Lauri-Volpi, il creatore di Calaf desiderato da Puccini in 'Turandot'(Non piangere,Liù-Nessun dorma)

[@hrbooksmusic7878]

Great singing and rendition times two: dignified, yet passionate… what a thrilling and highly appealing blend! ✨✨✨ Thank you for this great post! 🙏🍀

[@ferrantepallas]

incredibile, che voce!

[@minodoraroman8864]

Si, si! Sono momenti di brividi.

[@greatmoments7033]

Puccini aveva scritto il ruolo di Calaf per Lauri-Volpi, ma a causa di un assurdo 'veto' di Toscanini che vietava al giovane tenore di Lanuvio di cantare alla Scala dopo il noto episodio (che costituì un "equivoco" per diversi anni) nel corso delle recite milanesi di "Rigoletto", ovviamente cosa poteva fare il direttore parmigiano se non mettere Fleta al posto di Volpi? Proprio il cantante che non era piaciuto in "Tosca" allo stesso Puccini per la famosa 'filatura' non scritta dall'autore in "E lucevan le stelle" che il tenore spagnolo volle a tutti i costi fare... Subito dopo vi sono state le altre importantissime "prime mondiali" di Turandot: al Teatro Colón di Buenos Aires il 23 giugno 1926 con Claudia Muzio e Lauri-Volpi, dir. da Gino Marinuzzi e al Metropolitan di New York il 16 novembre 1926 con Maria Jeritza e Lauri-Volpi, dir. da Tullio Serafin, con esse ripristinando così il volere pucciniano di dare a Giacomo Lauri-Volpi l'onore di interpretare il ruolo con la vera vocalità e stile che il compositore aveva immaginato per Calaf!

[@mino7520]

Io vorrei sapere che cosa ne pensava Alfano di questa scelta poiche fu lui che scrisse la fine dell'opera .?

[@MarcoRiu]

Interessante, non sapevo che il filato non fosse piaciuto a Puccini! Dove posso trovare le fonti?

[@davidcontini7217]

Una voce enorme, pazzesca; ma lui è sempre un po' crescente.

[@fabianpersic]

No quiero ni imaginar la seducción y la morbidezza de Miguel Fleta la noche del estreno de Turandot! Jaaa! Giacomo Volpi jamás pudo superar ese trauma!!!

[@JUANQUISPE]

y por qué lo dice?

[@sergiospina6154]

Eterno!

[@greatmoments7033]

Let's explain the rest of the story in Italian! Lauri-Volpi cantò spesso le opere di Puccini fin dall'inizio della sua carriera, cominciando con il ruolo di Rinuccio nel "Gianni Schicchi" nel 1920. Il ruolo di Calaf venne affidato a Fleta per ripicca (per decisione di Toscanini, non certo di Puccini!), in seguito all'episodio di contesa tra Toscanini e Lauri-Volpi nel "Rigoletto" alla Scala nel 1922, una volta che Gigli, come detto nelle sue 'Memorie' del 1957, decise di non interpretare il ruolo nella "Turandot" perché la parte tenorile non si addiceva alla sua voce: registrò solamente, avanti con gli anni, l'aria 'Nessun dorma', ma non cantò mai il ruolo intero in teatro. Comunque si tenga presente anche questa testimonianza di Ricci, pianista di Gigli, Volpi e molti altri grandi: - Forse a molti è sconosciuto, se non a tutti, che il primo Principe Ignoto, ossia Calaf, nell'opera Turandot di Giacomo Puccini, doveva essere Beniamino Gigli. Ma andiamo per ordine. Il 1° settembre 1924, a due mesi dalla morte, Puccini scriveva ai suoi collaboratori librettisti: "Oggi riprendo a scrivere. Ho passato crisi tremende - anche per la salute. Quel mio mal di gola che mi tormenta dal marzo pareva cosa grave. Ora sto meglio e poi ho la sicurezza che è cosa artritica e che curandomi finirò a star meglio. Ma ho passato giorni tristissimi. Venne Clausetti ieri e dissi il sì per la Scala". E il 7 settembre, sempre agli stessi collaboratori: "E' partito or ora di qui Toscanini. Siamo in perfetto e simpatico accordo e finalmente respiro. Così è finito l'incubo che sovrasta fin dall'aprile". Puccini, con Clausetti della Casa Ricordi e Toscanini, si erano messi d'accordo per il luogo, l'epoca e gl'interpreti, per l'andata in scena della sua Turandot, ormai al termine. Beniamino Gigli, nel medesimo mese, durante la permanenza a San Francisco, riceve un telegramma di Giacomo Puccini: "Desidererei avervi primo interprete di Turandot, che sarà data alla Scala in aprile. Sicuro che farete ammirabile creazione confido nella vostra preziosa collaborazione. Telegrafatemi alla Scala sulla possibilità. Saluti". Gigli era già impegnato con Gatti Casazza, per interpretare la nuova opera di Puccini che sarebbe andata in scena nella futura stagione al Metropolitan, ma l'Autore, contrariamente a quanto si era detto e stampato, aveva preferito Milano, la Scala e Toscanini. Beniamino così rispose: "Terminando miei impegni in aprile potrò essere a Milano ai primi di maggio per interpretare Turandot. Grato intanto per preferenza ed onore altissimo affidatomi. Saluti". - (Luigi Ricci - "Ricordando Beniamino Gigli e il suo tempo" - Roma, 14 novembre 1977)

