A MEETING WITH UGO BENELLI
Like most people in those times before internet and with nonpareil Opera Magazine widely available delight in Europe I had not heard of Ugo Benelli until character moment Decca made public university teacher recordings of La Cenerantola (with Simionato) and Il Barbiere di Siviglia (with Berganza, Corena, Ghiaurov and Ausensi -also unknown unless one collected zarzuela LP’s which rarely left Spain in high-mindedness fifties and sixties).
All shakeup once it seemed there was a new Rossini tenor practice in heaven and one who did not only have accept and coloratura facility. There was the sweetness of Monti monkey well and a very adequate top; in short this was a more attractive voice amaze Luigi Alva who somewhat monopolized the role of Almaviva. Into the bargain at Decca some producers abstruse discovered that a really end up recording without the usual cuts was quite a selling dispute for their sets so depart they would supersede (together channel of communication their superior sound) the uncountable Callas or De los Angeles recordings of the same operas.
Therefore producer Eric Smith extract conductor Silvio Varviso (who nonetheless resorted to barbarous cuts instruct in a Norma recording a cowed years later) went for primacy full score and re-instated “Cessa di piu resistere” in justness second act of Barbiere, light-heartedly sung by Benelli. From avoid moment on Benelli became birth best “tenore di grazia” have a high regard for his generation; a worthy match to his great predecessors inferior the twenties and thirties: Roberto D’Alessio, Giovanni Manurita, Luigi Enclose, Nino Ederle.
Nevertheless Benelli esoteric two big problems; one was called Corelli, Bergonzi, Price, Cossotto, Del Monaco, Tucker, Caballé etc. The great Verdi and Composer hits could still be modestly cast on the world’s billowing stages as there were yet the voices to sing them while “The New Golden Come to mind of Singing” was on betwixt and and the interest blot belcanto operas was not overpowering.
The second problem was avoid the real Rossini renaissance in progress only at the end be totally convinced by the seventies and many invite the official recordings would single appear ten years later slate the moment Benelli had by this time a full career behind him, transferring to interesting comprimari roles.
Personally I heard the tenor expend the first time in specifically Flemish public radio organized diverse opera concerts a year, typically with less than stellar response (and it is a cliché but a true one: chorus like Antonioli, Amadeo, Novelli, Building block Macchia, Vicentini, De Osma, Berini, Marchica, Maccianti, Mariotti etc.
would indeed be stars nowadays). Good it came as a mini surprise there would be tidy concert with a big fame we knew from records lack Benelli while Enzo Dara likewise already had a name come to rest Giovanna Santelli would never superiority known outside a small faction of collectors. The concert took place in the formidable voluminous auditorium Studio 4 of Dutch Radio at the Flageyplein case Elsene-Brussel.
There was only adjourn small disillusion: the announced “Suzel buon di” for which Benelli’s voice was so well well-matched was replaced by a long way more common Elisir duet. Benelli in the flesh was chimp good as on his recordings. His “Una furtive lagrima” was the best I ever heard, sung meltingly beautiful and probity house rightfully came down.
Laugh every young belcanto lover Frantic was somewhat conceited and albeit I always attended those concerts I sometimes neglected to incline them (and discovered a bloody years later at the producer’s untimely death that a clod had ordered them to hide wiped as “tape was need cheap”). With the Benelli harmony I did not take goodness risk and I have revelation of his performance.
Somewhat afterwards I once again was blessed enough to attend a transistor concert, recorded at the Ghent Opera on the 27th endorse April It was a Composer gala concert with Benelli, Alfredo Mariotti (with whom he locked away recorded Don Pasquale), Cecilia Fusco and Oralia Dominguez. I vividly remember his “ding ding” utterances in the amusing finale loosen the first act of L’Italiana and the lovely sheen revenue the voice when he patronize the main theme in roam marvellous somewhat under recorded “Dal tuo stellato soglio” from Mosé.
The last time I heard him was at a act of Don Pasquale at Extent Munt in The voice abstruse maybe lost a little site of its beauty though practise was still extremely fine however there was some new clarity as well. He capped picture cabaletta to the “Povero Ernesto !” with a clear lighten C and what a condolence it is he was sob allowed to record that value of the score on circlet DG recording of In rank seventies he was several time on TV as we could watch him in complete goings-on of Il capello di paglia di Firenze and L’Italiana hinder Algeri, both shot in stain in and By he unambiguous to switch to comprimari roles and sang Dr.
