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Francesco Merli

Francesco Merli held a significant placement among the Italian tenors from the interwar period. Gifted with a complete, brilliant device between spinto and dramatic in pounds, Merli sang the grand jobs, impressing both viewers and his co-workers. Many of his leading women possess recalled his revitalizing performances with enjoyment, citing his generosity of soul and the exciting aftereffect of his best notes. He previously the stamina to sing into his early sixties, still a brazen existence around the stage. His Metropolitan Opera looks were unfortunate, illness having reduced his ability and closing the entranceway to help expand engagements there. His well worth, nevertheless, was incontrovertible, backed by the data of a number of important recordings that captured his tone of voice and artwork with considerable clearness. After research in his indigenous town with Negrini and Borghi, Merli performed in supplementary functions in 1916 in the Teatro Colón in Buenos Aires before time for Milan to sing Alvaro in Spontini’s historic opera Fernand Cortez. Within 2 yrs, he previously graduated to leading functions, becoming designated Elisero in Rossini’s Mose in Egitto in 1918 and carrying out Fausto in the premiere of Favara’s Urania at La Scala. Merli continued to be an associate of the business until 1942, steadily ascending to distributed primacy with Aureliano Pertile in the spinto and dramatic repertories. London noticed Merli between 1926 and 1930. There, inside a Might 25, 1926, overall performance of Boito’s Mefistofele (with Chaliapin), Merli’s Faust was experienced too vibrant, as well spent with tremolo to provide comfort to English ears. In Wolf-Ferrari’s I giojelli della Madonna (Jewels from the Madonna), Merli was mainly eclipsed by soprano Maria Jeritza’s vibrant overall performance as Maliella. Apart from becoming offered as London’s 1st Calaf in 1927, Merli sang such additional functions for London as Dmitri (Boris), De Grieux (Manon Lescaut), Radames, and Avito in Montemezzi’s L’amore dei tre re. Carping from the English press should be filtered through the prevailing choice for German performers whose usage of vibrato was generally even more sparing. Merli’s Metropolitan Opera profession was briefer as well as less successful. The tenor, who produced his debut as Radames on March 2, 1932, was affected by disease and, both there so that as Edgardo (Lucia), Pinkerton, and Gabriele (Simon Boccanegra), didn’t make an optimistic more than enough impression to earn re-engagement. In the meantime, Merli happened in high esteem in his indigenous Italy, where his character, regard for phrases, and blazing best notes were very much to the flavor of viewers. Fellow artists, as well, had high respect for the tenor. Renata Tebaldi, as interviewed by Lanfranco Rasponi for his publication THE FINAL Prima Donnas, recalled Merli’s Otello (at age group 59) as “sensitive, anguished, tormented, and having a stupendous diction.” The proficient soprano Germana di Giulio, quoted in the same quantity, observed, “Merli, at 56, his age group when he sang Radames beside me at La Scala, was still a magic of audio technique.” Stella Roman hailed Merli as the best Otello she ever made an appearance with and her co-workers got included Pertile, Martinelli, and Vinay. Those that choose a sanitized method of the Italian dramatic tenor repertory could find Merli exceedingly intense, but those that value visceral efficiency cannot but end up being thrilled. Among Merli’s finest jobs on disk are Manrico (in Naxos’ outstanding remastering of his La Scala documenting), a glowing Calaf with Gina Cigna and a tragic, tortured Canio.

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