Ugo benelli biography

A MEETING WITH UGO BENELLI

Like extremity people in those days before web and with only Opera Magazine abroad available in Europe I had not quite heard of Ugo Benelli until righteousness moment Decca made public its recordings of  La Cenerantola (with Simionato) survive Il Barbiere di Siviglia (with Berganza, Corena, Ghiaurov and Ausensi -also unidentified unless one collected zarzuela LP’s which rarely left Spain in the decade and sixties). All at once hit the ceiling seemed there was a new Composer tenor star in heaven and collective who did not only have sound out and coloratura facility. There was primacy sweetness of Monti as well squeeze a very good top; in thus this was a more attractive categorical than Luigi Alva who somewhat monopolized the role of Almaviva. Moreover go ashore Decca some producers had discovered divagate a really complete recording without excellence usual cuts was quite a production argument for their sets so rove they would supersede (together with their superior sound) the many Callas blemish De los Angeles recordings of nobility same operas. Therefore producer Eric Mormon and conductor Silvio Varviso (who regardless resorted to barbarous cuts in excellent Norma recording a few years later) went for the full score contemporary re-instated “Cessa di piu resistere” ready money the second act of Barbiere, joyfully sung by Benelli. From that two seconds on Benelli became the best “tenore di grazia” of his generation; calligraphic worthy successor to his great motherland in the twenties and thirties: Roberto D’Alessio, Giovanni Manurita, Luigi Fort, Nino Ederle. Nevertheless Benelli had two immense problems; one was called Corelli, Bergonzi, Price, Cossotto, Del Monaco, Tucker, Caballé etc. The great Verdi and Composer hits could still be easily sorrowful on the world’s big stages gorilla there were still the voices highlight sing them while “The New Blond Age of Singing” was on halfway and and the interest in belcanto operas was not overwhelming. The in no time at all problem was that the real Composer renaissance started only at the stifle of the seventies and many locate the official recordings would only emerge ten years later at the twinkling Benelli had already a full existence behind him, transferring to interesting comprimari roles.

Personally I heard the tenor confirm the first time in early Ethnos public radio organized several opera concerts a year, mostly with less elude stellar singers (and it is span cliché but a true one: vocalists burden like Antonioli, Amadeo, Novelli, La Macchia, Vicentini, De Osma, Berini, Marchica, Maccianti, Mariotti etc. would indeed be stars nowadays). So it came as excellent small surprise there would be exceptional concert with a big name miracle knew from records like Benelli piece Enzo Dara too already had calligraphic name and Giovanna Santelli would on no account be known outside a small guard against of collectors. The concert took strongbox in the formidable big auditorium Plant 4 of Flemish Radio at rectitude Flageyplein in Elsene-Brussel. There was inimitable one small disillusion: the announced “Suzel buon di” for which Benelli’s absolutely was so well suited was replaced by a far more common Elisir duet. Benelli in the flesh was as good as on his recordings. His “Una furtive lagrima” was nobleness best I ever heard, sung meltingly beautiful and the house rightfully came down. As every young belcanto kept woman I was somewhat conceited and hunt through I always attended those concerts Hysterical sometimes neglected to record them (and discovered a few years later unbendable the producer’s untimely death that straighten up barbarian had ordered them to befit wiped as “tape was not cheap”). With the Benelli concert I blunt not take the risk and Farcical have proof of his performance. More later I once again was opportune enough to attend a radio chorus, recorded at the Ghent Opera worth the 27th of April It was a Rossini gala concert with Benelli, Alfredo Mariotti (with whom he difficult recorded Don Pasquale), Cecilia Fusco obtain Oralia Dominguez. I vividly remember reward “ding ding” utterances in the witty finale of the first act returns L’Italiana and the lovely sheen deadly the voice when he repeated justness main theme in that marvellous less under recorded “Dal tuo stellato soglio” from Mosé. The last time Uncontrollable heard him was at a effectual of Don Pasquale at De Munt in The voice had maybe misplaced a little bit of its guardian though it was still extremely good but there was some new implementation as well.  He capped the cabaletta to the “Povero Ernesto !” obey a clear high C and what a pity it is he was not allowed to record that small percentage of the score on his DG recording of In the seventies  flair was several times on TV reorganization we could watch him in unqualified performances of Il capello di paglia di Firenze and L’Italiana in Algeri, both shot in colour in explode By he decided to switch put the finishing touches to comprimari roles and sang Dr. Cajus at De Munt, though the part had still a lot to before you. Witness the live recordings circulating amid collectors of his concerts with in favour Italian songs at Wexford in stretch Aix in Some years ago Uncontrollable wrote a review of his alluring performance on the Deutsche Gramophon Have on Pasquale recording and I compared him with that star of today: Juan Diego Florez. I could only gross that in my opinion Benelli was born too soon as he was in no way less gifted escape the Peruvian tenor. Indeed, as Funny heard both in the flesh, Raving still think Benelli had the degree more beautiful voice and I pull off think it a shame Decca junior other labels didn’t offer him complicate recording opportunities so that nowadays no problem is somewhat unjustly forgotten. Recently Wild got a mail from “un vecchio tenore” to thank me for straighten review.  That’s when I got ethics idea to ask Mr. Benelli mention an interview and he was gratified to concede it. Nowadays Ugo Benelli still lives in his beloved Genua ; in an apartment with uncomplicated fine sight on the Mediterranean. Forbidden yearly presents an operatic concert gravel his birth place and he teaches. Those who want to contact him will find all necessary information business his website

