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Mattia Battistini
Note by Jacques Chuilon |
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| Mattia Battistini was born in Rome on February 27th 1856, and died on November 7th 1928, in Colle Baccaro, near Rieti.
By the time he began his career at the age of twenty-two, he had already familiarised himself, through extensive study with the famous Persechini, with a considerable portion of the baritone repertoire, including principal roles in La Favorita, Aida, Don Carlos, Un Ballo in Maschera, Rigoletto, Luisa Miller, Lucia di Lammermoor, La Traviata, Don Sebastiano, La Forza del Destino, as well as Ruy Blas by Marchetti, Jone by Errico Petrella, and Giovanna di Guzman (the first version of I Vespri Siciliani).
His career began with an abrupt surprise. The indisposition of a singer at the Teatro Argentina in Rome provided him with the opportunity to bring his stage debut (for which he was in careful preparation) forward by a month. He was auditioned, fitted for costume and placed before the audience, without having rehearsed with orchestra, all on the same day. That day was November 9th 1878, the opera was La Favorita, and his reception was triumphant, as one reviewer affirmed: 'Neither La Galletti, nor Patti, nor La Donadio, nor Cotogni have ever been acclaimed with such passion.' The role of Alfonso was to become one of his favourites after this first appearance, and one with which he was to be associated for the full fifty years of his career. Had it not been for his untimely death he was to give his final performance in the same role. At the age of twenty-four Battistini was engaged to sing Telramund (Lohengrin) at the insistence of Wagner himself and the composer subsequently heard him as the Dutchman (Der Fliegende Holländer). Before long the young singer was noticed by Giuseppe Verdi, whose Otello had just opened in 1887. The role of Iago had been allotted to Victor Maurel (1848-1923), but Verdi took steps to ensure that Battistini take it over when the opera made its victorious progression to Lisbon, Madrid and St. Petersburg. Later, the composer hoped to see him create the title role of his final opera, Falstaff, but at the age of thirty-seven, the baritone was reluctant to play a 'buffo' role, traditionally entrusted to a more experienced artist. As a result, Verdi turned once more to Maurel, Battistini's senior by eight years. Other composers were to be attracted by the gifts of the singer, who was already proclaimed as both the 'King of Baritones' and the 'Glory of Italy.' Ambroise Thomas preferred Battistini's interpretation of his Hamlet to all others, and Rubinstein had his Demon specially revised and modified. Massenet also modified his score for the title role of his Werther exclusively for and on the personal request of Battistini. The role of Athanaël from Despite his comment that there was nothing for Marcello to sing in Puccini's At the time of his career, it was the accepted practice for a singer to address himself principally, even exclusively, to modern (contemporary) opera, but Battistini strove to sustain repertoire that was in danger of being considered old-fashioned. His reputation was such that he was in a position to revive works which were all but forgotten: Zampa by Hérold, Don Sebastiano and Maria di Rohan by Donizetti, La Cenerentola and Battistini's prestige and outstanding popularity with his contemporaries have led to his occupying a unique place in musical history. He became acquainted with the greatest composers of his time, who, along with that entire generation, considered him the most perfect descendant of the romantic bel canto tradition. An exceptional vocal technique led to his being able to sustain a long career without ever, even in the later years, betraying signs of diminished resources. The awesome power of his voice, that the following generation would attempt in vain to equal, electrified audiences with its majesty, its white-hot timbre (compared to molten gold) and its effortless delivery. Indeed, opera lovers ceased to describe him in terms of vocal authority, but spoke rather of his extraordinary flexibility and his facility to bring the voice down to the smallest pianissimo. 'More than rare, unique,' was how one contemporary commentator described Battistini's vocal gift; but this was not his only distinction. A prodigious acting talent lent considerable profundity to the various impersonations he undertook. His concentrated study of operatic roles laid the foundations for each particular dramatic interpretation: the make-up, the costumes and the stage-craft. He was convincing in both comedy (such as Il Barbiere di Siviglia) and tragedy, Rigoletto being the role that he probably sang more than any other. The great stage-actor, Tommaso Salvini, once told him,'Tu mi rubi l'arte mia!' ('You have robbed me of my own art!'). Blessed with uncommon physical strength Battistini was known to give as many as thirty-four encores after a full recital. He was able to perform every night of the week, and found little difficulty in tackling different roles on consecutive days. The ardency of his devoted fans was such that they would tend to him, reverently wiping his brow, or, if deprived of his actual presence, would break shop windows so as to steal a photograph of him. The Tsar of Russia, who only received the most elite in St. Petersburg, welcomed Battistini back for twenty-six winters, until war and revolution swept the land. The Americas were also keen to witness the artistry of the last Divo, but were to be less rewarded: although he visited South America early in his career, the experience of a violent sea storm led to his vowing never to cross the Atlantic again. He kept to his word, despite the blank cheques, extravagant promises and multifarious offers from opera companies in the United States. He did, however, travel widely within Europe, and conquered his fear of the sea many times to visit England. What strikes one today, when listening to Battistini's recordings, beyond the thrilling voice, is the intensity and vitality of the artist. Without a hint of formality or self-consciousness he becomes the incarnation of both the music and the musical style. By this road he penetrates our deepest being. 'My teaching is in my records,' said Battistini. Then let us listen. |
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