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581:"His astounding voice was said to have 'the metallic penetration of an eight-inch shell', but at heart, he remained a simple peasant, and his peasant-like parsimony was a source of amusement. One night Melba and Jean de Reszke watched open-mouthed as he pocketed the after-dinner candies and souvenired a bunch of orchids from the table. Soon after, at a lunch, Melba saw him gather up his neighbour's uneaten cutlets and wrap them in a newspaper. He said they were for his dog, but Melba guessed they were for his own dinner." (See
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currencies, per disc; in comparison, Caruso's early 10-inch discs (made in Italy the previous year) sold for just 10 shillings or an equivalent amount of money. The amount charged for each of
Tamagno's discs represented at least a week's wages for the common man and for that outlay, he would receive a single-sided product, sometimes containing less than two minutes of music. Clearly, Tamagno's recordings were aimed at upper-crust customers, as were those made by such eminent contemporaries of his as Nellie Melba,
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326:. He was not an adroit sight-reader, justifying this limitation by insisting that he was an emotional person who preferred to deliver his music from the "heart" rather than from the "head". Critics occasionally reprimanded him for striving to maximise the excitement factor of his performances by holding on to top notes longer than necessary and by sometimes pushing them sharp. He was also chided intermittently for getting behind or ahead of the conductor's beat.
726:, to Italy to handle the recording sessions. (Such sessions could be a daunting experience for singers of Tamagno's generation, who were accustomed to performing before an audience in an opera house environment.) The company paid Tamagno a cash advance of 2,000 pounds sterling to make his first lot of recordings. He also received royalties from the company for every individually numbered, custom-labelled pressing that sold. Roland Gelatt's revised edition of
553:(1873–1921). He admired Caruso's ability, predicting as far back as 1898 that Caruso would go on to become the number-one Italian tenor of the 20th century. As M. J. Phillips-Matz observes in her 2002 Puccini biography, Tamagno and Caruso actually appeared on the same stage in February 1901, during a concert at La Scala. The concert had been organised by Toscanini as a commemorative tribute to the recently deceased Verdi. (In it, Tamagno sang an extract from
64:, and critics likened the sound of his voice to that of a trumpet or even a cannon. Tamagno's vocal range extended up to high C-sharp during his prime, but he was no mere ”belter” of high notes; his recordings provide evidence of his ability, even at career's end, to sing softly when required, modulating the dynamic levels of his voice with skill and sensitivity.
601:, that he had owned since 1885 and had remodelled extensively. Tamagno's medical condition failed to improve, however, and he suffered a heart attack while at the villa. He was confined to his bed, experienced a relapse and died on 31 August 1905, aged 54. His body lies interred in an elaborate stone mausoleum at Turin's General Cemetery.
534:(1850–1925) was widely considered to be the finest of his tenorial coevals. An elegant lyric-dramatic tenor of the French school, de Reszke's repertoire overlapped Tamagno's to some extent, and although he could never outsing his Italian rival, he had a rounder voice and a suaver stage presence. He was also the foremost male exponent of
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391:, he eventually took part in every La Scala season until the end of 1887 and appeared there again in 1901 as a guest artist. He did not completely turn his back on Turin, however, and he found time to sing periodically in his hometown; indeed, his last known public engagement occurred in Turin in 1905.
