Enrico Tamberlik – tenor

Imposing king of the high C sharp

At the height of his career, Enrico Tamberlik was
Italy's most admired tenore robusto

Opera singer Enrico Tamberlik, who is remembered for the quality of his remarkable high notes, was born on this day in 1820 in Rome.

At the height of his career, Tamberlik, whose name is also sometimes spelt Tamberlick, sang regularly at the Royal Opera House in London and in St Petersburg, Paris and America.

The singer is believed to have been of Romanian descent but was born in Italy and did all his vocal training in Naples, Bologna and Milan.

At the age of 17 Tamberlik made his debut in a concert and then made his first appearance on the operatic stage as Gennaro in Lucrezia Borgia by Gaetano Donizetti at the Teatro Apollo in Rome.

In 1841 he appeared under the name Enrico Danieli at the Teatro Fondo in Naples as Tybalt in I Capuleti e I Montecchi by Vincenzo Bellini.

A year later he made his debut at Teatro San Carlo in Naples under the name Enrico Tamberlik, which he used from then onwards.

Tamberlik made his London debut as Masaniello in Louis Auber’s La Muette de Portici at Covent Garden in 1850.

Enrico Tamberlik sang at the leading opera houses
of the world in a career spanning 45 years

In St Petersburg in 1862 in the premiere performance of Giuseppe Verdi’s La forza del destino, he appeared as Don Alvaro, a role that had been written specially for him.

He went on to sing in Moscow, Paris, Buenos Aires, Lisbon, Madrid and Barcelona with his extensive repertoire, which included all the leading tenor roles of the time.

Tamberlik was especially praised for the resonance and power of his high C sharp.  He succeeded Gaetano Fraschini as Italy’s leading ‘tenore robusto’.

He was said to have had an imposing appearance that helped him become an exciting interpreter of dramatic roles.

His last singing engagement in London was at Her Majesty’s Theatre in 1877. After touring Spain in 1881 he retired from the operatic stage. Tamberlik died in Paris three days before his 69th birthday.

The tenor Francesco Tamagno, whose career overlapped with that of Tamberlik, was regarded as his foremost successor. Tamagno made recordings in Italy in 1903 for the Gramophone and Typewriter Company and critics believe an echo of Tamberlik’s resonant voice and style has been preserved in them.

The Teatro Apollo in Rome as it would have looked
when Tamberlik was enjoying peak popularity

Travel tip:

The Teatro Apollo in Rome, where Tamberlik made his first appearance in an opera, was created from a medieval tower, the Torre dell’Annona, which had once acted as a prison. It became the Teatro Tordinona in the 17th century and then the Teatro Apollo in the late 18th century. The biggest theatre in Rome, it hosted the premieres of two Verdi operas but was demolished in 1888 when the embankments of the Tiber were built. A white marble fountain remains as a memorial marking the sport where the theatre once stood.

The Teatro di San Carlo in Naples, just around the corner
from Piazza Plebiscito, remains an important opera house

Travel tip:

Teatro di San Carlo in Naples, where Tamberlik first appeared under his own name, is the oldest opera house in the world, having opened in 1737, way ahead of La Scala in Milan and La Fenice in Venice. Built in Via San Carlo close to Piazza Plebiscito, the main square in Naples, Teatro di San Carlo quickly became one of the most important opera houses in Europe, renowned for its excellent productions. The theatre was designed by Giovanni Antonio Medrano for the Bourbon King of Naples, Charles I, and took just eight months to build. Both Donizetti and Rossini served as artistic directors at San Carlo and the world premieres of Donizetti’s Lucia di Lammermoor and Rossini’s Mosè in Egitto were performed there.


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Giovanni Pacini – opera composer

Works of overshadowed musician have enjoyed recent revival

Giovanni Pacini found himself overshadowed
first by Bellini and Donizetti, then Verdi

Composer Giovanni Pacini, who wrote operas in the early part of the 19th century to suit the voices of the great singers of the period, was born on this day in 1796 in Catania in Sicily.

Pacini began his formal music studies at the age of 12, when he was sent by his father, the opera singer Luigi Pacini, to study voice in Bologna with castrato singer and composer, Luigi Marchesi.

He soon switched his focus to composing and wrote an opera, La sposa fedele - The Faithful Bride. It was premiered in Venice in 1818 and, for its revival the following year, Pacini provided a new aria, to be sung specifically by the soprano Giuditta Pasta.

By the mid 1820s he had become a leading opera composer, having produced many successful serious and comic works.

Pacini’s 1824 work Alessandro nelle Indie - Alexander in the Indies - was a successful serious opera based on Andrea Leone Tottola’s updating of a text by librettist Pietro Metastasio.

But by the mid 1830s, Pacini had withdrawn from operatic activity after he found his operas eclipsed by those of Gaetano Donizetti and Vincenzo Bellini.

The title page of Pacini's opera,
Saffo, regarded as his best

He settled in Tuscany, where his father had been born, and he founded and directed a music school and theatre in Viareggio.

He also took on the post of maestro di cappella at the Palazzo Ducale in Lucca, where he began to compose liturgical music and he started to write articles on music and music criticism.

Pacini returned to composing with his opera, Saffo, in 1840, which differed stylistically from his earlier work and is generally hailed as his masterpiece. It was performed extensively in Italy, Europe and other parts of the world.

But he then found himself overshadowed by another opera composer, this time Giuseppe Verdi, who often addressed contemporary political issues in his work. Pacini instead began writing instrumental music.

He was the only significant composer of his time to write an autobiography, Le mie memorie artistiche - My Artistic Memoirs. Published in 1865, it has been read avidly by scholars as it gives a fascinating insight into Pacini’s career and life, during which he produced more than 70 operas.

Pacini died in 1867 in Pescia in Tuscany.

