Carlo Bergonzi – operatic tenor

Singer whose style was called the epitome of Italian vocal art

Carlo Bergonzi made his professional opera debut in
the role of Figaro in Rossini's The Barber of Seville

Carlo Bergonzi, one of the great Italian opera singers of the 20th century, died on this day in 2014 in Milan.

He specialised in singing roles from the operas of Giuseppe Verdi, helping to revive some of the composer’s lesser-known works.

Between the 1950s and 1980s he sang more than 300 times with the Metropolitan Opera of New York and the New York Times, in its obituary, described his voice as ‘an instrument of velvety beauty and nearly unrivalled subtlety’.

Bergonzi was born in Polesine Parmense near Parma in Emilia-Romagna in 1924. He claimed to have seen his first opera, Verdi’s Il Trovatore, at the age of six.

He sang in his local church and soon began to appear in children’s roles in operas in Busseto, a town near where he lived.

Bergonzi spent two years in a prisoner
of war camp during World War II 

He left school at the age of 11 and started to work in the same cheese factory as his father in Parma.  At the age of 16 he began vocal studies as a baritone at the Arrigo Boito Conservatory in Parma.

During World War II, Bergonzi became involved in anti-Fascist activities and was sent to a German prisoner of war camp. After two years he was freed by the Russians and walked 106km (66 miles) to reach an American camp.

On the way he drank unboiled water and contracted typhoid fever. He later recovered, but when he returned to the Arrigo Boito Conservatory after the war he weighed just over 36kg (80lb).

Bergonzi made his professional debut as a baritone in 1948 singing the role of Figaro in Gioachino Rossini’s The Barber of Seville. Other baritone parts followed but Bergonzi soon realised the tenor repertoire was more suited to his voice. After retraining he made his debut as a tenor in the title role of Andrea Chenier at the Teatro Petruzzelli in Bari in 1951.

The same year he sang at the Coliseum in Rome in a 50th anniversary concert commemorating Verdi’s death. The Italian radio network RAI engaged Bergonzi for a series of broadcasts of the lesser-known Verdi operas.

Carlo Bergonzi and Maria Callas (left) performed
together at the Metropolitan Opera

These included I due Foscari, Giovanna d’Arco and Simon Boccanegra.

He made his La Scala debut in 1953 creating the title role in Jacopo Napoli’s opera Mas’Aniello. His London debut came in 1953 and his American debut followed in 1955 in Chicago.

After he appeared at the Metropolitan Opera for the first time the following year he received a glowing review from the New York Times.

He continued to sing at the Met for the next 30 years, appearing opposite such famous sopranos as Maria Callas, Victoria de los Angeles and Leontyne Price. He sang in a performance of Verdi’s Requiem at the Met in 1964 in memory of President John F. Kennedy, under the baton of Georg Solti. His last role at the Met was Rodolofo in Verdi’s Luisa Miller in 1988.

Bergonzi’s chief Italian tenor rivals during his career were Franco Corelli and Mario Del Monaco but he outlasted them both, continuing to sing in concerts into the 1990s.

Franco Corelli's was one of Bergonzi's
rivals among Italian operatic tenors

In May 2000 it was announced he was to sing the title role in Verdi’s Otello in a concert in New York. It attracted a great deal of interest and Jose Carreras, Placido Domingo and Luciano Pavarotti were all in the audience.

Sadly, Bergonzi was unable to finish the performance because his voice had been affected by the air conditioning in his dressing room and a substitute tenor had to sing in his place.

After retiring, Bergonzi mentored many famous tenors and the soprano, Frances Ginsberg, was also one of his pupils.

Bergonzi died 12 days after his 90th birthday in Milan, leaving a widow and two sons. He was laid to rest in the Vidalenzo Cemetery, not far from Polisene Parmense.

He left a legacy of beautiful recordings of individual arias and complete operas, including works by Verdi, Giacomo Puccini, Pietro Mascagni and Ruggero Leoncavallo.

The church of the Beata Vergine di Loreto

Travel tip:

The village of Polisene Parmense, where Bergonzi was born, is about 40km (25 miles) northwest of Parma and around 20km (12 miles) south of Cremona. In January 2016 it merged with Zibello to form the new municipality of Polesine Zibello.  The village contains two buildings of interest - the church of the Beata Vergine di Loreto, also known as Madonnina del Po, which was built between 1846 and 1920 to preserve an effigy fresco of Our Lady of Loreto that had been discovered in an ancient shrine, and the nearby Antica Corte Pallavicina, a fortress that dates back to the 13th century.

The entrance to Bergonzi's restaurant in Busseto, I due Foscari

Travel tip:

Busseto, where Bergonzi sang as a child, is a town in the province of Parma, about 40km (25 miles) from the city of Parma. Verdi was born in the nearby village of Le Roncole but moved to Busseto in 1824. Bergonzi owned a house there and after his retirement also opened a restaurant and hotel there, I due Foscari, named after the Verdi opera about court intrigue in Venice. At the time of his death, I due Foscari was still being run by his son, Marco.

More reading:

How Italy mourned the loss of Giuseppe Verdi

Why Franco Corelli was called 'the prince of tenors'

Pietro Mascagni - a reputation built on one brilliant opera

Also on this day:

1467: The Battle of Molinella sees artillery used for the first time in warfare

1654: The birth of baroque musician Agostino Steffani

1883: The birth of Alfredo Casella, the musician who revived interest in Vivaldi

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Guido Menasci - poet, librettist and biographer

Respected writer and historian who found fame from an opera

Guido Menasci (right) with fellow librettist Giovanni
Targioni-Tozzetti, flanking composer Pietro Mascagni

The writer Guido Menasci, who is best known as a co-author of the libretto for composer Pietro Mascagni’s successful opera Cavalleria rusticana but was also a respected historian, was born on this day in 1867 in the Tuscan port of Livorno.

