Vesti la giubba Tenore GIUSEPPE GIACOMINI

Giuseppe Giacomini was born at Veggiano near Padua, Italy, on the 7th of September 1940. He began his vocal career under the guiding hands of Elena Fava Ceriati in Padua, Marcello del Monaco in Treviso and Vladimiro Badiali in Milano, and won song contests in Napoli, Vercelli and Milano. His professional debut followed in 1966 at the theatre of Vercelli as Pinkerton in Puccini's Madame Butterfly, followed by performances in Parma and Modena in 1969 as Turiddu and Des Grieux. He was then fortunate to appear outside Italy and starred in Manon Lescaut in Berlin 1970, in Il Tabarro in Lisboa 1971, Tosca in Barcelona 1972 and Wien in 1973, and in 1973 at the state theatre of München. Upon his return to Italy in 1974 he received considerable successes at the the prime Italian opera houses; La Scala di Milano, where he performed in La forza del destino in 1974 and La Boheme in 1975; Teatro San Carlo of Napoli, the Teatro Reggio in Torino, the Opera Di Roma and the Teatro Reggio in Parma. The Italian successes took him to the Teatro Colón of Buenos Aires, the Théâtre de la Monnaie in Brussels, the Grand Opéra Paris, Berlin, Köln, Düsseldorf, Frankfurt am Main, Hamburg, München and Wiesbaden; he performed at the national opera of Budapest, in Barcelona, Lisboa, Zürich and Boston - the USA debut took place 1975 at the Connecticut Opera as Ramirez in La Fanciulla del West.The awaited Met debut came in 1976 as Alvaro in Verdi's La forza del destino, triggering a series of apperances with the house in roles such as Macduff in Macbeth and Don Carlo (1982), Manrico in Il Trovatore, Canio in I Pagliacci and Cavaradossi in Tosca. His Covent Garden debut came in 1980 with La Fanciulla del West.

1985 he appeared at the festival of Ravenna and 1987 performed at the opera of Houston/Texas as Giasone in Cherubini's Medea. His first Otello came the same year in New Orleans and the at the Covent Guarden in London he was Pollione in Bellini's Norma. The season of 1988-89 brought with it several performances as Radamès (Aida) and Don Alvaro (La Forza del Destino) in Chicago, and he apperaded as Radamès during the years of 1978, 1980, 1985 and 1996 at the festival of Verona.Much admired for his dark-hued and dramatic tenor voice, he has shown quite versatile and received acclaim for his lirico spinto interpretations in operas of Bellini, Puccini, Verdi, Donizetti, Giordano and Mascagni, to performances of Wagner's Lohengrin (as one of the last Italian tenors to sing that part) as well as Nerone in L'Incoronazione di Poppea by Monteverdi. Further successful appearances count Otello in 1986 in San Diego, Alvaro in 1989 at Teatro Filarmonico Verona, Radamès at the Teatro Colón, Buenos Aires, in 1989, and a much acclaimed Andrea Chénier (Andrea Chénier, Giordano) at the Wiener Staatsoper in 1994. In Wien he also sang Radamés (1990, 1993 and 1994), Otello (1991, 1997), Manrico (1996), Calaf (1997, 1998), and Cavaradossi (1997-98).Particular performances counts his participationin the world premiere of Marco Tutino's 'La Lupa' in Livorno in 1990 where he sang the role of Nanni, and his Des Grieux at the hundred-anniversary of the premiere of Puccini's Manon Lescaut at the Teatro Reggio di Torino. He also sang for the Royal Family at the Covent Garden in 1988 and Gorbachev in Moscow, took part in the historical staging of Aida set against the pyramids of Cairo in 1987 and was Calaf in Seoul on occasion of the opening of the Olympic Games in 1988. He is also credited with the revival of rare operas as Donizetti's Fausta (Roma, 1981) and Leoncavallo's Medici (Frankfurt, 1993). Among his prizes and honour count the title Kammersänger of the Staatsoper in Wien, the Gold Viotti, the Giovanni Zenatello Prize, the C.A.Capelli Prize, the Gold Mascagni and the Giovanni Martinelli Prize. He is also Commendatore of the Ordine di San Gregorio Magno.In spite of a long list of awards and honours and a long career with appearances at the most prestigious opera houses in the world, Giuseppe Giacomini has nevertheless remained fairly unknown to the world wide opera public and perhaps never had the career he merited.Recent performances include Cavaradossi in Tosca at the National Opera of Oslo in January 2000, Samson in Samson et Dalila in Zürich until June 2000 and a scheduled Cavaradossi at the Royal Opera in London September 2000.

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[raigekimaru]

definitely not one of those wimpy tenors you see so much of today.

[raigekimaru]

this is talent you can't buy

[thegnomeidentity]

@MarcENicholson there is a superb recording of him out there singing lohengrin which i heard years ago...in italian but still beautiful no doubt

[MrKrazykev13]

imagine taking a Shit while the song playing at 1:42 to 2:07

[imksoon]

If the god sing a song. It will be like this sheer awesomeness voice.

[Loganberrymusic]

Giacomini's voice is so dramatic and powerful that it disturbs the listener in this aria just the way it should. A truly definitive rendition, for me anyways.

[MrFrenchaccent]

What a dark and magnificent round voice ! bravo !

[AwesomeNightman]

1:45 beautiful

[TONYM1966]

@einherzundeineseele ..your English is good !



[einherzundeineseele]

Giacomini ist tatsächlich - wie ein Bewunderer schon erwähnte für mich der beste dramatischste Tenor unseres Jahrhunderts. Es ist einfach nicht zu verstehen, dass er nicht die Popularität besaß wie andere mickrige Tenöre, die nur durch mehr Public Relation eindeutig mehr in der Öffentlichkeit bekannt wurden. Sehr schade für

meinen Favoriten Giuseppe Giacomini!!!!!!!!!!!!!

[Aetion]

@MarcENicholson May be he was not a Wagnerian Heldentenor, but certainly a great dramatic one, who unfortunately did not gain the fame he surely deserved.

[raigekimaru]

@gabri770

no you can't. it's possible to have just as successful a career, make more money and/or have better technique, but amazing voices are born just as much as made. a voice is not like external instruments. one can't just go to the store and purchase a dramatic coloratura soprano or heldentenor. the voice of giuseppe giacomini is a gem. such darkness and richness in a tenor voice is VERY rare as most tenors have naturally bright, thin voices