Giovanni Martinelli sings Nessun dorma at age 65
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- Опубликовано: 8 сен 2024
- Giovanni Martinelli (1885-1969) was a mainstay at New York's Metropolitan Opera for over thirty seasons. During his tenure there, he became legendary not only for his splendid performances but for his numerous recordings, as well. By the time of his departure from the Met in the mid 1940s, collectors complained that Martinelli's records were impossible to find. In fact, by the time Martinelli retired from the stage in 1950, his recordings had been absent from catalogues for over a decade. By popular demand, Martinelli stepped back into the recording studio to cut his very first LP in 1950. This album, a collection of operatic arias, was sold via a record collectors' club and was limited to a few hundred pressings. One of the highlights of the LP is Martinelli's rendition of "Nessun dorma" from Turandot. Accompanied by Giuseppe Bambochek on piano, the great tenor shows that he was still in remarkable vocal shape at the age of sixty five.
He was most likely to have been born in 1880 and not 1885, I was told by a relative of Aureliano Pertile that Pertile knew Martinelli's true age and he never ever talked about it, because they were great friends, Lauri Volpi did also say that Martinelli was older than the official birth date, if that is true, I find it incredible, because I am now 99 years old, in 1937 at Covent Garden I heard him in Turandot, Aida, Carmen, Tosca and Otello, he would therefore have been unofficially 57 then, J. B. Steane also has made that statement.
His voice in House was Larger than on records, but his phrasing and diction was amongst the finest I ever heard in the opera house, he was a very fine actor, much better than Gigli or Lauri Volpi, Merli, whom I also heard, his performances as Otello were superb, especially with Tibbett in 1937, they knew each others style and they were fantastic together, I can say his Esultate could be heard and understood clearly over the Orchestra and was electrifying.
In Turandot with Eva Turner , Tomei , Favero and Albanese they alternated, this performance was also greeted with great critical acclaim, he was very greatly Loved by London audiences since his debut in 1912 and again his performances in 1919, where his voice had matured from a Lyrical to a Spinto voice with easy High notes, my father was a member of the Chorus from 1909 till 1940, his opinion of Martinelli was a positive one, he said in his notes and diaries that Martinelli was a great Tenor from his debut in 1912 and that in 1937, he was the real Artist, Intelligent Phrasing declamation and his artistry to produce long phrases without taking a breath, I too noticed this, I watched him sing E Lucevan Le Stelle with his back to the audience looking up at the stars, I have never seen it done like that since, it was a fantastic performance and it was a site to see and hear, I believe that there is a recording of parts of Tosca that were done, by the BBC, I do not think they have ever been released copyright I suspect.
He was very much held back by the Met under Gatti - Casazza after the death of Caruso, he was much taken for granted by the Met I think, the criticism of some that he was influenced by Caruso, I find a little bit odd, why, because what Tenor was not influenced by that the Greatest of Tenors, I very much thought that Gigli was even more influenced, my father said that Martinelli's voice was more Russian in sounding than Italian, of course has he got older his voice changed and the Timbre became darker, but I always find that Martinelli is superb in concerted passages and his ability to find a rhythm and style of blending in duets was incredibly beautiful.
They who say he had a ugly voice never heard him live, his timbre could be nervous but was always manly and virile, his aptitude and ability to change styles was unique, yes he could sing ugly, but that is opera, he could sing beautifully to, even in his older years, I had the pleasure to meet him twice in my life, firstly in 37 and again in 62 when he gave his famous lectures, I interviewed him for a Opera Magazine in 62, he never ever spoke a bad word, he was kind and respectful and had a very strong and virile talking voice.
The more you listen to his performances, you will always find something different, I heard John Steane on many occasions talk and say that you learned a lot from him, I can say that is very much the truth, it was interesting that Lauri Volpi paralleled him with Del Monaco in his famous book, there are similarities, but I do know that Del Monaco talked with Martinelli about the role of Otello, because Martinelli had learned the role for many years with Toscanini, this is a point that I could say I agree a tiny bit with Lauri Volpi.
Robert, thank you for this wonderful commentary and your invaluable insight. I have loved Martinelli from the first time I heard him, and it’s wonderful to hear from someone who actually heard him live.