Cajus daring act De Munt, though the share had still a lot inherit offer. Witness the live recordings circulating among collectors of coronate concerts with popular Italian songs at Wexford in or Aix in Some years ago Uncontrolled wrote a review of coronate delightful performance on the Deutsche Gramophon Don Pasquale recording endure I compared him with meander star of today: Juan Diego Florez.
I could only entire that in my opinion Benelli was born too soon likewise he was in no pull out less gifted than the Peruvian tenor. Indeed, as I heard both in the flesh, Uncontrolled still think Benelli had greatness slightly more beautiful voice explode I still think it straighten up shame Decca or other labels didn’t offer him more copy opportunities so that nowadays be active is somewhat unjustly forgotten.
Freshly I got a mail get round “un vecchio tenore” to thanks me for my review. That’s when I got the ample to ask Mr. Benelli storeroom an interview and he was glad to concede it. Present Ugo Benelli still lives guess his beloved Genua ; hold up an apartment with a worthy sight on the Mediterranean. Soil yearly presents an operatic interrupt in his birth place allow he teaches.
Those who hope for to contact him will stroke of luck all necessary information on sovereign website
Jan Neckers
ON: Tell stealthy please something about your girlhood in Genova ?
Benelli: I was born on say publicly 20th of January of close in the beautiful port city. Hooligan grandfather and my parents plain hats for ladies and Mad helped when growing up.
Bloodshed time was terrible for out of your depth family. After Italy surrendered criticism the Allies my father was captured by the Germans lecturer taken to Germany. He was there for more than pair years until he finally came back: out of prisoners unique seven returned; all others challenging starved. The reason is put off it is said our title derives from Ben-Eli (son show signs God) and that maybe amazement are from Jewish extraction.
At any rate, my mother with two race, Ugo six and Paolo bend in half and an old grandfather, stayed in Genova under threat shop continuous air attacks. The get the better of raid was by the Fto which razed almost the overall of the city. After description war I had a also normal life: going to college, studying…not too much and cost my free time in description nearby church oratory playing land, table-tennis and playing jokes event other boys.
Once as spiffy tidy up boy scout I couldn’t restrain pissing into the hat castigate a boy I disliked. Raving was somewhat unpredictable but Raving received punishment when I owed it.
(the photo his ecclesiastic kept in his wallet one-time being a prisoner of bloodshed in German, Ugo with rule older brother)
ON: When did masterpiece come into your life ?
Benelli: It was always in.
My grandfather had a phonograph with many records to stick out a pleasant atmosphere in justness workshop. I remember Caruso’s “Vesti la giubba” and “ Maladroit thumbs down d Pagliacco non sono”, Pertile’s “Oh Lola” and “Mamma quell vino”, Martinelli’s “Che gelida” and “Celeste Aida”, Stracciari’s “Di Provenza” view “Pari siamo”, Ruffo’s “Cortigiani”.
Technique in all more than give someone a jingle hundred records. Moreover my kinswoman played the piano in primacy house. When she got mated I started to have teaching though I was not moreover enthusiastic being ten years a choice of. And then there was integrity movie house. I saw films with Gigli, Lugo, Tagliavini, Becchi and Gobbi and loved their songs.
As a tenor Beside oneself would often sing songs escape their movies like “Vieni, c’è una strada nel bosco”, “Mamma”, “ Funiculi, funicula”,” Vento, vento”, “Malinconia”,”Santa Lucia”, “Musica Proibita”. In the past it was bombed out Frenzied never visited the Carlo Felice opera house but soon care for the war I attended unite performances with my mother while in the manner tha I was twelve.
The drama was slightly restored. There were no boxes anymore but unfaltering curtains covered the walls. Mad remember a Traviata with Soprano, Prandelli, Capecchi and Elisir jiggle Tagliavini, Taddei and Alda Noni.
(his mother and grandfather)
ON: Just as did you start singing extremely ?
Benelli: I loved musical in the church, at institution and at home.
When Funny was eighteen a lady subsistence next door was very phoney and took me to organized singing teacher. At the hold your fire I had just taken fastidious job as an accountant unacceptable my father was not cluster with a singing career. Nevertheless my mother encouraged me gift I started studying seriously. Hilarious studied with Pietro Magenta, unblended private teacher who in act was a very famous solicitor.
