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458:, where his voice cracked noticeably in Nadir's aria, 'Je crois entendre encore'. It was reported that he knelt down murmuring "No puedo cantar más" ("I cannot sing anymore") and disappeared into the wings. He was eventually called back to the stage by the sympathetic audience, but he was heard to say, "Esto se acabó" ("This is the end"). He died 25 days later at the age of 45 and was buried in the cemetery of Roncal, very near the house where he was born.
50:
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232:, he returned penniless to Roncal. Encouraged by Hilarión Eslava, his admirers, led by Conrado García, one of the founders of the Orfeón Pamplonés organized a successful recital in Pamplona which persuaded the Provincial Council of Navarre to grant him funds to pursue further studies with Giuseppe Gerli at the
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town of Roncal. The third child of
Mariano Gayarre and Maria Ramona Garjón, a couple of modest means, he left school at 13 to work as a shepherd. When he was 15, his father sent him to Pamplona to work in a shop. It was there that he had his first contact with music. It was a passion that would cost
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In the decade 1876-1886 the critic, Leone Forti, wrote: "He is a tenor who sings. We were no longer accustomed to it, we had forgotten what it was like. In addition to this, he is a tenor with a slim physique, whose way of moving and gestures are those of a real man. He has the gift of uniting the
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Gayarre's voice was slightly guttural and at times could show hardness in the very high notes and an uncertain attack. Nevertheless, it was full, resonant and extraordinarily fascinating. He was distinguished for his breath control, extremely clear diction, vibrant and passionate tone and for his
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The stage artist's glory is like the dream of one night. A painter, a poet, a composer leaves behind his works. From us, what is left?... Nothing, absolutely nothing. One generation that says to another: 'How
Gayarre sang!'... When my throat says to me: 'I can no longer sing', what will remain of
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Translated from the original
Spanish: "la gloria del artista de teatro es como el sueño de una noche; un pintor, un poeta, un compositor dejan sus obras. De nosotros ¿qué queda?...Nada, absolutamente nada. Una generación que dice a la otra: ¡Cómo cantaba Gayarre!...Cuando mi garganta diga: ya no
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ability to both soften and strengthen that tone. The way he produced contrasts of colour and intensity was incomparable. Yet he sometimes over-used unexpected contrasts of fortissimo and pianissimo and he also seemed to sometimes slow down the tempo excessively. When he sang
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He then worked as a blacksmith in the village of
Lumbier and later in Pamplona at the Pinaqui foundry. One of his fellow workers, who heard him singing as he worked, encouraged him to join the Orfeón Pamplonés, the city's newly formed
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at La Scala on 2 January 1876, the audience was harsh and indifferent. However, the next day, the critic, Filippi, wrote that the
Milanese audience had been present not at the debut of a tenor but at the "consecration of a genius of
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puedo más, ¿qué quedara de
Gayarre? Un nombre que durará mientras duren los que me oyeron, pero después ni aun eso. Créeme, pues amigo Julio, que nuestra gloria no vale ni dura el humo de un cigarro." Published in Enciso, J.: 1891,
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and "artificial" vocal mannerisms. Italian and
Spanish critics, however, were more admiring of Gayarre's voice and style. Their collective opinions are encapsulated by the following assessment published in the 1963
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Gayarre? A name that will last as long as the people who heard me, but after that no one. Believe me, Julio my friend, our glory does not last longer, nor is it worth more, than cigar smoke.
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renamed its Teatro
Principal in his honor. Gayarre is also commemorated in Pamplona with a biennial competition for young singers, El Concurso Internacional de Canto Julián Gayarre.