I am a baritone who is studying. I always like the singing of the former masters (born before 1930), how bad the later people sing.In the process of my study, Lauri Volpi's voice is the most suitable for learners, because the technique is more obvious, Martelli's voice is brighter, you can hear the power and metallicity of the sound, in short, the brightness plus high density Sound, it is difficult to balance the two. The bright sound is often thin, and the dark sound lacks a little luster. He is very unique.In addition, I also like Caruso,his high pitch is like a high-pressure pump, and his voice oscillates throughout his body. That was a great time, not now.
Das kann unmöglich eine seriöse Studioaufnahme sein, kein Label hätte sowas finanziert.
Very good voice at 65!!!
Good technique translates into...well this...excellent youthful quality still retained in the voice!
Brilliant performance and recording
this bloke didnt need a mic Bravo!
Thanks for uploading this, simply astonishing. I certainly hope you have more Martinelli to share. Rare recording as well. Thrilling for one word.
Best regards.
I'm happy that you enjoyed it, Marcus! there will be many, many more rare Martinelli clips in the weeks to come.
True Legend, Bravo!!
wow, similarity to lauri volpi
Lyrics in portuguese of brazil
Ninguém durma! Ninguém durma!
Tu também, ó princesa
Na tua fria alcova
Olha as estrelas
Que tremulam de amor
E de esperança!
Mas o meu mistério está fechado comigo
O meu nome ninguém saberá!
Não, não, sobre a tua boca o direi
Quando a luz resplandecer!
E o meu beijo destruirá o silêncio
Que te faz minha!
E o seu nome ninguém saberá!
E nós deveremos, infelizmente, morrer!
Desvencilhe, a noite!
Desapareçam, estrelas!
Desapareçam, estrelas!
Ao alvorecer eu vencerei!
Vencerei, vencerei!
Caudal de Voz!!!!!
it sounds very much like his 1938 performance in London, but the voice is now thinner. Toscanini (and Puccini?) wanted him for the premiere, but Gatti wouldn't let him go, so GM would never sing the role at the Met.
Non ..c'est L VOLPI qui devait créerle rôle à la SCALA mais TOSCANINI ET L. V se détestaient et c'est MIGUEL FLETA qui prit sa place. ..L VOLPI va le créèr plus tard au MET..
Eluzalyrics
L Volpi was chosen when GM had to turn it down
@ciroalb3 What you say doesn't make any sense. Daniel Jouille is correct. Toscanini had control over the La Scala premiere, not over the MET, which was Gatti's turf. At the time (1926) both Martinelli and LV were under contract with the MET (Fleta too), and Gatti wouldn't let any of them sing the La Scala premiere (and Toscanini and LV didn't like each other anyway) Fleta chanced it; the MET sued him for breach of contract and that was Fleta's career end in America. However it wouldn't make any sense for GM to turn down the offer of singing Calaf at the MET. Fact is it wasn't offered to him at all, only to LV, and LV owned the role for as long as he sang at the MET, with the exception of 3 performances on tour (spring 1927), which went to Edward Johnson and Armand Tokatyan. After Jeritza and LV left the MET Turandot was shelved for the next 30 years and revived with Nilsson and Corelli in 1961.
Quien Dijo?????
Que esté hombre fué tenor.....
Tenía menos Cada de Voz, que un Grillo!!!!!
Martinelli was one of the great tenors of his time but he should never have made this recording. Although he still managed to reach the top notes the sound was not what you would call good. A pity really as he had such a beautiful voice when he was younger.
TRAUMHAFT
I've heard tenors nowdays that sing much worst this aria, even in commercial recordings...
Tenía Menos voz que un Grillo!!!!!
C'mon all... Do you really think this sounds good? 1950's recording technology was much better than this. What kind of "studio" was this ? Listen to all the RCA, London, EMI studio recordings from 1950 and the difference in quality is so obvious. I wish we'd stop giving "has been" legends a free pass just to preserve the sanctity of their name.
They are private Recordings mostly not Studio.
@sgnmath1234 I agree, there's little to speak in favor of this recording. No beauty of tone, unraveling technique, very efforting on the high notes, average musicality, but perhaps it is an "at home" recording.
what bloody rubbish
Philistine
This sounds like maybe it was not supposed to see the light of day? No beauty of tone, unraveling technique, very efforting on the high notes, average musicality. I can't believe this is a recording made for commercial release.