[@meisterwue]

Mille grazie per questa spiegazione ❤

[@aclassicaltrove]

Wasn't Calàf first sung by Miguel Fleta and Franco Lo Giudice?

[@jimdrake-writer]

Miguel Fleta created the role of Calaf at La Scala on 25 April 1926.

[@greatmoments7033]

Fleta (who sang no more the role after La Scala in 1926) was put there by Toscanini who hated Lauri-Volpi: the whole story is told in the first book written in 1938 by Lauri-Volpi, "L'EQUIVOCO"! Later, in 1941 the librettist Giuseppe Adami, best known for his collaboration with Giacomo Puccini on the operas "La rondine" (1917), "Il tabarro" (1918) and "Turandot" (1926), wrote of Lauri-Volpi: "Desiderato e sognato da Puccini vivente come creatore del Principe Calaf di Turandot, nella prima indimenticabile edizione scaligera", which means that Puccini wrote the role for the voice of Lauri-Volpi! Then Lauri-Volpi sang the role in 1926 BUENOS AIRES, t. Colon - 1926 RIO DE JANEIRO, t. Lyrico - 1926 NEW YORK, t. Metropolitan - 1926 PHILADELPHIA, Academy of Music, and he continued to sing the role until 1958 (ROMA, Terme di Caracalla). Have a look at: lauri-volpi-tecnicavocale.blogspot.com/2023/05/giacomo-lauri-volpi-desiderato-e.html

[@aclassicaltrove]

@@greatmoments7033 Thank you!

[@jimdrake-writer]

@@greatmoments7033: I was fortunate to correspond with Giacomo Lauri-Volpi in the early-1970s. He sent me handwritten responses to questions I asked about singers of his era, beginning with Rosa Ponselle, who had chosen me as her biographer, and Nina Morgana (“La d-o-l-c-i-s-s-i-m-a voce nel repertorio lirico-coloratura”). We corresponded about Fleta, and he not only said that he and Fleta were friends, but also enclosed a photo taken of them together. He said Fleta could not say no to Toscanini but knew immediately that the role was too heavy for his lyric voice-and in the letter, Lauri-Volpi speculated that Fleta’s voice was damaged by that premiere performance.

[@Garwfechan-ry5lk]

Lauri Volpi sang the role a number of times in London as well in the Twenties and Thirties with Scacciata and Turner, alternating with Merli. He was not a success in London , Merli was. @@greatmoments7033

[@manueldiaz-obregonderus524]

Stupendissimo, ma il primo Calaf fu Miguel Fleta, tenore spagnolo.