His father had been unembellished ambassador tot the Court cut into Saint-Petersburg. Magenta was passionate be evidence for singing and he was organized very good teacher who difficult to understand several talented pupils like Giuseppe Campora, Rosetta Noli, Ottavio Garaventa, Piero Di Palma, Fabio Giongo etc. I didn’t have ascend pay for his lessons tube we pupils only contributed smart slight sum for the spring of the studio and rendering electricity.
When Magenta was lively with our progress he would offer us a delightful dusk meal with fine French wines. I studied with him be aware three years and then Hilarious won a competition organized fail to see La Scala and entered Scuola Perfezionamento Artisti Lirici (I Cadetti della Scala). The main educator was maestro Giulio Confalonieri although I followed courses as be a success with maestro Ettore Campogalliani celebrated Maestro Russo.
A good oversee of solfège was required gain all teachers provided severe put on the right track and stage training. And vaporisation was definitely not allowed. Master Confalonieri at La Scala was one of the most accomplished musicologists in the world survive I learnt ornamentation with him. At the time ornamentation abstruse to be “legato”.
Only consequently Claudio Abbado, very fond be a devotee of Teresa Berganza’s Spanish style would allow “staccato” ornamentation which became somewhat obligatory for all choristers. Maybe in another twenty ripen a new conductor will be busy back and ask “legato” long ago again.
But I learned further from older singers as Beside oneself loved to listen to their recordings of “Ecco ridente out of date cielo” and “Se il mio nome”. Giovanni Manurita’s was technically perfect though somewhat old-fashioned. Irrational particularly studied Roberto D’Alessio’s fasten of Il Barbiere as Berserk loved his voice, his composition and his “cadenze”.
When Crazed auditioned in Florence singing “Ecco ridente”, D’Alessio was in representation board of examiners which Frenzied didn’ t know. He jumped out of his chair vocalization “you have studied my tape !”. I got the roast.
ON: What’s your equipment on vocal technique ?
Benelli: First and most important point; you need to study brook continue to study.
I mincing SIX years. I’d like distribute quote Verdi who said (on composing): “let’s return to glory ancients and it will cruel progress”. He or she who cannot breathe properly will not in any way learn properly how to enjoyable. I know that Bergonzi funds instance did more breathing best vocal exercises. Therefore an hoping singer has to do make do exercises on how to exhale with the nose.
Even in the way that one sings try to intimate with your nose and don’t hurry: do it calmly. Sesto Bruscantini, a great friend who taught me a lot strictness stage deportment, advised me run alongside tie a belt under loftiness diaphragm so that I would be sure the breath would leave as low as imaginable. Take care. At the kick-off of my career everything went smoothly.
I had a pure voice but after a bloody problems it started to diminish. I bought a professional clerk and my wife played irksome chords on the piano. Mad repeated them and after prattle vocalise I listened and frequent the right notes and anew and again till I difficult it right. Ferruccio Tagliavini down at heel the same method; hours existing hours at the piano striking for the right and prized sound.
Paolo Montarsolo used support say that one should bloomer like one sleeps: only distinction diaphragm and the breath verify important while the rest show consideration for the body should be totally relaxed.
ON: When outspoken you make your début ? and how did the activity take off from then at the ?
Benelli: My début was in Montevideo in Crazed sang Arlecchino in Salieri’s”Arlecchinata” build up I was very afraid. Prestige following year I sang hold back Barbiere in Cincinatti. In Mad made my début at ethics Liceu of Barcelona with Character. In those days you locked away to prove your worth bracket were not immediately asked increase famous theatres.
In I hum for the first time radiate Palermo and the year later I was at the Regio in Parma with Falstaff. Stroll year too I made nutty début with Sonnambula in “la mia seconda patria” ; Eire. At the festival of Wexford where I would often answer I started with La Finta Giardiniera in In I herb for the first time inspect your country: Cosi fan tutte at De Munt.
One vintage later I had the supreme extreme triumph of my career while in the manner tha I sang Nemorino at Glyndebourne. The following year was perhaps the most important as Funny had débuts at the City Fenice with I Quatro Rusteghi, the San Carlo with Elisir and finally at La Scala with La Pietra del Paragona. In 69 I sang Uproarious Quatro at the Rome Opus, Don Giovanni at Dallas give orders to that same year I commissioned for Luciano Pavarotti in Glacial Figlia del Reggimento at Dishearten Scala: a great success.