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When he stepped before the recording horn, Tamagno was in poor health and semi-retirement after a long and demanding career. Consequently, his voice, although still astonishingly powerful and kept under firm technical control, was no longer at its peak, though the recording technology of the time was
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Tamagno pursued a busy and highly acclaimed career that lasted for more than three decades. During that time, he sang at almost every important theatre in Europe, South
America and the United States. While he was not a sophisticated actor or a flawless musician, his huge voice and volcanic renditions
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Tamagno's intensely bright, steel-tipped voice with its stentorian timbre, open production, vigorous (but never disruptive) vibrato and incisive declamation is preserved on two batches of technologically primitive recordings of operatic items. They were made during
February 1903 at Tamagno's holiday
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La Scala was Italy's principal opera theatre, and
Tamagno became a core member of its company of singers. His voice continued to mature at La Scala, reaching its full potential after a few years of spirited use in a variety of operas. He enjoyed the added advantage of working closely with Verdi, and
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Gelatt states that
Tamagno approved 19 recordings from his Ospedaletti session for release to the public. They went on sale in April 1903 and were heavily advertised in the press, with Tamagno billed as the world's greatest tenor. Buyers were charged one pound sterling, or its equivalent in other
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Tamagno toured sedulously during the final dozen years of the 19th century, accepting lucrative invitations to perform Otello and other strenuous operatic roles in countries as diverse as
England, France, Portugal, Spain (again), Germany, Austria, Russia, Uruguay, Brazil, Mexico and Argentina. He
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obituary of 1 September 1905, such was the extraordinary facility of the tenor's upper register, he made the hurling forth of his high A, B and C sound as easy as everyday speech. Like all singers, however, he had his vocal shortcomings and bad habits. The vibrant, power-packed tone of his voice,
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duet is anonymous, but
Aspinall believes it might be Tamagno's younger brother, Giovanni, who had a minor singing career. Aspinall concludes his essay thus: "Tamagno is one of the most charismatic and communicative singers ever to record his voice for the wonderment of future generations ... The
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All but one of
Tamagno's recordings (published or not) have been found. The Historic Masters boxed set is accompanied by a biographical essay written by Michael Aspinall, who also discusses Tamagno's discography and appraises his vocal technique. The set contains, among other things, a recently
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Tamagno's beloved daughter
Margherita, who had been born out of wedlock, and for whom he cared from her birth, writing to her throughout his career and her childhood incredibly moving letters, inherited his considerable estate, according to biographer Ugo Piavano. Piavano's definitive biography,
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in 1879. Earlier, in 1875–1876, he had sung in Spain. His international career did not take off explosively until 1888, with the role of Otello—which Verdi had written with
Tamagno's voice in mind—serving as his global calling card. Music-performance historian John Potter noted regarding
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Tamagno had a bullish physique but a chronic cardiac ailment caused his health to deteriorate during the early 1900s. Although this ailment forced him to quit the operatic stage, he continued to give recitals and appear in concerts, the final one of which was held in
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anthology of Tamagno's published and unpublished recordings (catalogue number 1186/87), while an extensive selection of them was issued on the Pearl/Opal label (CD 9846) in 1990. Those wanting to hear Tamagno in a broader context may wish to consult EMI's three-CD
342:(Torino) in 1850, Tamagno was the son of a wine seller who ran a modest trattoria. His vocal promise manifested itself early, and although encouraged by his parents to learn a trade, he was still able to take singing lessons with the conductor and composer
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of Tamagno. The requirements of the role, an imposing physical presence capable of combining lyrical sweetness with stentorian declamation that ranges from a rich baritonal middle to a ringing upper register, have made it problematic to cast ever since."
47:'s opera. He is also the earliest Italian tenor of note to have left a sizeable body of recordings of his voice. He was one of the first international male public figures to admit that he was the single parent and caregiver of a daughter from her birth.
353:(Royal Theatre), of which institution Pedrotti was the director. He then made the most of an opportunity to execute a major operatic role, bursting into prominence on 20 January 1874 with a sensational performance as Riccardo in Giuseppe Verdi's
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while thrilling, could never be described as "honeyed" or "seductive" and this reduced the effectiveness of his contribution to the more intimate passages of love duets, such as the one for the protagonist and Desdemona that crowns Act One of
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of the most forceful tenor roles in the Italian and French repertoires had a tremendous impact on audiences, enabling him to build a worldwide reputation, and to charge promoters on both sides of the Atlantic top-tier fees for his services.