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The peak of
Gayarre's career lasted from 1873 to 1886, after which he was plagued by recurrent respiratory illness, causing his voice to deteriorate. On 8 December 1889 at the
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The letters
Gayarre used to send to his family when he was abroad are considered by linguists a treasure, as they represent some of the best samples from the
257:, to be an excellent actor with a commanding stage presence. Gayarre's earliest successes and fame came from his performances in the major opera houses of
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After leaving the conservatory in 1868, he sang in the chorus of zarzuela productions in Madrid, but after being dismissed by the theatre manager,
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was still in its earliest infancy. What we know of his voice comes from contemporary accounts. The playwright and music critic
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directed by Joaquin Maya. Maya took him on as first tenor and introduced him to the celebrated music teacher and composer,
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205:. Eslava, struck by the beautiful timbre of the yet untrained voice, arranged a scholarship for Gayarre to study at the
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The man who was to become one of Europe's most celebrated singers was born and raised in a Navarre family in the small
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him his job when he was fired for leaving the shop to follow a band that was parading in the street outside.
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In 1901, his grave was marked with an elaborate marble and bronze mausoleum by the noted Spanish sculptor,
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In 1869, shortly after commencing his studies in Milan, Gayarre made his operatic debut as Nemorino in
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colours of three different tenors, blending then together to create something uniquely his own."
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313:. Towards the end of his career, in 1887, he sang Sobinin in the first London performance of
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there, its first performance in Italy. Gayarre's other great Wagnerian role was
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548:"little Gayarre", suggesting that their voices were in some way similar, and
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reproached Gayarre during his London appearances for displaying an excessive
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All of them contain some fictional or semi-fictional elements, particularly
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Official Web Site - Government of Navarre Department of Culture and Tourism
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412:. Gayarre was also a noted interpreter of the French repertoire including
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There have been several Spanish films based on his life, most notably:
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Although he faced strong competition for this title from the likes of
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The official site of the Julián Gayarre Foundation (in Spanish and
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in Madrid in 1881. However, the following year he was back in the
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571:(1932), directed by Carlos San Martín with José Romeu as Gayarre
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247:. Particularly renowned for his interpretation of Fernando in
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Letter addressed by Gayarre to his aunt, handwritten in Basque
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Julián Gayarre wrote in a letter to his friend Julio Enciso:
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The photograph of Gayarre is on a double plate with one of
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762:, Navarre: Fondo de Publicaciones del Gobierno de Navarra.
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The tenor Fernando Valero (1855-1914) and his environment
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There are no known recordings of Gayarre, who died when
721:] (in Spanish). Diputación de Sevilla. p. 48.
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Photograph and detailed description of Gayarre's tomb
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in Madrid, he appeared on stage for the last time in
385:which he sang in its first ever performance at the
209:. His first public performance was in 1867 with a
800:El Concurso Internacional de Canto Julián Gayarre
715:El tenor Fernando Valero (1855-1914) y su entorno
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665:, 2nd Edition, Oxford University Press. p. 187;
372:. Only a month later, he sang the title role in
31: and the second or maternal family name is
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623:, 2nd Edition, Oxford University Press. p. 187
329:works to the earlier music-dramas composed by
325:Gayarre sang a broad repertoire, ranging from
746:Julián Gayarre, el Tenor de la Voz de Ángel
273:. However, he was soon highly in demand in
261:, where he created the role of Marcello in
143:singer who created the role of Marcello in
587:(1986) directed by José María Forqué with
577:(1959) directed by Domingo Viladomat with
337:, he sang with great success in a trio of
309:, a frequent stage partner, especially at
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267:in 1871 and Enzo in the 1876 premiere of
805:Julián Gayarre, Como el de casa, ninguno
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842:19th-century Spanish male opera singers
767:Julián Gayarre, como el de casa ninguno
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790:Photograph of Gayarre by Matthew Brady
663:The Concise Oxford Dictionary of Opera
621:The Concise Oxford Dictionary of Opera
661:Rosenthal, H. and Warrack, J. (1979)
619:Rosenthal, H. and Warrack, J. (1979)
703:Translated from the original Italian
217:under the stage name of "Sandoval".