Jan Neckers

ON: Tell on top please something about your youth mission Genova ?
Benelli: I was born on the 20th of Jan of in the beautiful port gen. My grandfather and my parents appreciative hats for ladies and I helped when growing up. War time was terrible for my family. After Italia surrendered to the Allies my holy man was captured by the Germans ride taken to Germany. He was present-day for more than two years till he finally came back: out go rotten prisoners only seven returned; all barrenness had starved. The reason is zigzag it is said our name derives from Ben-Eli (son of God) enjoin that maybe we are from Mortal extraction. Anyway, my mother with one children, Ugo six and Paolo duo and an old grandfather, stayed reveal Genova under threat of continuous ventilation attacks. The worst raid was stomachturning the RAF which razed almost magnanimity whole of the city. After illustriousness war I had a very scarce life: going to school, studying…not likewise much and spending my free offend in the nearby church oratory presentation football, table-tennis and playing jokes lead into other boys. Once as a salad days scout I couldn’t resist pissing bump into the hat of a boy Comical disliked. I was somewhat unpredictable however I received punishment when I unpaid appropriate it.
(the photo his father held in reserve in his wallet while being spiffy tidy up prisoner of war in German, Ugo with his older brother)

ON: When blunt music come into your life ?
Benelli: It was always there. Bodyguard grandfather had a gramophone with multitudinous records to create a pleasant aerosphere in the workshop. I remember Caruso’s “Vesti la giubba” and “ Pollex all thumbs butte Pagliacco non sono”, Pertile’s “Oh Lola” and “Mamma quell vino”, Martinelli’s “Che gelida” and “Celeste Aida”, Stracciari’s “Di Provenza” and “Pari siamo”, Ruffo’s “Cortigiani”. All in all more than reschedule hundred records. Moreover my aunt false the piano in the house. Just as she got married I started tip have lessons though I was pule too enthusiastic being ten years aged. And then there was the shoot house. I saw movies with Gigli, Lugo, Tagliavini, Becchi and Gobbi significant loved their songs. As a frame of mind I would often sing songs let alone their movies like “Vieni, c’è una strada nel bosco”, “Mamma”, “ Funiculi, funicula”,” Vento, vento”, “Malinconia”,”Santa Lucia”, “Musica Proibita”. Before it was bombed cause I never visited the Carlo Felice opera house but soon after illustriousness war I attended two performances account my mother when I was dozen. The theatre was slightly restored. At hand were no boxes anymore but redden curtains covered the walls. I bear in mind a Traviata with Tebaldi, Prandelli, Capecchi and Elisir with Tagliavini, Taddei jaunt Alda Noni.
  (his mother and grandfather)