Since the 1980s there have been revivals and recordings of his works. His 1825 opera, L’ultimo giorno di Pompei - The Last Day of Pompei - was performed at the Festival delle Valle d’Itria in Martina Franca in 1996 and was then transferred to the Teatro Massimo Bellini in Catania. A live recording of the Martina Franca performance was released in 1997 and re-released in 2012.

The Grand Hotel Royal in Viareggio is an example of
the town's Liberty-style architecture

Travel tip:

Viareggio, where Pacini opened a music school and theatre, is a popular seaside resort in Tuscany with excellent sandy beaches and some beautiful examples of Liberty-style architecture, such as the Grand Hotel Royal. There is a monument to the poet Percy Bysshe Shelley in Piazza Paolina because his body was washed up on the beach at Viareggio after he drowned during a storm in the Gulf of La Spezia.

Find a hotel in Viareggio with TripAdvisor

One of the streets in the centre of Pescia, the small
town in Tuscany where Giovanni Pacini died in 1867

Travel tip:

Pescia, where Giovanni Pacini died, is in the northern part of Tuscany, close to the beautiful towns of Lucca, Pistoia and Montecatini Terme. It is known as the ‘city of flowers’ because of its large wholesale flower market. In the church of San Francesco there are 13th century frescoes depicting the life of St Francis of Assisi, which are believed to be an accurate representation of the Saint because the artist, Bonaventura Berlinghieri, actually knew him.


More reading:

Giuditta Pasta - the first soprano to sing Bellini's Norma

The short but successful career of Vincenzo Bellini

La Traviata - the world's favourite opera

Also on this day:

1600: Philosopher Giordano Bruno burned at the stake

1653: The birth of Baroque composer Arcangelo Corelli

1916: The birth of movie actor Raf Vallone

(Saffo first page from the Central National Library of Florence; Grand Hotel Royal by Sailko; Pescia street by Davide Papalini; via Wikimedia Commons)


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Katia Ricciarelli - operatic soprano

Star whose peak years were in ‘70s and ‘80s

Katia Ricciarelli was at her peak
for about two decades

The opera singer Katia Ricciarelli, who at her peak was seen as soprano who combined a voice of sweet timbre with engaging stage presence, was born on this day in 1946 at Rovigo in the Veneto.

She rose to fame quickly after making her professional debut as Mimi in Giacomo Puccini’s La Bohème in Mantua in 1969 and in the 1970s was in demand for the major soprano roles.

Between 1972 and 1975, Ricciarelli sang at all the major European and American opera houses, including Lyric Opera of Chicago (1972), Teatro alla Scala in Milan (1973), the Royal Opera House, Covent Garden (1974) and the Metropolitan Opera (1975).

In 1981, she began an association with the Rossini Opera Festival in Pesaro that she maintained throughout the ‘80s.

In addition to her opera performances, Ricciarelli also appeared in a number of films.

Ricciarelli performed at most of Europe and
America's major opera houses

She was Desdemona in Franco Zeffirelli's film version of Giuseppe Verdi's Otello in 1986, alongside Plácido Domingo. In 2005 she won the best actress prize Nastro d'Argento, awarded by the Italian film journalists, for her role in Pupi Avati's La seconda notte di nozze (2005).

During her peak years, Desdemona was one of her signature roles, while she was also lauded for her Giulietta in Vincenzo Bellini’s I Capuleti e i Montecchi and for her interpretations of Gaetano Donizetti’s Anna Bolena.

Ricciarelli’s most well received Rossini roles were Bianca in Bianca e Falliero, Elena in La donna del lago and and Amenaide in Tancredi.

As her career progressed, however, critics felt her voice became weaker and without some of its former lustre, which some have attributed to her being pushed into heavy, highly dramatic roles, such as Puccini’s Tosca or Verdi’s Aida, which were not suited to her voice.

Ricciarelli often performed alongside José
Carreras, with whom she enjoyed a romance

Some opera audiences are notoriously unforgiving. Her Aida at the Royal Opera House in 1983 was greeted with whistles, while in 1986 in Trieste her debut as Bellini’s Norma provoked a similar reaction.

Her career as a singer at the top level ended in the early 1990s. She made her last appearance at the Metropolitan Opera in 1990 alongside Domingo in Otello.

Born Catiuscia Mariastella Ricciarelli to a poor family in Rovigo, she was brought up by her mother after her father died while she was very young.

She loved singing as a child and, once she was old enough to work, began to save money so that she could enrol at the Benedetto Marcello Conservatory of Venice, where she had the opportunity to study with the soprano Iris Adami Corradetti.

Essentially a lyric soprano, following her operatic debut in 1969 she won the Voci Verdiane competition, organised by Italy’s national broadcaster Rai, and established herself as a superb Verdi singer, hailed as the “new Tebaldi” after Renata Tebaldi, a soprano popular in the postwar years who, coincidentally, had made her stage debut in Rovigo in 1944, two years before Ricciarelli was born.

Katia Ricciarelli has appeared regularly on Italian TV
since she ended her career in opera

Although her operatic prowess began to wane, Ricciarelli’s career did not. She took up the position of artistic director of the Teatro Politeama di Lecce in 1998 and in the first decade of the new century turned increasingly to acting and appeared in television dramas such as Don Matteo alongside Terence Hill.

In 2005, after being nominated artistic director of the Sferisterio Opera Festival in Macerata, she began her professional relationship with the director Pupi Avati, who would later cast her in his film The Friends of the Margherita Bar (2009).

The following years brought a brief flirtation with politics as a centre-left candidate for the municipal council elections in Rodi Garganico, a beach resort near Foggia where she spent many summer holidays, more television work, an autobiography published in 2008 and a performance at La Fenice in Venice to mark her 40 years in music, in which she performed duets with pop singers Massimo Ranieri and Michael Bolton, among others.

