SHORT002 WHAT IS BETTER THAN PISTACHIOS?
Check our The Voice Detective Gyaan Lyon’s latest discovery…
SHORT002 WHAT IS BETTER THAN PISTACHIOS?
Check our The Voice Detective Gyaan Lyon’s latest discovery…
SNAPSHOT001 WHAT’S THE BEST CHOCOLATE IN THE WORLD?
Check our The Voice Detective Gyaan Lyon’s discovery…
SNAPSHOT001 WHAT’S THE BEST CHOCOLATE IN THE WORLD?
Check our The Voice Detective Gyaan Lyon’s discovery…
JOHN MCCORMACK, TENOR, JUNE 14, 1884
John McCormack
Could any singer have ever received so many accolades, titles and fame in their lifetime? Maybe Beniamino Gigli did…
John McCormack’s life seemed charmed being interwoven with fame and fortune from its very beginning. Born in Westmeath, County Athlone in Ireland, his musical leanings were nurtured by singing in the church choir and no doubt also, by his Scottish parents who incidentally possessed fine singing voices.
Later when the family moved to Dublin he joined the St. Mary’s Pro Cathedral Choir. There his talent was recognised by the choir master and composer Vincent O’Brien.
One year after training he won the coveted medal Feis Ceoil for his singing. The following year he encouraged his friend, also a tenor who would later be famous in his own right, the author James Joyce, to enter the singing competition. Joyce, received 3rd place. One wonders what career path Joyce may have chosen had he won!
Fund raisers enabled him to train with Vincenzo Sabatini in Milan. Sabatini did not find his voice at all wanting and concentrated on teaching him a breathing technique which was to become a hallmark of McCormack’s singing. Famous for his extraordinary breath control, he could sing sixty four notes on one breath in Mozart’s “Il mio tesoro” from Don Giovanni, and his singing of pieces by Händel was just as impressive in this remarkable ability.
He made his operatic debut under the name of Giovanni Foli in Mascagni’s L’amico Fritz in 1906. Engagements in America followed and at the height of his career he toured Australia as the star tenor for the Melba Grand Opera season of 1911. From 1908 to 1914 he performed regularly at Covent Garden with either NELLIE MELBA or LUISA TETRAZZINI.
From 1912 his interest turned more and more in the direction of concert performances which brought his voice to the masses – and the masses adored him.
He became the Victor Talking Machine Company’s most popular ‘Red Seal’ recording artist after Enrico Caruso. Apropos Caruso, after hearing Caruso’s performance in the front row as Rodolfo in La Boheme at Covent Garden, McCormack said: “It was the best lesson, up to that moment, I had ever received and a stimulus which cannot be described. The sound of Caruso’s voice that night lingered in my ears for months.”
Or from another account, “as to this schooling he was prompted by hearing a Caruso at Covent Garden in 1904. McCormack was twenty then, and just beginning a career as a professional singer. ‘I will never rest’ he said to a friend after that performance.I will work and train and pray and someday there will be two men singing like that. Caruso and me.”
Two years later he was singing in London himself, becoming the Covent Garden’s youngest leading tenor in Mascagni’s Cavalleria Rusticana.
He continued to receive praise as his unstoppable star ascended. The famous violinist, Jan Kubelik, remarked in paying him one of the greatest compliments after hearing him in Prague: “That man must have a Stradivarius in his throat”.
Possibly because he didn’t quite enjoy the acting side of performing opera, or that he realised he could reach more people and make more money from his voice whilst performing with the likes of Fritz Kreisler, he decided to pursue concert performing and the popular music recording artist path. During the catastrophe of the First World War, in 1917, he also decided to become an American citizen. McCormack’s biographer, Gordon Ledbetter, believes the tenor was the last singer to successfully bring together such divergent styles.
Another biographer attempting to convey McCormack’s widespread fan base to contemporary audiences said he was like Pavarotti, Madonna and Johnny Carson all rolled into one!
Certainly his wartime hits appealed greatly to the Irish population in America as they could show pride in both Ireland and the United States. McCormack became a radio megastar and donated to the U.S war effort and catholic charities generously.
Some of his hits at the time were ‘It’s a Long Way to Tipperary’ ‘Mother MacCree’ and for the Hollywood film ‘Song o’My Heart’ where he was paid half a million dollars to sing eleven songs for the soundtrack.
He became a very wealthy man and by all accounts enjoyed his wealth to the fullest, giving back to the public in the form of many benefit concerts and donations.
