‘The Lucio Dalla I knew’ with Baldassarre Giardina

Baldassare Giardina is an archeologist and Lucio Dalla specialist.

It’s not very often that one gets to hear about a great musician’s life from the grass roots up as Baldassare’s first encounters with Dalla were listening to his father’s jazz band rehearse with the very young and unknown Lucio. Baldassare devotes his time now to imparting his extensive knowledge on Lucia Dalla to lucky visitors of Dalla’s 15th century extraordinary landmark house in Bologna.

‘The Lucio Dalla I knew’ with Baldassarre Giardina

Baldassare Giardina is an archeologist and Lucio Dalla specialist.

It’s not very often that one gets to hear about a great musician’s life from the grass roots up as Baldassare’s first encounters with Dalla were listening to his father’s jazz band rehearse with the very young and unknown Lucio. Baldassare devotes his time now to imparting his extensive knowledge on Lucia Dalla to lucky visitors of Dalla’s 15th century extraordinary landmark house in Bologna.

‘The Lucio Dalla I knew’ with Baldassarre Giardina

Baldassare Giardina is an archeologist and Lucio Dalla specialist.

It’s not very often that one gets to hear about a great musician’s life from the grass roots up as Baldassare’s first encounters with Dalla were listening to his father’s jazz band rehearse with the very young and unknown Lucio. Baldassare devotes his time now to imparting his extensive knowledge on Lucia Dalla to lucky visitors of Dalla’s 15th century extraordinary landmark house in Bologna.

Beniamino Gigli, March 20th, 1890

Beniamino Gigli, whose surname translated into English means Lilies has his birthday today. Certainly his lirico-spinto voice was as perfect, sweet and beautiful as his namesake.
Gigli’s career took on super-stardom in the English speaking world, when he was hired by the Metropolitan Opera New York and had the unenviable task of following in footsteps of Enrico Caruso after Caruso’s untimely and sudden death. Comparisons were inevitable; but it didn’t
take long for the honey voiced Gigli to win over his audiences with his flexible, lyrically ringing voice and masterful implementation of mezzo voce.

Beniamino Gigli, March 20th, 1890

Beniamino Gigli, whose surname translated into English means Lilies has his birthday today. Certainly his lirico-spinto voice was as perfect, sweet and beautiful as his namesake.
Gigli’s career took on super-stardom in the English speaking world, when he was hired by the Metropolitan Opera New York and had the unenviable task of following in footsteps of Enrico Caruso after Caruso’s untimely and sudden death. Comparisons were inevitable; but it didn’t
take long for the honey voiced Gigli to win over his audiences with his flexible, lyrically ringing voice and masterful implementation of mezzo voce.

Lauritz Melchior, Tenor, March 20, 1890

In Die Walküre Astrid Varnay wondered at the vocal prowess of Lauritz Melchior holding the ‘Wälse’ cries for a full twelve seconds. Varnay asked rhetorically, ‘…what tenor ever matched that? Maybe Melchior himself – he has been timed at eighteen!’

Such is the testimony of a great vocal colleague to a giant of a man and arguably the greatest of all Wagnerian tenors. But Lauritz Melchior was not always destined to be a tenor. He had started his professional career in his native Denmark at the Royal Opera in Copenhagen. Around 1916 Madame Charles Cahier, who had become by this stage a highly regarded vocal teacher, urged young Lauritz to consider switching to tenor. Madame Cahier heard something in the voice of the young baritone that indicated really a great tenor in the making. In 9 October 1918 he therefore commenced his career as a tenor with the role of Tannhäuser. Incidentally, Cahier herself had been a pupil of Jean de Reszke and in turn greatly influenced the career of Marian Anderson. We should also mention that the then well-known English novelist Hugh Walpole, supported Melchior throughout this period, arranging singing lessons with Victor Beigel in Vienna in 1922 with the purpose of ‘making him the greatest Wagner tenor in the world’, and opened the doors of society enabling him to sing before Queen Alexandra at Marlborough House. In 1924 he was engaged at Bayreuth in the Ring Cycle and proved an unforgettable Siegfried that members of the audience wept openly. Walpole had the satisfaction by 1925 of having his protege acclaimed ‘the greatest Heldentenor in the world.’