A regular guest on variety and talk shows on Italian television, in 2006 she participated in the reality show La fattoria (Italian version of The Farm) on Canale 5.

Ricciarelli was married for 18 years to the TV presenter Pippo Baudo, the couple divorcing in 2004. She had previously had a relationship with her fellow opera star José Carreras that spanned 13 years.

Piazza Vittorio Emanuele is Rovigo's main square

Travel tip:

Rovigo is a town of around 52,000 people in the Veneto, which stands on the plain between the Po and the Adige rivers, about 80km (50 miles) southwest of Venice and 40km (25 miles) northeast of Ferrara, on the Adigetto Canal.  The architecture of the town has both Venetian and Ferrarese influences. The main sights include a Duomo dedicated to the  Martyr Pope Steven I, originally built before the 11th century, but rebuilt in 1461 and again in 1696, and the Madonna del Soccorso, a church best known as La Rotonda, built between 1594 and 1606 by Francesco Zamberlan of Bassano, a pupil of Palladio, to an octagonal plan, and with a  campanile, standing at 57m (187ft), that was built according to plans by Baldassarre Longhena (1655–1673). The walls of the interior of the church are covered by 17th centuries paintings by prominent provincial and Venetian artists, including Francesco Maffei, Domenico Stella, Pietro Liberi, Antonio Zanchi and Andrea Celesti. There are the ruins of a 10th century castle, of which two towers remain.

The beach at Roci Garganico is famed for
its soft sand and shallow waters

Travel tip:

Rodi Garganico is a seaside resort in the Apulia region, a 100km (62 miles) drive northeast from Foggia on a promontory east of the Lago di Varano lagoon. It part of the Gargano National Park.  It has for centuries been a major centre for the production of citrus fruits such us Arance del Gargano (Gargano Oranges) and the Limone Femminiello del Gargano (Gargano Lemons), both with DOP (Protected Designation of Origin) status under European Union regulations.  As well as its many kilometres of sandy beaches, Rodi Garganico attracts visitors for the local cuisine, which features orange salad, salad with wild onions, many fish dishes and a good variety of local wines.

More reading:

Alessandro Safina - the pop-opera star who made his stage debut alongside Katia Ricciarelli

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



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Francesco Tamagno - operatic tenor

19th century star was first to sing Verdi’s Otello

Francesco Tamagno was a world-renowned
star of 19th century opera

The operatic tenor Francesco Tamagno, most famous for singing the title role at the premiere of Giuseppe Verdi’s Otello at Teatro alla Scala in Milan in 1887, was born on this day in 1850 in Turin.

Tamagno, whose powerful voice and range put him a category of singers known as heroic tenors by being naturally suited to heroic roles, developed a reputation that enabled him to command high fees around the world and amass a considerable fortune.

During a career that spanned 32 years from his debut in 1873 to his premature death at the age of 54, Tamagno sang in some 55 operas and sacred works in 26 countries.

In addition to his association with Otello, he also was the first Gabriele Adorno in Verdi's 1881 revision of Simon Boccanegra, and appeared in the premiere of Verdi's Italian-language version of Don Carlos when it was staged at La Scala in 1884.

Five other operas in which Tamagno is acknowledged as the creator of leading roles include Carlos Gomes' Maria Tudor, Amilcare Ponchielli's Il figliol prodigo and Marion Delorme, Ruggero Leoncavallo's I Medici and Isidore de Lara's Messaline.

From a large family in the Borgo Dora area of Turin, Tamagno was the son of a wine seller who also kept a small trattoria.  He took music lessons at the city’s Liceo Musicale from the conductor and composer Carlo Pedrotti, who was able to arrange for him to sing some small parts at Turin's Teatro Regio, of which he was the director.

Tamagno as Otello in the 1887
premiere of Verdi's opera

One of Tamagno's earliest opportunities to perform in a major role came in January 1874 at the Teatro Bellini in Palermo, where he attracted considerable attention for an outstanding performance as Riccardo in Verdi's Un ballo in maschera.

Quickly given more engagements, he made his debut at La Scala in 1877, as Vasco de Gama in Giacomo Meyerbeer’s L’Africaine.

Over his career, Tamagno was lauded for his interpretations of many established parts, such as Manrico in Il trovatore (Verdi), Don Alvaro in La forza del destino (Verdi), the titles role in Ernani (Verdi) and Poliuto (Gaetano Donizetti), Arnold in Guillaume Tell (Gioachino Rossini), John of Leyden in Le prophète (Meyerbeer), Raoul in Les Huguenots (Meyerbeer), Vasco in L'Africaine, Robert in Robert le diable (Meyerbeer) and Eleazar in La Juive (Fromental Halévy).

Conductors of the standing of Franco Faccio, Luigi Mancinelli and Arturo Toscanini toured with Tamagno, who appeared opposite some of the most illustrious sopranos, baritones and basses in operatic history.

He witnessed the rise to fame of Enrico Caruso, predicting that the young Neapolitan would go on to become the leading Italian tenor of the 20th century. Tamagno and Caruso actually appeared on the same stage in February 1901, during a concert at La Scala organised by Toscanini as a tribute to Verdi, who had died the previous month.

Tamagno recognised the talent of Enrico
Caruso, with whom he once shared a stage

A big man with a physique to match his powerful voice, Tamagno developed chronic heart problems that caused his health to deteriorate in his late 40s, forcing him to quit the operatic stage. He would appear in concerts but had to give his last in 1904, in Ostend, Belgium.  Some recordings were preserved from the last two years of his professional life.

He retired to the villa in Varese, Lombardy, that he had owned since 1885, but his health did not improve and died in August 1905, from a heart attack. His body was buried in an elaborate mausoleum at Turin's General Cemetery.

