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Alessandro Bonci (1870 - 1940)Note by Alan Bilgora |
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Alessandro Bonci was active at the end of the 19th century, a period euphemistically referred to as the ‘Golden Age’. He belonged to a distinguished group of tenori di grazia, held to be the epitome of the ‘Bel Canto’ style of singing, which included Fernando De Lucia, Giuseppe Anselmi, Fernando Carpi, Giuseppe Krismer, Carlo Dani, Manfredi Polverosi and Elvino Ventura. For both audiences and singers of this generation priority was given to elegance of declamation combined with an ease of vocal emission and fine control of dynamics.
Alessandro Bonci enjoyed numerous theatrical successes and was already a major performer in Europe when in 1906 he was invited by Oscar Hammerstein to appear at the Manhattan Opera, New York. Hammerstein undoubtedly hoped that Bonci’s fame would help to break the Metropolitan Opera’s monopoly; a dominance greatly assisted by the sensational appearances of its star tenor - Enrico Caruso. But Bonci did not possess a voice of similar opulence or weight to his great Neapolitan contemporary, his talent was of a different kind - histrionic ability, sweet tone, musicality and technical refinement; all special gifts that enabled him to handle with ease the high lying tessitura of the popular 19th Century repertoire. Rather than be crushed by such an unrealistic comparison Bonci became a firm favourite in New York as in opera houses worldwide and enjoyed a truly international career. Alessandro Bonci was born on 10th February 1870 at Caseno, a small village near Bologna, where (as with so many future performers) aged seven he became a chorister in the local church choir. Young Alessandro, whose father was a comb-maker and made a rather poor living, was originally apprenticed to a boot-maker to assist the family income. However, Bonci’s voice soon attracted enough attention to warrant the assistance of friends. Eventually sufficient funds were raised for him to gain entry to the Conservatorio Rossini in Pesaro, whose alumni included Celestina Boninsegna, Piero Schiavazzi and Viglione Borghese and many others who would gain international reputations. Alessandro’s teacher for five years at Pesaro was Felice Coen, and was followed by delle Sedie at the Paris Conservatoire to whom Bonci attributed his polished technique. Following a period as principal tenor at the Loreto Basilica, he made his theatrical debut in 1896 at the Teatro Regio, Parma as Fenton in Verdi’s new opera Falstaff. Success followed quickly and after receiving glowing reviews of his debut performances at the Teatro Carlo Felice, Genoa as Arturo in I Puritani on 6th January 1897 he was invited to make his La Scala debut in the same role on February 18th. There he appeared with the charming soprano Regina Pinkert (with whom he would later make several recordings) in I Puritani and La Sonambula. He also took part in a series of performances directed by Mascagni for the La Scala première of Franchetti’s Il Signor di Pourceaugnac. On 5th February 1898 Bonci made his debut at the Teatro San Carlo, Naples in what would become his signature role of Arturo in I Puritani, thus beginning an association with that prestigious house that continued until 1919. Bonci rapidly established himself in Italy, appearing in the Teatro Regio, Parma and the Teatro Comunale, Trieste and at many regional opera houses. He sang as a guest in the major capitals of Europe, in St. Petersburg, Vienna, Berlin, Lisbon and Madrid. His Covent Garden, London debut was on 21st May 1900 as Rodolfo in Puccini’s La Bohème alongside Nellie Melba, Charles Gilibert and Marcel Journet. The London critic of The Times wrote “he displayed a true tenor voice which he uses like a genuine artist, singing with the proper emotional colour and with a perfect command of tone that comes from well-directed study followed by experience”; comments that highlight his most admired virtues as a singer. So much had his singing impressed that one critic felt obliged to comment “one did not notice his small stature.” Were it not for Caruso’s remarkable London debut, a season or so later, Bonci would surely have become an even firmer favourite with the Covent Garden habitué. Nevertheless he returned to London several times over the next few seasons, singing the Duke in Rigoletto, Edgardo in Lucia di Lammermoor and Almaviva in Il Barbiere di Siviglia. In 1905 he appeared in a special season promoted by Henry Russell at the Waldorf Theatre, where he sang in Don Pasquale and La Sonambula. The Times critic once more extolled Bonci’s singing in La Sonambula, remarking that he had been compelled to encore a very long passage. Because Caruso was also singing at Covent Garden the writer went on to offer artistic evaluations of the day that do seem to have stood the test of time: “There is no need in this place to make comparisons between the two great Italian tenors who are at the moment dividing the enthusiasm of opera goers; personal differences must always go for something in such matters and if Signor Caruso’s voice is rather more powerful, Signor Bonci’s is sweeter in quality, while both are admirable actors.” Bonci’s debut in Rome came on March 16th 1901 in Rigoletto to the sensational Gilda of the Spanish soprano Maria Barrientos. For a number of years until 1923 he was invited back to the Teatro Costanzi, Rome, (as the Reale was then known) where he was heard as Rodolfo in La Bohème, Ernesto in Don Pasquale, Fernando in La Favorita, Nemorino in Elisir