Menasci, a law graduate from the University of Pisa and briefly a prosecutor at the Court of Appeal in Lucca, wrote for a number of literary magazines in Italy and beyond and produced a biography of the German poet and playwright Johann Wolfgang Goethe that is considered a definitive work.

Fluent in French as well as Italian, he published books and gave lectures in Paris, often on the subject of art history, which was another of his fascinations.

Yet he was most famous for his work with Mascagni and his fellow librettist, Giovanni Targioni-Tozzetti, whom he met through his involvement with literary and cultural societies in Livorno, where all three grew up.

They collaborated on a number of operas, the most famous of which by some way was Cavalleria rusticana, which was performed for the first time in 1890, at the Teatro Costanzi in Rome.

The tenor Roberto Stagno and soprano
Gemma Bellincioni in the premiere
of Cavalleria rusticana in Rome

Based on a novella of the same name by Giovanni Verga, Cavalleria Rusticana is a simple story of betrayal and revenge involving two men and two women in a Sicilian village. Its success turned Mascagni, a modest music teacher, into a composer of international fame, not least for the beautiful intermezzo that has become a popular piece standing alone from the opera.

Menasci inherited his gift for writing from his father, who was a shopkeeper but also a published author of a number of books of verse and was a councillor in Livorno involved with education.

He began to write poetry at the same time as he was studying law, amusing his fellow students by composing summaries of lectures in verse.

Soon, his poetry was appearing regularly in the pages of publications such as Lettere e arti, a well-known Bolognese magazine founded by Enrico Panzacchi, others in Italy and in foreign periodicals such as the French daily Le Siècle , the Austrians Neue Freie Presse and Neue Wiener Tagblatt, and the English monthly The English Illustrated Magazine.

His collaboration with Targioni-Tozzetti, whose father, Ottaviano, had taught him literary studies at high school, began in 1899 and included the libretti for several other operas in addition to Cavalleria rusticana, including I Rantzau and Zanetto, also by Mascagni, and Umberto Giordano’s Regina Diaz. He and Targioni-Tozzetti also edited an Italian version of Werther by Jules Massenet.

At the same time, Menasci was working independently for other composers, such as the Germans August Scharrer and Ignaz Brüll. During a lengthy stay in Germany he compiled his biographical study of Goethe (1899), which was considered remarkable even among the many works dedicated to the German poet.

Menasci devoted much time to the study of other German writers and to figures in French literary and civil history. He wrote elegantly in French and was able to address conferences and deliver lectures in Paris with full confidence in his command of the language.

His versatility extended to writing stories for children and numerous studies devoted to the history of art.

In his later years, he returned to Livorno and became a professor at the prestigious Naval Academy. He died in Livorno in 1925 after a period of declining health.

Livorno's elegant promenade Terrazza Mascagni was
named after the composer Pietro Mascagni

Travel tip:

The port of Livorno is the second largest city in Tuscany after Florence, with a population of almost 160,000. Although it is a large commercial port with much related industry, it has many attractions, including an elegant sea front – the Terrazza Mascagni - an historic centre – the Venetian quarter – with canals, and a tradition of serving excellent seafood.  The Terrazza Mascagni is named after the composer Pietro Mascagni, who was born in Livorno. Menasci is commemorated rather less grandly in the name of a fairly nondescript street in a residential area close to the city’s main railway station.

Find a Livorno hotel with Booking.com

The Teatro Costanzi, in Via del Viminale, a short distance from
Piazza della Repubblica, is now known as Teatro dell'Opera

Travel tip:

Known today as the Teatro dell'Opera di Roma - Rome’s main opera house - the Teatro Costanzi was built in 1879-80. Financed by Domenico Costanzi, a contractor, it was designed by the Milanese architect Achille Sfondrini, a specialist in the building and renovation of theatres. Built on the site of the house of the Roman emperor Elagabalus, the theatre was inaugurated in November 1880 with a performance of Semiramide by Gioachino Rossini.  Sfondrini paid particular attention to the acoustics of the theatre, the dome of which was adorned with frescoes by Annibale Brugnoli. As well as the world premiere of Cavalleria rusticana, the theatre staged the first production of Tosca by Giacomo Puccini in January 1900 and introduced Roman audiences to Puccini’s La fanciulla del West, Turandot and Il trittico, Richard Wagner’s Parsifal and Modest Mussorgsky’s Boris Godunov among other compositions that would become famous.

More reading:

How one opera was the making of Mascagni

Why Leoncavallo's Pagliacci is one of the world's favourite operas

Hooligans wreck the Rome premiere of The Barber of Seville

Also on this day:

1874: The birth of politician and winemaker Luigi Einaudi

1926: The birth of controversial playwright Dario Fo

1934: The birth of photographer Mimmo Jodice

(Picture credit: Teatro Costanzi by Lalupa)

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Alberto Franchetti - opera composer

Caruso sang his arias on first commercial record in 1902

Alberto Franchetti enjoyed his peak years in terms
of popular success around the turn of the century

The opera composer Alberto Franchetti, some of whose works were performed by the great tenor Enrico Caruso for his first commercial recording, was born on this day in 1860 in Turin.

Caruso had been taken with Franchetti’s opera, Germania, when he sang the male lead role in the opera’s premiere at Teatro alla Scala in Milan in March 1902.

A month later, Caruso famously made his first recording on a phonograph in a Milan hotel room and chose a number of arias from Germania and critics noted that he sang the aria Ah vieni qui… No, non chiuder gli occhi with a particular sweetness of voice.

A friend and rival of Giacomo Puccini, Franchetti had a style said to have been influenced by the German composers Wagner and Meyerbeer. He was sometimes described as the "Meyerbeer of modern Italy."

Despite the exposure the success of Germania and the association with Caruso brought him, Franchetti’s operas slipped quite quickly into obscurity.

