"Quel ragazzo my fa paura." (Titta Ruffo)
life and career:
Born in 1884 in Malamocco (Venice) went through several master classes before arriving at the Academy of Santa Cecilia. Galeffi however claimed to have been an autodidact, "Of course I studied a lot. But no one really taught me. Most of my musical background dates back to the primary school. At twenty I began my vocal studies. My method was simple: I started as an extra in a theater. An extra! Level had no choir. But listen carefully to the singers. Trying to imitate his way to deliver the sound. I copied their ways of breathing and when I thought I had learned enough about those who considered the requirements of the song, I started learning roles. There was a problem that could not play the piano to accompany me. I worked in a bar pianist Roman - a hard place indeed. When I had mastered several characters I found the courage to audition. Since then I've never looked back. "He came singing debut "The Favorite" in Fermo in 1907. It happened "Thaïs", "Un ballo in maschera" and "Aida." In 1909 he first sang Rigoletto at the San Carlo. No whites frequented scenarios, which hurt his recording career, but became the principal baritone at La Scala since the period of Arturo Toscanini. Between 1912 (Posa) and 1940 (Scarpia) sang thirty-two hundred papers and more functions in the temple of Milan. No other singer of the first rank has reached such figures. His favorite author was, of course Verdi, who also played roles rare then as Simon and Miller, but did not end there. With more than sixty characters, their repertoire Belcanto excluded only (except Figaro) and came to Wagner (Amfortas and Telramund) and even Boris Godunov. Premiered several verismo opera ("Parisian", "L'Amore dei Tre Re" and "Isabeau") and enjoyed the admiration of Puccini. Her career wilted in the forties, but kept its main operations to an advanced age. Eccentric, shy and introverted, retiring in 1955 disappeared from public life. He taught at the Ankara Conservatory in 1959. It was one of more than many singers of the era who spent their last days forgotten and in poverty.
The voice, the singer:
Although he considered the successor of Titta Ruffo, Carlo Galeffi completely escaped the current created by his predecessor and was influenced by the then dominated the development of another rope, tenor. A Galeffi in fact called the "Caruso of baritones." His timbre, of a "morbidezza" and a unique warmth, shared with the tenor of the suggestive tone sentimental Neapolitan, the famous and imitadísima "tear." An instrument of all, not only the light color, but the warmth and sweetness, spoke of a character tenor. It was also a voice that differed from the old school (Stracciari, Ancona) for his uncanny naturalness. Surely this was one of those voices and innately masked. These qualities were projected essentially lyrical yet heroic scale "and through a pantograph (Eugenio Gara). In the beginning, the volume and squillo voice did write to Lauri-Volpi: "It was impossible to hear a more rounded and expansive voice, stretched across the room as if it were composed of infinite vibrations as a fan invaded the atmosphere to fully occupy it. " Handsome and athletic physique was also the spitting image of the nineteenth century chivalric baritone. In its first twenty years of his media career lavished Galeffi idly: the third decade had to be dosed but critics agreed more smooth vocal praise. In their records shows the extent epic "cavata" ease in all registers (including the serious solid) and biting and vigorous diction that distinguish the Verdi baritone. Technically, there seemed to be the passage in its issuance and the perfect air support allowed a immaculate legato singing in a low voice without fear of high tessitura. May not possess the dynamic range of more subtle Stracciari and Amato, but the softness of the ring was equally evocative and effective. Staff vibrato, which was enhanced and did not like in the MET. Despite all the nuances that capture the old stopped recording media, remains one of the most captivating baritone voice of history. One of those chosen in which the tension between ideal and reality does not exist. As a performer Galeffi
was true to his vocal characteristics and its greatest strength lay in the rope and elegiac pathos. According to the critic Eugenio Gara, was almost completely alien to the "evil" baritone typical of the time and always raised the sympathy of the listener even in the most terrible or playing villains or Tonio Rance. Nothing, then, sullen tones and expression grim and gruesome of the followers of Ruffo. If you fall somewhere in common was the use of a somewhat plaintive tone, a deliberate accentuation of the "tear", which ruled in the thirties while the dynamic range is restricted slightly. The parallel with Caruso is evident. Despite his penchant for lyrical expression to Galeffi did not lack means or force to tragic characters. Halfway between the classical solemnity and the new realism expressive violence, imposed the nerve incisive phrasing and articulation. In the theater the transcendent squillo completed more explosive situations, which in the case of Rigoletto ("Yes, tremendous vendetta") left an indelible mark on the audience of La Scala.
Among the solo recordings include Nabucco, where the pathos of stress, the smoothness of the issue and the extent of legato just unparalleled. The Galeffi Nabucco has nothing to do with violence leonina Ruffo ("Tremin gli'insani") or the majestic priest Stracciari. In "Chi il regional Toglia scettro my" tone is that of a homeless man who turns to his daughter with tenderness. The great aria "Dio di Giuda" is a landmark achievement by the sweetness of mezzavoce (almost the entire piece) and a pathetic expression that will search in vain later interpreters. Two of the most beautiful records, exciting and authentic history of the disc. The same ability to communicate a state of spiritual shock is heard in the pages of Rigoletto, but this time colored by a wildly theatrical sarcasm "Pari siamo". Despite being great, his "tirade" is craving a little lower than the historical or Stracciari Danise (apart from the small problem at the beginning of cantabile). Although such action is somewhat conventional, surprised by the dark tones in the "Credo", remote first page of its coordinates as a singer. However, incisive diction and sobriety of tone are effective. In the distance was attenuated Galeffi interpreter allyl (Stracciari, Ancona, Battistini) of S. XIX: the Renato ("Eri tu") preserves the nobility but is expressed with touching sincerity of a man of flesh and bone. The highest smoothness of the voice ("O dolcezza Perdute") completes the miracle. Figaro was one of his most famous roles: in this recording of "Largo al factotum" the issue seems free from the servitude of the subject.