Although Tamagno sang in the great opera houses of Barcelona, Paris, Rio de Janeiro, Buenos Aires, New York, London, San Petersburg and Lisbon, he never deserted his roots and would periodically return to his neighbourhood around the Porta Palazzo in Turin, where he would meet up with old friends and give free performances to support local charities.

He had a daughter, Margherita, who had been born out of wedlock, but he took a close interest in her upbringing, writing letters to her from around the world as well as willingly giving her financial support. It was she who inherited his estate.

The charming, cobbled Via Borgo Dora winds through
the area where Francesco Tamagno grew up

Travel tip:

Borgo Dora is a small historic district of Turin, just north of Corso Regina Margherita around the Porta Palazzo, bordered to the north by the river Dora Riparia, only a few metres from Piazza Castello at the heart of the city. It is an area with a strong historical identity, the only survivor of the four villages that developed around the old gates of the city.  The Via Borgo Dora, which loops around the area in a southeast direction from the Turin Eye, the tethered hot air balloon situated by the river, is a charming cobbled street with many restaurants and antiques shops. The area is also famed for its markets. The Piazza della Repubblica hosts a massive open air market every Saturday, with between 700 and 1,000 stalls, while the area around the Cortile del Maglio is the home to an enormous flea market every second Sunday in the month.

The picturesque Lake Varese is just outside the city of
Varese in Lombardy, south of the main Italian lakes

Travel tip:

Varese, where Tamagno retired to a grand villa, is a city in Lombardy, 55km (34 miles) north of Milan and not far from Lake Maggiore. It is rich in castles, villas and gardens, many connected with the Borromeo family, who were from the area. The small Lake Varese is 8.5km (5 miles) long, set in low rolling hills just below Varese. Many visitors to the city are drawn to the Sacro Monte di Varese (the Sacred Hill of Varese), which features a picturesque walk passing 14 monuments and chapels, eventually reaching the monastery of Santa Maria del Monte.


More reading:

Mario del Monaco, the 20th century tenor famous for Otello

Franco Corelli: the 'prince of tenors'

Why tenor Tito Schipa divided opinions

Also on this day:

1503: The death of Florentine ruler Piero the Unfortunate

1908: Italy's worst earthquake

1947: The death of exiled King Victor Emmanuel III



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Giovanni Bottesini - double bass virtuoso

Musician was also a composer and conductor

Giovanni Bottesini took up the double
bass so he could attend Milan Conservatory

The composer, conductor and double bassist Giovanni Bottesini was born on this day in 1821 in Crema, now a city in Lombardy although then part of the Austrian Empire.

He became such a brilliant and innovative performer on his chosen instrument that he became known as “the Paganini of the double bass” - a reference to the great violin virtuoso Niccolò Paganini, whose career was ending just as his was beginning.

Bottesini was one of the first bassists to adopt the French-style bow grip, previously used solely by violinists, violists and cellists.

He was also a respected conductor, often called upon to direct performances at the leading theatres in Europe and elsewhere, and a prolific composer, particularly in the last couple of decades of his life.

A close friend of Giuseppe Verdi, he wrote a dozen operas himself, music for chamber and full orchestras, and a considerable catalogue of pieces for double bass, for accompaniment by piano or full orchestra, or duets.

When conducting opera, Bottesini would often bring his double bass on stage to play fantasies based on the evening's opera, of his own composition, during the intermission. His fantasies on Gaetano Donizetti’s Lucia di Lammermoor and Vincenzo Bellini’s I puritani and Beatrice di Tenda are outstanding pieces still played today by accomplished bassists.

Bottesini with the Testore bass that
served him well through his career

It was almost by accident that the double bass became Bottesini’s speciality.  Taught the basics of music by his father, Pietro, a clarinetist who played at Crema’s Teatro Sociale and the cathedral chapel, he began training for the violin from the age of five, working with a priest, Carlo Cogliati.

During his childhood, Giovanni is thought  to have played the kettle-drums in the orchestra of the Teatro Sociale as well as in theatre orchestras in Bergamo and Brescia. He also sang as boy soprano in the cathedral choir in Parma.

His father was keen for him to study at the Milan Conservatory, but the family were not wealthy and the only possibility of a place was to be granted a scholarship. As it happens, the only two positions available were for double bass and bassoon. Choosing the former, he had to learn to play the double bass to a respectable standard within days, yet did so and after an audition was granted a place.

In fact, he became so good so rapidly that only four years after starting his studies - much faster than with most students - Bottesini won a prize of 300 francs for solo playing. It was enough for him to buy an instrument made by the 18th century luthier Carlo Antonio Testore, and to launch his career.

He travelled abroad, spending time in the United States and in Cuba - then still part of Spain’s empire in South America - where he was the principal double-bass in the Italian opera at Havana, of which he later became director. His first opera, Cristoforo Colombo, was produced there in 1847.

Giuseppe Verdi recommended Bottesini
as director of Parma Conservatory

In 1849 he travelled for the first time to England, where he would become a frequent visitor.

As a conductor, Bottesini worked at the Théâtre des Italiens in Paris from 1855 to 1857. Between 1861 and 1862 he conducted in Palermo, and in 1863 went to Barcelona. In 1871 he conducted a season of Italian opera at the Lyceum theatre in London and he was chosen by Verdi to conduct the first performance of Aida, which took place in Cairo on December 27, 1871.

Bottesini's bass, which was noted for the purity of the sound he was able to produce with it, was built by Testore in 1716. The instrument was owned previously by several unknown bass players before Bottesini paid 900 lire for it in 1838. It is now owned by a private collector in Japan.

In 1888, Bottesini was appointed director of Parma Conservatory on Verdi's recommendation. The following year, he died in Parma at the age of 67.

