SHORT008 WHY VISIT SORRENTO, ITALY?

Why visit Sorrento? Because it’s on the Amalfi Coast?; For the lemon and orange groves?; Because it is immortalised in the Neapolitan Song ‘Torna a Surriento’ or ‘Come Back to Sorrento?’ But there is one more important reason to visit Sorrento. Watch the snapshot short to find out…

SHORT008 WHY VISIT SORRENTO, ITALY?

Why visit Sorrento? Because it’s on the Amalfi Coast?; For the lemon and orange groves?; Because it is immortalised in the Neapolitan Song ‘Torna a Surriento’ or ‘Come Back to Sorrento?’ But there is one more important reason to visit Sorrento. Watch the snapshot short to find out…

Episode 10 Of The Voice Detective Show with Mariano Rubinacci

In the world of high-class bespoke tailoring, Mariano Rubinacci combines a long family tradition of elegant, comfortable tailoring with the indisputable eye of an artist. He just doesn’t produce artisan clothing, but adds another dimension to the world of intelligent, aesthetic and well-considered fashion.

Mariano took over the family tailoring firm at the very young age of 18 in 1961 after his father died. He learned one might say, by doing. His eye for a good profile, the way clothing should enhance the ‘bella figura’ of a client, and the informed advice he provided, continued the fine tradition embodied in the Rubinacci name. His father, who had started the firm in 1930, had been sartorial arbiter to Neapolitan society, and decided to start producing clothing for his friends and acquaintances, importing the finest wools and silks. Mariano and now his son Luca, continue this tradition. His other children too are involved intimately with the house of Rubinacci.

Just like his father before him, Mariano has tailored the most beautiful clothing for a virtual who’s who of the world of the arts, culture and politics.

Mariano is a proud Neapolitan. He feels in his being a Neapolitan wherever he is. The Neapolitan tradition of fine tailoring and style is what he seeks to bring to the wider world. To quote Mariano himself, ‘Leaving Naples to stay in Naples. Selling Naples throughout the world. This is one of my greatest aspirations. To make others understand our aesthetic sense.’

Today, the house of Rubinacci is found in Naples, Milan and London.

Episode 10 Of The Voice Detective Show with Mariano Rubinacci

In the world of high-class bespoke tailoring, Mariano Rubinacci combines a long family tradition of elegant, comfortable tailoring with the indisputable eye of an artist. He just doesn’t produce artisan clothing, but adds another dimension to the world of intelligent, aesthetic and well-considered fashion.

Mariano took over the family tailoring firm at the very young age of 18 in 1961 after his father died. He learned one might say, by doing. His eye for a good profile, the way clothing should enhance the ‘bella figura’ of a client, and the informed advice he provided, continued the fine tradition embodied in the Rubinacci name. His father, who had started the firm in 1930, had been sartorial arbiter to Neapolitan society, and decided to start producing clothing for his friends and acquaintances, importing the finest wools and silks. Mariano and now his son Luca, continue this tradition. His other children too are involved intimately with the house of Rubinacci.

Just like his father before him, Mariano has tailored the most beautiful clothing for a virtual who’s who of the world of the arts, culture and politics.

Mariano is a proud Neapolitan. He feels in his being a Neapolitan wherever he is. The Neapolitan tradition of fine tailoring and style is what he seeks to bring to the wider world. To quote Mariano himself, ‘Leaving Naples to stay in Naples. Selling Naples throughout the world. This is one of my greatest aspirations. To make others understand our aesthetic sense.’

Today, the house of Rubinacci is found in Naples, Milan and London.

HN006 SARTORIAL MOZART – NAPLES AND BEYOND

It is well known that Mozart took an interest in his appearance, his hair and his clothes. This started at an early age, encouraged by his father Leopold, who like his son, was aware that to make it ‘in the world’, one had to not just have the talent and product of that talent, but also look the part as well.