Allowing for this early adulation, Melchior remained a modest and generous colleague. Varnay later recalled her debut at New York’s Metropolitan Opera in 1942. She was the novice, thrown in at the deep end with the a who’s who list of Wagnerian greats, to sing Sieglinde, as Lotte Lehmann had a cold. Melchior’s presence, supportive attitude, and reassurance, ‘“Verlass dich auf mich”. What a beautiful thing to tell a newcomer. This great artist and gracious gentleman was telling the new kid on the block to leave things to him, and he would take care of me.’ The experience of another Wagnerian great, Kirsten Flagstad, tallies as in her memoirs she wrote, ‘I met Mr. Melchior for the first time while was rehearsing Siegfried. I had attended the rehearsal, and we were presented to one another by the manager. He was very helpful and encouraging, and as usual in excellent humour.’

Melchior’s career centred on all the demanding Heldentenor roles and his activity throughout the 1920s and 30s are a testament to his capacity, reliability and sheer artistry. He appeared in each role over 100 times and Tristan over 200 times. Such was Melchior’s fame, he appeared in five Hollywood musicals from 1945 to 1953 which has somewhat impacted his reputation among purists. But listen to his recordings and be blown away by the power and beauty. Add to this the fact that throughout his heyday no Wagner opera at a major house could do without Melchior, and you have a rare testament to a unique talent and artist.

However, as fashions change with time, in 1950 the new director of the Metropolitan Opera, Rudolf Bing moved the repertoire away from Wagner. Lauritz Melchior, who had done so much was not included in the change of direction and he could not come to terms with the new manager. To add insult to injury, the greatest Wagnerian tenor of the age was later accused by Bing of being ‘a sloppy performer with a casual attitude toward rehearsals and a penchant for practical jokes…’ Setting the record straight, Astrid Varnay wrote, “I never once witnessed the kind of conduct that Bing and Mayer claimed was so deplorable. On the contrary, no soprano could have asked for a more professional and caring tenor by her side on the stage.’ To underscore his concern for young singers and professionalism, he set up the Lauritz Melchior Heldentenor Foundation to provide scholarships for gifted singers.

Born on the 20 March 1890 in Copenhagen, Lauritz Melchior passed away on the 18 March 1973 in Santa Monica, California. There are many recording of his singing, including some from 1913 prior to his switch from baritone to tenor. His final performance was with the Danish Radio Orchestra in 1960 in celebration of his 70th birthday.

Lauritz Melchior, Tenor, March 20, 1890

In Die Walküre Astrid Varnay wondered at the vocal prowess of Lauritz Melchior holding the ‘Wälse’ cries for a full twelve seconds. Varnay asked rhetorically, ‘…what tenor ever matched that? Maybe Melchior himself – he has been timed at eighteen!’

Such is the testimony of a great vocal colleague to a giant of a man and arguably the greatest of all Wagnerian tenors. But Lauritz Melchior was not always destined to be a tenor. He had started his professional career in his native Denmark at the Royal Opera in Copenhagen. Around 1916 Madame Charles Cahier, who had become by this stage a highly regarded vocal teacher, urged young Lauritz to consider switching to tenor. Madame Cahier heard something in the voice of the young baritone that indicated really a great tenor in the making. In 9 October 1918 he therefore commenced his career as a tenor with the role of Tannhäuser. Incidentally, Cahier herself had been a pupil of Jean de Reszke and in turn greatly influenced the career of Marian Anderson. We should also mention that the then well-known English novelist Hugh Walpole, supported Melchior throughout this period, arranging singing lessons with Victor Beigel in Vienna in 1922 with the purpose of ‘making him the greatest Wagner tenor in the world’, and opened the doors of society enabling him to sing before Queen Alexandra at Marlborough House. In 1924 he was engaged at Bayreuth in the Ring Cycle and proved an unforgettable Siegfried that members of the audience wept openly. Walpole had the satisfaction by 1925 of having his protege acclaimed ‘the greatest Heldentenor in the world.’

