WONDERFUL SINGERS.

Star (Christchurch), Issue 16780, 8 July 1922, Page 4

WONDERFUL SINGERS.

TENORB WHO HAVE MADE HISTORY. Who was the groatest tenor that ever Jived? It would be difficult to say (writes H. A. Scott in “John o’ London's Weekly ”). There arc so many claimants. But one of the greatest was certainly Farinelli. Everyone knows the story of the enthusiast who shouted, “ One God and one Farinelli!*’ and this gives a notion of the estimation in which he was held. Born in 1705, a.nd a pupil of the famons Porpora, his voice and his vocal skill were equally astonishing. He competed with a celebrated trumpetplayer of his day, executing florid passages ancl holding and “ swelling ” notes of extraordinary purity and volume; while in expressive and pathetic music he was no less wonderful. His career was remarkable in other respects too, sine:* he went to Spain for a few weeks and stayed there twentyfive years, becoming ihe trusted counsellor of King Philip V., and exercising power greater than that of any Minister. THE MODEST AND THE VAIN". Then there was Farinelli’s great contemporary, Caffarelli. Ho also was a pupil of Porpora. who, according to tradition, kept him at one page of exercises for five year.-, at the end of which time he dismissed him with the words, “Go my son, I have nothing more to teach you : you are the greatest singer in Europe.*’ Unlike "Farinelli who was exceedingly modest, Caffarelli was inordinately vain. Thus, when Louis XV. sent him a snuff-box, he complained that it was uot tike equal of those given to ambassadors, remarking (perfectly truly) that “ All the ambassadors of the world would not make one Caffarelli ” ; while over the gateway of his palace he inscribed. 4< Ampliion Thebas, ego domum.” Yet it is recorded that when he heard one of his rivals, Gizziello, he rose in his seat, exclaimed “ Bravo, bravissimo, Gizziello! It is Caffarelli who says it.” and fled precipitately from the theatre. THE RIVALS. Of Gizziello in turn it is narrated that when he first heard Farinelli he burst j into tears, and then, whether from chagrin, despair, or joy is not quite clear, fainted right away. Even more striking is a story told of Farinelli and another of his great contemporaries. Stnosino. They were appearing together in the same opera, and Senesinn was so overcome by Farinelli’s marvellous singing that he dropped his stage role altogether, ran up to his rival, and publicly embraced him. One can imag_ ine the “ sensation ” produced. Senesino s voice was considered by some even finer than Farinelli’s, and ibis execution

wae marvellous. All these tenors belonged to the class of emrali—or what we should nowadays call male soprani. Nearer to our own times was another celebrated tenor. Rubini, who flourished at the beginning of the last cengtnry. He was an example of great result* developed from the most un•profljnismg material, ior he was refused even for the chorus at first. But poor singers in general are not advised to take his case as a precedent for themselves! Rubini, though his florid vocalisation was wonderful, excelled especially in expressive and romantic music, in particular that of Bellini, who wrote no fewer than • thirty-two parts expressly for him. [ IldWiu wafF'Toiiowed by Mario, a singer of somewhat the same type. Of good birth and education, it was said of him that no singer was ever more richly gifted for the stage. Beauty of voice, face and manners were among .his assets, and he turned them all to the best account. At first his performances were amateurish, but he quickly perfected his technique, and soon became the idol of the public. He married Mdme Grisi, and shared for many years that famous artist’s triumphs. An inveterate smoker, it was said of him that the only time ho ever seen •without a. cigar in his mouth was when he was either eating, singing, or sleeping. He died in 1883 in poverty.

MIGHTY TAMAGNO. Coming down to our own days, there is no forgetting for any who heard him the mighty Tamagno. His was eurelv one of the most powerful voices ever heard on the operatic stage, 90 that, with his Herculean physique and volcanic temperament in addition, the prodigious effect® which he produced were not to be wondered at. His vocal method* might lack finesse, but in his intensity anc" power he was overwhelm,£»g Unlike Mario, he died immensely wealthy, thanks to his thrifty habits, which many amusing stories are told. Thus it is said that he always tried to fell the complimentary tickets given him, used to wash his own socks, do his own cooking in his bedroom, and so on. BE RESKZE AND SIMS REEVES. Contemporary with Tamagno. and happily still enjoying excellent health at the age of seventy-two, was Jean de Resaske, though nothing could have been much more different, than the diodes and characteristics of these two Gingers. For in the case of de Reszkc it was the quality rather than the volume of his voice which charmed, c-ombined sritb the wonderfully refined and subtle anrt with which he used it. Then more af*ecently still there has been Saruso, •mother wonderful artist. Among English tenors the most, notable that we have ever bad was, of course. Sims Reeves. For years, he reigned supreme on the concert platform, while he did brilliantly, too, in opera. It was, however, in oratoria that he excelleed. and his equal there has still to appear. Many years ago now that chartered humorist Hans von Bulaw, who had no great love for singers, perpetrated a jest which has become a classic. “ A tenor,” he declared, “is not a in an ; he is a disease.” It was only his fun, of course : but one may say, all the 'same, that this particular “disease” is not one which is ever likely, by the signs of it, to become too prevalent.