In 1770 when Amadeus and Leopold were touring Italy, (Amadeus being just a few months into his fifteenth year), Leopold wrote his wife on the 19th May, ‘We left our fine cloth suits in Rome and have had to wear our beautifully braided summer suits. Wolfg.’s is made of pink moiré, but the colour is so unusual that in Italy it’s called colore di fuoco, or flame-coloured: with silver lace and lined with a light sky-blue material. My suit is a kind of cinnamon colour, piquéd Florentine cloth, with silver lace and lined in apple green. Both suits are very beautiful, …’

In Italy, home of fashion, the sartorial purchases didn’t end at Naples that year. By the 22nd December Leopold wrote again, ‘Can you imagine Wolfg. in a scarlet suit with gold braid and sky-blue satin lining? The tailor is starting work on it today. He’ll be wearing this suit on the first 3 days, when he sits at the keyboard. The one that was made for him in Salzburg. is too short by a standing hand, and certainly too tight and small.’ Ask yourself; were the clothes from the following year already too small for Amadeus or was the delight of wearing a scarlet suit with gold braid too irresistible?

This of course wasn’t the only occasion that a red suit caught the Maestro’s eye. Much later when no longer with his father who remained in Salzburg, Amadeus wrote, ‘As for the beautiful red coat that tickles my fancy so dreadfully, I’d be grateful if you could let me know where I can get it and how much it costs, as I’ve forgotten – I was so taken with its beauty that I didn’t notice the price. – I really have to have a coat like that, as it’s worth it just for the buttons that I’ve been hankering after for some time;..’ He went on in the same letter of 28 September 1782 (now 26 years of age) to complain, “I’d like to have everything that is good and beautiful! – But why is it that those who are not in a position to do so want to spend all their money on such things, whereas those who are in a position to do so do not do so?’ But before we judge him, or accuse him of envy, remember this was the era before the French Revolution. It was an age of enlightenment, fashion and wit. Clothes made the man.

And now to his hair! In September 1777 Amadeus was in Munich. Count Seeau was the Director of Opera at the Electoral Court. Mozart wrote his father, ‘We were already up again at 7 on the 25th, but my hair was in such a mess that it wasn’t until 1/2 past 10 that I arrived at Count Seeau’s…’ Three and half hours after starting his hair it was done! Talk about a bad-hair day.

Marriage and domesticity may have changed Mozart’s sartorial ambition, but ‘After the Honeymoon the Laundry’, and we find him writing his wife Constanze on the 8th October 1791, ’N.B.: You presumably sent the 2 pairs of yellow winter breeches that go with the boots to the laundry as Joseph and I have looked for them in vain.’ This was just two months before his untimely death.

HN006 SARTORIAL MOZART – NAPLES AND BEYOND

It is well known that Mozart took an interest in his appearance, his hair and his clothes. This started at an early age, encouraged by his father Leopold, who like his son, was aware that to make it ‘in the world’, one had to not just have the talent and product of that talent, but also look the part as well.

In 1770 when Amadeus and Leopold were touring Italy, (Amadeus being just a few months into his fifteenth year), Leopold wrote his wife on the 19th May, ‘We left our fine cloth suits in Rome and have had to wear our beautifully braided summer suits. Wolfg.’s is made of pink moiré, but the colour is so unusual that in Italy it’s called colore di fuoco, or flame-coloured: with silver lace and lined with a light sky-blue material. My suit is a kind of cinnamon colour, piquéd Florentine cloth, with silver lace and lined in apple green. Both suits are very beautiful, …’

In Italy, home of fashion, the sartorial purchases didn’t end at Naples that year. By the 22nd December Leopold wrote again, ‘Can you imagine Wolfg. in a scarlet suit with gold braid and sky-blue satin lining? The tailor is starting work on it today. He’ll be wearing this suit on the first 3 days, when he sits at the keyboard. The one that was made for him in Salzburg. is too short by a standing hand, and certainly too tight and small.’ Ask yourself; were the clothes from the following year already too small for Amadeus or was the delight of wearing a scarlet suit with gold braid too irresistible?

This of course wasn’t the only occasion that a red suit caught the Maestro’s eye. Much later when no longer with his father who remained in Salzburg, Amadeus wrote, ‘As for the beautiful red coat that tickles my fancy so dreadfully, I’d be grateful if you could let me know where I can get it and how much it costs, as I’ve forgotten – I was so taken with its beauty that I didn’t notice the price. – I really have to have a coat like that, as it’s worth it just for the buttons that I’ve been hankering after for some time;..’ He went on in the same letter of 28 September 1782 (now 26 years of age) to complain, “I’d like to have everything that is good and beautiful! – But why is it that those who are not in a position to do so want to spend all their money on such things, whereas those who are in a position to do so do not do so?’ But before we judge him, or accuse him of envy, remember this was the era before the French Revolution. It was an age of enlightenment, fashion and wit. Clothes made the man.

