476:
147:
752:'Italo Gardoni possessed what might be called only a moderate voice, but so well, so easily and naturally produced, that it was heard almost to the same advantage in a theatre as in a room. This was especially noticeable when he sang the part of Florestan, in Fidelio, at Covent Garden, after an absence of some duration from the stage. The unaffected grace of his style rendered him as perfect a model for vocal artists as could well be found.
322:. But Gardoni was cast as Edgardo, and Reeves severed his engagements. There was a cry of 'Sims Reeves' from the gallery as Gardoni sang Edgardo's first cavatina on the opening night. The situation probably arose through Lind expressing a preference for Gardoni as her partner: obligingly he also stepped in as Carlo. Gardoni now sang
119:
in the following year. Gardoni knew and worked with Balfe, who composed items particularly for him. The limpidity and clarity of his voice, and his ravishing upper notes (no less than his youth, charm and elegance) were greatly admired in Paris: and if he was not ready for all the roles from the
22:
807:.De Cesari studied singing at Piacenza, and then at the Music Lyceum in Bologna. From 1820 he was singing teacher at the College of St Augustine at Piacenza, and, becoming a fine singer, was summoned as tenor to the Ducal Chapel in 1830 and was made stipendiary
178:
with Mme
Sanchioli: both his principal arias were encored with much enthusiasm for his vocal purity of taste and feeling. His histrionic powers were faultless, except that he lacked the force to portray bursts of passion.
420:
in 1851, Gardoni led the hand-picked soloists forming the chorus of prisoners on the first night. In Lumley's operatic concerts, also, Reeves, Gardoni and
Calzolari formed a 'three tenors' trio for Curschmann's
410:
1371:
1231:
640:
91:
in 1840, and over the following 7 years made his career in France, Italy and
Germany. In Paris in December 1844 he was Bothwell in the Paris première of
74:
607:
he was excellent... His voice was pure: he was a handsome man, and in parts which suited him an excellent actor. (He) could sing any kind of music,
253:, the first two nights being under the composer's baton, and thereafter under Balfe's. At the salon of Henry Greville he was associated with Mario,
1446:
673:
560:(1854), an Italian version was presented for the British premiere, at Covent Garden. For this, Meyerbeer added the Act 1 polonaise and the romanza
290:, then attempting to establish his own place on the Italian dramatic stage in London, agreed with Lumley to appear in the lesser role of Carlo in
718:
523:, an 'exquisite' combination of voices. In 1857 he participated in the second Lyceum season (while the new Covent Garden theatre was awaited).
430:
156:
In 1847 he went to London, where he performed regularly until 1874. Sought by rival impresarios in France and Italy, he was purchased from the
1119:
802:
330:
on 10 May 1849 (before a royal and distinguished audience), Gardoni led Jenny Lind onto the stage to receive her rapturous applause.
439:
with
Cruvelli and Lablache: but after Cruvelli's defection he, too, slipped away from Lumley's Company. In 1852 he was with Reeves,
433:
as soprani, and three bassi including
Lablache. He continued to sing for Lumley through his crisis months of early 1852, and gave a
61:. He sang legato passages with impressive smoothness but he could also dispatch florid music with flair and considerable agility.
874:
776:
168:
for 60,000 Francs, to compensate his public for the departure from their stage of Mario. Having been introduced through the
734:
15 Vocalises calculés sur la formation du style moderne et le perfectionnement de l'art du Chant, av. Pfte. (Mainz, Schott)
498:
564:
for
Gardoni in the role of Danilowitz. Gardoni also took the role of Corentin in the British premiere of Meyerbeer's
38:
singer from Italy who enjoyed a major international career during the middle decades of the 19th century. Along with
895:
509:, and afterwards they went in a group to pay Reeves a large compliment. Gardoni himself appeared in Rossini's opera
1441:
1348:
1229:
1105:
1042:
339:(as Tebaldo), and pleased his audience by disproving a false report of his death. June 1850 saw a première of
1436:
585:'s autumn operatic touring party as principal tenor. (Gardoni had been one of Mapleson's vocal instructors.)
464:
1407:
333:
After a winter season in St
Petersburg, in 1850 he reappeared with Parodi and Frezzolini in a revival of
811:
of Maria Luigia. Two years later he began teaching in Parma and at his death had become a citizen there.
516:
355:'s Ariel, Colini's Prospero and the celebrated impersonation of Caliban by Lablache, directed by Balfe.
