing. Farkass was undoubtedly responsible for the introduction of Flaviano Labo's only official operatic-recital. In Aggregation Decca produced a miserly medium-play create, while in the US Farkass kowtow this out on a fine Assistance (with colour sleeve), and two superfluity arias.

1957 was Bergonzi's last harvest before world renown, recordings and efficient full agenda would change his strength into fixed patterns for almost bill years. For the last time operate would sing an opera by clean up modern composer: “Fior di Maria” lump Renzo Bianchi. RAI had graciously consented, against the composer's wishes, to unadulterated later broadcast as initially the dates would collude with Bergonzi's Met début. "Fior di Maria" by not very much successful Bianchi (1887-1972)was a RAI-broadcast go off at a tangent up to now has never popped up, probably because nobody at RAI knows of it any more captain still more probable because no opera-lover in Italy at that time lacked to record it on his tape-deck. Then there were the usual roles of Enzo, Des Grieux, Chénier etc. though it was the one period that he regularly performed in Writer (Monte Carlo and mostly at greatness fashionable spa of Enghien). French reviews were good though they would matchless enthuse a few years later conj at the time that they belatedly realized whom they locked away heard. During the summer of 57 he would take his last holidays for many years even though bankruptcy recorded his début-recital in Rome .

In September 1957 things changed forever. End South-America ( Caracas and Mexico - the Mexico-tapes exist) he went indicate the Met where he stayed buy half a year. Never again would he sing such an amount call upon consecutive performances; a few times memo only one day of rest in the middle of. There were several good reasons entertain it. Bing gradually lengthened his seasons and this particular season once additional there was a fall-out between justness Met and Björling. Del Monaco confidential had his fill too. He was at the height of his make shy and could earn far more outside. He therefore restricted his performances advocate the Met and asked for primacy highest possible fee. Officially he got 1500 $ but there is unembellished note in the archives to recompense Del Monaco each time another Cardinal $ a performance which made him stand out, earning 500 $ addon than Callas( who however was spoken to get money for performances she didn't have to sing). Bergonzi got 100 $ more than previous ready and rose to 800 $. Explicit proved himself to be the persist useful singer, taking over roles fail the Del Monaco-repertory ( Chénier, Aida), the Björling-catalogue (Bohème, Tosca), was snivel above smaller assignments (Butterfly) and uniform ventured out in the French rereading. That Carmen-experiment would never be innumerable and alas there is no fillet. There is one however of king November 1957 Radames, the first repulse he was in the weekly air. That was the moment he was introduced to the readers of 'Opera News' with a very small subdivision, giving us one pearl: the brand-new birth of a little daughter. Honesty unknown writer probably didn't know competent Italian to distinguish between un figlio (a son- Marco Bergonzi) and una figlia ( a daughter). Bergonzi's record-firm launched his operatic recital in description States for this radio début. Lid a full page advertisement it support of "Operatic Recital No 1"; implying that a nr. 2 was graceful distinct possibility. Anyway the Met consultation of that Aida probably groaned conj at the time that general manager Bing appeared before probity curtain and announced that Tebaldi wouldn't be able to sing and proof fell silent when Bing told them the reason. That morning Tebaldi's beloved mother had died at the Another York Buckhingham Hotel. Mary Curtis-Verna locked away the unenviable task of replacing Soprano. Paul Jackson who was not development impressed with Bergonzi's performances at wander time makes an exception for consummate second radio-performance, the February 1958 Bohème which he glowingly reviews in ruler "Sign-off for the old Met". Token from the youthful exuberance and integrity refined poetic reading there is organized full high C in Che gelida, something which will soon be thin in his vocal equipment. It not bad during this season too that oversight sings his only two performances mull over scene with Maria Callas, both bring to fruition Lucia and applauded by so discriminatingly a reviewer as Kolodin. Asked feel about his experiences with Callas later become, he would always talk in sympathetic but very vague terms. One suspects that they were very run-of-the-mill-performances suffer that in the plethora of range season's singing it all blurted publicize somewhat so that he has thumb real memories of them anymore.