Not many opera singers are created Papal Counts – not so for John Count McCormack as seen engraved on his headstone where he is buried in his birth country of Ireland. Earlier in his life he had also received three Papal Knighthoods in addition to being a Knight of Malta. He died at the age of 61 of bronchial pneumonia seven years after giving his farewell performance at the Royal Albert Hall. Despite the farewell performance in 1938, during the Second World War, he came out of retirement in support of the Red Cross. Quite a life!
JOHN MCCORMACK, TENOR, JUNE 14, 1884
John McCormack
Could any singer have ever received so many accolades, titles and fame in their lifetime? Maybe Beniamino Gigli did…
John McCormack’s life seemed charmed being interwoven with fame and fortune from its very beginning. Born in Westmeath, County Athlone in Ireland, his musical leanings were nurtured by singing in the church choir and no doubt also, by his Scottish parents who incidentally possessed fine singing voices.
Later when the family moved to Dublin he joined the St. Mary’s Pro Cathedral Choir. There his talent was recognised by the choir master and composer Vincent O’Brien.
One year after training he won the coveted medal Feis Ceoil for his singing. The following year he encouraged his friend, also a tenor who would later be famous in his own right, the author James Joyce, to enter the singing competition. Joyce, received 3rd place. One wonders what career path Joyce may have chosen had he won!
Fund raisers enabled him to train with Vincenzo Sabatini in Milan. Sabatini did not find his voice at all wanting and concentrated on teaching him a breathing technique which was to become a hallmark of McCormack’s singing. Famous for his extraordinary breath control, he could sing sixty four notes on one breath in Mozart’s “Il mio tesoro” from Don Giovanni, and his singing of pieces by Händel was just as impressive in this remarkable ability.
He made his operatic debut under the name of Giovanni Foli in Mascagni’s L’amico Fritz in 1906. Engagements in America followed and at the height of his career he toured Australia as the star tenor for the Melba Grand Opera season of 1911. From 1908 to 1914 he performed regularly at Covent Garden with either NELLIE MELBA or LUISA TETRAZZINI.
From 1912 his interest turned more and more in the direction of concert performances which brought his voice to the masses – and the masses adored him.
He became the Victor Talking Machine Company’s most popular ‘Red Seal’ recording artist after Enrico Caruso. Apropos Caruso, after hearing Caruso’s performance in the front row as Rodolfo in La Boheme at Covent Garden, McCormack said: “It was the best lesson, up to that moment, I had ever received and a stimulus which cannot be described. The sound of Caruso’s voice that night lingered in my ears for months.”
Or from another account, “as to this schooling he was prompted by hearing a Caruso at Covent Garden in 1904. McCormack was twenty then, and just beginning a career as a professional singer. ‘I will never rest’ he said to a friend after that performance.I will work and train and pray and someday there will be two men singing like that. Caruso and me.”
Two years later he was singing in London himself, becoming the Covent Garden’s youngest leading tenor in Mascagni’s Cavalleria Rusticana.
He continued to receive praise as his unstoppable star ascended. The famous violinist, Jan Kubelik, remarked in paying him one of the greatest compliments after hearing him in Prague: “That man must have a Stradivarius in his throat”.
Possibly because he didn’t quite enjoy the acting side of performing opera, or that he realised he could reach more people and make more money from his voice whilst performing with the likes of Fritz Kreisler, he decided to pursue concert performing and the popular music recording artist path. During the catastrophe of the First World War, in 1917, he also decided to become an American citizen. McCormack’s biographer, Gordon Ledbetter, believes the tenor was the last singer to successfully bring together such divergent styles.
Another biographer attempting to convey McCormack’s widespread fan base to contemporary audiences said he was like Pavarotti, Madonna and Johnny Carson all rolled into one!
Certainly his wartime hits appealed greatly to the Irish population in America as they could show pride in both Ireland and the United States. McCormack became a radio megastar and donated to the U.S war effort and catholic charities generously.
Some of his hits at the time were ‘It’s a Long Way to Tipperary’ ‘Mother MacCree’ and for the Hollywood film ‘Song o’My Heart’ where he was paid half a million dollars to sing eleven songs for the soundtrack.
He became a very wealthy man and by all accounts enjoyed his wealth to the fullest, giving back to the public in the form of many benefit concerts and donations.