Blame for that can be levelled at least in part at the Fascist Racial Laws of 1938, which made life and work very difficult for Italy's Jewish population.

Franchetti (left), pictured with his friends and fellow
composers Pietro Mascagni and Giacomo Puccini

Franchetti's works were banned from performance during Fascist rule. His fellow composer Pietro Mascagni made a personal plea for tolerance on his behalf directly to Benito Mussolini, but it fell on deaf ears.

Franchetti was the son of Baron Raimondo Franchetti, a Jewish nobleman. He studied in Venice, then at the Munich Conservatory under Josef Rheinberger, and finally in Dresden under Felix Draeseke.

His first major success occurred in 1888 with his opera Asrael, followed in 1892 by Cristoforo Colombo, which many consider to be Franchetti's best work. It did not, however, match the popularity of Germania, the libretto for which was written by Luigi Illica, which went on to be performed worldwide.

Illica is said to have offered his libretto of Tosca to Franchetti. It is not clear why it was taken up instead by Puccini. Some opera historians believe Franchetti was working on the opera but that Puccini asked the publishing house Ricordi to let him have it and that Franchetti was persuaded that the violence in the story made it unsuitable for an opera.

Another version - thought to have the Franchetti family’s seal of authenticity - is that Franchetti waived his rights to the opera because he felt that Puccini would make a better job of it.

Franchetti’s family home in Florence was the substantial Villa Franchetti, in Via Dante Da Castiglione, a short distance from the Giardino di Boboli (Boboli Gardens), where he would host lavish banquets for his friends from the artistic world. Puccini, Mascagni and the actress Eleonora Duse were regular guests.

During his life, substantial changes were made to the property, with the addition of an annex that served as a concert and dance hall, as well as stables in the grounds.  He decorated and furnished the house with the advice of his brother, Giorgio, a wealthy art collector who at the time owned the Ca d’Oro, the sumptuous palace on the Grand Canal in Venice.

Franchetti, who was director of the Florence College of Music from 1926 to 1928, died in Viareggio in 1942 at the age of 81. His music has been revived recently with new recordings of Cristoforo Colombo and Germania by the Berlin Opera.

He was married twice and had five children, one of whom, his son Arnold Franchetti, was a member of the Italian Resistance in the Second World War before emigrating to the United States and becoming a composer as well as a professor at the University of Hartford, Connecticut.

The Villa Franchetti-Nardi as it looks today

Travel tip:

After Franchetti’s death, the Villa Franchetti had a chequered history. It was seized by the Germans, who established it as a command post, during the Second World War, by which time the family’s financial fortunes had suffered badly. After the war it was rented for a few years before being largely abandoned in 1960 and falling into a state of disrepair.  The villa, which has had the status of "Historical Residence of Italy" since 1991, was rescued from its near-dereliction by its current owner Gustavo Nardi. Now known as the Villa Franchetti-Nardi, it opened its doors as a hotel in 2009.

The beautiful facade of the Ca d'Oro on Venice's Grand Canal

Travel tip:

The Palazzo Santa Sofia, one of the older palace on the Grand Canal in Venice, is known as Ca' d'Oro - golden house - due to the gilt and polychrome external decorations which once adorned its walls. Built between 1428 and 1430 for the Contarini family, since 1927 it has been used as a museum, the Galleria Giorgio Franchetti, named after Alberto’s brother, who acquired the palace in 1894 and personally oversaw its extensive restoration, including the reconstruction of the Gothic stairway in the inner courtyard that had been controversially removed by a previous owner. In 1916, Franchetti bequeathed the Ca' d'Oro to the Italian State.

More reading:

Enrico Caruso - 'the greatest tenor of all time'

How one great opera made Pietro Mascagni immortal

The brilliant talent of Eleonora Duse

Also on this day:

1587: The birth of singer and composer Francesca Caccini

1916: The birth of actor Rossano Brazzi

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Magda Olivero - soprano

Singer who performed into her 80s and lived to 104

Magda Olivero made her debut in an opera
broadcast for radio in 1932

The opera singer Magda Olivero, who became known as the last verismo soprano, died on this day in 2014. She was almost halfway through her 105th year, having been born in 1910.

Olivero became associated with the works among others of Francesco Cilea, Pietro Mascagni, Umberto Giordano and Franco Alfano, all of whom she actually worked with in person, her longevity providing a 21st century link with the world of 19th century Italian opera. She missed the chance to know and work with Giacomo Puccini only narrowly, the composer passing away at the age of 66 when Olivero was 14.

Born in Saluzzo in Piedmont, Olivero made her operatic debut eight years after Puccini’s death in a radio production in Turin in 1932. She gave her last stage performance 49 years later in 1981, although even that was not the end of her career. Her last recording of her signature role - Cilea’s Adriana Lecouvreur - did not come until 1994, when she was still able to control her pitch and tone at the age of 83.

Born as Maria Maddalena Olivero to a well-to-do family who gave her a good education, she built on her radio debut - singing Nino Cattozzo's oratorio, I misteri dolorosi - to establish a successful career, performing alongside pre-War stars such as Ebe Stignani, Beniamino Gigli and Francesco Merli.

Olivero with Mario del Monaco appearing in
Giordano's Fedora in Naples in 1965

In addition to Adriana, her most famous roles included Minnie in Puccini’s La Fanciulla del West, Mascagni's Iris, Riccardo Zandonai's Francesca da Rimini, and Giordano's Fedora. She sang Jules Massenet's Manon at Verona with Giuseppe di Stefano as Des Grieux, and Margherita in Arrigo Boito's Mefistofele to the Faust of Ferruccio Tagliavini.

The conductor Tullio Serafin helped her with her technique, although he was less helpful, she later claimed, after she refused his amorous advances. She said that her relationship with the tenor, Tito Schipa, also became strained after he became similarly enamoured with her.