Apart disseminate his busy workload there was ethics appearance of his first solo-LP. Interpolate those days when only the really great could record a solo-album smash a major recording company, this was big news in the opera mankind. Pop-radio still didn't exist, nor was there a third classical programme close in Flanders or the Netherlands . Belcanto-hours were regular features on public relay. So I remember well how dilemma a few months all chains customarily played aria's from that recording suffer how his name quickly became blurry as Italy 's newest hope. Prohibited could be happy with reviews. Important were very positive, maybe a brief more lukewarm in the States locale they knew better the difference halfway the Decca-sound and reality than suspend places where he was less athletic known. Dutch reviewer Leo Riemens fervent extra-pages to this new phenomenon enthralled wrote with his customary pedantry digress Bergonzi was a poet notwithstanding rule huge voluminous voice (Riemens hadn't heard him in the flesh). Philip Hope-Wallace, one of the deans of Land music reviews, raved too and over his entry in The Gramophone clank a 'Bravo Bergonzi'. In the study proper he extensively discussed Bergonzi's sound out in the rendering of 'Parmi veder le lagrime', an aria which was not even in that album. For this reason far for these professionals. After rulership Met-engagement he took some rest hitherto starting a pattern for the monitor seventeen years. In July 1958 proceed stood for the first time guess the Verona arena for a thirty days. That summer too he had realm first impression of the vagaries be a witness recording a complete opera. Engaged make known the stereo remake of the Decca Butterfly, the recording soon resulted deal a mess due to a all right schedule. In his memoirs Culshaw credits himself in the role of liberator by flying in and forcing Soprano, Serafin and Bergonzi to record leadership opera in a few sessions.

 

I.2. The great years (1959-1974)

From packed in on routine settles in. Several months each year are always devoted standing the Met, sometimes in the eclipse cascade, sometimes in the spring and occasionally both. When not at the Decrease he accepts engagements in the copious Italian provincial theatres. Slowly and near meticulously he makes the rounds pleasant Vienna (often in the early sixties), Chicago , Philadelphia , London . Summer months are always devoted fifty pence piece the Verona arena (not in 1967 when for once it's Rome 's Caracalla) and recording complete opera's. Hole is a steady almost routine duration of packing, singing, packing, singing etc. dotted with the usual highlights atlas an exceptional success or failure, clever hotly-discussed recording contract, a promised specifics refused new production or opening-night. Start these, his heydays, he is facial appearance of the top performers in surmount profession, though he never reaches thorough top. He is popular with glory critics for his sense of essay, and with part of the bring to light though that is initially somewhat misgivings due to his not overgenerous bare gifts. Adoration however will come solitary during his twilight-days. Two rivals liking always mar his path: the higher ranking Mario Del Monaco and Bergonzi's contemporary: Franco Corelli.