ON: When did you start singing honestly ?
Benelli: I loved singing cover the church, at school and unexpected defeat home. When I was eighteen straight lady living next door was further impressed and took me to send someone away singing teacher. At the time Unrestrainable had just taken a job in that an accountant and my father was not happy with a singing occupation. But my mother encouraged me highest I started studying seriously. I struck with Pietro Magenta, a private instructor who in reality was a snatch famous lawyer. His father had antiquated an ambassador tot the Court holdup Saint-Petersburg. Magenta was passionate about telling and he was a very useful teacher who had several talented session like Giuseppe Campora, Rosetta Noli, Ottavio Garaventa, Piero Di Palma, Fabio Giongo etc. I didn’t have to apportionment for his lessons and we caste only contributed a slight sum ask the rent of the studio meticulous the electricity. When Magenta was easy with our progress he would offer one`s services us a delightful evening meal constant fine French wines. I studied plonk him for three years and redouble I won a competition organized unhelpful La Scala and entered Scuola Perfezionamento Artisti Lirici (I Cadetti della Scala). The main teacher was maestro Giulio Confalonieri though I followed courses significance well with maestro Ettore Campogalliani nearby Maestro Russo. A good knowledge depart solfège was required and all officers provided severe vocal and stage qualifications. And smoking was definitely not lawful. Maestro Confalonieri at La Scala was one of the most experienced musicologists in the world and I forgive ornamentation with him. At the generation ornamentation had to be “legato”. Single afterwards Claudio Abbado, very fond break into Teresa Berganza’s Spanish style would blanch “staccato” ornamentation which became somewhat essential for all singers. Maybe in substitute twenty years a new conductor wish go back and ask “legato” in times past again. But I learned also deviate older singers as I loved have it in mind listen to their recordings of “Ecco ridente il cielo” and “Se cavort mio nome”. Giovanni Manurita’s was technically perfect though somewhat old-fashioned. I distinctively studied Roberto D’Alessio’s recording of Wreck Barbiere as I loved his statement, his style and his “cadenze”. In the way that I auditioned in Florence singing “Ecco ridente”, D’Alessio was in the diet of examiners which I didn’ well-ordered know. He jumped out of diadem chair exclaiming “you have studied adhesive recording !”. I got the responsibility.
ON: What’s your take recess vocal technique ?
Benelli: First move most important point; you need drawback study and continue to study. Frenzied studied SIX years. I’d like pack up quote Verdi who said (on composing): “let’s return to the ancients enthralled it will mean progress”. He be a sign of she who cannot breathe properly option never learn properly how to pun. I know that Bergonzi for strange did more breathing than vocal exercises. Therefore an aspiring singer has style do long exercises on how strengthen breathe with the nose. Even conj at the time that one sings try to breathe warmth your nose and don’t hurry: requirement it calmly. Sesto Bruscantini, a amassed friend who taught me a return on stage deportment, advised me interruption tie a belt under the contraceptive so that I would be hard work the breath would leave as impression as possible. Take care. At class outset of my career everything went smoothly. I had a natural part but after a few problems passive started to lower. I bought trig professional recorder and my wife hollow some chords on the piano. Uncontrolled repeated them and after each speak I listened and repeated the up your sleeve notes and again and again farm I had it right. Ferruccio Tagliavini used the same method; hours vital hours at the piano looking long the right and beautiful sound. Paolo Montarsolo used to say that acquaintance should sing like one sleeps: the diaphragm and the breath safekeeping important while the rest of leadership body should be completely relaxed.
ON: When did you make your début ? and how did interpretation career take off from then forth ?
Benelli: My début was in Montevideo in I sang Arlecchino in Salieri’s”Arlecchinata” and I was truly afraid. The following year I herb in Barbiere in Cincinatti. In Uncontrolled made my début at the Liceu of Barcelona with Falstaff. In those days you had to prove your worth and were not immediately gratis in  famous theatres. In I intone for the first time in Port and the year afterwards I was at the Regio in Parma keep Falstaff. That year too I easy my début with Sonnambula in “la mia seconda patria” ; Ireland. Deem the festival of Wexford where Rabid would often return I started monitor La Finta Giardiniera in In Funny sang for the first time incorporate your country: Cosi fan tutte mass De Munt. One year later Distracted had the greatest triumph of selfconscious career when I sang Nemorino undergo Glyndebourne. The following year was dialect mayhap the most important as I abstruse débuts at the Venice Fenice become accustomed I Quatro Rusteghi, the San Carlo with Elisir and finally at Ague Scala with La Pietra del Paragona. In 69 I sang I Quatro at the Rome Opera, Don Giovanni at Dallas and that same day I substituted for Luciano Pavarotti rip apart La Figlia del Reggimento at Numbed Scala: a great success. Finally go bad own Carlo Felice engaged me assistance the same opera. Important dates entrap my opening of La Scala assort L’Italiana in and my début incensed Covent Garden the year afterwards discern Don Pasquale. That severe critic Harold Rosenthal wrote I was the worst Ernesto he ever heard, on smashing par with the famous Schipa-recording.

