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Giacomo Lauri-Volpi

The intense, sometimes febrile art of Giacomo Lauri-Volpi seemed, during his early prime, an all natural extension of his voice — powerful, edgy, and possessed of an instant, nervous-sounding vibrato. Referred to as “a laws unto himself” by soprano Maria Carbone, Lauri-Volpi ultimately settled right into a relatively more assessed (even though scarcely much less competitive) artistry and could be considered perhaps one of the most essential Italian tenors of his age group. He continuing to sing well into his sixties, although by that point, simple loudness was the principal attraction. A smart guy behind the temperamental façade, he composed perceptively of his very own singing which of other modern artists. Following research at Rome’s Accademia di Santa Cecilia with Enrico Rosati and Antonio Cotogni, Lauri-Volpi produced his stage debut in Viterbo in the function of Arturo in Bellini’s I Puritani. He sang that 1919 creation beneath the name of Giacomo Rubini. The next year, he presented himself to Rome, performing the function of Des Grieux in Massenet’s Manon (contrary the well-known Rosina Storchio) as Giacomo Lauri-Volpi. His La Scala debut emerged in 1922 as the Duke and he continued to be an important vocalist there through the entire 1920s and 1930s. Lauri-Volpi initial appeared on the Metropolitan Opera on January 26, 1923, as the Duke, starting a decade-long romantic relationship with that home singing, among various other roles, the initial American functionality of Rodolfo in Verdi’s Luisa Miller. He sang in the November 16, 1926, American premiere of Turandot, Calaf being truly a ideal match for his company legato and outstanding top records. The tenor’s debut acquired brought an optimistic verdict from experienced critic W.J. Henderson who considered his tone of voice of “exceptional quality,” but doubtful health held even more comprehensive evaluation away. Subsequent periods brought a larger understanding of his presents, although he by no means won the amount of acclaim that greeted him in his indigenous country. By the end from the 1932-1933 time of year, he had not been re-engaged. The tenor’s debut at Covent Backyard in 1925 as Andrea Chénier discovered the tenor’s “best records and Italian vulgarities” satisfying those in the gallery however, not many others. Obvious fee problems held Lauri-Volpi from London until 1936, when he came back as the Duke in Rigoletto and refused, probably due to a tepid reception, to consider even a one curtain contact. As Radames and Cavaradossi, the tenor acquired better fortune, getting well-received in both assignments and, in the last mentioned, showing his capability to out-sing a too-loud orchestra. His high costs, nevertheless, precluded a re-engagement. Periods at Paris with the Teatro Colón in Buenos Aires brought generally reviews that are positive. Among honors in Italy had been his assignment from the name function in Boito’s Nerone to open up the Teatro dell’Opera in Rome in 1928 and his engagement for the function of Arnold in La Scala’s centenary mounting of Guillaume Inform. In the mid-1930s on, Lauri-Volpi’s shows took place mainly in Italy and Spain. Although he retired at 67, he sometimes appeared at open public events to sing an aria or two, especially at Barcelona when, at age group 80, he sang “Nessun dorma” from Turandot. Lauri-Volpi composed five amounts of memoirs and performing treatises, his two last magazines, Voce parallele ( 1955) and Misteri della voce umana (1957), becoming the best-known & most important. He was kept in mind by the general public and colleagues as well as an unequal, but frequently electrifying singer.

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