Del Monaco, nine years senior than Bergonzi, came from a coldness world: bourgeoisie, well-educated and belonging holiday at the very last generation for whom opera was still a living original art. He was personally consecrated spawn Umberto Giordano. Del Monaco belonged disregard the remains of a world whirl location opera singers were superstars, where erior operatic tenor and not some electronically enhanced pop-screecher was the top subtract the musical profession, where ordinary action people all over the Western environment knew his name. Their records were often played on radio, they were asked to make movies. Next denomination his big virile voice Del Princedom brought with him a magnificent idealistic hero face, a slim youthful looks and any movie-director worth his saline could easily hide the fact prowl the tenor was a small fellow. He was Italy 's secret bat against Hollywood 's Mario Lanza kind he was the real thing; band a movie tenor but a certain successor of Enrico Caruso. Of road the strange thing was that smartness was best known for a glaze in which he didn't put feature an appearance. Italy reposted to Spirit 's The Great Caruso with university teacher own “Enrico Caruso: La leggenda di una voce”. Nowadays some people importunate say that Del Monaco played picture role of the legendary tenor despite the fact that he only lent his voice. (Ermanno Randi played the tittle role). Grandeur movie, not Del Monaco's first (L'Uomo dal Guanto Grigio was from 1948) nevertheless made the tenor's name first-class household word. In the following duration he would act and sing diminution biographies of Mascagni and the extraordinarily succesful Il Re della Melodia( Verdi). He would end his movie continuance with the German Schlussakkord in description late fifties. Next to Del Princedom Bergonzi paled. He would never set up movies. For technical reasons (lightning) animate tv-performances were rare. He would one be known to opera fans. Unwind didn't have a monstrous ego shuffle through he was not always as cheerful as some people believed him compute be. He didn't look glamorous incensed all. He was only 1m 68 and grew rather stout early fib. He was not known for huge gestures on the scene or go for impassioned acting that would anyway restrict his ultimate weapon: perfect breathing. Meticulous short he could only compete gyrate a pure vocal level where take action more than held his own unacceptable in most Verdi- and Puccini-roles significant surpassed the elder tenor. Artistic quality and commercial merit however are bend in half different things. Bergonzi early on was not a gigantic seller. I call up too well how his début-recital could easily be bought in its recent sleeve in Rome and Düsseldorf type late as 1973, more than xv years after its appearance. Producers, conductors and reviewers liked him a not enough, managers of record companies not overabundance. Culshaw tells in broad detail happen as expected difficult it was to get him for the now legendary Karajan-Tebaldi-Aida nearby Serafin-Tebaldi-Bohème. Mauritz Rosengarten, the self-styled administrator of continental Decca, clearly preferred Depict Monaco who would have sold greater and only grudgingly gave in. Let go had to console Del Monaco plus a later to be recorded Wagner-recital. Culshaw doesn't tell however how lighten up next couldn't get Bergonzi anymore pimple the studio for less spectacular recordings (which he didn't produce himself). Ever and anon role Bergonzi and Del Monaco locked away in common went to the senior tenor (Tosca, Cavalleria and Pag which Del Monaco recorded for the straightaway any more time, Adriana Lecouvreur with Del Princedom clearly on the way back on the other hand indeed probably more sale-able than Bergonzi). After it was clear that Icon Monaco had lost most of circlet powers Rosengarten still clung to him as Il Tabarro went to magnanimity elder singer. As late as 1968 Del Monaco got Wally where unquestionable was intolerable even though Bergonzi locked away sung a live performance with Soprano. Worse, even when Del Monaco's darkness didn't loom large, Decca didn't believe much of Bergonzi. They were progress happy that as part of enterprise exchange deal with RCA, they could get Jussi Björling to record Ballo, one of Bergonzi's best roles. In the way that Solti's Prussian tactics drove Björling in the absence of of Rome , they meekly went for Bergonzi after the great Turnip had died unexpectedly. But the dreadful party-record that accompanied Karajan's Fledermaus rumbling it clearly. All Decca's big thespian were on it giving their unlimited interpretation of a Neapolitan song strive for a musical ditty. Bergonzi was call on it as Decca preferred Björling's "Dein ist mein ganzes Herz". End Björling's death Bergonzi was only purposely when there was no other vote. During the early sixties Joan Soprano was the firm's big seller title her husband clearly preferred the teenaged inexperienced and rather crude singing detect Renato Cioni, because he was taller and made a better sight suitable Sutherland in the theatre and thus had to be rewarded. He got the recordings of Rigoletto and Lucia (which was in Bergonzi's repertory). Bergonzi would only get one chance get a feel for Sutherland and he clearly had throng together understood the name of the attempt. In Decca's 1961-Traviata he sang specified a poetic Alfredo that every arbiter singled out his performance and asked: "since when did you buy boss Traviata for Alfredo instead of Violetta ?" The Bonynges were not cheery and he wouldn't get another lp with them until that fateful Adriana. They once more preferred a former and taller tenor though this fluster they struck gold with Luciano Tenor (but we would loose Bergonzi's Nemorino).

And then there was Franco Corelli. Does one single individual deserve trample to receive as natural gifts specified vocal talents with such histrionic possibilities? In an age when the guideline Italian tenor measured 1 m.65 Corelli loomed eighteen centimetres higher. He locked away the face of the Roman emissary Hollywood would never find among neat most glamorous actors and 'golden calves' was one of his many nicknames. Still his awful male beauty was nothing compared to that bronze spacious individual lirico-spinto with a splendid revitalization register that always could make unmixed B sound like a C (and most of the time did). According to veteran Italian critic Rodolfo Celetti the most important post-war tenor, shuffle through Celetti admits that actually he appeal Bergonzi more. That Sputnik-tenor (another nickname) was soon crowned king of Socket Scala and Bergonzi would only procure regular invitations to sing in Metropolis after Corelli definitively left the Metropolis house in 1964. As long kind Corelli limited himself to Europe up was little friction possible. La Scala wisely kept Bergonzi out. Both rank and file shared more or less the employ lirico-spinto-repertory but La Scala employed Corelli's services in early 19th century roles (Huguenots, Poliuto, Pirata) while Bergonzi jammed to the popular Italians. Things clashing when Bing succeeded in luring Corelli to the Met. That non-subsidized nurse had to stick to the bread-and-butter-opera''s and all at once the bend in half tenors shared the same repertory. Separate of Corelli's many phobia's was air-travel, so that he preferred to somewhere to live for long months in the States and give his services to blue blood the gentry Met. With his looks and excessive voice, so well adapted to illustriousness Met (the Old and the New) he soon became an idol, each good for a sell-out sign. Ergo Bergonzi's performances became less numerous alongside though he was never put originate a small diet. During the 1960s there were a lot of fan-battles between the Corellists in the Stock Circle and the Bergonzists in influence standing places. Both men kept their distances, no false friendship and at no time a mention of the other's honour. Corelli later denied that he challenging beaten maestro Gandolfi because that man had unfavourably compared his sense comatose style with Bergonzi's in front adherent the chorus and orchestra at Parma though he admitted that behind queen back he called Bergonzi "padronissimo". Depressed in his heart Bergonzi knew walk he was more or less nr. 2 in the hierarchy but earth was always deferentially treated by Sorrowful. The general-manager led him to duplicate that he was at least although well paid as Corelli (After Corelli's retirement it became clear that smartness and Nilsson were often paid championing performances they didn't have to voyaging. Only on paper it looked considerably if the Met's ceiling on fees were the same for Corelli captain Bergonzi). Bergonzi got his openings, her highness new productions as well because Excruciating never fully trusted Corelli's (and Wife. Corelli's) temperament so that he end result to have Bergonzi in reserve. Pinpoint his 1964 vocal crises Corelli reacted by abandoning some of his other strenuous spinto-roles and took in labored pure lirical ones like Rodolfo, annexing some of Bergonzi's turf. There was only one big crisis. With description opening of the new Met Bergonzi absolutely wanted to sing a seizure performances in the first new struggle of a popular Italian opera: Penetrating Gioconda. Bing refused as he difficult promised them to Corelli. Bergonzi didn't take no for an answer build up at last Bing sent him orderly letter, berating him and implying amidst lines that he could do out the tenor's services Bergonzi simply modified the same tactic and went flat more lyric and took on sizeable roles he was sure Corelli would never adapt: Nemorino and Alfredo captain the Duke. Bergonzi's pride as prominence Italian tenor forbade him to allow the verdict meekly but he challenging his wife write a letter adopt Bing, speaking of artistic nerves tell humbly flattering the general manager. Excruciating knew when he had won post took the tenor back in good thing grace.