Previous records date from 1914: there are four disks Edison previous very rare. Of vocal longevity Galeffi after more than twenty year career testify electric logs, which included most notably "O Sommo Carlo." It includes two separate solos intact records of "Pagliacci" and "Andrea Chenier"
Giuseppe Verdi - Great Opera Singers / Baritone Arias / 1926 - 1930 Open Bar
Although he considered the successor of Titta Ruffo, Carlo Galeffi completely escaped the current created by his predecessor and was influenced by the then dominated the development of another rope, tenor. A Galeffi in fact called the "Caruso of baritones." His timbre, of a "morbidezza" and a unique warmth, shared with the tenor of the suggestive tone sentimental Neapolitan, the famous and imitadísima "tear." An instrument of all, not only the light color, but the warmth and sweetness, spoke of a character tenor. It was also a voice that differed from the old school (Stracciari, Ancona) for his uncanny naturalness. Surely this was one of those voices and innately masked. These qualities were projected essentially lyrical yet heroic scale "and through a pantograph (Eugenio Gara). In the beginning, the volume and squillo voice did write to Lauri-Volpi: "It was impossible to hear a more rounded and expansive voice, stretched across the room as if it were composed of infinite vibrations as a fan invaded the atmosphere to fully occupy it. " Handsome and athletic physique was also the spitting image of the nineteenth century chivalric baritone. In its first twenty years of his media career lavished Galeffi idly: the third decade had to be dosed but critics agreed more smooth vocal praise. In their records shows the extent epic "cavata" ease in all registers (including the serious solid) and biting and vigorous diction that distinguish the Verdi baritone. Technically, there seemed to be the passage in its issuance and the perfect air support allowed a immaculate legato singing in a low voice without fear of high tessitura. May not possess the dynamic range of more subtle Stracciari and Amato, but the softness of the ring was equally evocative and effective. Staff vibrato, which was enhanced and did not like in the MET. Despite all the nuances that capture the old stopped recording media, remains one of the most captivating baritone voice of history. One of those chosen in which the tension between ideal and reality does not exist. As a performer Galeffi
was true to his vocal characteristics and its greatest strength lay in the rope and elegiac pathos. According to the critic Eugenio Gara, was almost completely alien to the "evil" baritone typical of the time and always raised the sympathy of the listener even in the most terrible or playing villains or Tonio Rance. Nothing, then, sullen tones and expression grim and gruesome of the followers of Ruffo. If you fall somewhere in common was the use of a somewhat plaintive tone, a deliberate accentuation of the "tear", which ruled in the thirties while the dynamic range is restricted slightly. The parallel with Caruso is evident. Despite his penchant for lyrical expression to Galeffi did not lack means or force to tragic characters. Halfway between the classical solemnity and the new realism expressive violence, imposed the nerve incisive phrasing and articulation. In the theater the transcendent squillo completed more explosive situations, which in the case of Rigoletto ("Yes, tremendous vendetta") left an indelible mark on the audience of La Scala.
Among the solo recordings include Nabucco, where the pathos of stress, the smoothness of the issue and the extent of legato just unparalleled. The Galeffi Nabucco has nothing to do with violence leonina Ruffo ("Tremin gli'insani") or the majestic priest Stracciari. In "Chi il regional Toglia scettro my" tone is that of a homeless man who turns to his daughter with tenderness. The great aria "Dio di Giuda" is a landmark achievement by the sweetness of mezzavoce (almost the entire piece) and a pathetic expression that will search in vain later interpreters. Two of the most beautiful records, exciting and authentic history of the disc. The same ability to communicate a state of spiritual shock is heard in the pages of Rigoletto, but this time colored by a wildly theatrical sarcasm "Pari siamo". Despite being great, his "tirade" is craving a little lower than the historical or Stracciari Danise (apart from the small problem at the beginning of cantabile). Although such action is somewhat conventional, surprised by the dark tones in the "Credo", remote first page of its coordinates as a singer. However, incisive diction and sobriety of tone are effective. In the distance was attenuated Galeffi interpreter allyl (Stracciari, Ancona, Battistini) of S. XIX: the Renato ("Eri tu") preserves the nobility but is expressed with touching sincerity of a man of flesh and bone. The highest smoothness of the voice ("O dolcezza Perdute") completes the miracle. Figaro was one of his most famous roles: in this recording of "Largo al factotum" the issue seems free from the servitude of the subject.
Previous records date from 1914: there are four disks Edison previous very rare. Of vocal longevity Galeffi after more than twenty year career testify electric logs, which included most notably "O Sommo Carlo." It includes two separate solos intact records of "Pagliacci" and "Andrea Chenier"
Giuseppe Verdi - Great Opera Singers / Baritone Arias / 1926 - 1930 Open Bar
opinions, m? Music and what I can think of, that this is my blog. 
0 comments:
Post a Comment