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Marcello Giordani, tenor who 'sang like a god,' dies at 56 |
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Marcello Giordani in the Verdi opera "Ernani" at the Metropolitan Opera in New York, March 14, 2008. Giordani, a heartfelt, stalwart and, at his best, inspired tenor who was a fixture at the Metropolitan Opera and other major houses around the world, died on Oct. 5, 2019, at his home in Augusta, Sicily. He was 56. (Suzanne DeChillo/The New York Times)
by Zachary Woolfe
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NEW YORK (NYT NEWS SERVICE ).- Marcello Giordani, a heartfelt, stalwart and, at his best, inspired tenor who was a fixture at the Metropolitan Opera and other major houses around the world, died Saturday at his home in Augusta, Sicily. He was 56.
The cause was a heart attack, his manager, Katherine Olsen, said.
Giordani appeared more than 240 times with the Met in 27 roles, including in two company premieres, five new productions and the opening nights of two seasons.
When he opened the 2006-07 season, the first of Peter Gelbs tenure as general manager, in Puccinis Madama Butterfly, Anthony Tommasini wrote in The New York Times that Giordani sang with full-bodied Italianate passion; warm, rich tone; and clarion top notes.
Clarion and passion were adjectives often used to describe Giordani at the height of his powers, in the early 2000s. He sang like a god in a 2002 concert performance of Cileas Adriana Lecouvreur at Carnegie Hall with Opera Orchestra of New York, Anne Midgette wrote in The Times. It was, she added, a rock-solid performance at an ideal pitch of fortissimo passion.
Marcello Guagliardo was born on Jan. 25, 1963, in Augusta, a small town on the eastern coast of Sicily. He was the youngest of four sons of Santina, who was a housewife, and Michele, who had been a prison guard but by then owned a gas station. (Soon after starting his international career, Giordani adjusted his name to be simpler to pronounce and spell.)
When he finished school, Giordani worked in a bank, but quickly grew bored. His father encouraged his interest in music.
He loved opera, Giordani told The Times in 2007. He heard me singing all the time when I was a kid. Maybe he always dreamed that one of his sons would be an artist.
Tall, handsome and fervent Now theres a tenor, star singer Neil Shicoff once marveled to Olsen Giordani had a success in Spoleto, Italy, with Verdis Rigoletto, in 1986.
His debut at the Teatro alla Scala in Milan came two years later, in Puccinis La Bohème, as he began to sing throughout Europe. He made his American debut in 1988, singing Nadir in Les Pêcheurs de Perles with the Portland Opera in Oregon.
He met Wilma Ahrens that year, when she was working for the presenter at an engagement in Lucerne, Switzerland; they married two years later. She survives him, as do their two sons, Michele and Gerard Andre, and his three brothers.
I learned my profession onstage, Giordani told The Times. I didnt have a musical background. I had no conservatory training. I dont play an instrument.
That lack of firm technical grounding soon began to haunt him, and by the early 1990s, he was having vocal problems. The tenor voice should be like sunshine, Giordani told The Los Angeles Times in 1998. My voice was sounding old already, too dark.
Giordani began a new training regimen, under the guidance of the prominent teacher William Schuman, that saved his natural talent.
The first thing he did was open my body and let me trust my voice again, Giordani recalled a decade later. In the past, my voice was my enemy. But for 10 years, its been my best friend.
Giordani remained committed to fostering healthy voices and careers; in the early 2010s, he established the Marcello Giordani Foundation to nurture young singers.
He made his first appearance with the Met in the summer of 1993, in Donizettis LElisir dAmore, as part of the companys series of concert operas in city parks. The big tenor aria, Una furtiva lagrima, was, Alex Ross wrote in The Times, a stirring display of direct emotion.
His debut at the Mets Lincoln Center home came two years later, in La Bohème. He quickly established himself in the ardent lover leads in touchstones of the repertory, mostly Italian works by Verdi and Puccini, but also as Lensky in Tchaikovskys Eugene Onegin, the title character in Berliozs La Damnation de Faust, Énée in that composers Les Troyens, Des Grieux in Massenets Manon, Don José in Carmen and, aptly, the Italian Singer who makes a fervent cameo in Strausss Der Rosenkavalier.
In Opera News magazine, David J. Baker praised Giordanis controlled, sensitive and robust singing in the Met premiere of Berliozs Benvenuto Cellini in 2003. But while Marion Lignana Rosenberg, writing in the same magazine a year earlier, described his ringing, brilliant high notes in the company premiere of Bellinis Il Pirata, she added that there is a hardness to his tone that is ill-suited to Bellinis long, supple cantilena.
In 2008, he was the tenor soloist in a Met performance of Verdis Requiem dedicated to the memory of Luciano Pavarotti, and, in December 2010, he starred in Puccinis La Fanciulla del West on the 100th anniversary of the works world premiere at the Met, in a role sung in 1910 by Enrico Caruso.
He sang in Verdis Simon Boccanegra at the Royal Opera House in London in 1997 under Georg Solti, in what turned out to be Soltis final operatic performances before his death later that year. In 2003, Giordani appeared in the Paris Operas first production since 1863 of the original French version of Verdis Les Vêpres Siciliennes.
But for all his successes in opera houses, his most glorious nights may well have been his Carnegie Hall performances with Opera Orchestra of New York and its founder and conductor, Eve Queler. With that company, he sang works including Adriana Lecouvreur, Ponchiellis La Gioconda, Meyerbeers Les Huguenots and LAfricaine, and Rossinis William Tell, in 2005 with which Giordani stopped the show near midnight with the cabaletta Amis, amis, secondez ma vengeance. When the cheers wouldnt stop, he sang the aria again.
Ive never seen a crowd react that way, Schuman, his teacher, said. A true riot broke out. It was like someone scored the winning touchdown at the Super Bowl. He was capable of incredible things.
© 2019 The New York Times Company
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