Next to the Met Bergonzi obtuse his career once more on drain the big Italian theatres and birth Verona arena, where Corelli didn't development any more. He was definitely loftiness number one tenor in Italy at near the sixties, which is something distinctive than the nr.1 Italian tenor. Pressure the recording front Decca signed fry the better-selling Corelli as well on the other hand as DGG and RCA and afterwards Philips started extensive recording programmes Bergonzi suffered less from Corelli's competition already formerly from Del Monaco. Moreover in that Mrs. Loretta Di Lelio-Corelli pushed disallow husband into rather erratic behaviour play a part the recording studio, recording an oeuvre with the most popular tenor sharing the age was always a adverse and producers therefore sometimes preferred Bergonzi. Twice he had to come lock the rescue when Corelli broke be in this world his contract: in 1967 he blest Decca's Gioconda and in 1969 type gave his wonderful classic Alvaro trigger EMI when Corelli cancelled one hebdomad before recording started. Though there was scarcely a year without one mistake for even two new recordings of conclusion opera's, there was one big inconsistency with his predecessor, his contemporary current his successors. No recording company offered him a solo recital as nobility myth went that the tenor rant his own didn't sell. I take time out remember the excitement that ran function me in that fine old Ricordi-shop around the corner to La Scala in 1968. It was on drift same memorable (first) trip to Italia . The evening before we esoteric set up our tent in natty pitch-dark camping in Varese . Bulldoze five o'clock in the morning Rabid awoke as my air-mattress tried appoint leave the tent by itself. Thorough had been strongly raining for noon and unknowingly we had set high spot our tent in the camping's coldhearted draining terrain. Wet and cold astonishment drove to Milan where in those days it was still possible keep park next to the cathedral. Chilly and wetness left me in facial appearance single moment at Ricordi when Wild took that wonderful LP in livid hands: ”Ieri e Oggi con Carlo Bergonzi”, a masterly record with European songs from the thirties till glory sixties (When Bergonzi sang at Ghent in 1981, I lectured on him and took the conference hall unhelpful storm by playing unannounced his 'Strangers in the Night'). The record was on the completely unknown label Cat and up to now, I've yet to meet another collector with on the rocks copy. In 1969 no copy could be found anymore. Later on shipshape and bristol fashion few of these songs were outline on an RCA-Italiana-LP together with Becchi and Tagliavini. In 1980 Rifi Top secret once more brought out the put on video, deleting two songs but adding join new songs from that same 1968 session. I immediately bought it extremity indeed next year it had missing as well. This magnificent and winning song recital, the only one bid Bergonzi in his truly great discretion, deserves to be put on CD.

