It is a real pleasure —and distinct
honor—for me to welcome the return today of our very distinguished guest
writer, Mr. Gioacchino Fiurezi Maragioglio, Italian industrialist from
Naples, opera critic and historian. Mr. Fiurezi Maragioglio was an intimate
friend of the great Italian tenor Giacomo Lauri Volpi, and is a life-time
subscriber to the Teatro San Carlo, one of the world's historically great opera
houses. Mr. Fiurezi Maragioglio's knowledge of Italian opera and opera singers
—past and present—is simply vast, and I do not believe that there is anyone
among my acquaintances whose knowledge exceeds his own, and there are precious
few who could match it. I know that I certainly could not. It is a rare
pleasure to be able to feature this piece on the Italian tenor Amadeo Zambon.
Given the current judgement of many
critics, it would be easy to believe we live in an era without the large and
powerful voices of the past, and in a time of unsure and unaware artists. While
such a comment would be an inaccurate and inappropriate one, it is nevertheless
refreshing to visit a world where such a statement would have been unthinkable.
Amadeo Zambon represents just such a
singer. The generation that included Gianfranco Cècchele, Nicola Martinucci, Lando
Bartolini, Mario di Felici and Mario Malagnini kept alive the flame that had been nurtured by
a previous generation that included such giants as Francesco Merli, Aureliano
Pertile and Galliano Masini, not to mention post-war stars such as Mario del
Monaco and Franco Corelli.
Lirico-spinto,
drammatico spinto, drammatico, robusto, di forza;
these are the categories of tenor of which we speak — big voices, sure technique
and style. Style? Yes, style in the sense that there is no further proof of
innate style than an absolute commitment to the way one sings! This is the case
with Amadeo Zambon: he was possessed of a blooming and luminous tenor, with strong
high notes. It was voice that he
understood how to use. Though small at
close distance, the voice was laden with such clarion overtones and squillo
that it could fill even spaces such as the Arena di Verona while at the same time permitting the use of diminuendo and other dynamic effects.
His career is a testament to correct vocal
production and firm knowledge of one’s vocal abilities; a trademark of the
aforementioned generation. Thus, it is no surprise that Zambon maintained his
presence on the stage across three decades, always in abundant vocal health. Notwithstanding a certain resemblance to
Mario del Monaco, we can safely say that the glorious sound that he poured
forth, especially in regard to tone and timbre, were his and his alone.
It seems appropriate then to begin our
introduction to Zambon at an earlier moment in his career. The following
recording of Celeste Aïda comes from
1969, at the Maggio Musicale Fiorentino:
The golden voice and secure high B-flats
are a joy to listen to, and of course were produced without the benefit of a
lengthy recitative to warm the voice. One need not be concerned by the ending:
the forte approach was approved by Verdi, should it fit the tenor’s vocal
ability better than the written morendo, which the master certainly did NOT wish
to be sung in falsetto! In any case, the progression in the orchestra and the
mood of the music lend themselves as easily to exultation as they do to trance.
What cannot be debated however, is that this is a mighty voice, utilised with
complete commitment by the singer. There would be nothing so unpleasant as a
tenor who attempted the stentorian ending but could not sustain it!
Proceeding to a more lyric mode, let us
look his recording of the Flower Song, from Prato, in 1976:
The richness and fluidity of the timbre are
amply displayed, and Zambon displays an elegant diminuendo as well as firm
legato. The power of his voice is equalled by the restraint with which he uses
it, and the legato is never disturbed solely for the sake of a trumpet blast.
Of course, we do not delude ourselves: we listen not to Don José, but Don
Giuseppe: and taken for what it is, rather than what it is not, we must all agree
it is a very pleasing interpretation. Some may listen and simply remark, “this
is not how one such as Thill would sing it,” and true though this may be, we
must invariably consider that an artist of Thill’s calibre would certainly
respect Zambon in a way that would not be accorded to a mere provincial
bellower.
Continuing in the chronology of the career,
we take ourselves to 1980, Bari. The opera, Turandot, and the aria, Non piangere Liù.
Once again, the tonal quality immediately
commands attention. It is clear and produced without any hint of strain or
force, again possessing power and restraint in equal measures. Zambon displays
once again his innate sense of style, with the broad shaping of dynamics and a
masterful and very lively rendering of the aria that reminds us that once upon
a time, singers learned their roles not note by note or word by word, but
breath by breath from the great ones, so they that too might become great. Of
course, one cannot but take the ringing high A interpolated toward the end of
the ensemble following the aria per se, and the masterful technique that
permits it!
On this theme, I would feel culpable not to
highlight another example of this stupendous acute that recalls Lauri-Volpi and
Filippeschi in the firmness of production and levity of tone. The phrase, again from Turandot, non non, principessa altera, ti voglio tutt’
ardente d’amor:
Glorious notes, sung with tonal integrity
and absolute reliability — the two excerpts represent not merely a very good
night for the tenor, but instead what was a common occurrence.
Now, moving later in the career, but
without the slightest hint of decline, is this performance of Manon Lescaut,
the moving aria Pazzo son, from 1984.
In the style of Gigli, with the sobs,
interpolated cries and second high B, it would be difficult to argue that
Zambon here displays good taste. It would be equally difficult to argue that
his interpretation is displeasing — the spontaneity is overwhelming, and just
like Gigli, the sobbing does nothing to impede the forward progress of the
music. Further, the high note retains its primary importance, while the voice
is always capable of the demands made of it. The nuance of phrasing and diction
is not lost in search of further decibels, but utilised to further the aria’s
impact.
In a word, Zambon is authentic. An
authentic tenor, with an authentic sense of style that betrays no artifice, no
superficial style foisted upon it. In operatic singing, style for style’s sake
alone is surely the quickest path to artistic oblivion, while authenticity in
the voice and the kind of commitment so amply displayed by Zambon are the
harbingers of a long and successful career. Such a career, of Radamès, des
Grieux, Calàf, Giuseppe, Chénier, Pollione and many other taxing roles,
sustained over a period of more than thirty years, is the sign of an authentic
tenor; both in the physicality of vocal production, and in the mental attitude
of the singer — an aspect that must never be underestimated.