Not many opera singers are created Papal Counts – not so for John Count McCormack as seen engraved on his headstone where he is buried in his birth country of Ireland. Earlier in his life he had also received three Papal Knighthoods in addition to being a Knight of Malta. He died at the age of 61 of bronchial pneumonia seven years after giving his farewell performance at the Royal Albert Hall. Despite the farewell performance in 1938, during the Second World War, he came out of retirement in support of the Red Cross. Quite a life!
ROBERTO ALAGNA, TENOR, JUNE 07, 1963
“I have never particularly believed in astrology, but experts have always stated that I have all the characteristic of Gemini: very sociable, also very adaptable. So it was preordained from my birth that I would be capable of all the twists and turns, all the roles!”
“Je n’ai jamais particulièrement cru à l’astrology, mais les spécialistes ont toujours affirmé que j’ai toutes les caractéristiques des Gémeaux : très sociable, aussi très adaptable. Il était donc écrit dès ma naissance, que je serais capable de tous les rebondissements, de tous les rôles !
Singing is in the Franco-Sicilian tenor Roberto Alagna’s blood. His illustrious maternal great-grandfather Jimmy sang for the great Enrico Caruso when the the maestro happened to drop by one day in his wallet shop in New York City, U.S.A., and Enrico was so impressed that he suggested Jimmy audition for the Metropolitan Opera Chorus! What a complement! (although Jimmy declined the suggestion of the maestro—or the “Commendatore”, “the Commander” as Jimmy endearingly liked to call him—as he preferred to focus on his business.)
Roberto ’s vocal mentor Rafael Ruiz, was a direct student of the legendary Italian tenor Aureliano Pertile (1885-1952). It was that fact that caught the attention of Luciano Pavarotti when Roberto met him at an LP signing event at the Printemps department store in Paris. A year later, without knowing it, Roberto was invited to audition in the first round of the the Pavarotti International Voice Competition in Pesaro, Italy, the birthplace of legendary nineteenth century composer Gioachino Rossini (1792-1868). He sang his good luck song ‘La Danza’ from Rossini for Luciano and thought that he’d been disqualified as Luciano didn’t permit him to sing a second piece for him as did all the other participants. Au contraire, Luciano loved his voice and he was qualified to the next round. Indeed years later, Saimir Pirgu, an Albanian tenor, who studied with Luciano told Roberto something he didn’t know about Luciano: “every time we took lessons with Luciano, he spoke of only one tenor, Roberto, and he would say ‘here take this LP and sing like this”.
After winning the Pavarotti International Voice Competition in Philadelphia—the hometown of Mario Lanza—in 1988, Roberto’s career really skyrocketed.
He made his debut with the Glyndebourne Touring Company in the role of Alfred Germont in Verdi’s La Traviata. From 1990 onwards, he has performed a series of major roles, respectively at the leading opera houses; La Scala, Covent Garden and the New York Metropolitan.
In 1995 he won an Olivier Award for his performance of Roméo in Gounod’s Roméo et Juliette which was singled out for its diction and fine nuances, and was a turning point in his career giving him his place with the the greats of the French repertoire. Alagna also has sought out long neglected repertory to perform, and has from his lyric tenor beginnings has as his voice matured, ventured into the heavier spinto roles such as Samson in Samson et Dalia, Canio in I Pagliacci, Mauricio in Adriana Lecouvreur and Des Grieux in Manon Lescaut.
Roberto is known for his charismatic stage presence and has obtained widespread popularity through his recording a variety of diverse music genres, not to mention, his appearances in films and music videos. His album ‘Sicilian’ released in 2008 was a huge success and reached the popular audience with sales over 350,000.
Roberto Alagna was appointed a Chevalier de la légion d’honneur in 2008.
Happy birthday Roberto! We wish you happiness, health and success! Thank you for your willingness and determination to continue bringing joy to your audiences around the world!
Joyeux anniversaire Roberto! Nous vous souhaitons bonheur, santé et succès! Merci de votre volonté et enthousiasme de continuer à apporter de la joie à votre public du monde entier!
ROBERTO ALAGNA, TENOR, JUNE 07, 1963
“I have never particularly believed in astrology, but experts have always stated that I have all the characteristic of Gemini: very sociable, also very adaptable. So it was preordained from my birth that I would be capable of all the twists and turns, all the roles!”