And now to his hair! In September 1777 Amadeus was in Munich. Count Seeau was the Director of Opera at the Electoral Court. Mozart wrote his father, ‘We were already up again at 7 on the 25th, but my hair was in such a mess that it wasn’t until 1/2 past 10 that I arrived at Count Seeau’s…’ Three and half hours after starting his hair it was done! Talk about a bad-hair day.

Marriage and domesticity may have changed Mozart’s sartorial ambition, but ‘After the Honeymoon the Laundry’, and we find him writing his wife Constanze on the 8th October 1791, ’N.B.: You presumably sent the 2 pairs of yellow winter breeches that go with the boots to the laundry as Joseph and I have looked for them in vain.’ This was just two months before his untimely death.

EPISODE 10 OF THE VOICE DETECTIVE SHOW WITH MARIANO RUBINACCI (VDS010 MEMBERS)

In the world of high-class bespoke tailoring, Mariano Rubinacci combines a long family tradition of elegant, comfortable tailoring with the indisputable eye of an artist. He just doesn’t produce artisan clothing, but adds another dimension to the world of intelligent, aesthetic and well-considered fashion.

Mariano took over the family tailoring firm at the very young age of 18 in 1961 after his father died. He learned one might say, by doing. His eye for a good profile, the way clothing should enhance the ‘bella figura’ of a client, and the informed advice he provided, continued the fine tradition embodied in the Rubinacci name. His father, who had started the firm in 1930, had been sartorial arbiter to Neapolitan society, and decided to start producing clothing for his friends and acquaintances, importing the finest wools and silks. Mariano and now his son Luca, continue this tradition. His other children too are involved intimately with the house of Rubinacci.

Just like his father before him, Mariano has tailored the most beautiful clothing for a virtual who’s who of the world of the arts, culture and politics.

Mariano is a proud Neapolitan. He feels in his being a Neapolitan wherever he is. The Neapolitan tradition of fine tailoring and style is what he seeks to bring to the wider world. To quote Mariano himself, ‘Leaving Naples to stay in Naples. Selling Naples throughout the world. This is one of my greatest aspirations. To make others understand our aesthetic sense.’

Today, the house of Rubinacci is found in Naples, Milan and London.

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.

GINA CIGNA, SOPRANO, MARCH 06, 1900

‘I always preferred temperament and interpretation to voice alone.’

A child of the nascent twentieth century, Gina Cigna was born on the 6 March 1900 in Angers to parents of Italian descent. Amazingly she saw the entire century out, dying on the 26 June 2001 in Milan. With such a well-timed entrance and exit, she was doubtless destined for the stage and as a great dramatic interpreter!

Cigna was one of the most prominent Turandots of the 1930s. She was in fact the first artist to record the role of Turandot. It is claimed that she performed Turandot a total of 493 times – truly a remarkable stamina and vocal power was required for this feat. She was also one of the yardsticks by which all subsequent Normas have been measured. Another notable role was Aida, in which her Ritorna vincitor was described as a ‘searing experience’. Further superlatives were lavished upon her performance of Aida at New York’s Metropolitan Opera, a ‘beautiful, clear, pure voice,…a marvellous musician…beautiful vocal control…’ And yet there were critics as well that noted,’The voice is full and has a great range, but the emission is uneven and the agility is heavy.’ What we can be sure of, is that Cigna gave her all to performing the role and her statement in favour of interpretation over vocal perfection is testament to this. How exciting her stage presence must have been.

Initially she studied piano at the Paris Conservatoire but was heard singing by none other than the great Emma Calvé who arranged an audition with Toscanini. Remarkably, Cigna accompanied herself on the piano, playing and singing arias from Rossini and Verdi which resulted in an immediate engagement! Gina Cigna’s professional stage debut was at La Scala as Freia in Wagner’s Das Rheingold in January 1927.

Throughout the 1930s Cigna performed in Latin America, North America and Europe the many roles which she had made her own.

Tragically her career was cut short by a serious car crash in 1947 en-route to perform Tosca in Verona. She completed her performance and collapsed afterwards – she had suffered a heart attack. Cigna never sang again but began an illustrious career as a singing teacher.