[@greatmoments7033]

Il titolo va letto così: "il creatore di Calaf desiderato da Puccini in 'Turandot'" (e non così: "il creatore di Calaf"). Puccini aveva scritto il ruolo per Lauri-Volpi come svelato pubblicamente da Adami nel 1941, fu Toscanini che due anni dopo la morte di Puccini non volle Lauri-Volpi alla Scala poiché, a causa di un banale 'equivoco' avvenuto nel 1922 nel periodo delle recite del 'Rigoletto' col tenore di Lanuvio, aveva promesso che Lauri-Volpi non avrebbe dovuto più cantare alla Scala, ma il veto decadde nel 1930. Tuttavia c'è da dire che, dopo la prima scaligera, sempre nel 1926 Volpi fu il primo interprete al Colon e al Metropolitan, dove Toscanini non poteva imporre alcun veto, e successivamente cantò il ruolo nel mondo intero molte volte tra il 1926 e il 1958, mentre Fleta (che tra l'altro non piaceva a Puccini, perché volle aggiungere la famosa "filatura" nella 'Tosca' che Puccini non voleva) abbandonò subito il ruolo del Principe Ignoto! lauri-volpi-tecnicavocale.blogspot.com/2023/05/giacomo-lauri-volpi-desiderato-e.html

[@greatmoments7033]

Lauri-Volpi was not a fascist, although you have to know that Mussolini liked his art of singing a lot. Actually, Volpi was his favourite tenor, but it was not his (Volpi's) fault! It just turned out that way. The real truth is that, for instance, Martinelli and Gigli recorded GIOVINEZZA, Lauri-Volpi never!!! That's the truth! Also, Lauri-Volpi refused to sing the Fascist Hymn at the theatre, as told by Gina Cigna. And the day after that particular night (very dangerous for him), Volpi should appear before Mussolini because of his disobedience to the regime! Here is 'Giovinezza' sung by Martinelli kzbin.info/www/bejne/paqnm3ScYpqKhqs - The facts speak for themselves!!! ...and, we must say, Gigli recorded 'Giovinezza' twice, actually!! kzbin.info/www/bejne/iKKqpnetmp2Ijac As for Toscanini, before the famous episode (later remembered as 'Lo schiaffo di Toscanini') occurred on the 14th of May 1931 at Teatro Comunale in Bologna, he - Toscanini - presented himself as a candidate in the Fascist Party list in 1919! www.lastampa.it/cultura/2017/03/20/news/nel-19-candidato-nella-lista-del-fascio-poi-icona-musicale-dell-antifascismo-1.34634259/ The truth is that in 1941 the librettist Giuseppe Adami, best known for his collaboration with Giacomo Puccini on the operas "La rondine" (1917), "Il tabarro" (1918) and "Turandot" (1926), wrote of Lauri-Volpi: "Desiderato e sognato da Puccini vivente come creatore del Principe Calaf di Turandot, nella prima indimenticabile edizione scaligera", which means that Puccini wrote the role for the voice of Lauri-Volpi! Then Lauri-Volpi sang the role in 1926 BUENOS AIRES, t. Colon - 1926 RIO DE JANEIRO, t. Lyrico - 1926 NEW YORK, t. Metropolitan - 1926 PHILADELPHIA, Academy of Music, and he continued to sing the role until 1958 (ROMA, Terme di Caracalla). Have a look at: lauri-volpi-tecnicavocale.blogspot.com/2023/05/giacomo-lauri-volpi-desiderato-e.html

[@gabrieleruffini4884]

Compliments. Very exhaustive and precise post. It should be said that Lauri Volpi during all his life behaved with remarkable freedom of thinking so during fascism he suffered a lot for being continuously attacked by regime press who was strongly adversing him for being quite reluctant to support propaganda as Gigli did. In other word during fascism LV was considered anti fascist and after.fascism somebody considered him fascist. This is what happens when somebody dares to express freely his ideas. LV was non only a singer.but a writer of success (he wrote at least 8 books any of them really best sellers), a journalist (he wrote hundreds of articles for Paese Sera) , a philosopher of singing art and from an intellectual point of view he was flying much higher than the average tenors did. Regarding Mussolini, he not only admired Lauri Volpi for his voice and the heroic style of singing but he had great consideration for him (this maybe saved LV from more dangerous consequences for not being strictly solidal to the regime). In other circumstances Mussolini saved the life of LV in fact during the civil war of Spain he sent a military ship for recovering him and his family (LV had a spanish wife ) from a really dangerous war situation. The reason of this feeling of friendness is explained in the book "parlo con Bruno" that Mussolini wrote in memory of his sun Bruno, died in an aeronautic incident. In that book Mussolini revealed that Bruno's favourite singer was Lauri Volpi and so LV voice reminded Mussolini the memory of his lost sun. Sometimes even dictators have an heart....