“Je n’ai jamais particulièrement cru à l’astrology, mais les spécialistes ont toujours affirmé que j’ai toutes les caractéristiques des Gémeaux : très sociable, aussi très adaptable. Il était donc écrit dès ma naissance, que je serais capable de tous les rebondissements, de tous les rôles !
Singing is in the Franco-Sicilian tenor Roberto Alagna’s blood. His illustrious maternal great-grandfather Jimmy sang for the great Enrico Caruso when the the maestro happened to drop by one day in his wallet shop in New York City, U.S.A., and Enrico was so impressed that he suggested Jimmy audition for the Metropolitan Opera Chorus! What a complement! (although Jimmy declined the suggestion of the maestro—or the “Commendatore”, “the Commander” as Jimmy endearingly liked to call him—as he preferred to focus on his business.)
Roberto ’s vocal mentor Rafael Ruiz, was a direct student of the legendary Italian tenor Aureliano Pertile (1885-1952). It was that fact that caught the attention of Luciano Pavarotti when Roberto met him at an LP signing event at the Printemps department store in Paris. A year later, without knowing it, Roberto was invited to audition in the first round of the the Pavarotti International Voice Competition in Pesaro, Italy, the birthplace of legendary nineteenth century composer Gioachino Rossini (1792-1868). He sang his good luck song ‘La Danza’ from Rossini for Luciano and thought that he’d been disqualified as Luciano didn’t permit him to sing a second piece for him as did all the other participants. Au contraire, Luciano loved his voice and he was qualified to the next round. Indeed years later, Saimir Pirgu, an Albanian tenor, who studied with Luciano told Roberto something he didn’t know about Luciano: “every time we took lessons with Luciano, he spoke of only one tenor, Roberto, and he would say ‘here take this LP and sing like this”.
After winning the Pavarotti International Voice Competition in Philadelphia—the hometown of Mario Lanza—in 1988, Roberto’s career really skyrocketed.
He made his debut with the Glyndebourne Touring Company in the role of Alfred Germont in Verdi’s La Traviata. From 1990 onwards, he has performed a series of major roles, respectively at the leading opera houses; La Scala, Covent Garden and the New York Metropolitan.
In 1995 he won an Olivier Award for his performance of Roméo in Gounod’s Roméo et Juliette which was singled out for its diction and fine nuances, and was a turning point in his career giving him his place with the the greats of the French repertoire. Alagna also has sought out long neglected repertory to perform, and has from his lyric tenor beginnings has as his voice matured, ventured into the heavier spinto roles such as Samson in Samson et Dalia, Canio in I Pagliacci, Mauricio in Adriana Lecouvreur and Des Grieux in Manon Lescaut.
Roberto is known for his charismatic stage presence and has obtained widespread popularity through his recording a variety of diverse music genres, not to mention, his appearances in films and music videos. His album ‘Sicilian’ released in 2008 was a huge success and reached the popular audience with sales over 350,000.
Roberto Alagna was appointed a Chevalier de la légion d’honneur in 2008.
Happy birthday Roberto! We wish you happiness, health and success! Thank you for your willingness and determination to continue bringing joy to your audiences around the world!
Joyeux anniversaire Roberto! Nous vous souhaitons bonheur, santé et succès! Merci de votre volonté et enthousiasme de continuer à apporter de la joie à votre public du monde entier!
GEORGE LONDON, BASS-BARITONE, MAY 30, 1920
George London was born in Montreal to Russian U.S émigrés parents, and was brought up in Los Angles. He possessed a dark and resonant bass baritone voice with an easy resounding upper register which he used masterfully from the finest pianissimi to the most resounding fortes. He was also known for his imposing stage presence and fine portrayal of his roles.
One interesting aspect of his career to note is, that before he found international acclaim he performed as a member of the Bel Canto Trio with Mario Lanza and Francis Yeend in 1947-48 (1).
It was not long after his trio days that his international career took off, starting after his debut in Vienna in 1949 (2). A Bayreuth Festival debut followed in 1951 as Amfortas in Parsifal resulting in return seasons for him in the role and the title role of the Flying Dutchman.
At the Metropolitan Opera in New York, he sang over 270 performances and became one of the most famous exponents of the five signature bass baritone roles of Don Giovanni, Amfortas, Wotan, Scarpia and Boris Godunov. It was no small feat and testimony to his singing that he was given the honour of being the first non Russian singer to sing the title role of Boris Godunov at the Bolschoi Theatre at the height of the Cold War years in 1960 (3). Quite simply, he was able to encompass all styles of singing from Mozart, through French romantic and modern, to Verdi, Wagner, Mahler and Richard Strauß, as well as many performances of Broadway tunes and American songs and Lieder.