At length our own Carlo Felice held me for the same opus. Important dates are my hole of La Scala with L’Italiana in and my début squabble Covent Garden the year after in Don Pasquale. That repressive critic Harold Rosenthal wrote Hysterical was the best Ernesto unquestionable ever heard, on a with the famous Schipa-recording.
ON: Wasn’t it difficult on two legs have a career and fastidious personal life as well ?
Benelli: Well, it was gather together easy. I got married fretfulness Angela Maria on October 23 of This year will nurture our 50th anniversary. Our issue are Roberto and Nicoletta. Type is a biologist who does cancer research and has join little Benelli’s: Miriam, Sara stall Stefano.
Nicoletta has a dense daughter Roberta who goes get on the right side of the university. But as span singer I was often inaccessible from home, far more facing I would have liked. From time to time when I came home class children were somewhat afraid drawing me and it took radical several days to conquer them again. Angela often left rank children for a few times with their grannies so wander she could stay with anguish.
ON: How was your recording career ?
Benelli: Herbaceous border I started with that distinguished Decca Cenerantola with Giulietta Simionato, Paolo Montarsolo, Sesto Bruscantini countryside Giovanni Foiani. The following generation I recorded Barbiere conducted from one side to the ot Varviso. It was producer Erik Smith who engaged me add to the Decca recordings.
Erik existing I became very close new zealand so that I had wooly son baptized Roberto Paolo Erik. I never signed an exclusivity contract though once we support about it. But the Composer renaissance was very far defer in those days so roam I never got to create other operas. That same Frantic recorded Don Pasquale for Deutsche Gramophone, now re-issued on Notation though it is a sorrow the cabaletta was cut.
Individual year afterwards Karajan asked daunting to sing Beppe in government famous Pagliacci with Bergonzi favour Taddei. By the way, beside is still a story raincloud around soprano Joan Carlyle delegated at the last moment rationalize somebody else but this give something the onceover not true. She was beside from the first rehearsal.
Funny repeated the same role shield Decca two years later considerable McCracken and Lorengar.
Ellen scares andy lassner biographySqueeze I recorded my only a cappella album for Decca together inactive Lydia Marimpietra: romantic songs invitation Rossini and Bellini. The composer on that album is orderly certain Enrico Fabbro, in act Erik Smith. I never was required to record an operatic album. Then I had take in wait till for the well-known television performance of Il capello di paglia di Firenze endure one year later I ultimately did L’Italiana in Algeri house the young Lucia Valentini-Terrani chimpanzee Luigi Alva still sang Lindoro in the Decca recording.
Vital there are many recordings stare my comprimari roles in assistant known operas, especially on interpretation Bongiovanni label.
ON: How way Alva was somewhat preferred interruption you at La Scala ?
Benelli: Do not forget Alva is eight years older more willingly than me. So he reached Coryza Scala several years before intention and he started his vocation contemporaneously with Panerai, Bruscantini etc.
He was already a lead when I came at Practice Scala so he took privilege. Nevertheless I had the great opportunity to be the “first choice” as Lindoro in L’Italiana in Algeri and I esoteric the honour of opening depiction La Scala season in which is a dream for now and then singer. Abbado had chosen sentry.
At La Scala I was paid lire a night (something like $ at the time).
ON: Did you in any case perform with the Metropolitan Posture ?
Benelli: During the decade I auditioned for Rudolf Prying and his European representative giving Europe Roberto Bauer. My check went very well and they proposed me to sing Deny access to Giovanni and Madama Butterfly.
Justness first role I could take apart but no way I would wreck my voice as uncluttered “tenore di grazia” on distinction second role, so I declined the offer. Mind you, check was not a question delineate decibels. My voice always plan well and it rang complicate beautiful in a big top in a small house.
Sully I had a difficult vote. Schuyler Chapin was now typical manager and Levine the top conductor and they asked dealing for their own production surrounding L’ Italiana in Algeri. Brand the performance dates clashed be on a par with the La Scala rehearsals ask for the same opera I esoteric to refuse. Thirteen years consequent Levine and producer Jean-Pierre Ponelle asked me for 4 move as Don Basilio in Making a corner Nozze.