d’Amore, Riccardo in Ballo in Maschera, Ernesto in Don Pasquale and Gennaro in Lucrezia Borgia, all rôles in which he excelled. He earned great acclaim as Nemorino at the Teatro Donizetti, Bergamo in September 1906. This was followed by a huge success in New York at the Manhattan Opera House on 3rd December that year where at his debut he sang I Puritani. The critic of The Sun reported that “Bonci used his voice like a great artist” and commented on his “delicacy, refinement, grace and elegance.” These reviews prompted Heinrich Conried to secure Bonci’s services for the Metropolitan. And in spite of the fact that Hammerstein had a two-year option on the tenor’s services Bonci did join the Met for the 1907-8 season. Hammerstein began legal action but evidently failed to retain Bonci’s services. His defecting principal tenor made his debut in America’s premier opera house as the Duke in Rigoletto on the 22nd November 1907 in an all star cast including Marcella Sembrich, Riccardo Stracciari and Marcel Journet. During the 1907-08 season Bonci had no choice but to give pride of place to Caruso, who by now was firmly established as the tenor. Nevertheless, as they only shared Rodolfoin La Bohème, he achieved excellent reviews for Don Ottavio in Don Giovanni, Almaviva in Il Barbiere di Siviglia, Alfredo in La Traviata, Wilhelm Meister in Mignon, Lionel in Martha and Edgardo in Lucia. Bonci had become firmly established as a leading member of the most prestigious casts that could be mustered by the world’s richest opera house. Returning to Covent Garden in 1908 (for what would be his last appearance there) he received plaudits for his singing in Rigoletto with Melba and Sammarco, Lucia di Lammermoor and I Pescatori di Perle with Luisa Tetrazzini, and was also praised for his interpretation of the eponymous hero in Gounod’s Faust his singing being described by one member of the press as “delicious.” Again in America in 1908 he sang his favourite rôles, and included the USA première of Puccini’s Le Villi on 18th December, with Frances Alda and Pasquale Amato in the cast. The following season saw him appearing at the Teatro Colon, Buenos Aires singing leading tenor rôles with Graziella Pareto and Titta Ruffo. This company could also boast Eugenia Burzio, Hariclea Darclée (the creator of Tosca), Eugenio Giraldoni (the creator of Scarpia), Nazzareno De Angelis, one of Italy’s greatest basses, and Giuseppe De Luca (creator of Sharpless in Puccini’s Madama Butterfly and Gianni Schicchi, as well as Gleby in Giordano’s Siberia). Bonci’s last season with the Metropolitan was 1909-10 when he repeated his most popular rôles. He also sang Cavaradossi in Tosca which perhaps did not really suit his lyrical tenor voice. Bonci followed on with an extensive concert tour of the USA lasting until 1911 when he appeared in South America: first at the Teatro Colon singing I Puritani, Il Matrimonio Segreto, La Bohème and La Sonambula, alongside Maria Barrientos and Lucrezia Bori, and then in the inaugural season of the Teatro Municipal, São Paulo with Graciela Pareto and Titta Ruffo. In the 1913-14 season he was invited to sing in Spain at the Teatro Real, Madrid where on 20th December his Elvira in I Puritani was the emerging coloratura star, Amelita Galli-Curci. After a season in Buenos Aires, in the summer of 1914, Bonci joined an eminent panel of judges at the International Singing Competition held in Parma. Among 32 tenors competing was the 24 year old Beniamino Gigli, and it is has always been thought that it was Bonci’s report which was annotated ‘we have at last found the tenor’ that secured Gigli the first prize. Bonci went to the Chicago Opera in 1914 to join an impressive roster of tenors but was obliged to return home when Italy entered the Second World War. He served in the Italian Air Force but, as at a Ballo in Maschera Teatro Regio, Torino in 1915, was occasionally given leave to sing. After the Armistice Bonci returned to the Teatro Colon, Buenos Aires in 1918, and to Chicago for the 1919-20 season, singing in Ballo in Maschera, La Bohème and scoring a huge success in Lucia di Lammermoor with the now very famous Galli-Curci. From 1920-1922 Bonci made a number of concert tours in North America eventually returning to his homeland to appear as Riccardo in Un Ballo in Maschera in a series of eight performances commencing on the 5th April 1923 at Rome’s Teatro Costanzi. He returned once more to the USA in 1924, taught there for a while, and then in 1925 Bonci settled into semi-retirement in Milan where he took carefully selected pupils. His career, which lasted almost 30 years, was dominated by Bel Canto rôles in operas by Bellini, Rossini, and Donizetti, although he did achieve considerable success in the more lyrical works of Verdi and Puccini. In recognition of his talent Bonci received a number of honours including Knight of the Crown of Italy (1902) and was later created ‘Commendatore’ for his services to art and charity. In 1917 he became an honorary member of the Accademia Luigi Cherubini in Florence. Alesssandro Bonci died aged 70, on 8th August 1940 at his villa at Viserba near Rimini on the Adriatic coast. The Recordings Bonci made acoustic recordings for the Edison Company, for Columbia (1912-13) and finally a few electric discs also for Columbia in 1926. It is generally accepted that the earlier series he made for the Fonotipia Company between 1905 and 1907 capture him at his best. This ‘Prima Voce’ set offers a representative selection from this series, including three extremely rare and experimental 14” discs (Disc 1:15, Disc 2:3, 16). The