Carlo Bergonzi Guide, Meaning , Facts, Information and Description
The Italian singer Carlo Bergonzi (born 13 July 1924) is one of the most admired tenors of the post-war period. Although he performed and recorded various bel canto and verisimo roles, he is above all associated with the operas of Giuseppe Verdi, including a large number of his lesser-known works which he helped revive. Essentially a lyric tenor, Bergonzi is greatly admired for his beautiful legato and elegant phrasing.
Bergonzi was born in Vidalenzo, near Parma. He began his studying singing after an audition at age 14, originally as a baritone. During World War II, he was imprisoned in a German prisoner-of-war camp for anti-Nazi activities. When the war ended and he was released, he returned to Italy and began studies at the Boito Conservatory in Parma.
In 1947, at the age of 23, Bergonzi made his professional debut came as Schaunard in La Bohème followed by Figaro in Rossini's The Barber of Seville in Lecce in 1948. After retraining his voice, he made his debut as a tenor in 1951 in André Chénier, The same year, to mark the 50th anniversary of Verdi's death, the Italian state radio network RAI engaged Bergonzi for a series of broadcasts of lesser-known Verdi operas.
In 1953, Bergonzi made his La Scala debut, creating the role of Masaniello in Napoli's opera, his London debut as Alvaro, his American debut at the Lyric Opera of Chicago in 1955, and his Metropolitan Opera debut the following year. His Covent Garden debut, again as Alvaro, was not until 1962. In 1966, he performed and recorded I Pagliacci with Herbert von Karajan.
Bergonzi continued to sing through the 1970s at major opera houses. In the 1980s, he concentrated more on recitals.
In 1994, Bergonzi participated in at conductor James Levine's twenty-fifth anniversary gala at the Metropolitan Opera. He have his American farewell concert at Carnegie Hall on 17 April that same year. However, an announcement that on on 3 May, 2000, he was to sing title role in a concert performance of Otello, conducted by Eve Queler and the Opera Orchestra of New York attracted intense interest, particularly given the fact he had never performed the role onstage. James Jorden described the event in his opera fanzine Parterre Box:
[...] And then the big moment came, the legend ambled out onto the stage for the trumpet-like "Esultate!" And the voice was weak, quavery, scratchy - the sound of an old, old man.In his second appearance, the more lyrical duet "Già nella notte densa," Bergonzi floated several golden-age phrases with sweetness and generosity. But there was no escaping the realization that something was very wrong: Line after line Bergonzi rushed, grabbing extra breaths. He even resorted to that notorious singer-on-the-skids mannerism of cupping the hand over the ear in a vain attempt to get the higher notes in tune.
By the beginning of the second act, we could guess Bergonzi was not going to last the course. He tried marking a phrase or two in an apparent attempt to save his voice for the big moments, but, alas, there was no voice there to save. He limped through the Vengeance Duet closing the act, took one stiff bow, and disappeared backstage.
Bergonzi was unable to finish the performance, and a substitute singer took over. However, as Jorden went on to relate,
[...]two days later, Bergonzi showed up healthy and spry for a master class, demonstrating in full voice sections of some of the most difficult arias in the repertoire. He explained, looking a little embarrassed, that he suffered an allergic reaction to the air conditioning in his Carnegie Hall dressing room, and expressed regret that his one and only Otello should have turned out so disappointingly. [1]
Bootlegged tapes of the dress rehearsal of Otello, before his allergies kicked in, revealed, observed Jorden, Bergonzi's voice sounding rich and fresh.
Now retired, Bergonzi spends most of his time at Il due Foscari, his restaurant in Busseto, the birthplace of Verdi.
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