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Tito Gobbi on his world of Italian opera
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Displaying 1 - 2 of 2 reviews
October 11, 2016
It is an exceptional book, written by the legend. Tito Gobbi was the master when it came to the opera. He knew how to take on a role and make it great. The book is very educational, but at the same time, personal. I recommend it to everyone who is interested in music, opera and Italy.
March 14, 2021
The heart of this book consists of the chapters in which Tito Gobbi discusses his favourite Italian operas in detail, not as an academic but from a 'backstage' point of view; who these characters are, how they should (or at least should not!) be performed, the context and history of the composition (and the composer's views on the characters, if known) and his own experiences with the opera in question over a long lifetime as both singer and producer. Like all good writing about music, it manages to evoke a desire to listen again to the music in question, even when the work under discussion is something I have never heard, or originally heard without any great enthusiasm.
But there are also various fascinating chapters on tradecraft, like the section on devising one's own theatrical make-up (a task in which, judging by the numerous photographs of the author 'in character', he has always taken great interest - one of the privileges of not being a tenor and hence playing more supporting and/or grotesque roles, perhaps!), and a few tips on performance: e.g. in order to sing a high soft note, attack it initially with sufficient force to hit it securely, then immediately diminish the volume to the desired level. There are snippets of autobiography scattered throughout, as well, and his affection and well-known stage partnership with Maria Callas is mentioned in several contexts.
The final chapter concerns 'contemporary' composers of his lifetime whose work he has sung — and in some cases premiered — and who almost without exception are now, alas, completely forgotten; the canon of Italian opera in our modern world effectively ends with Puccini, and only Nino Rota, thanks to his film work, is still familiar. As Gobbi writes sadly on the final page, much money is lavished on staging the 'acknowledged masterpieces' in questionable productions where novelty is the main attraction: "would it not be more sensible, more exciting and indeed more profitable to revive from time to time some of these neglected works of genuine merit, even if they are not in the top flight?". Probably not; I'm afraid Italian composers pre-WW2 are unlikely to see any renaissance in a world where the options are either producing the old warhorses for a guaranteed audience, or else commissioning 'relevant' artworks reflecting the concerns of modern youth.
This was an enjoyable read; a very accessible book about opera, singing, and Italian opera in particular, from a writer with intimate inside knowledge, humility, and a sense of humour.
But there are also various fascinating chapters on tradecraft, like the section on devising one's own theatrical make-up (a task in which, judging by the numerous photographs of the author 'in character', he has always taken great interest - one of the privileges of not being a tenor and hence playing more supporting and/or grotesque roles, perhaps!), and a few tips on performance: e.g. in order to sing a high soft note, attack it initially with sufficient force to hit it securely, then immediately diminish the volume to the desired level. There are snippets of autobiography scattered throughout, as well, and his affection and well-known stage partnership with Maria Callas is mentioned in several contexts.
The final chapter concerns 'contemporary' composers of his lifetime whose work he has sung — and in some cases premiered — and who almost without exception are now, alas, completely forgotten; the canon of Italian opera in our modern world effectively ends with Puccini, and only Nino Rota, thanks to his film work, is still familiar. As Gobbi writes sadly on the final page, much money is lavished on staging the 'acknowledged masterpieces' in questionable productions where novelty is the main attraction: "would it not be more sensible, more exciting and indeed more profitable to revive from time to time some of these neglected works of genuine merit, even if they are not in the top flight?". Probably not; I'm afraid Italian composers pre-WW2 are unlikely to see any renaissance in a world where the options are either producing the old warhorses for a guaranteed audience, or else commissioning 'relevant' artworks reflecting the concerns of modern youth.
This was an enjoyable read; a very accessible book about opera, singing, and Italian opera in particular, from a writer with intimate inside knowledge, humility, and a sense of humour.
Displaying 1 - 2 of 2 reviews