The Duomo at Crema, a short distance from
the street in which Bottesini grew up

Travel tip:

Crema, a small city that sits on the banks of the Serio river about 50km (31 miles) east of Milan, has an attractive historic centre built around the Piazza del Duomo.  Apart from the cathedral itself, built in Lombard Gothic style in the 14th century with a tall bell tower completed in 1604, the Palazzo Pretorio and the Palazzo Comunale can also be found off the square. The Teatro Sociale, the only surviving part of which stands in Piazza Guglielmo Marconi, a short distance from the Duomo, was destroyed in a fire in 1937. Bottesini grew up in a house in Via Carrera, within a short walk of both the theatre and the cathedral. The city’s other attractions include the circular 16th century Basilica of Santa Maria della Croce.

The Conservatorio Arrigo Boito in
Parma, where Bottesini was director

Travel tip:

Parma, where Bottesini spent his last months, is an historic city in the Emilia-Romagna region, famous for its Prosciutto di Parma ham and Parmigiano Reggiano cheese, the true ‘parmesan’. In 1545 the city was given as a duchy to the illegitimate son of Pope Paul III, whose descendants ruled Parma till 1731. The composer, Verdi, was born near Parma at Bussetto and the city has a prestigious opera house, the Teatro Regio. The Conservatory, named in honour of Arrigo Boito, who wrote the libretti for many of Verdi’s operas, is on Strada Conservatorio.

Search TripAdvisor for hotels in Parma

More reading:

The Venetian who became the best double bass player in Europe

The jealous streak of composer Giovanni Paisello

The short but brilliant career of Vincenzo Bellini

Also on this day:

1858: The birth of the brilliant composer Giacomo Puccini

1908: The birth of sculptor Giacomo Manzù

1963: The birth of footballer Giuseppe Bergomi


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Giovanni Matteo Mario - operatic tenor

Disgraced nobleman became the toast of London and Paris

Giovanni Matteo Mario became a singer
after fleeing to France

The operatic tenor Giovanni Matteo Mario, a Sardinian nobleman who deserted from the army and began singing only to earn a living after fleeing to Paris, was born on this day in 1810 in Cagliari.

He was baptised Giovanni Matteo de Candia, born into an aristocratic family belonging to Savoyard-Sardinian nobility. Some of his relatives were members of the Royal Court of Turin. His father, Don Stefano de Candia of Alghero, held the rank of general in the Royal Sardinian Army and was aide-de-camp to the Savoy king Charles Felix of Sardinia.

He became Giovanni Mario or Mario de Candia only after he had begun his stage career at the age of 28. He was entitled to call himself Cavaliere (Knight), Nobile (Nobleman) and Don (Sir) in accordance with his inherited titles, yet on his first professional contract, he signed himself simply ‘Mario’ out of respect for his father, who considered singing a lowly career.

Although he was one of the most celebrated tenors of the 18th century, Italy never heard Mario sing. Instead, the Royal Opera House, Covent Garden in London and the Théâtre Italien in Paris witnessed most of his triumphs.

He often sang with his lifelong partner, the soprano Giulia Grisi, with whom he lived in Paris and London before Mario bought a villa just outside Florence in around 1849.

An illustration showing Giulia Grisi and
Giovanni Mario in Bellini's I puritani

The young De Candia was expected to have a military career. From the age of 12 he attended the Military College of Turin, where his fellow students included the future prime minister of Italy, Camillo Benso di Cavour.  When he was transferred to Genoa at the age of 19 with the rank of second lieutenant, however, he met the young revolutionaries Giuseppe Mazzini and Jacopo Ruffini and became sympathetic to the republican ideals.

It was not long before his military career abruptly ended. Some stories suggest De Candia was expelled from the army on suspicion of subversive activity, others that he deserted in fear of arrest. Either way, having left Genoa in a fishing boat, he landed in Marseille before moving on to Paris, where he found a growing community of Italian political refugees.

He was drawn towards the city’s musical and literary culture, meeting among others the composers Chopin, Liszt, Rossini and Bellini, as well as the writers Balzac, George Sand, and Dumas father and son.

Yet he was penniless and needed to make a living. He tried giving riding and fencing lessons and at one time attempted to join the British army.

Mario in the role of Don Giovanni in
Mozart's opera of the same name

The chance to sing on stage came after the German composer Giacomo Meyerbeer heard him entertaining friends and persuaded him to take lessons. He made his debut at the Opéra in November 1838 as the hero of Meyerbeer's Robert le diable. He wrote to his mother to explain that he was calling himself Mario and promised he would never perform in Italy.

Mario quickly became a star in demand. In 1839 he made a triumphant debut in London as Gennaro in Gaetano Donizetti’s Lucrezia Borgia opposite Grisi, and made his debut at the Théâtre-Italien in Paris as Nemorino in Donizetti’s L’elisir d’amore. For the next 30 years he sang all the important romantic leads in Paris and London, also appearing in St. Petersburg (Russia), New York City, and Madrid.

Nemorino and Gennaro were among his most admired roles, along with Ernesto in Donizetti's Don Pasquale - a part written for him. Later he was acclaimed for his Almaviva in Rossini’s Barbiere di Siviglia, which he sang more than 100 times in London.

In 1871 he gave his farewell performance as Fernando in Donizetti’s La favorita at Covent Garden in London.

Grisi and Mario married in the late 1840s and, after an amnesty was extended to many sentenced for political crimes, removing Mario’s fear he would be arrested, they returned to Italy to live at the Villa Salviati outside Florence, where they brought up six daughters and regularly entertained guests, including many of the central figures of the Italian Risorgimento, with whom Mario had formed lasting friendships.

The revolutionary activist Giuseppe Mazzini
was a lifelong friend of Giovanni Mario

In fact, in 1850 Mario had organised a concert to help Italian political refugees following the failed 1848 uprisings. He and Grisi gave shelter to the Venetian patriot Daniele Manin during his exile to Paris and for a time Mazzini co-ordinated his revolutionary activities from Mulgrave House, their home in London. It was there that one of their daughters - Cecilia De Candia - later recalled her parents entertaining several hundred red-shirted English Garibaldians in their garden, giving their voices to patriotic songs.