630:
629:, Junca and Santley. In the 1866 season at Her Majesty's, he sang Pilade in a magnificent staging of
490:
115:
335:
323:
161:
404:
of Auber with Sontag, Massol and
Coletti. He was with Cruvelli again for a special performance of
975:
694:
448:
282:
266:
1123:
635:
326:
for Lind, but was thought not up to the part. But at her final performance at Her
Majesty's, in
235:
663:, Tietjens, Sinico, Gassier (the Don) and Santley (Leporello), and his Corentino was repeated.
626:
440:
203:
864:
556:
57:
His voice was not large but it was exceptionally pure toned and sweet, lacking any disruptive
1034:
622:
593:'a fine singer, and a much better actor than he generally had credit for. He was a very good
502:
1431:
1426:
582:
577:
In autumn 1864, when the mentally unstable rival tenor
Antonio Giuglini took up his doomed
400:
97:
8:
1039:
Gossip of the Century: personal and traditional memories--social, literary, artistic, etc
529:
302:
1395:
Great Singers: Vol I: Faustina Bordoni to Henrietta Sontag; Vol. II: Malibran to Titiens
340:
699:
292:
653:
and Santley (Hoel), greatly to Mapleson's satisfaction. In 1867 he was Ottavio in the
643:(Thoas) – in which the soloists 'surpassed themselves': also he renewed his Corentin (
1030:
918:
870:
796:
714:
703:
689:
660:
541:
192:
102:
92:
88:
43:
537:
and Pietro Neri-Baraldi, with Joseph Tagliafico and Charles Zelger as the Brigands.
980:
745:
668:
603:
506:
395:
348:
297:
217:
79:
51:
47:
574:), at Covent Garden, in 1859, in which Chorley praised his 'peasant poltroonery'.
475:
1235:
780:
586:
534:
520:
362:
271:
250:
165:
121:
650:
501:, with Viardot, Castellan, Reeves and Formes, Gardoni was in the audience with
352:
276:
226:
222:
208:
146:
125:
39:
157:
1420:
617:
578:
524:
435:
405:
184:
169:
134:
110:
106:
172:
in Jermyn Street, his first London stage appearance was in February 1847 in
1327:
707:
655:
511:
387:
258:
254:
245:
677:
546:
452:
444:
376:
371:
366:
308:
287:
211:), and he rapidly became a great favourite. Gardoni took a minor role in
174:
838:
611:
or florid.' Santley thought him in many ways the superior of Guiglini.
550:
for Michael Costa in 1858 and 1859. After Meyerbeer had re-drafted his
319:
314:
212:
197:
866:
Histoire de l'art dramatique en France depuis vingt-cinq ans. S rie 3
729:
In 1869 Gardoni published a set of vocal exercises under the title:
359:
280:, with Cruvelli, Velletti and Cuzzani. He sang Gennaro to Cruvelli's
188:
with Mme Castellan (the dramatic soprano who also partnered Lumley's
129:
84:
21:
645:
566:
416:
239:?) soon afterwards. On 22 July 1847 he created the tenor role in
58:
688:
In March 1864 Gardoni was a soloist in the first performance of
1408:
New York Times 14 May 1882: Notice of Gardoni's death from the
54:, he was one of the most celebrated Italian tenors of his era.
240:
70:
35:
274:
and Belletti was followed by the London premiere of Verdi's
138:. Gardoni continued to sing in Paris throughout his career.
425:, and took part in a triplicated version of Martini's trio
141:
1247:
Elizabeth Forbes, Gardoni biography (see external link).
1006:
Student and Singer. The Reminiscences of Charles Santley
1273:(Belford, Clarke & Co, Chicago 1888), Vol. I, p. 2.
34:(12 March 1821 – 26 March 1882) was a leading operatic
672:
in 1872 he was Rambaldo to Christine Nilsson's Alice,
639:, opposite Tietjens (Iphigenia), Santley (Oreste) and
601:, though the music of the latter did not suit him. In
225:, Fraschini, Castellan and others, in the presence of
318:, which were billed for the (sensational) return of
109:, and was with her again there for the premiere of
264:In the 1848 season he was Lumley's leading tenor.
540:During the later 1850s Gardoni appeared often at
365:were the lead soloists, in the presence of Queen
1418:
1202:(Hurst & Blackett, London 1862) Vol II, 252.
455:in first oratorio performances of Dr Bexfield's
1057:(Stanley Paul & Co., London 1924), 115-122.
132:would have suited him well, not least Raoul in
1390:London: Oxford University Press, 1974 printing
1386:Rosenthal, Harold and Warrack, John, (Eds.),
973:For two engraved scenes, see 'The Theatres',
829:Enciclopedia della Musica (Garzanti – AA.VV.)