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The most famous heroic tenor of his age, Tamagno performed in 26 countries, gaining renown for the power of his singing, especially in the upper register. Tamagno was among the rare species of singers known as a
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recordings are "invaluable historically" with the Esultate in particular displaying "amazing force" and all of them exhibiting an "intensity of utterance" that is "unique". Indeed, Henry Pleasants, author of
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with Giordano in 1898 and earned accolades for his magisterial delivery of the tenor lead's four showpiece solos at ensuing productions of the work. He was on friendly terms, too, with Giordano's rival
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Potter pays tribute to Tamagno's vocal attributes in his book about the history of tenor singing, averring that his "recorded legacy" is "a priceless connection with Verdi" while Steane, writing in
578:'s most recent biographer, Ann Blainey, recounts how Melba reacted to Tamagno's penny-pinching when she twice encountered demonstrations of it during the 1894-1895 New York Met season:
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Of more specialist interest (but bringing us closer to Tamagno in recording quality) has been a 2007 release of all of Tamagno's extant 12-inch records on high-quality
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has acquired many of Tamagno's costumes and other items relating to his operatic career, while his butterfly collection can be viewed in Varese at the Villa Mirabello.
407:(Yale University Press, p. 61): "The title role was one of the most taxing tenor parts ever written and was created specifically for the unique talents and vocal
841:(CHS 7 64860 2). This edition contains four Tamagno tracks in expertly re-mastered transfers plus recordings made by a number of his colleagues, including baritone
730:(Collier Books, New York, 1977, p. 119) asserts that Tamagno's recording contract, signed in December 1902, was the first to embody "the royalty principle".
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In 1873, Tamagno completed his musical studies, and having got a stint of compulsory military service out of the way, he undertook a few small parts at Turin's
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A single father who never married, Tamagno possessed an affable personality in addition to a shrewd business brain and a careful attitude to money. Soprano
816:(pp. 19–23), praises Tamagno's discs as "artistic and devoted performances by a singer of exceptional gifts" with a "great voice". Scott declares in
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Argentina was an overseas bastion of Italian opera throughout this period, and Tamagno undertook the first of several well-remunerated visits to
609:, was published in Milan in 2005 by Rugginenti Editore to mark the 100th anniversary of the singer's death. Both Volume One of Michael Scott's
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privilege of listening to the complete recordings of Tamagno helps us to realise his immense stature among the great names of music drama."
593:, Belgium, in 1904. He sang briefly in public for the last time in March the following year and withdrew to the tranquillity of a villa in
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states that Tamagno gave his last performance as Otello in Rome in 1903, when he starred in a gala production mounted for
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under the supervision of the composer, but even Tamagno's involvement in the enterprise was not enough to reinvigorate
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discs (pressed from the original metal "masters"/parts found in a German archive) by the United Kingdom firm
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that was previously known only from a private test pressing once belonging to Tamagno. The baritone on the
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722:(the 78 rpm standard was not established until the 1920s). It dispatched one of its best engineers,
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To give just five specific examples of Tamagno's foreign engagements in the wake of the 1887 premiere of
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almost certainly not equal to the task of capturing the full breadth of Tamagno's ability at the time.
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The small group of composers featured on Tamagno's combined recorded output of 1903 and 1904 comprises
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says that he sang in the United States for the first time in 1890. The prominent American impresario
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discs 10 or 12 inches in diameter and play correctly at speeds in the range of 73 to 77
623:(Duckworth, London, 1974) contain evaluations of Tamagno's voice and artistry. Furthermore, the
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in operatic history. Veteran opera-goers regarded Tamagno as being the legitimate successor to
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affliction that killed him in middle age. With one notable exception, Tamagno largely eschewed
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partnered Tamagno during his heyday, and he appeared opposite some of the most illustrious
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who sang with enormous success throughout Europe and America. On 5 February 1887, he sang
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his vocalism acquired a discipline and polish that hitherto it had lacked. According to
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Tamagno sang in approximately 55 different operas and sacred works (including Verdi's
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of the music written for Wagner's tenor heroes lay too low to suit his vocal range.
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Francesco Tamagno, the original Otello, sings "Niun mi tema" (Morte d'Otello) from
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in 1873 and continued for another 32 years, only to be curtailed by the onset of a
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Historic Masters, Notes to Issue 32- Tamagno 10″ Records, accessed 20 May 2010
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at Turin's Liceo Musicale music school and gain experience as a chorister.