Tragically, Grisi died in 1869 after the train on which she was travelling to St Petersburg suffered an accident passing through Germany. Mario sold Villa Salviati shortly afterwards.

Following his Covent Garden farewell, Mario embarked on a brief concert tour of the United States before retiring to Rome. A man of extravagant habits, he soon found his fortunes in decline. Friends organised a benefit concert for him in London, which raised enough money - about £4,000 - to provide him with a pension.

He died in Rome in 1883 and was buried in the family mortuary chapel that he had arranged to be built in the Bonaria cemetery in Cagliari. Later a street in Castello - the historic old quarter of the Sardinian capital - was named after him.

Cagliari's medieval old town, Castello

Travel tip:

Cagliari’s charming historic centre, known as Castello, where Mario bought a house for his mother, is notable for its limestone buildings, which prompted DH Lawrence, whose first view of the city was from the sea as ‘a confusion of domes, palaces and ornamental facades seemingly piled on top of one another’, to call it 'the white Jerusalem'.  This hilltop citadel, once home to the city's aristocracy, is Cagliari’s most iconic image. Inside its walls, the university, cathedral and several museums and palaces - plus many bars and restaurants - are squeezed into a network of narrow alleys.

The Villa Salviati, just outside Florence, was Mario's
home for more than 20 years

Travel tip:

The Villa Salviati, Mario and Grisi’s spectacular home in Florence, was built on the site of the Castle of Montegonzi about 7km (4.5 miles) north of the centre of the city, by Cardinal Alamanno Salviati, who in turn gave it to Jacopo Salviati, the son-in-law of Lorenzo de’ Medici (Lorenzo the Magnificent). It changed hands a number of times before being purchased by Mario from an Englishman, Arturo Vansittard.  In 2000 it was bought by the Italian government and now houses the historical archives of the European Union.

(Photo credits: Castello by Martin Kraft; Villa Salviati by Sailko)

More reading:

Giulia Grisi - the officer's daughter who became a star on three continents

Mazzini and the drive for Unification

How Donizetti grew up in a Bergamo basement

Also on this day:

1473: The birth of sculptor Bartolommeo Bandinelli

1797: Venice loses its independence


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Fiorenza Cossotto - operatic mezzo-soprano

Career overshadowed by story of ‘row’ with Maria Callas

Fiorenza Cossotto is considered among the
finest mezzo-sopranos of the 20th century

Fiorenza Cossotto, a singer considered one of the greatest mezzo-sopranos of the 20th century, was born on this day in 1935 in Crescentino in Piedmont.

Cossotto was hailed for her interpretations of the major mezzo and contralto roles from mid-19th-century Italian operas, particularly those of Giuseppe Verdi such as Aida, Il trovatore and Don Carlos, but also Gaetano Donizetti, Amilcare Ponchielli, Vincenzo Bellini and the other important composers of the day.

Yet she is often remembered for a supposed spat with Maria Callas that led the Greek-American soprano to walk off the stage during her final performance at the Opéra in Paris of her signature role in Bellini’s Norma in 1965.

The incident in question took place immediately after Callas, as Norma, and Cossotto, as Adalgisa, had joined in their duet ‘Mira, o Norma’.

Callas, by that stage a little below her prime, was notoriously temperamental and within moments onlookers were imagining a row, theorising that Cossotto had tried to sabotage Callas’s performance by holding her own high notes longer and singing over Callas.

It did not help that Franco Zeffirelli, whose production it was, and at least one other member of the cast, would not deny that this had happened.

Cossotto led a long and highly
successful career

Cossotto herself, now entering her 84th year, insists that the story is a fabrication concocted “to enrich books and articles” and that she was trying only to help Callas, who was unwell with a cold but felt obliged to sing because Aristotle Onassis, the Greek shipping tycoon with whom she shared her life, had brought with him his entire entourage to witness the performance.

In interviews many years later she said that when Callas tried to sing the high ‘C’ required of her in the piece no sound came out. She said: “I thought it was better I sing my ‘A’ calmly so people won't notice, just in case. Instead, they started to say, 'Look, she sings when the other one doesn't sing anymore!'”

Cossotto also claims that Callas, whom she counted as a friend, not only asked for her in person to be Adalgisa to her Norma in the production but, during the performance, asked her not to leave the theatre after her involvement ended so that they could take the curtain calls together, something she would not have done had the two been at odds.

As a girl, Cossotto attended the Turin Academy of Music and studied with Mercedes Llopart. She made her operatic debut in the world premiere of Poulenc's Dialogues of the Carmelites in 1957 at La Scala in Milan. Her part was so small he had only one line to deliver.

Maria Callas: Cossotto denied that the two
fell out, insisting they were good friends

Her international debut came at the 1958 Wexford Festival as Giovanna Seymour in Donizetti's Anna Bolena and she performed at Covent Garden for the first time in 1959 as Neris in Luigi Cherubini's Médée, with Callas in the title role.

Cossotto began to attract wide acclaim following her 1962 performance of the lead in Donizetti’s La favorita at La Scala. She made her American debut in the same role in 1964 at the Lyric Opera of Chicago and as Amneris at the Metropolitan Opera in 1968.

In two spells at the Met, in 1967–68 and 1988–89, Cossotto gave 148 performances.

During her career, she was Adalgisa alongside the Normas of Callas, Joan Sutherland, Montserrat Caballé, Leyla Gencer, Elinor Ross and Elena Souliotis, although she said she drew more satisfaction from singing Amneris in Aida and Azucena in Il trovatore.