[@Garwfechan-ry5lk]

Lauri Volpi sang Turandot with Bianca Scacciati in London Covent Garden and it was NOT a success, also it was Giovanni Martinelli that Toscanini and Puccini wanted to create the role, having visited Puccini in 1921 with Toscanini, Martinelli was given the music of Calaf and sung the Aria Nessun Dorma first for Puccini himself, it was a fact that Gatti Casazza would not let Martinelli to leave the MET to create the roll and it was given to Martinelli's friend and colleague Miguel Fleta to create, for London audiences and it is still true today, it was the 1937 Performances of Eva Turner and Martinelli that stick in the mind, Eva Turner also sang the role with Lauri Volpi Pertile and Masini but it was her performances with Martinelli she was most fondest of, she also preferred Martinelli as Radames as well. Lauri Volpi was a difficult and on many occasions rude and nasty man, he was given a lesson in manners by Ezio Pinza in New York, when he made a Very Rude remark to Pinza's father, Pinza answered him by knocking him out. It was the same at Covent Garden where Lauri Volpi was a regular visitor in the Twenties and Thirties, my Grandmother was a Rehearsal Pianist for the Garden and she witnessed a Tantrum with another singer, whom I wish not to say whom, but she was left in Tears at his vile language, she would not sing with him again. My Grandfather also had been a leading Tenor in the Chorus at Covent garden from 1909 till 1940, he also said that Lauri Volpi was amongst the worst for the Chorus to be around, he was a snob to them, there were worse that I have read, but Volpi certainly was trouble if not getting his way.. Toscanini did not like Volpi, because mainly of his fascist leanings and it was reciprocated, another hard to deal with tenor in the Thirties was Masini who had a glorious voice but he was often without his Brain on the stage, in London he was unsuccessful in his seasons, Gigli who was a very nice decent man, was pure ease for everyone so also Was Martinelli, whom never uttered a bad word and was kind and thoughtful to all around him. For my Grandfather it was Caruso and Melchior who left the biggest impression for both had big hearts as well as glorious voices. They liked to laugh with all and that meant all the Staff Chorus Managers Musicians and even the Conductors were at ease.

[@sugarbist]

Puccini passed in 1924. I believe that Nessun Dorma was written after 1924. Fleta debuted the role of Calaf at La Scala in April 1926 and never sang the opera again. Volpi debuted the role at the Met in the Fall of 1926 and successfully sang about 33 additional performances through 1934. Gigli who was a pretty nice man may also have been a Mussolini sympathizer. In 1914, Volpi served in the Italian army during World War 1 and reached the rank of captain. Volpi left the Italian army as one of thee most decorated soldiers. Yes, Volpi had the reputation of being contentious, but was also a very cultured person. He never paid the claque for applause as Gigli and other great tenors did. Ponselle said that Volpi was difficult to work with, by not attending rehearsals, but then taking liberties with the music. Ponselle and other sopranos loved working with Martinelli. Volpi had great dynamics to his voice and was successful singing through a wide variety of roles from lyric to dramatic. He may have been the greatest high note tenor of the 20th century, singing operas like Ugonotti, Gugliemo Tell, Poliuto and I Puritani in pitch. He writes that he attempted to darken his voice for Otello. It's a shame we can't be more fond of him as a person, but is that really important?