Allowing for this early adulation, Melchior remained a modest and generous colleague. Varnay later recalled her debut at New York’s Metropolitan Opera in 1942. She was the novice, thrown in at the deep end with the a who’s who list of Wagnerian greats, to sing Sieglinde, as Lotte Lehmann had a cold. Melchior’s presence, supportive attitude, and reassurance, ‘“Verlass dich auf mich”. What a beautiful thing to tell a newcomer. This great artist and gracious gentleman was telling the new kid on the block to leave things to him, and he would take care of me.’ The experience of another Wagnerian great, Kirsten Flagstad, tallies as in her memoirs she wrote, ‘I met Mr. Melchior for the first time while was rehearsing Siegfried. I had attended the rehearsal, and we were presented to one another by the manager. He was very helpful and encouraging, and as usual in excellent humour.’

Melchior’s career centred on all the demanding Heldentenor roles and his activity throughout the 1920s and 30s are a testament to his capacity, reliability and sheer artistry. He appeared in each role over 100 times and Tristan over 200 times. Such was Melchior’s fame, he appeared in five Hollywood musicals from 1945 to 1953 which has somewhat impacted his reputation among purists. But listen to his recordings and be blown away by the power and beauty. Add to this the fact that throughout his heyday no Wagner opera at a major house could do without Melchior, and you have a rare testament to a unique talent and artist.

However, as fashions change with time, in 1950 the new director of the Metropolitan Opera, Rudolf Bing moved the repertoire away from Wagner. Lauritz Melchior, who had done so much was not included in the change of direction and he could not come to terms with the new manager. To add insult to injury, the greatest Wagnerian tenor of the age was later accused by Bing of being ‘a sloppy performer with a casual attitude toward rehearsals and a penchant for practical jokes…’ Setting the record straight, Astrid Varnay wrote, “I never once witnessed the kind of conduct that Bing and Mayer claimed was so deplorable. On the contrary, no soprano could have asked for a more professional and caring tenor by her side on the stage.’ To underscore his concern for young singers and professionalism, he set up the Lauritz Melchior Heldentenor Foundation to provide scholarships for gifted singers.

Born on the 20 March 1890 in Copenhagen, Lauritz Melchior passed away on the 18 March 1973 in Santa Monica, California. There are many recording of his singing, including some from 1913 prior to his switch from baritone to tenor. His final performance was with the Danish Radio Orchestra in 1960 in celebration of his 70th birthday.

‘The Lucio Dalla I knew’ with Baldasarre Giardina

Baldassare Giardina is an archeologist and Lucio Dalla specialist.
It’s not very often that one gets to hear about a great musician’s life from the grass roots up as Baldassare’s first encounters with Dalla were listening to his father’s jazz band rehearse with the very young and unknown Lucio. Baldassare devotes his time now to imparting his extensive knowledge on Lucia Dalla to lucky visitors of Dalla’s 15th century extraordinary landmark house in Bologna.

How to make The Bucatini alla Caruso

In good Tenor tradition Enrico Caruso loved his food and was very accomplished in the kitchen. A culinary treat awaits you! Giovanni Marzano, head chef at the Hotel Vesuvio expertly demonstrates how to make the legendary dish created by Caruso himself – the Bucatini alla Caruso! Buon appetito!😋🍝

Tenor of Tenors: Enrico Caruso

Today February 25, 2025 is the birthday of the legendary Neapolitan tenor Enrico Caruso, who for nearly all tenors, including myself Gyaan Lyon, regard as the pinnacle of voice, technique and artistry.

Today is also the second anniversary of The Voice Detective Show. To mark both occasions, join me, Gyaan Lyon and my alter ego, The Voice Detective, as I go on the trail of this icon of the Tenor World is his home country of Italy and in particular, his home town of Naples, neighbouring Sorrento and his Villa Bellosguardo in Lastra a Signa, near Florence.