In fact, in 1940 she decided to retire from the stage at the age of only 30 after she married Aldo Busch, an industrialist, hoping they would raise a large family. One of her last performances was of Cilea’s Adriana Lecouvreur in Ravenna and it was Cilea, almost a decade later, who would persuade her to make a comeback, telling her that she was the only singer who could do justice to the character.  She performed the role again in Brescia in 1951, shortly before the composer died.

That work was to become her calling card, and she sang it many times, as well as featuring often in leading roles in Puccini’s La Bohème, Madame Butterfly and Manon Lescaut, and in Giuseppe Verdi’s La Traviata.

Magda Olivero at the age of 95 in 2005

She made her London debut at the Stoll Theatre, in 1952 and in 1963 she substituted for Renata Tebaldi at the Edinburgh Festival in Adriana Lecouvreur, its first performance in Britain for 60 years.

Her first appearance in the United States came in Dallas in 1967, followed by Kansas and San Francisco. By now her fame as an interpreter of the verismo genre, in which the characters are ordinary people and the singers are adept at bringing dramatic expression to the roles, was established and her New York debut as Tosca at the Metropolitan Opera in 1975 was a much-hyped sensation, even though by then she was 65.

According to the New York Times report, when she made her first entrance, the audience began screaming and cheering, forcing the conductor Jan Behr to stop the music; arias were interrupted by bursts of spontaneous applause and at the end she was given a 20-minute ovation, one of the longest in the theatre's history. She reprised her Tosca for the Met in 1979, opposite Luciano Pavarotti. 

For all her success, though, she never really escaped the shadow of Maria Callas or Renata Tebaldi, who were always seen as more marketable and therefore enjoyed more recording contracts than Olivero, whose only complete opera recordings are Turandot and Fedora (1969), in which she was partnered by Mario del Monaco and Tito Gobbi.

After her second retirement, she settled in Milan, telling visitors to her home that the secret of her long life was yoga and a vegetarian diet. She lived for 31 years following the death of her husband in 1983, her wish for a family having never come to pass.

The early 15th century Cathedral of the Assumption in
Piazza Risorgimento in Saluzzo

Travel tip:

Saluzzo, where Olivero was born, is a hill town about 33km (20 miles) north of Cuneo and 61km (38 miles) south of Turin, in Piedmont. Most of its 15th century old town is intact, with numerous cobbled streets, steep staircases, churches and elegant palaces to explore. In the Piazza Risorgimento is Cathedral of the Assumption, built between 1491 and 1511 in the Lombard-Gothic style. Another attraction is the Castiglia, a castle built at the summit of the town in the 13th century by the Marquis Tommaso I and renovated in 1492 by Ludovico II of Saluzzo, at the time when the town was a powerful city-state.

The Teatro degli Arcimboldi, which was built in a
converted Pirelli tyre factory in Milan

Travel tip:

Milan’s best-known theatre is the opera house and ballet theatre Teatro alla Scala, inaugurated in 1778, but it is not the only theatre. Other respected venues are Teatro Sala Fontana, set within the beautiful cloisters of the church of Santa Maria alla Fontana in the northern part of the city, the Teatro Manzoni in Via Alessandro Manzoni, not far from Porta Nuova, and the ultra-modern Teatro degli Arcimboldi, which was built in 2001 in anticipation of the closure and renovation of La Scala opera house, in a converted Pirelli tyre factory about 7km (4.5 miles) from the city centre, in an area known as Bicocca.

More reading:

The beautiful work of Francesco Cilea

Giacomo Puccini - the musical genius who took the baton from Verdi

Pietro Mascagni and a career built on one great opera

Also on this day:

1474: The birth of poet Ludovico Ariosto

1504: The unveiling of Michelangelo's David in Florence


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Anselmo Colzani - opera star

Baritone who had 16 seasons at the New York Met

Anselmo Colzani in his signature role,
Scarpia in Puccini's Tosca

Anselmo Colzani, an operatic baritone who was a fixture at the Metropolitan Opera in New York in the 1960s and 1970s, as well as La Scala in his home country, was born on this day in 1918 in Budrio, a town not far from Bologna.

His stage career continued until 1980, when he made his final stage appearance in one of his signature roles as Scarpia in Giacomo Puccini’s Tosca.

Although his repertoire was much wider, his reputation became strongly associated with the works of Puccini and Giuseppe Verdi, with Jack Rance in Puccini's Fanciulla del West and the title role of Verdi's Falstaff, as well a Amonasro in Aida and Iago in Otello among his most famous roles.

Colzani’s association with the Met began in March 1960 after he was approached by Rudolf Bing, the opera house’s general manager, following the sudden death of Leonard Warren onstage during a performance of La Forza del Destino.

A few weeks later, Colzani took over Warren's role in Verdi's Simon Boccanegra. It was not only the first time he had sung at the Met, but the first time he had sung the role, which he had to learn it in a matter of days.

Yet so impressive was he that he returned to the Met for the next 16 seasons, making 272 appearances either in New York or on tour. A measure of the stature he achieved there in a short space of time was that he was the baritone chosen for the title role in the first performance of Franco Zeffirelli’s acclaimed production of Falstaff in 1964, conducted by Leonard Bernstein.

Colzani with the soprano Renata Tebaldi, with
whom he starred many times

Brought up in a musical family, Colzani joined the Italian Army before beginning to study singing formally, signing up as an 18-year-old in 1936. His service required him to fight in the Second World War. Thankfully he survived and in 1945 began attending the Bologna Conservatory under the tutelage of Corrado Zambelli.

He made his debut at the Teatro Comunale in Bologna in 1947 in the small role of the Herald in Wagner's Lohengrin. Also in the cast and making her house debut was the  soprano Renata Tebaldi, with whom he would later be reunited in New York.

