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The Radio 3 Boards > The Music Boards > The Opera House > Giovanni Martinelli
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Author Topic: Giovanni Martinelli  (Read 237 times)
ernani
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« on: 16:54:13, 24-01-2008 »
After my Massenet glut (Wink), I've recently been listening to a number of recordings of Giovanni Martinelli. These are mostly live opera recordings from the Met in the late 30s, early 40s, including his Otello (with Tibbett and Rethberg), Aida (with Roman, Castagna, Pinza and Warren) and La Gioconda (with Milanov). He strikes me as an extremely interesting artist although perhaps caught a bit late in these performances (compared with his earlier Ponselle, Pinza recordings). I also very much enjoy the live extracts from his Covent Garden Turandot with Eva Turner and Barbirolli.

I wonder, though, why he isn't more widely thought of compared to the usual suspects (Caruso, Gigli, Schipa, Bjorling) etc? Is it to do with timbre? It's not a conventionally beautiful voice and sometimes has that 'bleat', for want of a better word, that characterises the sound of some earlier 20th c tenors such as De Lucia and Lauri Volpi. Whatever the case, it's certainly a pungent voice that he colours and inflects with rare skill. And on form, he has squillo in abundance that must've been thrilling to hear live.

I'd be interested to hear what others think of this singer.   
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Soundwave
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« Reply #1 on: 15:17:58, 25-01-2008 »
Ho Ernani!  A lot of people regarded Martinelli (a singers' singer) as Caruso's natural successor some even thought him his equal.  He was an exciting dramatic tenor and was particularly praised in Turandot, Othello, La Forza and Trovatore.  So far as I have experienced he was always highly regarded not only for his singing but for his musicianship.  I have at the back of my mind that Alberto Remedios, when young, had either some coaching or a masterclass with him when the elderly Martinelli paid a visit to the U.K.   The question of "being well known" seems to rely quite a lot on where a singer performs.  For instance, Martinelli was generally to be found in the U.S.A. although he did visit London where he was highly praised.  Pertile is another fine tenor (Toscanini's favourite) who is not "well known".  A question of "exposure"?
Cheers
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Ho! I may be old yet I am still lusty
ernani
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« Reply #2 on: 19:18:54, 28-01-2008 »
Ho! Soundwave. Thanks for this very interesting response. I agree that Pertile is a much underrated singer (Domingo regularly lists him as his favourite tenor). I've also recently discovered Francesco Merli, a wonderful dramatic tenor of the 20s and 30s. His Puccini recordings are very fine, but it's his version of the love duet from Act One of Otello with Claudia Muzio that stands out for me - beautiful legato, careful word colouring and sung with great sensitivity by both singers. It's a type of bel canto singing that you very rarely hear today.     
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Soundwave
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« Reply #3 on: 19:48:56, 28-01-2008 »
Ho Ernani.  I'm glad you appreciate Pertile and Merli.  It's amazing how many excellent tenors there were in the first half of the 20th century.  One that has always intigued me was Enzo de Muro Lomanto who sounded rather like Gigli and who stopped performing in, I think, his forties.  Marcel Wittrisch is also worth listening to, a bit like Tauber with the ability to sing mezza voce in the upper range quite beautifully.   I've always found it educational and, at times inspiring, to investigate some of our pre-performers.  A lot can be learnt and oneself reminded of ones strengths and weaknesses by listening to differing styles and voices.
Cheers
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Ho! I may be old yet I am still lusty
MabelJane
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When in doubt, wash.
« Reply #4 on: 21:28:39, 28-01-2008 »
Thanks for an interesting thread, ernani and Soundwave. I've no views to share as I haven't heard (nor even heard of!) these less well-known names but thought you might like to listen to this Don Carlos duet I've just found - Giovanni Martinelli with Guiseppe de Luca. It's terribly slow but what beautiful legato singing.

http://www.youtube.com/watch?v=SYM6wB4HKmQ&feature=related
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Merely corroborative detail, intended to give artistic verisimilitude to an otherwise bald and unconvincing narrative.
Soundwave
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« Reply #5 on: 12:20:43, 29-01-2008 »
Ho MabelJane.  Very many thanks for the link to that duet.  Very impressive.  For anybody wishing to learn what superb breath control is, de Luca is the perfect example in the recordings he made in the 20s and 30s.  In particular "O Carlo ascolta....  Lo Morro, ma lieto in core..." (Don Carlos) is superb.  There are recordings available.  My own opinion is that he was the finest baritone of the last 100 years.
Cheers
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Ho! I may be old yet I am still lusty
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