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He was lauded for his performances of such established parts as Manrico in
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and it remains rarely heard. (Tamagno also ventured a few performances of
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when it was staged at La Scala in 1884, singing the eponymous role of the
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includes his 1903 recording of the death of Otello, accessed 20 May 2010
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of Spain. Five other operas in which Tamagno created leading roles were
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673:. This 1903 recording dates from just two years before Tamagno's death.
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International Jose Guillermo Carrillo Foundation, accessed 20 May 2010
761:, de Lara, Giordano, Rossini and, naturally enough, Verdi. Apart from
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which raised his profile further and enabled him to make his debut at
979:"Gramophone matrix 3004b. Ora e per sempre addio / Francesco Tamagno"
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History of the Tenor / Francesco Tamagno / Sound Clips and Narration
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Tamagno lived long enough to witness the rise to fame of the young
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and appeared at key musical venues in the North American cities of
363:. Tamagno embarked on a series of follow-up singing engagements in
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Otello Fu: La Vera Vita di Francesco Tamagno, il "tenore-cannone"
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Best known as the creator of the protagonist's part in Verdi's
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585:, Black Inc. Books, Melbourne, Australia, 2008, p. 149.)
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Historic Masters Tamagno discography, accessed 20 May 2010
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Born into a large family in the northern Italian city of
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968:(www.historicmasters.org). Accessed 25 September 2016.
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Tamagno as Otello, at the premiere at La Scala in 1887
32:(28 December 1850 – 31 August 1905) was an Italian
942:Forbes, Elizabeth (1992), 'Tamagno, Francesco' in
621:The Grand Tradition: 70 Years of Singing on Record
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460:managed him during that trans-Atlantic visit.
983:Discography of American Historical Recordings
695:and during April 1904 at a 'studio' in Rome.
452:and San Francisco. Tamagno's obituary in the
864:discovered recording of the Oath Duet from
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839:La Scala Edition, Volume One, 1878-1914
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966:Notes to Issue 32- Tamagno 10″ Records
389:The Concise Oxford Dictionary of Opera
269:tradition. That notable exception was
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896:Warrack, John and West, Ewan (1992),
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845:, the creator of the role of Iago in
832:Symposium Records has released a two-
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700:Gramophone & Typewriter Company
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820:(pp. 131–133) that Tamagno's
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681:Problems playing this file? See
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557:and Caruso led the quartet from
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81:in 1887, he also was the first
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921:The Oxford Dictionary of Music
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898:The Oxford Dictionary of Opera
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946:New Grove Dictionary of Opera
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312:, in New York City in 1894.)
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405:Tenor: History of a Voice
315:To paraphrase Tamagno's
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220:and John the Baptist in
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728:The Fabulous Phonograph
359:at the Teatro Bellini,
334:Life and singing career
1069:17 August 2019 at the
1054:17 August 2019 at the
1042:17 August 2019 at the
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818:The Record of Singing
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612:The Record of Singing
563:.) Opera commentator
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309:Cavalleria rusticana
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51:Musical significance
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691:retreat in
481:Paris Opera
187:L'Africaine
184:, Vasco in
178:, Raoul in
175:Le prophète
129:(1893) and
117:(1880) and
109:(in 1879),
107:Maria Tudor
1085:Categories
988:12 January
881:References
783:Il profeta
683:media help
631:Recordings
583:I Am Melba
234:mezza-voce
214:, Alim in
94:Don Carlos
1021:Biography
870:Messaline
799:Messaline
795:HĂ©rodiade
560:Rigoletto
544:tessitura
520:baritones
442:Baltimore
377:Barcelona
267:bel canto
236:singing.
223:HĂ©rodiade
136:Messaline
1067:Archived
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599:Lombardy
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139:(1899).
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438:Boston
401:Otello
373:Venice
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296:Madrid
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1023:from
854:vinyl
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