Colzani made his bow at Teatro alla Scala in Milan, in 1952, as the murderous Alfio in Pietro Mascagni’s Cavalleria rusticana, and he continued to sing there until 1970, his last appearance being also as Alfio.

He was soon in demand throughout Italy for the dramatic baritone roles of Verdi in particular, becoming a major draw  in Naples, Verona and in Rome, where he enjoyed several seasons at the Baths of Caracalla.

He made his United States debut at the San Francisco Opera in 1956, but it was at the Met that he established an enduring foothold, appearing there with many of the major stars of the day, including Maria Callas, Franco Corelli and Carlo Bergonzi.

Colzani's last Met performance was as Michonnet in Adriana Lecouvreur, by Francesco Cilea, in 1978. He continued singing until 1980, when he gave his final performance in Tosca, reprising the Scarpia role in which he most frequently appeared during his years at the Met.

Married twice - his first wife died young - Colzani died in 2006, a few days before what would have been his 88th birthday. He was survived by his second wife, Ada, and his two children, Bianca and Miriam.

One of the towers that formed part of
Budrio's medieval 

Travel tip:

Colzani’s home town, Budrio, is 15km (9 miles) east of Bologna. A former Roman settlement, it is notable for the remains of the four corner towers of a castle rebuilt in the 14th century, inside which the original village was contained. Each year, the town stages an international opera competition in Colzani’s memory.

Travel tip:

Bologna has a tradition of presenting opera that goes back to the early 17th century. The Teatro Comunale, where Colzani made his debut, came into being in 1763 as the Nuovo Teatro Pubblico, designed by Antonio Galli Bibiena, who won a competition to design a new theatre for the city after another one, Teatro Mavezzi, had been destroyed by fire.  Arturo Toscanini, who went on to be musical director at La Scala, the Met and the New York Philharmonic, conducted there many times in the early part of his career.

More reading:

Why Renata Tebaldi was said to have the 'voice of an angel'

How Arturo Toscanini became a conductor by chance

Tito Gobbi - the baritone who enjoyed a movie career

Also on this day:

1472: The birth of the great Renaissance painter Fra Bartolommeo

1925: The birth of legendary film producer Alberto Grimaldi


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Emilio Salgari – adventure novelist

Author’s heroes and stories are still part of popular culture

The novelist Emilio Salgari, photographed
 in the early 20th century

Emilio Salgari, who is considered the father of Italian adventure fiction, was born on this day in 1862 in Verona.

Despite producing a long list of novels that were widely read in Italy, many of which were turned into films, Salgari never earned much money from his work. His life was blighted by depression and he committed suicide in 1911.

But he is still among the 40 most translated Italian authors and his most popular novels have been adapted as comics, animated series and films. Although he was not given the credit at the time, he is now considered the grandfather of the Spaghetti Western.

Salgari was born into a family of modest means and from a young age wanted to go to sea. He studied seamanship at a naval academy in Venice but was considered not good enough academically and never graduated.

He started writing as a reporter on the Verona daily newspaper La Nuova Arena, which published some of his fiction as serials. He developed a reputation for having lived a life of adventure and claimed to have explored the Sudan, met Buffalo Bill in Nebraska and sailed the Seven Seas. He actually met Buffalo Bill during his Wild West Show tour of Italy and never ventured further than the Adriatic.

He turned his passion for exploration and discovery into adventure fiction, signing his stories, Captain Salgari.

The cover of Salgari's 1900 novel, Le Tigri
di Mompracem (The Tigers of Monpracem)

He once had to defend his pen name by fighting a duel, after his claim to the title was questioned.

Salgari married Ida Peruzzi, with whom he had four children, but despite his popularity in Italy and many countries abroad, he earned little money from his books and the family had to live hand to mouth.

In 1889 Salgari’s father committed suicide, then in 1903 Ida became ill and Salgari struggled to pay her medical bills. He became increasingly depressed and attempted suicide in 1910.

After Ida was committed to a mental hospital in 1911, Salgari took his own life by imitating the Japanese ritual of seppuku, disemboweling himself in the style of a samurai warrior.

He left a letter for his publisher, saying: ‘To you that have grown rich from the sweat of my brow while keeping myself and my family in misery, I ask only that from those profits you find the funds to pay for my funeral. I salute you while I break my pen. Emilio Salgari.’ One of his sons was also to commit suicide in 1933.

By the time he died, Salgari had written more than 200 adventure stories and novels set in exotic locations, inspired by reading foreign literature, travel magazines and encyclopediae.

His major series were The Pirates of Malaysia, The Black Corsair Saga and the The Pirates of Bermuda. He also wrote adventures set in the west of America. His heroes were pirates and outlaws fighting against greed and corruption.

Sergio Leone is said to have been a fan of Salgari's books,
said to have been the inspiration for his Spaghetti Westerns

He opposed colonisation and his legendary hero, the pirate Sandokan, led his men in attacks against the Dutch and British fleets.

His books had been so popular that his publisher hired other writers to produce stories in Salgari’s name after his death, but no other Italian adventure writer was ever as successful as Salgari.

His style spread to films and television, with Sergio Leone’s outlaw heroes in his Spaghetti Westerns being inspired by Salgari’s characters.

Among the 50 film adaptations of Salgari’s novels is Morgan the Pirate, starring Steve Reeves.

His books were enjoyed by celebrities such as Federico Fellini, Pietro Mascagni, Umberto Eco and Che Guevara.

In the late 1990s, new translations of his novels began to be published and in 2001 the National Salgari Association was founded in Italy to celebrate his work.

It has been suggested that the first film adaptation of a Salgari novel was Cabiria, directed by Giovanni Pastrone, which bears many similarities to Salgari’s 1908 adventure novel, Carthage is Burning.

