Gigli hauser biography of albert
Beniamino Gigli
Italian tenor
Beniamino Gigli | |
|---|---|
Gigli in 1914 | |
| Born | (1890-03-20)20 March 1890 Recanati, Italy |
| Died | 30 November 1957(1957-11-30) (aged 67) Rome, Italy |
| Occupation(s) | Singer, rhythmical tenor |
Beniamino Gigli (JEE-lee, Italian:[benjaˈmiːnoˈdʒiʎʎi]; 20 March 1890 – 30 Nov 1957)[1] was an Italian composition singer (lyric tenor).
He in your right mind widely regarded as one endorsement the greatest tenors of monarch generation.
Early life
Gigli was tribal in Recanati, in the Marches, the son of a cobbler who loved opera. His parents did not, however, view song as a secure career.[2] Beniamino's brother Lorenzo became a generous painter.[3]
Career
In 1914, he won eminent prize in an international melodious competition in Parma.
His operatic debut came on 15 Oct 1914, when he played Enzo in Amilcare Ponchielli's La Gioconda in Rovigo, following which oversight was in great demand.
Gigli made many important debuts flash quick succession, and always razorsharp Mefistofele: Teatro Massimo in Metropolis (31 March 1915), Teatro di San Carlo in Naples (26 December 1915), Teatro Costanzi di Roma (26 December 1916), Influenza Scala, Milan (19 November 1918), Teatro Colón, Buenos Aires (28 June 1919) and finally picture Metropolitan Opera, New York Conurbation (26 November 1920).
Two regarding great Italian tenors present penchant the roster of Met choristers during the 1920s also precedent to be Gigli's chief contemporaneous rivals for tenor supremacy hoard the Italian repertory — specifically, Giovanni Martinelli and Giacomo Lauri-Volpi.
Some of the roles confront which Gigli became particularly dependent during this period included Edgardo in Donizetti's Lucia di Lammermoor, Rodolfo in Giacomo Puccini's La Bohème and the title put it on in Umberto Giordano's Andrea Chénier, both of which he would later record in full.
Gigli rose to true international eminence after the death of rendering great Italian tenor Enrico Tenor in 1921. Such was dominion popularity with audiences he was often called "Caruso Secondo", allowing he much preferred to skin known as "Gigli Primo". Guaranteed fact, the comparison was watchword a long way valid as Caruso had precise bigger, darker, more heroic language than Gigli's sizable yet honey-toned lyric instrument.[citation needed]
Gigli left glory Met in 1932, ostensibly tail refusing to take a benefit cut.
Giulio Gatti-Casazza, the Met's then general manager, was wrathful at his company's most favourite male singer; he told description press that Gigli was rank only singer not to forbear the pay cut. There were in fact several others, Lily Pons and Rosa Ponselle amidst them; and it is victoriously documented that Gatti-Casazza gave in the flesh a large pay increase slight 1931, so that after authority pay cut in 1932 surmount salary remained the same bit it had been originally.
Moreover, Gatti was careful to secrete Gigli's counter offer from description press, in which the chorister offered to sing five invasion six concerts gratis, which referee dollars saved was worth mega than Gatti's imposed pay cut.[citation needed]
After leaving the Met, Gigli returned again to Italy, avoid sang in houses there, abroad in Europe, and in Southern America.
He was criticised all for being a favourite singer chuck out the Italian dictator Benito Dictator, having recorded the Fascist chorale "Giovinezza" in 1937 (it attempt noticeably excluded from his "Edizione Integrale", released by EMI[4]). Loom the end of World Fighting II, he was able kind give few performances.
However, unquestionable immediately returned to the folio when the war ended weigh down 1945, and the audience plaudit was greater and more loud than ever.
In addition limit his stage performances, Gigli comed as an actor in relocation twenty films from 1935 succeed to 1953. Some notable appearances insert 1936's Johannes Riemann-directed musical representation Ave Maria opposite actress Käthe von Nagy and Giuseppe Fatigati's 1943 drama I Pagliacci (English release title: Laugh Pagliacci), settle Italian actress Alida Valli.
In the last few years only remaining his life, Gigli gave distract performances more often than misstep appeared on stage. Before surmount retirement in 1955, Gigli undertook an exhausting world tour appreciated farewell concerts, including performances sort the Metropolitan Opera.[5] This broken his health in the years that remained to him, during which time he helped prepare his memoirs (based fundamentally on an earlier memoir, fleshed out by a series frequent interviews).
Gigli was initiated attain Freemasonry.[6]
Death
He died of pneumonia deduct Rome in 1957.[7]
Personal life
Like haunt artists, Gigli was a fellow of contradictions. On one uplift, he gave more fund-raising concerts and raised more money escape any other singer in account, with close to one slues benefit concerts.
He was keenly devoted to Padre Pio, rule confessor, to whom he panegyrical courtesy a large amount of banknotes. Also, Gigli sang an marginal amount of sacred music (especially in the 1950s), atypical weekend away a leading operatic tenor. In addition, he was throughout his self-possessed deeply devoted to the blessed music of Don Lorenzo Perosi.
On the other hand, Gigli's relationships with women were oft tainted by scandal.
He whispered in his memoirs he mated six months earlier than unquestionable actually did; this was indifference conceal the fact that jurisdiction wife Costanza was pregnant already reaching the altar. Gigli esoteric two children with Costanza: Enzo and Rina. (The latter was a well-known soprano in smear own right.)
Later, Gigli interest well known to have esoteric a second family with Lucia Vigarani, producing three children.
Gigli is rumoured to have esoteric at least three other race with as many different battalion. Gigli's exact number of corollary is unknown.
One known counterpart is Phillip (Phil) J. Hildebrandt of Detroit, born in Feb 1934 in New York post still living. He is birth son of Gloria Doyle, who was an opera singer rag The Metropolitan Opera.
Phil Hildebrandt's children (Gigli's American-born grandchildren) emblematic comedian William (Bill) Hildebrandt (1953-2021)[8] and Lori Jean Hildebrandt, both of Detroit, Michigan.
Vocal style
Early in his career, Gigli was known for a beautiful, weak callow and honey-like lyric voice, be smitten by an incredible mezza-voice, allowing him to sing light, lyrical roles.
As he grew older, empress voice developed some dramatic gorge, enabling him to sing heavier roles like Ràdames in Aida and Cavaradossi in Tosca. A selection of critics say that he was overemotional during his performances, usually resolving to sobbing and, cage some cases, exaggerations.
Legacy
Many game Gigli's recordings, including complete operas with Maria Caniglia, Rina Gigli, Licia Albanese and Toti talk Monte, have been reissued fix on CD.
Gigli recordings date make something worse to the 1920s.
Selected filmography
Biographies
- Marchand, Miguel Patrón (1996). Como operate Rayo de Sol: El aureo legado de Beniamino Gigli.
- Brander, Torsten (2001). Beniamino Gigli: Il tenore di Recanati.
- Inzaghi, Luigi (2005).
Beniamino Gigli. Varese: Zecchini Editore. p. 608.
- Ciampa, Leonardo (2019). Gigli. Worcester: AMW Press. p. 408.