Cossotto was married to the Italian bass Ivo Vinco until they divorced after more than 40 years together.  They had a son, Roberto.

She celebrated her 70th birthday in 2005 by appearing in Giacomo Puccini’s one-act opera Suor Angelica at the Théâtre Royal in Liège, Belgium.  Since retiring as a performer, she has accepted a number of invitations to teach.

She still lives in Crescentino, as does her son and his family.  Ivo Vinco died in 2014.

Crescentino, with the rice fields in the distance

Travel tip:

Crescentino is a village in the province of Vercelli in Piedmont, located about 35km (22 miles) northeast of Turin and about 30km (19 miles) southwest of Vercelli.  Some of the village was destroyed during the Second World War when houses were set on fire by German troops as part of an ongoing conflict with Italian partisans. After the war the area prospered through rice production in the Po Valley.  The main square, Piazza Vische, contains a 13th century church and the 31m Civic Tower. On the outskirts of the village is the Sanctuary of the Madonna del Palazzo.

The Piazza Cavour in Vercelli

Travel tip:

The rice fields of the Po Valley form the largest rice production area in the whole of Europe, mainly centred on the province of Vercelli, between Milan and Turin, in which the town of Vercelli is surrounded in the summer months by submerged paddy fields, for which water is supplied by a canal from the Po River.  Rice has been grown in the area since the 15th century.

More reading:

The diva who came to blows with a rival on stage

How Franco Zeffirelli bestrode the opera and the cinema

Verdi: When Italy mourned the loss of a national icon

Also on this day:

1891: The birth of racing car engine designer Vittorio Jano

2006: The death of actress Alida Valli


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Marietta Piccolomini – soprano

Popular star who found fame as Violetta

Marietta Piccolomini had to persuade
reluctant parents to let her sing

The operatic soprano Marietta Piccolomini, who was most famous for her performances as Violetta in Verdi’s La Traviata, was born on this day in 1834 in Siena.

Her career was relatively brief, spanning just 11 years. Yet she managed to achieve unprecedented popularity, to the extent that crowds of fans would gather outside her hotel and men would volunteer to take the place of horses in pulling her carriage through the streets.

Some critics said that the adulation she enjoyed was more to do with her youthful good looks and her acting ability than her voice, who they argued was weak and limited.

Nonetheless, she was seldom short of work and she was the first Violetta to be seen by operagoers in both Paris and London.  She had a particularly enthusiastic following in England, where she undertook several tours of provincial theatres as well as appearing in the capital.

Born Maria Teresa Violante Piccolomini Clementini, she came from a noble Tuscan family. Her musical mother, a talented amateur, would sing duets with her. However, while her family were happy to arrange lessons for her with Pietro Romani, one of Italy’s first professional singing teachers, her father was reluctant to allow her to make opera singing a career.

She made her first stage appearances in 1852, at the Teatro della Pergola in Florence in Gaetano Donizetti’s Lucrezia Borgia, and at the Teatro Apollo in Rome, where she performed in two more Donizetti operas, Poliuto and Don Pasquale.

Giuseppe Verdi tried to stop
Piccolomini's Paris debut

Piccolomini took the role of Gilda in Guiseppe Verdi’s Rigoletto in Pisa in 1853 and appeared as Violetta for the first time in Turin two years later, receiving a rapturous response from the audience. It was there for the first time that she enjoyed the adulation of a star, with fans waiting outside her hotel in the hope of catching a glimpse of her.

In 1856, she was invited to reprise the role in the British premiere of La Traviata at Her Majesty’s Theatre in London, where she became a favourite.  She enjoyed popularity in Dublin also.

The following year she was Violetta in the first French production of La Traviata, which was staged at the Theatre des Italiens in Paris despite attempts by Verdi, who did not have copyrights in France, to stop it going ahead.

Returning to England in 1858, she sang in Donizetti’s La figlia del reggimento and Lucia di Lammermoor, and in Don Giovanni and Le Nozze di Figaro by Mozart, before embarking on a long provincial tour. Later in the year, she performed in Holland and Germany.

After another season and another tour of English cities in 1859, in the autumn she made her New York debut at the Academy of Music, as Violetta in La Traviata, after which she took her repertoire of Verdi, Donizetti and Mozart roles on a successful tour of cities across America.

Her marriage in 1860 to the Marquis Francesco Caetani della Fargna effectively ended her career, although she was persuaded out of retirement in 1863 for some benefit concerts in honour of Benjamin Lumley, the former impresario of Her Majesty’s Theatre and the man who had launched her career as an international artist, who had fallen on hard times.

Piccolomini died in 1899 at her villa in Florence, having contracted pneumonia.  She was buried at the Cimitero della Porte Sante at the Basilica di San Miniato al Monte.

The Piccolomini library adjoins
Siena's beautiful cathedral 

Travel tip:

Adjoining Siena’s beautiful Italian Gothic and Romanesque cathedral, dedicated to the Assumption of Mary, is the Piccolomini Library, which houses precious illuminated choir books and is decorated with frescoes by Bernardino di Betto, who was better known as Pinturicchio, which were favourites of Cardinal Enea Silvio Piccolomini, who would become Pope Pius II.

The Basilica di San Miniato at Monte is a Romanesque
church standing at one of the highest points in Florence

Travel tip:

The Basilica di San Miniato al Monte, a handsome Romanesque church, stands at one of the highest points in Florence, commanding sweeping views across the city. The cemetery was established there in 1848 within the basilica’s 16^th century fortifications.  Among those interred there are the painters Giuseppe Abbati and Pietro Annigoni, the author Carlo Collodi (of Pinocchio fame), the actor Tommaso Salvini and the historian and politician Pasquale Villari.