Federico Fellini was another fan

Gabriele D’Annunzio was billed as the official screenwriter but he came on board only after the film had been shot to change some of the names and captions.

Vitale di Stefano then brought Salgari’s pirates to the big screen in the early 1920s with a series of films that included The Black Corsair and The Queen of the Caribbean.

Salgari’s popular character, Sandokan, was played by Steve Reeves in Sandokan the Great and The Pirates of Malaysia. A Sandokan television miniseries later appeared throughout Europe starring Kabir Bedi in the title role.

Earlier this year, Neapolitan anti-mafia investigators announced plans to indict Francesco 'Sandokan' Schiavone, for the killing of a policeman in 1989. The gangster’s nickname shows Salgari’s character still has influence today, more than a century after his creator’s death.

The Arena at Verona, the city's most famous landmark

Travel tip:

Emilio Salgari was born in Verona, which was made famous by another writer as the city of Romeo and Juliet. He began his writing career on the daily Nuova Arena newspaper, now called L’Arena, which was founded in 1866 before the Veneto became part of the Kingdom of Italy and is one of the oldest newspapers in Italy. Named after L’Arena, the Roman amphitheatre in Piazza Bra that hosts concerts and operas, the newspaper is now based in San Martino Buon Albergo, a small town just outside Verona.

The imposing entrance to the Cimitero Monumentale

Travel tip:

After his dramatic death, Emilio Salgari was laid to rest in the Cimitero Monumentale just outside the city walls of Verona in Piazzale del Cimitero. Designed by Giuseppe Barbieri in 1829, the cemetery has an impressive neo-classical façade with two carved lions on each side of the steps. These have prompted the Veronese to refer to the cemetery as Hotel dei Leoni, the hotel of the lions.

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Pietro Mascagni – composer

One opera was enough to build reputation of musician

Pietro Mascagni in 1890, the year his opera
Cavalleria Rusticana, was first played

Pietro Mascagni, the creator of the opera Cavalleria rusticana, died on this day in 1945 in Rome, at the age of 81.

Cavalleria rusticana was an outstanding success when it was first performed in Rome in 1890 and was said to have single-handedly brought the Verismo movement, in which the characters were ordinary people rather than gods, mythological figures or kings and queens, into Italian opera.

The beautiful intermezzo from the opera was used in the sound track of the 1980 film Raging Bull and a production of the opera was used as the setting for the climax of the 1990 film The Godfather Part III, with Michael Corleone’s son Anthony playing Turridu, the opera’s male protagonist. The film ends with the intermezzo playing.

In 2001 Andrea Bocelli recorded a song entitled Mascagni on his Cieli di Toscana album and had an excerpt from Cavalleria rusticana incorporated into the music.

The opera has been so successful that it has led to Mascagni sometimes being dismissed as a one-opera composer, but, in fact, the composer wrote 15 operas, as well as orchestral and piano music and songs.

Two of Mascagni’s other operas, L’amico Fritz and Iris, have remained in the European repertoire and have been regularly performed since their premières.

Mascagni, pictured in 1905

Mascagni was born in Livorno in Tuscany in 1863. He began studying music at the age of 13 and soon produced compositions of his own.

In 1881 he won first prize for a Cantata which was performed at a musical contest in Milan.

The following year, Mascagni passed the admission examination for the Milan Conservatory, where he first met the composer, Giacomo Puccini.

In 1885 Mascagni composed Il Re a Napoli in Cremona, a romance for a tenor and orchestra. Then he left Milan without completing his studies and began touring as an orchestra conductor for opera companies and he also gave piano lessons.

In 1889, a competition was announced for a one-act opera. The following year, Mascagni completed the composition of Cavalleria rusticana and sent the manuscript to Milan.

Cavalleria rusticana won the contest and Mascagni was summoned to Rome to present his opera.  The première was held at the Teatro Costanzi in Rome. It was an outstanding success and was then performed all over Italy. It was also performed in Hungary, Germany, Russia and Argentina and Mascagni became famous internationally.

Listen to Mascagni's most famous piece

Mascagni, who was married in 1889 to Lina Carbognani, with whom he went on to have three children, continued to write music and produce operas and went all over the world conducting orchestras.

Mascagni, centre, at a meeting in 1885 with his fellow
musicians Alberto Franchetti (left) and Giacomo Puccini

By 1915 he was writing music to accompany silent films. In 1930 he conducted La Bohème in Torre del Lago as an homage to Puccini who had died in 1924.

In 1940, celebrations for the 50th anniversary of Cavalleria rusticana took place all over Italy, often with Mascagni conducting the orchestra.

His last opera season was in Rome featuring Cavalleria rusticana and L’amico Fritz, by which time he was so frail he had to conduct sitting on a chair.

Mascagni died on August 2, 1945 in his apartment at The Grand Hotel Plaza in Rome, which had by then been commandeered by the Allies but where he was allowed to remain.

His last years were marred by bitterness at his treatment by the post-Fascist Italian government, who punished him for his support for Mussolini and snubbed his funeral ceremony at Rome’s Cimitero Monumentale on August 4.

However, in 1951 Mascagni’s remains were transferred from Rome to his birthplace, Livorno, and reburied with honours.

The Terrazza Mascagni promenade in Livorno

Travel tip:

Livorno, where Mascagni was born, is the second largest city in Tuscany after Florence. Although it is a large commercial port, it has many attractions, including an elegant sea front, the Terrazza Mascagni, and an historic centre with canals.

Inside the sumptuous Grand Hotel Plaza in Rome

Travel tip:

The Grand Hotel Plaza in Rome, where Mascagni lived in an apartment from 1927 until his death in 1945, is in Via del Corso in the heart of the city. It has beautiful views of Rome from its rooftop terraces. The hotel was remodelled in the 1920s, inspired by the Art Nouveau style in fashion at the time. It has been used as a film location on many occasions.