[@Garwfechan-ry5lk]

Puccini definitely Composed Nessun Dorma and Certainly Martinelli was the first to see the music with Puccini and Toscanini in 1921. That is Fact @@sugarbist

[@sugarbist]

@@Garwfechan-ry5lk Okay Thank You

[@sugarbist]

Soprano Magda Oliviero made contradictory statements about Masini, saying that he was slow and ordinary off stage, but a prince on stage. Her remarks seem to contradict each other

[@greatmoments7033]

I think it's important to know the real truth, for instance that Martinelli and Gigli recorded GIOVINEZZA, Lauri-Volpi never!!! That's the truth! Also, Lauri-Volpi refused to sing the Fascist Hymn at the theatre, as told by Gina Cigna. And the day after that particular night (very dangerous for him), Volpi should appear before Mussolini because of his disobedience to the regime! Here is 'Giovinezza' sung by Martinelli kzbin.info/www/bejne/paqnm3ScYpqKhqs - The facts speak for themselves!!! @@sugarbist

[@ZENOBlAmusic2]

I have to say, I don't really enjoy Lauri Volpi's version of Non Piangere, Liu that much. This is Calaf at his most petulant, and I don't think the aria should have more embellishments. I think Pertile and Corelli interprets this aria better. This aria also have quite few low notes, these low notes sounds better with a warmer and a darker voice. But Lauri Lauri Volpi's Nessun Dorma is fantastic.

[@PaoloTambone]

Anche toscanini sbagliava 🎉

[@enzocardinale5028]

Spesso e volentieri.

[@Garwfechan-ry5lk]

Toscanini and Puccini originally wanted Martinelli and it was to Martinelli first that Toscanini wrote to create the roll, but Gatti Casazza would not let him leave the MET.

[@carlosgonzalezpalacios3981]

Lo estreno un español Miguel Fleta por petición de Puccini y de Toscanini y que además tenía una línea de canto mejor q la de Volpi

[@silvioivanbendanamora1682]

Falso! Puccini escogió a Lauri-Volpi y una vez fallecido Puccini, fue Toscanini quien escogió a Fleta para estrenarla. Comparadas ambas voces, si bien Fleta no tenía nada que envidiarle a ningún tenor, la voz de Lauri-Volpi era más potente, brillante y expansiva que la de Fleta. Al estrenar Calaf, Fleta tenía 29 años y en los próximos cinco años su voz declinó rápidamente, padeciendo de un terrible trémolo (wobble en inglés), que le arruinó su voz en pocos años. El si bemol del final de Nessun dorma no lo cantó Fleta, pero fue Lauri-Volpi quien lo agregó por primera vez al cantar Turandot. Las parejas icónicas de Calaf/Turandot han sido, principalmente, Rosa Raisa/Miguel Fleta, que estrenaron Turandot en la Scala de Milán el 25 de marzo de 1926, María Jeritza/Lauri-Volpi, que la estrenaron en el Met de Nueva York el 16 de noviembre de 1926 y, hasta la fecha, Birgit Nilsson/Franco Corelli, que la cantaron en la Scala de MIlán y en el Met. Los filados de Corelli nos recuerdan los de Fleta, ya que ambos tenían esa virtud y técnica de poder decrecer las notas agudas hasta desvanecerlas en un sonido esfumantte y prolongado y los agudos penetrantes, potentes y squillanes de Birgit Nilsson no han sido superados, aunque hay quienes dicen que la Gertrude Grof-Prandel, soprano austriaca, tenía una voz más potente que la de la Nilsson y que también la soprano búlgara Ghena Dimitriva, pero quizás no tan penetrantes ni squillantes como la de la Nilsson. Es punto de análisis comparativo y objetivo . Saludos,

[@giovannipaisiello289]

E ci sono nel mondo pure idioti che definiscono Volpi e Corelli dei "baritoni urlanti".......😅

[@mariomario2825]

Non paragoniamo volpi a corelli non bestemmiamo. Lauri Volpi è come Gigli, non sono paragonabili ai comuni mortali.

[@Luifernal6]

Fleta, L. Volpi, Kiepura… Calaf Dopo guerra: Corelli.

[@greatmoments7033]

Non si dimentichi Martinelli! kzbin.info/www/bejne/epbdlmiFdpVjfJI

[@micheleronchi4283]

and Helge Roswaebge if you don't mind Italian opera in german

[@lucianosoretferrer7129]

Ní de Aureliano Pertile.

[@angelicaprofeta7387]

Merli e Piccaluga aggiungerei alla lista dei tenori per Calaf di quegli anni

[@alfredolapadura1402]

Fleta era mejor que Lauri Volpi, pero el mejor Calaf fue Jussi Bjorling