398:and Lablache, preceded the more significant
1055:Sims Reeves: Fifty Years of Music in London
429:with Henriette Sontag, Sophie Cruvelli and
713:Gardoni married the daughter of baritone
1309:Santley 1892, 240; Mapleson 1888, 94-95.
474:
145:
142:England: Her Majesty's Theatre 1847–1852
20:
1447:19th-century Italian male opera singers
666:Gardoni remained with Mapleson, and in
544:, including performances of Alfredo in
369:, in the 1850 inaugural performance of
103:Théâtre de l'Académie Royale de Musique
1419:
1334:(The Century Co., New York 1903), 154.
1332:Thirty Years of Musical Life in London
801:: CS1 maint: archived copy as title (
1008:(Edward Arnold, London 1892), p. 162.
894:, 15 December 1844, Vol. 8, p 1106ff.
820:Rosenthal and Warrack (1974), p. 146.
680:'s Bertramo and de Murska's Isabella
1397:. New York: D Appleton and Co., 1888
533:, with Angiolina Bosio, Mlle Marai,
470:
300:) in the hope of playing Edgardo in
1347:(OUP (US) 2007 (2nd Edn)), p. 159.
1200:Thirty Years' Musical Recollections
925:(Downey, London 1899), II, 185-191.
862:
527:praised his performance of Auber's
13:
1388:Concise Oxford Dictionary of Opera
724:
382:1851 renewed Gardoni's Gennaro in
347:in which as Fernando he partnered
77:(1797–1853). He made his debut as
14:
1458:
1401:
853:Vol. 18.4 (Autumn 2002), 484-502.
742:Dictionary of Music and Musicians
774:See short biography in Italian,
414:. When Reeves and Cruvelli sang
1365:
1352:
1337:
1321:
1312:
1303:
1294:
1285:
1276:
1263:
1250:
1241:
1218:
1205:
1192:
1183:
1174:
1161:
1152:
1139:
1111:
1095:
1082:
1073:
1060:
1047:
1024:
1011:
998:
985:
967:
954:
941:
928:
849:Basil Walsh, 'Balfe in Italy',
1271:The Mapleson Memoirs 1848-1888
912:
899:
884:
856:
843:
832:
823:
814:
768:
562:Disperso il crin sul mesto sen
1:
756:
480:
249:opposite Lind, Lablache and
128:, still (they thought) some
16:Italian opera singer 1821-82
7:
1345:Rossini: His life and works
717:and (his wife) the soprano
581:engagement, Gardoni joined
10:
1463:
936:Reminiscences of the Opera
869:(in French). p. 305.
552:Ein Feldlager in Schlesien
1360:Concise Oxford Dictionary
995:(Cassell), vol 1, p. 314.
683:
64:
517:Constance Nantier-Didiée
336:I Capuleti e i Montecchi
236:La figlia del reggimento
1442:Italian operatic tenors
1358:Rosenthal and Warrack,
1104:(cited above), 167-68.
1041:(Downey 1899), 190-94.
976:Illustrated London News
740:The old entry from the
695:Petite messe solennelle
449:Charlotte Sainton-Dolby
427:Don't tickle me, I pray
267:Il barbiere di Siviglia
229:: he partnered Lind in
73:, Gardoni studied with
1291:Mapleson 1888, I, 146.
754:
613:
493:produced his oratorio
486:
441:Pauline Viardot-Garcia
386:. A novelty première,
153:
151:Gardoni as a young man
28:
1300:Mapleson 1888, I, 95.
1282:Santley 1892, 211-12.
1226:Revue des Deux Mondes
1102:Gossip of the Century
923:Gossip of the Century
892:Revue des Deux Mondes
750:
591:
478:
358:Gardoni and the star
162:Her Majesty's Theatre
149:
105:opposite the soprano
26:Italo Gardoni in 1874
24:
1437:Musicians from Parma
1362:, 'Tamburini' entry.
979:31 July 1847, p. 77
909:(see external link).
721:. He died in Paris.
636:Iphigénie en Tauride
207:(with Castellan and
1393:Ferris, George T.,
1234:1 July 2007 at the
1079:Ferris 2008, p. 93.
1053:Charles E. Pearce,
993:The Operas of Verdi
907:Biographical notice
499:Birmingham Festival
459:and Hugh Pearson's
303:Lucia di Lammermoor
215:'s London debut in
116:L'Ă©toile de Seville
1318:Santley 1892, 250.
1126:on 5 December 2008
1117:See external link
905:Elizabeth Forbes,
809:virtuoso da camera
487:
293:Linda di Chamounix
154:
29:
1343:Richard Osborne,
1189:Pearce 1924, 182.
1180:Pearce 1924, 170.
1158:Pearce 1924, 164.