Both the Beatles and Maria Callas owed their exposure to a larger popular audience through their appearances on the Ed Sullivan Show. On November 25,1956, Maria Callas made her national television debut singing Floria Tosca in an abridged Act 2 from Puccini’s Tosca. Fewer people remember, that it was George London’s Baron Scarpia, that proved the perfect foil to Callas, with his vocal prowess and stage presence (4).
Another classic London recording, where he sings Baron Scarpia in Puccini’s Tosca, is with the other leading prima donna of the day, Renate Tebaldi and with Mario del Monaco to complete the star-studded team.
Although due to ill health, he never managed to perform the role of Hans Sachs in the Meistersinger von Nürnberg, nevertheless, there exist recordings of Sachs’ monologues from recital performances and a private recording exists of his portrayal of Wotan in Das Rheingold as part of the complete Cologne Ring Cycle he performed.
It was unfortunate that at the height of his career, George London retired from the stage due to vocal health decline which was caused by a paralysis of one of the vocal chords. Treatments proved inadequate to restore his voice back to its former prowess and so, consummate artist that he was, he declined to take further engagements.
He later became the artistic administrator for Kennedy Centre in Washington and general director of the Opera Society of Washington.
He and his wife created the George and Nora London Foundation for Singers in which an annual singing competition for young Canadian and American singers is held where of the 15 finalists, 5 receive $12,000 and the remaining 10 $2,000 in encouragement awards.
GEORGE LONDON, BASS-BARITONE, MAY 30, 1920
George London was born in Montreal to Russian U.S émigrés parents, and was brought up in Los Angles. He possessed a dark and resonant bass baritone voice with an easy resounding upper register which he used masterfully from the finest pianissimi to the most resounding fortes. He was also known for his imposing stage presence and fine portrayal of his roles.
One interesting aspect of his career to note is, that before he found international acclaim he performed as a member of the Bel Canto Trio with Mario Lanza and Francis Yeend in 1947-48 (1).
It was not long after his trio days that his international career took off, starting after his debut in Vienna in 1949 (2). A Bayreuth Festival debut followed in 1951 as Amfortas in Parsifal resulting in return seasons for him in the role and the title role of the Flying Dutchman.
At the Metropolitan Opera in New York, he sang over 270 performances and became one of the most famous exponents of the five signature bass baritone roles of Don Giovanni, Amfortas, Wotan, Scarpia and Boris Godunov. It was no small feat and testimony to his singing that he was given the honour of being the first non Russian singer to sing the title role of Boris Godunov at the Bolschoi Theatre at the height of the Cold War years in 1960 (3). Quite simply, he was able to encompass all styles of singing from Mozart, through French romantic and modern, to Verdi, Wagner, Mahler and Richard Strauß, as well as many performances of Broadway tunes and American songs and Lieder.
Both the Beatles and Maria Callas owed their exposure to a larger popular audience through their appearances on the Ed Sullivan Show. On November 25,1956, Maria Callas made her national television debut singing Floria Tosca in an abridged Act 2 from Puccini’s Tosca. Fewer people remember, that it was George London’s Baron Scarpia, that proved the perfect foil to Callas, with his vocal prowess and stage presence (4).
Another classic London recording, where he sings Baron Scarpia in Puccini’s Tosca, is with the other leading prima donna of the day, Renate Tebaldi and with Mario del Monaco to complete the star-studded team.
Although due to ill health, he never managed to perform the role of Hans Sachs in the Meistersinger von Nürnberg, nevertheless, there exist recordings of Sachs’ monologues from recital performances and a private recording exists of his portrayal of Wotan in Das Rheingold as part of the complete Cologne Ring Cycle he performed.
It was unfortunate that at the height of his career, George London retired from the stage due to vocal health decline which was caused by a paralysis of one of the vocal chords. Treatments proved inadequate to restore his voice back to its former prowess and so, consummate artist that he was, he declined to take further engagements.
He later became the artistic administrator for Kennedy Centre in Washington and general director of the Opera Society of Washington.
He and his wife created the George and Nora London Foundation for Singers in which an annual singing competition for young Canadian and American singers is held where of the 15 finalists, 5 receive $12,000 and the remaining 10 $2,000 in encouragement awards.
EN 
DE