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Antonio Meucci - inventor of the telephone

Engineer from Florence was 'true' father of communications

Antonio Meucci, the Florentine scientist
and engineer who lived in New York

Antonio Meucci, the Italian engineer who was acknowledged 113 years after his death to be the true inventor of the telephone, was born on this day in 1808 in Florence.

Until Vito Fossella, a Congressman from New York, asked the House of Representatives to recognise that the credit should have gone to Meucci, it was the Scottish-born scientist Alexander Graham Bell who was always seen as father of modern communications.

Yet Meucci’s invention was demonstrated in public 16 years before Bell took out a patent for his device. This was part of the evidence Fossella submitted to the House, which prompted a resolution in June, 2002, that the wealth and fame that Bell enjoyed were based on a falsehood.

It has even been suggested that Bell actually stole Meucci’s invention and developed it as his own while the Italian died in poverty, having been unable to afford the patent.

Meucci’s story began when he was born in the San Frediano area of Florence, which was then part of the Grand Duchy of Tuscany, the first of nine children fathered by a policeman, Amatis Meucci, and his wife, Domenica.  A plaque marks the address in Via dei Serragli where he grew up.

At the age of 15, Meucci gained a place at the Florence Academy of Fine Arts as its youngest student, studying chemical and mechanical engineering. He had to leave after two years because he needed to find work but continued to study part-time.

A plaque marks the house in Florence's Via dei Serragli,
where Antonio Meucci was born in 1808

He worked as a stage technician at the Teatro della Pergola in Florence, where he constructed a type of acoustic telephone to communicate between the stage and the theatre’s control room. He married costume designer Esterre Mochi, who worked at the same theatre, in 1834.

A year after they were married, Meucci and his wife emigrated to Cuba, largely because Meucci was fascinated by research being conducted in Havana into treating illnesses with electric shocks. In helping to further this research, he discovered by accident that sounds could travel by electrical impulses through copper wire.

Realising there was commercial potential in what he had stumbled upon, he moved to the United States in 1850, acquiring a house at Staten Island, near New York City, where he set up a workshop in the basement.  He had considerable savings from his time in Cuba, which he invested in a tallow candle factory.

His personal circumstances changed, however, when severe rheumatoid arthritis left his wife paralysed and in need of care.

A replica of the handsets Meucci created for his
prototype telephone, which he unveiled in 1860

In one respect, this provided an opportunity. He devised a system, using copper wire, whereby Esterre could communicate with him by a rudimentary telephone linking to his workshop.  

This consisted of two wooden cylinders, each containing an electromagnet and a soft iron membrane, which converted the vibrations made by voice soundwaves into electrical impulses that travelled along a length of connecting wire, which were in turn reproduced as the same sounds at the other end of the line.  With handles attached, the two components resembled hand bells.

It was this device that he demonstrated in public in 1860, attracting sufficient interest that New York's Italian-language newspaper carried the story.

But events conspired against Meucci.  He improved and developed his device but his candle factory went bankrupt, which meant he had no funds to invest. His limited English made it difficult for him to find American backers, while most of his Italian friends, including the unification hero Giuseppe Garibaldi, were not from moneyed backgrounds.

It did not help that he was badly burned in an accident aboard a steamship, which further impacted on his ability to earn money. Meanwhile, needing to pay for treatment for her illness, Esterre sold his prototype machines to a second-hand goods shop for $6.

Meucci quickly made another device but could not afford the $250 needed for a definitive patent. Instead, in 1871, he filed a patent caveat - one-year renewable notice of an impending patent. Three years later he could not even find the $10 for the patent caveat.

He sent a model and technical details to the American District Telegraph Company, a subsidiary of Western Union based in New York, but failed to generate much interest. When he asked for his materials to be returned, in 1874, he was told they had been lost.

Two years later Bell, said to have worked in the laboratory where Meucci’s notes, diagrams and prototype devices were stored, filed a patent for a telephone. He subsequently struck a lucrative deal with Western Union, which made him wealthy, and a celebrity.

Suspecting that Bell had hijacked his ideas, Meucci sued. He appeared close to winning when the Supreme Court agreed to hear the case and proceedings against the Scot to annul the patent were begun in January 1887.

However, by this stage Meucci was in failing health and he died in 1889 before the process could reach a conclusion, the legal action dying with him.

The church of San Frediano in Cestello in Florence

Travel tip:

The parish of San Frediano is the part of the Oltrarno section of Florence that forms the neighbourhood around the Chiesa di San Frediano in Cestello, a church dedicated to St Fridianus, an early Christian Irish pilgrim who became bishop of Lucca. He is said to have miraculously walked across the surface of the Arno river near where the church was built.  Work began on the church in 1460 and it was rebuilt between 1680 and 1689. Although rather plain on the outside, the church contains many fine frescoes and paintings by Florentine artists.

Florence hotels from Booking.com

Teatro della Pergola in central Florence

Travel tip:

Primarily a court theatre used by the Grand Dukes of Tuscany, it was only after 1718 that the Teatro della Pergola, in Via della Pergola, was opened to the public. A highly prestigious theatre in its heyday, it was at La Pergola that the great operas of Mozart were heard for the first time in Italy. Gaetano Donizetti's Parisina and Rosmonda d'Inghilterra, Giuseppe Verdi's Macbeth and Peitro Mascagni's I Rantzau all made their debuts at the theatre.  Today, the theatre presents primarily 250 drama performances, by authors ranging from Molière to Neil Simon. Opera productions are hosted only during the annual Maggio Musicale Fiorentino. The theatre is about 10 minutes' walk from the Duomo.