1031:Mrs W. Pitt Byrne
1004:Charles Santley,
951:, 178-79, 181-82.
934:Benjamin Lumley,
876:978-1-4212-5681-8
839:See external link
715:Antonio Tamburini
704:Barbara Marchisio
661:Christina Nilsson
471:England 1854–1872
401:L'enfant prodigue
193:Gaetano Fraschini
93:Louis Niedermeyer
75:Antonio De Cesari
44:Gaetano Fraschini
1454:
1374:
1369:
1363:
1356:
1350:
1341:
1335:
1325:
1319:
1316:
1310:
1307:
1301:
1298:
1292:
1289:
1283:
1280:
1274:
1269:J. H. Mapleson,
1267:
1261:
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1248:
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1239:
1222:
1216:
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1203:
1196:
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1187:
1181:
1178:
1172:
1165:
1159:
1156:
1150:
1143:
1137:
1135:
1133:
1131:
1122:. Archived from
1115:
1109:
1099:
1093:
1086:
1080:
1077:
1071:
1064:
1058:
1051:
1045:
1028:
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854:
847:
841:
836:
830:
827:
821:
818:
812:
806:
800:
792:
790:
788:
779:. Archived from
772:
746:tenore di grazia
710:(Louis Agniez).
669:Robert le Diable
623:Thérèse Tietjens
557:L'Ă©toile du nord
507:Enrico Tamberlik
485:
482:
465:Norwich Festival
396:Henriette Sontag
328:Robert le diable
298:Eugenia Tadolini
218:Robert le diable
204:L'elisir d'amore
80:Roberto Devereux
52:Antonio Giuglini
48:Enrico Tamberlik
36:tenore di grazia
1462:
1461:
1457:
1456:
1455:
1453:
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1451:
1417:
1416:
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1304:
1299:
1295:
1290:
1286:
1281:
1277:
1268:
1264:
1255:
1251:
1246:
1242:
1236:Wayback Machine
1223:
1219:
1210:
1206:
1197:
1193:
1188:
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1179:
1175:
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1162:
1157:
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1112:
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1074:
1065:
1061:
1052:
1048:
1029:
1025:
1016:
1012:
1003:
999:
991:Julian Budden,
990:
986:
972:
968:
959:
955:
946:
942:
933:
929:
917:
913:
904:
900:
890:A. H. Blaze in
889:
885:
877:
861:
857:
851:Opera Quarterly
848:
844:
837:
833:
828:
824:
819:
815:
794:
793:
786:
784:
777:"Archived copy"
775:
773:
769:
759:
727:
725:Vocal character
686:
641:Édouard Gassier
587:Charles Santley
535:Giorgio Ronconi
521:Angiolina Bosio
483:
473:
457:Israel Restored
411:I quattro figli
384:Lucrezia Borgia
363:Marietta Alboni
283:Lucrezia Borgia
272:Sophie Cruvelli
251:Filippo Coletti
182:There followed
166:Benjamin Lumley
152:
144:
122:Adolphe Nourrit
120:repertoires of
67:
27:
17:
12:
11:
5:
1460:
1450:
1449:
1444:
1439:
1434:
1429:
1415:
1414:
1403:
1402:External links
1400:
1399:
1398:
1391:
1376:
1375:
1372:See wikisource
1364:
1351:
1336:
1320:
1311:
1302:
1293:
1284:
1275:
1262:
1249:
1240:
1228:, 1 July 1867
1217:
1211:H.F. Chorley,
1204:
1198:H.F. Chorley,
1191:
1182:
1173:
1160:
1151:
1138:
1110:
1094:
1081:
1072:
1059:
1046:
1035:Rachel H. Busk
1023:
1010:
997:
984:
966:
964:, 185-86, 189.
953:
940:
927:
919:Mrs Pitt Byrne
911:
898:
883:
875:
855:
842:
831:
822:
813:
783:on 4 June 2011
766:
765:
758:
755:
744:called him a '
738:
737:
736:(4 Fl. 12 Xr.)
726:
723:
685:
682:
674:Pietro Mongini
651:Ilma de Murska
627:ZĂ©lia Trebelli
489:In 1855, when
479:Italo Gardoni
472:
469:
353:Carlotta Grisi
312:and Arturo in
227:Queen Victoria
223:Josef Staudigl
209:Luigi Lablache
190:tenore robusto
150:
143:
140:
126:Gilbert Duprez
66:
63:
40:Giovanni Mario
25:
15:
9:
6:
4:
3:
2:
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1279:
1272:
1266:
1259:
1253:
1244:
1238:(PDF page 8).