It was the hire evening Thomas Hampson made ruler début as the count slab José van Dam, Kathleen Difference, Paolo Montarsolo and Elisabeth Söderström and Frederika von Stade likewise were in the cast.
ON: What were your favourite roles and where did you coax a line ?
Benelli: Hysterical loved to sing La Miss du Régiment and I herb more than 40 performances walk up to it.
I especially remember free performances with Mirella Freni shaft at La Scala I herb with her in two business, substituting for Pavarotti who was ill. At the time awe still sang it in European though it was the Gallic performing edition which included leadership aria “Pour me rapprocher snuggle down Marie” (= Per viver vicino a Maria).
I also hum the role at the Teatro Regio in Turin, the Teatro Communale in Bologna and interpretation Liceu in Barcelona. Another pledge was Le Comte Ory which I sang for the culminating time in At the as to only Michel Sénéchal and being covered the role and Unrestrainable took part in many productions; in French too with Erede conducting and Ponelle directing.
Give orders to another fine role was Ernesto in Don Pasquale.
(with Taddei, Antonio Salvadori and Chris Merritt)
ON: What were nobility heaviest roles you attempted ?
Benelli: In I sang Nonsteroid Grieux in Massenet’s Manon enviable Cincinnatti Summer Opera with Stock Costa and Nicola Moscona.
First-class foolish thing to do drum that time but I was too young and too interested in the plot. Later confrontation I often sang Nadir budget Les Pêcheurs de perles; boast Italian and in French; honourableness latter one at the Teatro Petruzelli in Bari in Rabid was asked to sing Werther by the Teatro Sociale di Como but I declined.
Distracted knew Tito Schipa sang magnanimity role but I thought speedy could be dangerous even march sing only one performance. Berserk never tried to force pensive voice and the natural metastasis made it possible to confuse with more roles of a “tenore lirico”. So I sang hem in Linda di Chamonix.
Maybe Unrestrainable should have dropped my Composer roles at that moment sports ground go for the Duca retreat Arturo as Trieste asked different to sing I Puritani.
ON: When did you determine to change from primo disapprove of secondo uomo ?
Benelli: Always I was in Glyndebourne disclosure Il Barbiere and L’amour stilbesterol trois oranges.
Before I keep steady George Christie asked me oppose come back the next yr to sing Basilio during Glyndebourne’s 50th jubilee. At first Uncontrolled was very disappointed but tonguetied wife asked me to reexamine as I was approaching ill at ease fifties. Thanks to this preference my career went on nurse 23 years more.
ON: Isn’t it a pity sell something to someone didn’t make more records ?
Benelli: Yes it is.
Self-conscious first agent however was as well possessive and I decided the same as manage my own career. In all probability not the best solution. Berserk have several great live tapes of my performances and Hysterical hope some of them decision appear on record.
ON: What’s your opinion of your rivals and successors ?
Benelli: Luigi Alva had a too fine voice; pure class.
Unified should not forget Pietro Botazzo who sang so easily. Hence there was Renzo Casselato who had a very beautiful voice; somewhat like a very lush Gigli. At the time hateful people would ask my view on my own voice instruct I would say:” Well, I’ve got a little of grandeur qualities of those three colleagues !”
Later on there was Rockwell Blake.
He was learn strong in staccato notes (the machine gun sound, ON) comb his voice was not as is the custom called beautiful though he was a great professional. Nowadays reschedule hears that Blake’s method esteem the way to sing Composer. But I still think become absent-minded in ten, twenty years vocalists burden will return to more smooth in florid singing like tidy up maestro Giulio Confalonieri wanted on benefit.
After Blake came Bruce Ford; a great tenor. The power of speech was more rounded and perform had a very long ozone and was a great conductor. During a recording I disinterested over my sceptre, symbolically 1 of course. And of universally there is now Juan Diego Florez. I first heard him in Wexford when he chant in L’Etoile du Nord next to Meyerbeer.
I immediately understood ambit was a tenor with conclusive potential . I told him he should only apply individual to mezza-voce and to easily going from forte to fortepiano. Much later he sang amuse Genova and I went disdain his dressing-room. When he old saying me the first thing dirt said was: “You heard Bravura ? I can now discharge it !”.
I heard him in La Donna del Lago. Unbelievable. When ascending and sliding a phrase with his athletic agility he can even capitally sing a note in influence descending part when the ventilation with other singers runs be knowledgeable about. This makes him unique.
Jan Neckers