More reading:

How Marconi made the world's first radio communication

Alessandro Volta - creator of the first electrical battery

What Luigi Galvani did to add a new word to the language

Also on this day:

1920: The birth of Roberto Calvi, the man they called 'God's banker'

1928: The birth of racing driver Giannino Marzotto

(Picture credits: Meucci plaque and Teatro della Pergola by Sailko; prototype telephone courtesy of the Milan Museum of Science and Technology; San Frediano in Cestello by Amada44; all via Wikimedia Commons)

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Lorenzo Perosi - priest and composer

Puccini contemporary chose sacred music over opera

Lorenzo Perosi forsook opera in
 favour of religious music

Don Lorenzo Perosi, a brilliant composer of sacred music who was musical director of the Sistine Chapel at the Vatican for almost half a century, was born on this day in 1872 in the city of Tortona in Piedmont.

A devoutly religious man who was ordained as a priest at the age of 22, Perosi was a contemporary of Giacomo Puccini and Pietro Mascagni, both of whom he counted as close friends, but was the only member of the so-called Giovane Scuola of late 19th century and early 20th century composers who did not write opera.

Instead, he concentrated entirely on church music and was particularly noted for his large-scale oratorios, for which he enjoyed international fame.

Unlike Puccini and Mascagni, or others from the Giovane Scuola such as Ruggero Leoncavallo, Umberto Giordano and Francesco Cilea, Perosi's work has not endured enough for him to be well known today.

Yet at his peak, which music scholars consider to be the period between his appointment as Maestro of the Choir of St Mark's in Venice in 1894 and a serious mental breakdown suffered in 1907, he was hugely admired by his fellows in the Giovane Scuola and beyond.

Perosi with Arturo Toscanini before the
premiere of his work Mosè in Milan 

Arturo Toscanini conducted his work Mosè on the occasion of its premiere at La Scala in Milan in November 1901, his French admirers included Claude Debussy and Jules Massenet and many of the great opera singers on his day were keen to perform in his works, including Enrico Caruso, Mario Sammarco, Carlo Tagliabue and Beniamino Gigli.

Puccini is quoted as saying that "there is more music in Perosi's head than mine and Mascagni's put together".

Perosi is credited with reviving the oratorio as a musical genre. His grand productions for chorus, soloists, and orchestra based on Latin texts were noted for their bringing together of Renaissance harmony, Gregorian chant, and the flamboyant melodies and orchestrations characteristic of the Giovane Scuola. 

Perosi was one of 12 children born into a pious Catholic family in Tortona, only half of whom survived infancy.  His own birth was said to have been difficult and music historians believe it was probably the cause of the mental health problems he suffered in adulthood.

His father, Giuseppe, was choir director at the cathedral in Tortona and his talent for music was shared with his brothers Carlo, who also became a priest, and Marziano, who would later be musical director at the Duomo of Milan.

Listen to the choir of the church of the Beata Vergine in Mandria, near Padua

Lorenzo enrolled at Milan Conservatory, where he began his association with Puccini and Mascagni, after which he took his first professional post as organist at the Abbey of Montecassino.  He spent a year studying in Germany under Franz Xaver Haberl, where he learnt Renaissance polyphony, but declined a permanent teaching position in Germany in favour of a position nearer home as director of sacred music at the Duomo in Imola.

The bust of Lorenzo Perosi in the
gardens at the Pincio in Rome

From Imola he went to Solesmes Abbey, a Benedictine Monastery in France to study under the Gregorianists Dom André Mocquereau and Dom Joseph Pothier.

The appointment at St Mark's in Venice came in 1894 and brought Perosi under the influence of Cardinal Giuseppe Sarto, the Patriarch of Venice who would go on to be elected as Pope Pius X.  It was Sarto who ordained Perosi to the priesthood but just as importantly encouraged his music and was influential in his appointment in Rome.

Perosi's mental health problems began to manifest themselves in 1906, when doctors felt he was suffering from nervous exhaustion as a consequence of the hours he spent writing music in addition to his duties as a priest.

They became so severe following the deaths of both his parents within the space of a few years that at one stage his brother, Carlo, was nominated legal guardian as some doctors deemed him incurable. In time, however, his condition improved and he returned to a normal life.

He added to an already enormous body of work and the popes Pius XI and Pius XII waived the rules regarding mandatory retirement and retained him as 'maestro perpetuo' into his 80s. By the time his health deteriorated irreversibly he had served under five popes.  He died in Rome in October 1956.

The Duomo of Tortona, where Lorenzo Perosi is
buried along with his brother, Carlo

Travel tip:

Tortona is an elegant small city of around 27,000 inhabitants in the eastern part of Piedmont, roughly halfway between Milan and the Ligurian coast at Genoa.  It sits on the right bank of the Scrivia river between the plain of Marengo and the foothills of the Ligurian Apennines.  Lorenzo Perosi, along with his brother, Carlo, is buried at the Duomo, where his father was the choir director.  The Duomo has a 19th century neoclassical facade but the building itself dates back to the 16th century.


Travel tip:

The Sistine Chapel choir is one of the oldest religious choirs in the world, consisting today of 20 adult professional singers and 30 unpaid boy choristers.   Its reputation today owes much to Lorenzo Perosi, who raised its artistic level to a level as high as any it had known during his time as Maestro di Cappella and supported Pope Pius X in outlawing the use of boys whose voices were preserved by the barbaric practice of castration. Pius declared that only "whole men" should be allowed to be choristers or priests, and the last of the castrati were in time eased out of the choir.  A bust of Perosi can be found in the gardens on Pincian Hill - the Pincio - in Rome.

More reading:

How Giovanni Gabrieli helped popularity of Venetian Baroque

What made Puccini one of the greatest of opera composers

The genius of Venice's musical priest, Antonio Vivaldi

Also on this day:

1401: Birth of the great Renaissance artist Massacio

(Picture credits: bust by Lalupa; Tortona Duomo by Vincenzo da Tortona; both via Wikimedia Commons)


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