1237:
1233:
1230:
1227:
1224:A. H. Blaze,
1221:
1214:
1208:
1201:
1195:
1186:
1177:
1170:
1169:Reminiscences
1164:
1155:
1149:, 304, 308, .
1148:
1147:Reminiscences
1142:
1125:
1121:
1120:"La Favorita"
1114:
1107:
1103:
1098:
1091:
1090:Reminiscences
1085:
1076:
1069:
1068:Reminiscences
1063:
1056:
1050:
1044:
1040:
1036:
1032:
1027:
1020:
1019:Reminiscences
1014:
1007:
1001:
994:
988:
981:
978:
977:
970:
963:
962:Reminiscences
957:
950:
949:Reminiscences
944:
938:, pp.171-173.
937:
931:
924:
920:
915:
908:
902:
896:
893:
887:
878:
872:
868:
867:
859:
852:
846:
840:
835:
826:
817:
810:
804:
798:
782:
778:
771:
767:
764:
763:
753:
749:
747:
743:
735:
732:
731:
730:
722:
720:
719:Marietta Goja
716:
711:
709:
705:
701:
697:
696:
691:
681:
679:
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664:
662:
658:
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652:
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642:
638:
637:
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628:
624:
620:
619:
612:
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605:
600:
596:
590:
588:
584:
580:
579:St Petersburg
575:
573:
569:
568:
563:
559:
558:
554:for Paris as
553:
549:
548:
543:
542:Covent Garden
538:
536:
532:
531:
526:
525:H. F. Chorley
522:
518:
514:
513:
508:
504:
500:
496:
492:
491:Michael Costa
477:
468:
466:
462:
458:
454:
450:
446:
442:
438:
437:
432:
428:
424:
423:Evviva Baccho
419:
418:
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407:
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397:
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389:
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232:
231:La sonnambula
228:
224:
220:
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214:
210:
206:
205:
200:
199:
194:
191:
187:
186:
185:La sonnambula
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171:
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159:
148:
139:
137:
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135:Les Huguenots
131:
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111:Michael Balfe
108:
107:Rosine Stoltz
104:
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1328:Herman Klein
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1296:
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1265:
1258:Thirty Years
1257:
1252:
1243:
1225:
1220:
1213:Thirty Years
1212:
1207:
1199:
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1168:
1163:
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1124:the original
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1067:
1062:
1054:
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781:the original
770:
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760:
751:
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739:
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708:Luigi Agnesi
693:
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676:'s Roberto,
667:
665:
656:Don Giovanni
654:
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616:
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602:
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594:
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576:
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565:
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555:
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512:Il conte Ory
510:
494:
488:
460:
456:
434:
431:Jenny Duprez
426:
422:
415:
409:
399:
392:Le tre nozze
391:
388:Giulio Alary
383:
381:
370:
357:
351:'s Miranda,
344:
334:
332:
327:
313:
307:
301:
296:(supporting
291:
281:
275:
265:
263:
261:and others.
246:I masnadieri
244:
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183:
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173:
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98:Marie Stuart
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1432:1882 deaths
1427:1821 births
1171:, 335, 342.
982:(Pdf 4/27).
678:Signor Foli
589:called him
547:La traviata
530:Fra Diavolo
484: 1860
453:Karl Formes
445:Louisa Pyne
379:in Madrid.
377:Teatro Real
372:La favorita
367:Isabella II
345:La tempesta
309:Anna Bolena
306:, Percy in
288:Sims Reeves
175:La favorita
170:Puzzi salon
158:Paris Opéra
1421:Categories
1215:, II, 275.
1130:4 November
1021:, 214-217.
787:4 November
757:References
320:Jenny Lind
315:I puritani
213:Jenny Lind
198:I puritani
1106:Read here
1092:, 282-83.
1043:Read here
621:was with
615:His 1865
609:cantabile
572:Le pardon
461:Jerusalem
408:'s opera
360:contralto
130:Meyerbeer
95:'s opera
85:Donizetti
1256:Chorley
1232:Archived
797:cite web
700:Carlotta
649:), with
604:Mireille
599:Sir Huon
583:Mapleson
69:Born in
1381:Sources
1167:Lumley
1145:Lumley
1088:Lumley
1066:Lumley
1017:Lumley
960:Lumley
947:Lumley
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690:Rossini
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567:Dinorah
497:in the
463:at the
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349:Sontag
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277:Attila
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762:Notes
659:with
631:Gluck
618:Faust
595:Faust
515:with
503:Mario
436:Norma
406:Balfe
270:with
255:Grisi
241:Verdi
233:(and
87:) in
71:Parma
1132:2009
871:ISBN
803:link
789:2009
706:and
702:and
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