repertoire covers those operas in which he was considered to be pre-eminent, and also a few popular arias that were de rigueur for any tenor recording at that time. Before listening to any Bonci recording it is worth considering that he is a supreme product of a precise vocal training which prescribed methods of ‘proper’ vocal technique. One such technique, which contributes greatly to his performance style, is the use of a very ‘open’ vowel sound (to facilitate a more resonant tone), usually around the passaggio (from F to G, at the top of the stave). However, this broadening of the vowel sound can impart an occasional whiteness to the timbre – something that 19th Century (and even earlier 18th Century) critics were given to complain about. Some comments on particular discs: A te o cara. This version is considered by many to be definitive as it shows Bonci’s legato phrasing and dynamic control to perfection. Although for many years it was thought to have been recorded in the original key, research now confirms that it was sung half a tone lower, a not unusual transposition. Bonci’s immaculate cantilena (vocal line) and control over the passaggio is followed by a magical ascent and exciting attack on the high ‘C’ in the second verse. The aria is at a more languid tempo than adopted my many other tenors, with tasteful diminuendi (a gradual diminution of tone) on the extended notes and phrases, all of which are executed with the minimum of effort and maximum effect. Una vergine, un angiol di Dio. The aria has an extended range and demands stylish phrasing and excellent vocal control. Bonci, who sounds a little laboured, was perhaps not in best form, eschewing the high C sharp written in the cadenza of the final section. However as a number of other versions by distinguished tenors also omit this note it may be that performing traditions at the time permitted its omission. Spirto gentil. This aria too, is a test for most tenors. Bonci produces a very effective diminuendo on the word Aihme linking the two verses, the tone throughout is full, the vocal line is immaculate with the high ‘C’ perfectly placed and thrilling. Tombe degli avi miei ... Fra poco a me ricovero ... Tu che a Dio. Without doubt one of the longest solo scenes in opera for any tenor, these three excerpts run consecutively and make great demands on the tenor’s stamina and technique. When first performed this opera was considered a prime vehicle for the hero, rather than the eponymous heroine. Bonci sings the opening section in score pitch although the final pages of the score, (Tu che a Dio), which are even more demanding, are sung down half a tone in a traditional transposition. Una furtiva lagrima. Once again Bonci's performance demonstrates his ability to sing with dynamic nuance, and vocal control. His mezza-voce (half voice) is immaculate, diminuendi are used with taste and he produces a well-executed cadenza. Bonci's singing of music other than that of the Bel Canto school can be seen to hold much of the same approach both technically and musically. Addio Mignon and Ah! non credevi tu. Bonci sings both arias in Italian but delivers them in a style that remains essential French. Here there is real delicacy in his use of dynamic control so the sentimental elements are affecting without ever becoming mawkish. This is also apparent in his singing of Gounod’s Salve Dimora where he phrases expansively and his management of the high ‘C’ on the word ‘fanciulla’ is stunning. Questa o Quella, La donna e Mobile and the Quartet from Rigoletto all show his control of dynamics, ease of production and a grand manner. Questa o quella is taken at a pace that makes it a real aria here, and not as modern tenors tend to do, throw it away, La Donna e Mobile has a number of beautiful rubato touches and diminuendi on the sustained high G’s, although he ends as written, without the cadenza and the now traditional flamboyant top B natural. The opening phrases of the Quartet recorded on one of the rare 14” discs have point and pace, note that it is sung a half tone below score pitch, perhaps to accommodate the soprano’s high vocal line. In the verismo arias of Puccini and Giordano, Bonci copes surprisingly well with the declamatory elements using what is essentially a very lyrical tone. In Che gelida manina Bonci offers much more that a showpiece for exploiting a thrilling high C. And in Amor ti vieta he refuses to rush, allowing us to enjoy both the beautiful melody and the high tessitura that suits him so well. Mai piu Zaza. Leoncavallo’s Zaza has a number of tuneful arias and this lovely melody, which should and does here show the singer’s feeling of a stricken conscience is very well sung. The aria contains a dramatic high B flat which Bonci doubles with an unwritten but very effective B flat on the word piu at the end, demonstrating his excellent production of the U vowel sound on a top-note. Worthy of special note in the 17th and 18th century works are the unaffected versions of Spiagge amate demonstrating Bonci’s ability to produce excellent morendo effects, and the familiar Caro mio ben which is beautifully executed with great variations of tone. And finally that Victorian war-horse I’ll sing the songs of Araby which turns out to be absolutely charming, and with Bonci’s accented English somehow adding an extra dimension to the text. P.G. Hurst that doyen of commentators on Golden Age singers thought that ‘academically he was the perfect tenor’ and this CD set will give collectors a good idea of what made him so admired. |
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