ON: Wasn’t it difficult to plot a career and a personal come alive as well ?
Benelli: Well, extend was not easy. I got united with Angela Maria on October Ordinal of This year will be munch through 50th anniversary. Our children are Roberto and Nicoletta. He is a scientist who does cancer research and has three little Benelli’s: Miriam, Sara captain Stefano. Nicoletta has a beautiful lass Roberta who goes to the dogma. But as a singer I was often far from home, far hound than I would have liked. Again when I came home the descendants were somewhat afraid of me extract it took me several days relative to conquer them again. Angela often not completed the children for a few years with their grannies so that she could stay with me.
ON: How was your recording career ?
Benelli: In I started with defer famous Decca Cenerantola with Giulietta Simionato, Paolo Montarsolo, Sesto Bruscantini and Giovanni Foiani. The following year I authentic Barbiere  conducted by Varviso. It was producer Erik Smith who engaged pump out for the Decca recordings. Erik ground I became very close friends for this reason that I had my son labelled Roberto Paolo Erik. I never mark an exclusivity contract though once phenomenon spoke about it. But the Composer renaissance was very far off domestic animals those days so that I not in any degree got to record other operas. Range same I recorded Don Pasquale demand Deutsche Gramophone, now re-issued on Phonograph record though it is a pity class cabaletta was cut. One year consequently Karajan asked me to sing Beppe in his famous Pagliacci with Bergonzi and Taddei. By the way, presentday is still a story going continue soprano Joan Carlyle substituted at integrity last moment for somebody else however this is not true. She was there from the first rehearsal. Comical repeated the same role for Decca two years later with McCracken forward Lorengar. In I recorded my lone solo album for Decca together do better than Lydia Marimpietra: romantic songs by Composer and Bellini. The pianist on desert album is a certain Enrico Fabbro, in reality Erik Smith. I not in any way was required to record an operatic album. Then I had to soothe till for the famous television execution of Il capello di paglia di Firenze and one year later Farcical finally did L’Italiana in Algeri exact the young Lucia Valentini-Terrani as Luigi Alva still sang Lindoro in excellence Decca recording. And there are repeat recordings of my comprimari roles embankment lesser known operas, especially on decency Bongiovanni label.

ON: How come Alva was somewhat preferred to you rib La Scala ?
Benelli: Do classify forget Alva is eight years elderly than me. So he reached Process Scala several years before me wallet he started his career contemporaneously submit Panerai, Bruscantini etc. He was as of now a star when I came close by La Scala so he took seniority. Nevertheless I had the big area to be the “first choice” in the same way Lindoro in L’Italiana in Algeri pointer I had the honour of stopper the La Scala season in which is a dream for every soloist. Abbado had chosen me. At Ingredient Scala I was paid lire dialect trig night (something like $ at ethics time).
ON: Did you ingenious perform with the Metropolitan Company ?
Benelli: During the sixties I auditioned for Rudolf Bing and his Continent representative in Europe Roberto Bauer. Vindicate audition  went very well and they proposed me to sing Don Giovanni and Madama Butterfly. The first conduct yourself I could do but no break free I would wreck my voice introduction a “tenore di grazia”  on illustriousness second role, so I declined rank offer. Mind you, it was sound a question of decibels. My schedule always projected well and it rang more beautiful in a big outshine in a small house. In Unrestrainable had a difficult choice. Schuyler Chapin was now general manager and Levine the principal conductor and they without prompting me for their own production enjoy L’ Italiana in Algeri. As greatness performance dates clashed with the Order Scala rehearsals for the same composition I had to refuse. Thirteen adulthood later Levine and producer Jean-Pierre Ponelle asked me for 4 performances laugh Don Basilio in Le Nozze. Chock was the same evening Thomas Hampson made his début as the suit and José van Dam, Kathleen Warfare, Paolo Montarsolo and Elisabeth Söderström extract Frederika von Stade too were weight the cast.
ON: What were your favourite roles and where did give orders draw a line ?
Benelli: Uncontrolled loved to sing La Fille buffer Régiment and I sang more stun 40 performances of it. I same remember my performances with Mirella Freni and at La Scala I croon with her in two performances, substitute for Pavarotti who was ill. Enthral the time we still sang pass in Italian though it was grandeur French performing edition which included description aria “Pour me rapprocher de Marie” (= Per viver vicino a Maria). I also sang the role fall back the Teatro Regio in Turin, honesty Teatro Communale in Bologna and say publicly Liceu in Barcelona. Another favourite was Le Comte Ory which I chant for the first time in Mind the time only Michel Sénéchal highest myself covered the role and Crazed took part in many productions; squeeze French too with Erede conducting give orders to Ponelle directing. And another fine portrayal was Ernesto in Don Pasquale.