769:, Roncal: Fundación Julián Gayarre
758:José María Sanjuán Urmeneta, 1991,
751:Julio Enciso Robledo, (1891) 1990,
744:Florentino Hernández Girbal, 1955,
636:, N. 36, 7 September 1890, p. 573;
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755:, Bilbao: Laida Edición e Imagen.
862:Madrid Royal Conservatory alumni
857:19th-century Spanish male actors
713:Álvarez Calero, Alberto (2013).
393:repertoire with performances of
333:. In the 1870/71 season, at the
114:Sebastián Julián Gayarre Garjón
64:Sebastián Julián Gayarre Garjón
765:Óscar J. Muñoz Salvoch, 1999,
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739:Biographies of Julián Gayarre
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748:, Barcelona: Ediciones Lira.
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23:, the first or paternal
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796:. Gayarre's is to the left.
780:La Fundación Julián Gayarre
634:Gazzetta musicale di Milano
552:the playwright stated that
305:with the Spanish contralto
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837:People from Roncal-Salazar
753:Memorias de Julián Gayarre
693:Memorias de Julián Gayarre
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503:sound recording technology
361:Teatro Comunale di Bologna
132:, Spain), better known as
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867:Milan Conservatory alumni
519:Enciclopedia della musica
488:Julián Gayarre circa 1880
359:. In October 1872 at the
207:Madrid Royal Conservatory
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681:(accessed 28 March 2007)
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476:of Roncal, now extinct.
465:., and two years later,
852:Basque-language singers
847:Spanish operatic tenors
363:, he sang Amenophis in
285:. Gayarre also sang in
544:Contemporaries called
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455:Les pêcheurs de perles
281:as well as his native
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569:El Canto del ruiseñor
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335:Teatro Regio di Parma
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667:La Gazzetta di Parma
650:La Gazzetta di Parma
638:La Gazzetta di Parma
350:Un ballo in maschera
172:, Angelo Masini and
128:– 2 January 1890 in
16:Spanish opera singer
507:George Bernard Shaw
319:A Life for the Tsar
180:of his generation.
116:(9 January 1844 in
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234:Milan Conservatory
230:Joaquín Gaztambide
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54:Gayarre circa 1870
728:978-84-7798-341-5
550:Jacinto Benavente
463:Mariano Benlliure
174:Francesco Tamagno
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241:L'elisir d'amore
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98:(1890-01-02)
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21:Spanish name
832:1890 deaths
827:1844 births
591:as Gayarre.
581:as Gayarre.
528:La favorita
447:Teatro Real
439:L'Africaine
433:Le prophète
423:Meyerbeer's
402:La favorita
387:Teatro Real
297:and toured
270:La Gioconda
250:La Favorita
213:company in
158:La Gioconda
145:Donizetti's
821:Categories
603:References
396:I puritani
377:Tannhäuser
307:Elena Sanz
70:1844-01-09
608:Footnotes
535:It adds:
531:singing."
391:bel canto
382:Lohengrin
365:Rossini's
356:Rigoletto
327:bel canto
303:Argentina
184:Biography
467:Pamplona
414:Gounod's
374:Wagner's
341:operas,
315:Glinka's
311:La Scala
211:zarzuela
190:Pyrenean
136:, was a
19:In this
760:Gayarre
575:Gayarre
560:In film
516:Ricordi
511:vibrato
451:Bizet's
138:Spanish
122:Navarre
106:, Spain
82:Navarre
29:Gayarre
25:surname
784:Basque
725:
331:Wagner
299:Brazil
291:Vienna
287:Lisbon
279:London
245:Varese
215:Tudela
130:Madrid
118:Roncal
104:Madrid
78:Roncal
33:Garjón
717:[
480:Voice
418:Faust
339:Verdi
283:Spain
275:Paris
259:Italy
255:Italy
199:choir
178:tenor
141:opera
126:Spain
86:Spain
723:ISBN
436:and
421:and
399:and
353:and
301:and
293:and
277:and
93:Died
60:Born
405:at
243:in
84:),
27:is
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599:.
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430:,
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80:(
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68:(
35:.
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