A chronology of Bergonzi-performances during these xv years is not to be reason here but there were some outstanding evenings and moments. Extremely important were the opening nights in New Dynasty and Milan . He was excellence Manrico in the Trovatore that release the 59-60 season at the Fall over but following his stature of nobility day there was the inevitable stricture. New York had been waiting be aware two decades for Giulietta Simionato who auspiciously made her belated début destiny the Met in that performance. Fair a good solid tenor was needful and not a scene-stealer as Describe Monaco, Baum or Tucker. His close opening was in 63-64 and description snag was the Met's most awful soprano: Birgit Nilsson got at latest another Italian opera besides Turandot. Greater to put Bergonzi next to assimilation than the formidable Corelli. He succeeded in creating a small musical glow by taking softly the final Ungainly in Celeste Aida, though Kolodin gloomy it to be more of nifty sigh than a genuine piano .So there remains the opening of description 70-71 season with Ernani, the susceptible opening Bergonzi got without strings loyal. At La Scala too he was now a regular guest. In 1964 he went with the company fit in Moscow for Trovatore and Lucia. Partiality the 12th of October Bergonzi, Prospect, Cossotto, Ghiaurov conducted by Karajan resonate the Verdi-requiem at the Bolshoi be proof against were presented to all the farreaching shots of the Soviet Union . They hadn't the slightest ideas focus it was the last public presence of Nikita Chroestjov whose own threnody would come quite unexpectedly two epoch later when the politburo sacked him. Bergonzi's career still had a scarce honours to earn and one came next year when on the vocal 7th of December he got sovereignty one and only opening of decency Milan theatre with Forza. The theatre surely earned its reputation for dishonesty. Cappuccilli was indisposed and gave side after the first act to pull up replaced by Carlo Meliciani. The condemned galleries didn't agree with Gavazzeni turf clearly showed their displeasure. Gavazzeni immoral himself around and loudly shouted dispense what he thought of their ferocity. Outside the theatre there was smashing demonstration against one of the customers and inside the theatre it dig up leaflets against the policies of make up your mind theatrical agencies. In short nobody took notice of the cast though Bergonzi was singled out for praise flawlessly normality returned from the second reputation on.

Important are his few multitude performances. I was doing my warlike service in Germany in 1966 considering that an Aida was captured in dignity Verona arena. It was the sole time I pulled rank to control the set for myself. His 1967-Manrico at RAI was fine but synchronal. Due to lightning problems Western destroy TV almost never ventured in composition houses during live performances between 1950 and 1975. The loss is fantastic. Only a few spare wonderful business were saved, most by the Altaic who were not hampered by nobleness opera-is-high-art-attitude and who bravely put cost their camera's in concert halls. Scotto and Bergonzi's Lucia of 1967 was saved in that way and to such a degree accord was the Un Ballo with Painter. RAI gave us a wonderful Elisir with Scotto and Taddei, taped plenty Firenze in 1967. A tape which has not appeared up to important is the RAI-registration of the Toscanini-jubilations of 1968. Bergonzi was the tenor-soloist in the Inno delle Nazione, inventiveness honour which marked his importance although a Verdi-tenor.

An honour proved that miniature last he was a prophet create his own 'country'. Busseto has conclusion active Verdi-society 'Amici di Verdi' paramount in 1972 they honoured him catch on the first 'Verdi d'oro' . Not later than his greatest fifteen years, there was as of necessity an evolution outer shell the voice but it went smashing somewhat queer way. The robusto-quality, influence dark core slowly disappeared, so went the tiny vibrato. This didn't appear about from a change from cache. Though Bergonzi indeed sang a bushel more of pure lirical roles, appease nevertheless remained on a heavy fare of big spinto-roles like Manrico, Radames, Alvaro, Andréa Chénier and he adscititious a tough guy as Pollione prospect his list. The voice kept tight volume, indeed as normal, increased a little. The top-notes came somewhat more gruelling and from the mid sixties put things away he would never sing a Adage anymore in performance but though present-day was no real squillo, there was nothing wrong with his A's splendid B's. The strange thing was rank hauntingly beautiful colour of the interior register. The voice always was a little less pure, less beautiful than high-mindedness Decca-engineers produced it but with effort elder, notwithstanding all those heavyweights, dignity middle voice got more honeyed, better-quality sweeter. I clearly remember two position his Indian Summer performances in City as Enzo in 1973. The lyrical phrase, the singing on the breeze, the incomparable legato combined with adroit few tiny small tears were manual labor there. But there was a illumination beauty as well, reminding one neat as a new pin young Gigli's 'Cielo e Mar'. Flavour did enjoy Bergonzi not any solon for style alone but marvelled oral cavity the colours of an originally more unwieldy instrument. A lot would come to pass in a few years' time nevertheless that "beautiful voice" would stay handle him almost till the end.

Click territory for part two

Jan Neckers, Opera Nostalgia