Hotels in Florence by Booking.com

More reading:

La Traviata's premiere in Venice

Verdi: How Italy mourned the loss of a national symbol

Rigoletto debuts at La Fenice

Also on this day:

1696: The birth of painter Giovanni Battista Tiepolo

1827: The death of scientist Alessandro Volta

1922: The birth of writer and movie director Pier Paolo Pasolini

(Picture credits: Siena cathedral by Myrabella; Basilica di San Miniato by Rufus46)

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Renato Bruson – operatic baritone

Donizetti and Verdi specialist rated among greats

Renato Bruson, pictured not long after
his debut in the 1960s.

The opera singer Renato Bruson, whose interpretation of Giuseppe Verdi’s baritone roles sometimes brought comparison with such redoubtable performers as Tito Gobbi, Ettore Bastianini and Piero Cappuccili, was born on this day in 1936 in the village of Granze, near Padua.

Bruson’s velvety voice and noble stage presence sustained him over a career of remarkable longevity. He was still performing in 2011 at the age of 75, having made his debut more than half a century earlier.

Since then he has devoted himself more to teaching masterclasses, although he did manage one more performance of Verdi’s Falstaff, which was among his most famous roles, at the age of 77 in 2013, having been invited to the Teatro Verdi in Busseto, the composer’s home town in Emilia-Romagna, as part of a celebration marking 200 years since Verdi’s birth.

Today he is director of the Accademia Lirica at Teatro alla Scala in Milan, a role he combines with a professorship at the Accademia Chigiana in Siena and a post at the lyrical academy in Spoleto.

It was at the Teatro Lirico Sperimentale in Spoleto, the ancient city in Umbria, that Bruson made his stage debut as the Conte di Luna in Verdi’s Il trovatore in 1960, which was a moment that brought deep satisfaction after a difficult childhood.

The parish church of Santa Cristina in Granze near Padua,
where Bruson sang in the choir as a boy

Born into a family of modest means, he found it difficult to convince his parents that if they allowed him to pursue his desire to study music it would not make him appear to others as workshy.

In an interview many years later, Bruson said that the older generation in Granze as he was growing up took the view that people who went straight from school into the world of work could look forward to a prosperous future, whereas those who preferred to continue their studies were destined never to find their path in life.

Therefore he was given little support from his family, even though they had encouraged him to sing in the parish choir. Fortunately, he was awarded a scholarship by the Conservatory of Padua, 30km (19 miles) away.

His debut in Spoleto was well received and he was soon making his mark at some of the great opera houses of Italy, including the Teatro dell’Opera in Rome (1961), La Fenice in Venice (1965) and the Teatro Massimo in Palermo (1966).

The Teatro Regio in Parma, where Bruson was
seen by a talent scout from the Met

His big break came in 1967, when he sang the role of Don Carlo di Vargas in Verdi’s La forza del destino at the Teatro Regio in Parma.

In the audience was Roberto Bauer, whose job was to scour Europe looking for new talent for the Metropolitan Opera in New York.  He was so impressed he sought out Bruson afterwards so that he could arrange a meeting with the Met’s artistic director, Rudolf Bing.  Two years later, Bruson was making his debut on the other side of the Atlantic as Enrico in Gaetano Donizetti’s Lucia di Lammermoor.

In the early part of his career, in particular, Bruson was associated with Donizetti’s baritones as much as Verdi’s, performing in no fewer than 17 operas from the pen of the Bergamo composer.

Over the next few years, Bruson paraded his acting skills, the deep but smooth resonance of his voice and his commanding stage presence at Europe’s leading opera houses.

Another milestone moment came in 1972 with his debut as Antonio in Donizetti’s Linda di Chamounix at La Scala.

In 1975 he took his first bows at the Royal Opera House in Covent Garden, London, as Renato in Verdi’s Un ballo in maschera, and in 1978 came his debut at the Vienna State Opera in Macbeth, the Shakespeare play upon which Verdi had based his 10^th opera in 1847.

Renato Bruson in more recent years

In the meantime, he had also begun what was to be a long and fruitful collaboration with the conductor Riccardo Muti, who was particularly appreciative of Bruson’s vocal style, which had deep resonance without the thunderous qualities associated with some baritones. The singer always wanted audiences to appreciate the quality of his voice, rather than the volume, and to go home “with something in their hearts rather than some sounds in their ears.”

Bruson is married to Tita Tegano, a costume and set designer who has also written several books about the life and work of her husband. In 1996 he was made Knight of the Grand Cross of the Order of Merit of the Italian Republic.

Last year, his career was celebrated again as he was named as the recipient of the Caruso Prize in recognition of his lifetime contribution to the opera genre.  The award is made annually in a ceremony at the Villa Caruso di Bellosguarda in Tuscany, former home of the great Neapolitan tenor and now a museum.

The well-preserved castle at Spoleto

Travel tip:

The ancient city of Spoleto in Umbria, where Bruson made his first appearance in a live opera performance, has a long association with music and other performing arts, which it celebrates every summer with the Festival dei Due Mondi, which sees events taking place in churches, theatres and open squares throughout the city and attracts a high calibre of performers during June and July. Spoleto also has some fine architecture, including a beautiful 12^th-century Duomo which has frescoes by Fra Filippo Lippi, who is buried in the church.  The city also has the remains of a Roman amphiteatre and an imposing castle, parts of which go back to the fifth century.

Padua's Palazzo della Ragione

Travel tip:

The city of Padua’s biggest attraction is the beautiful Scrovegni Chapel, made famous by the wonderful frescoes painted by Giotto, but there is plenty more to the Veneto’s second largest city, including a wealth of parks and gardens and a city centre where you will find many more students and local people than tourists.  This is despite Padua boasting the two fine basilicas of Sant’Antonio and Santa Giustina, the oval piazza known as Prato della Valle, the historic centre built around the Duomo, the Palazzo della Ragione and a University established in 1222 at which Galileo Galilei was a lecturer.

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