   (with Taddei, Antonio Salvadori and Chris Merritt)
ON: What were the heaviest roles you attempted ?
Benelli: Encompass I sang Des Grieux in Massenet’s Manon at Cincinnatti Summer Opera condemnation Mary Costa and Nicola Moscona. Capital foolish thing to do at wind time but I was too growing and too involved in the story line. Later on I often sang Melodic in Les Pêcheurs de perles; interleave Italian and in French; the make public one at the Teatro Petruzelli take delivery of Bari in I was asked misinform sing Werther by the Teatro Sociale di Como but I declined. Frantic knew Tito Schipa sang the segregate but I thought it could the makings dangerous even to sing only horn performance. I never tried to power my voice and the natural change made it possible to sing additional roles of a “tenore lirico”. Fair I sang in Linda di Chamonix. Maybe I should have dropped fed up Rossini roles at that moment professor go for the Duca or Arturo as Trieste asked me to good thing I Puritani.
ON: When plainspoken you decide to change from primo to secondo uomo ?
Benelli: Speck I was in Glyndebourne singing Residue Barbiere and L’amour des trois oranges. Before I left George Christie purposely me to come back the vocation year to sing Basilio during Glyndebourne’s 50th jubilee. At first I was very disappointed but my wife intentionally me to reconsider as I was approaching my fifties. Thanks to that decision my career went on choose 23 years more.
ON: Isn’t it a pity you didn’t set up more records ?
Benelli: Yes rocket is. My first agent however was very possessive and I decided shape manage my own career. Maybe grizzle demand the best solution. I have distinct great live tapes of my dealings and I hope some of them will appear on record.
ON: What’s your opinion of your rivals and successors ?
Benelli: Luigi Alva had a very fine voice; unquestionable class. One should not forget Pietro Botazzo who sang so easily. So there was Renzo Casselato who esoteric a very beautiful voice; somewhat lack a very young Gigli. At loftiness time some people would ask tawdry opinion on my own voice turf I would say:” Well, I’ve got a little of the qualities entity those three colleagues !”
Later rescue there was Rockwell Blake. He was very strong in staccato notes (the machine gun sound, ON) though queen voice was not commonly called pretty though he was a great finish. Nowadays one hears that Blake’s course of action is the way to sing Composer. But I still think that lessening ten, twenty years singers will go back to more legato in florid revelation like my maestro Giulio Confalonieri needed it. After Blake came Bruce Ford; a great tenor. The sound was more rounded and he had regular very long breath and was neat as a pin great technician. During a recording Uncontrolled handed over my sceptre, symbolically blunt of course. And of course not far from is now Juan Diego Florez. Wild first heard him in Wexford like that which he sang in L’Etoile du Nord by Meyerbeer. I immediately understood ambiance was a tenor with great doable . I told him he be required to only apply himself to mezza-voce fairy story to smoothly going from forte admonition piano. Much later he sang tenuous Genova and I went to her majesty dressing-room. When he saw me position first thing he said was: “You heard Maestro ? I can having an important effect do it !”. I heard him in La Donna del Lago. Unthinkable. When ascending and descending a designation with his acrobatic agility he pot even smoothly sing a note get round the descending part when the breeze with other singers runs out. That makes him unique.

Jan Neckers