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Mario Del Monaco is one of three or four of my favourite tenors. His "Dio, mi potevi scagliar" or "Forse la soglia attinse", or "Amor ti vieta", or e.g. "L´anima ho stanca" are unrivalled. Only Domingo (mainly as Radames or Cavaradossi) or Corelli (as Chenier or Manrico) there is possible to compare with his vocal beauty... sometimes, namely in Amor ti vieta ("vieta") or Forse la soglia ("palpito", "sotto") or Lamento (phrase "il dolce sembiante" - vocal "A") are his vocals incomparable beautifull...
Mario Del Monaco lip singing to a track of "Che gelida manina"
"This is the best Chénier on video, and the sound track is thrilling to hear."--Albert Innaurato, The Metropolitan Opera Guide to Opera on Video "I have never enjoyed Chénier as much as on this video."--Alan Blyth, Gramophone
Mario del Monaco sings O sole mio NHK tokio 1961.
"Oh sommo Carlo, piu del tuo nome" What an amazing cast ! The great Dimitri Mitropoulos is conducting. Ernani - Mario del Monaco Don Carlo - Leonard Warren Elvira - Zinka Milanov Silva - Cesare Siepi Don Riccardo - James McCracken live from the Met, December 29,1956
BetterSound: http://au.youtube.com/watch?v=FaSjLcXTfYo&fmt=18 ================================ Norma 1958 Libretto : Felice Romani Role : Pollione, a Roman Proconsul Voice Part : tenor Fach : spinto Setting : Night in the Druid's sacred forest, Gaul, around 50 B.C. Range : D3 to C5. Tessitura : G3 to G4 ================================ Related information: Libretto: POLLIONE Svanir le voci! E dell'orrenda selva Libero ? il varco. POLLIONE A me non puoi far tu rampogna, Ch'io mertar non senta. Ma nel mio core ? spenta La prima fiamma, E un Dio la spense, Un Dio nemico al mio riposo Ai pi? mi veggo l'abisso aperto, E in lui m'avvento io stesso. POLLIONE In rammentarlo io tremo. Meco all'altar di Venere Era Adalgisa in Roma, Cinta di bende candide, Sparsa di fior la chioma; Udia d'Imene i cantici, Vedea fumar gl'incensi, Eran rapiti i sensi Di voluttade e amore. Quando fra noi terribile Viene a locarsi un'ombra L'ampio mantel druidico Come un vapor l'ingombra; Cade sull'ara il folgore, D'un vel si copre il giorno, Muto si spande intorno Un sepolcrale orror. Pi? l'adorata vergine Io non mi trovo accanto; N'odo da lunge un gemito Misto de' figli al pianto ! Ed una voce orribile Echeggia in fondo al tempio Norma cos? fa scempio D'amante traditor! (Squilla il sacro bronzo.) POLLIONE Me protegge, me difende Un poter maggior di loro ? il pensier di lei che adoro, ? l'amor che m'infiamm?. Di quel Dio che a me contende Quella virgine celeste, Arder? le rie foreste, L'empio altare abbatter?. ================================ *Note:Support the artist, their families and their legacy by purchasing their music.
Mario Del Monaco (Florence July 27, 1915 - October 16, 1982 in Mestre) was an Italian tenor and is regarded by his admirers as being one of the greatest dramatic tenors of the 20th Century. Del Monaco was born to a musical upper-class Florentine family. As a young boy he studied the violin but had a passion for singing. He graduated from the Rossini Conservatory at Pesaro, where he first met and sang with Renata Tebaldi, with whom he would form something of an operatic dream team of the 1950s. His early mentors as a singer included Milocchi, his teacher at Pesaro, and Maestro Raffaelli, who recognized his talent and helped launch his career. That career began in earnest with Del Monaco's debut on December 31, 1940, as Pinkerton at the Puccini Theater in Milan. (His initial appearance in an opera had occurred the previous year, however, in Mascagni's Cavalleria Rusticana at Pasero.) He sang in Italy during the Second World War and married, in 1941, Rina Filipini. In 1946, he appeared at London's Royal Opera House, Covent Garden, for the first time. During the ensuing years he became famous not only in London but also across the operatic world for his powerful, metallic voice. It was heldentenor-like in scope but Del Monaco was no Wagnerian, confining his activities overwhelmingly to the Italian repertoire. Del Monaco sang at the New York Metropolitan Opera from 1951 to 1959, enjoying particular success in Verdi parts such as Radames. He established himself as one of the Italian tenor "superstars" of the 1950s and '60s, along with Giuseppe Di Stefano, Carlo Bergonzi and Franco Corelli. His trademark roles during this period were Giordano's Andrea Chenier and Verdi's Otello. He first tackled Otello in 1950 and kept refining his interpretation throughout his career. It is said that he sang Otello an astonishing 427 times. However, the book published by Elisabetta Romagnolo, Mario Del Monaco, Monumentum aere perennius, Azzali 2002, lists only 218 appearances by him as Otello, which is a more realistic figure. Aptly, the tenor was buried in his Otello costume. Del Monaco made his first recordings in Milan in 1948 for HMV. Later, he was partnered by Tebaldi in a long series of Verdi and Puccini operas recorded for Decca. On the same label was his 1969 recording of Giordano's Fedora, opposite Magda Olivero and Tito Gobbi. In 1975 he retired from stage. He was a good-looking man, and his ringing voice and virile appearance earned him the nickname of the "Brass Bull of Milan". Despite his idomatic phrasing, he was still widely criticized for being unsubtle and unyielding in his vocal interpretations. In this regard, the soprano Magda Olivero noted in a recent interview ( http://www.belcantosociety.org/pages/oliverodivas.html ) that: "When del Monaco and I sang Francesca da Rimini together at La Scala [in 1959] he explained his whole vocal technique to me. When he finished I said, My dear del Monaco, if I had to put into practice all the things youve told me, Id stop singing right away and just disappear. The technique was so complicated: you push the larynx down, then you push this up, then you do that—in short, it made my head spin just to hear everything he did. "We recorded Francesca excerpts together [in 1969]. Francesca has a beautiful phrase, Paolo, datemi pace, marked piano, and then Paolo enters with Inghirlandata di violette, which also should be sung softly, delicately. Instead, del Monaco was terrible—he bellowed the phrase [she imitates him and laughs]! When he listened to the playback he exclaimed, I cant believe it! After that soft poetic phrase I come in and what do I sound like—a boxer punching with his fists! He recorded the phrase again, but the second attempt was more or less the same because he was incapable of singing piano. He was furious with himself because he wanted to. He tried everything, but his technique would not permit him to sing softly since it totally was based on the muscles." Del Monaco belonged to a once flourishing lineage of dramatic tenors born in Italy. Famous predecessors of his included Francesco Tamagno, Francesco Signorini, Giuseppe Borgatti, Giovanni Zenatello, Edoardo Ferrari-Fontana, Bernardo De Muro, Giovanni Martinelli and Francesco Merli, among others. His present-day Italian successor has yet to appear.
No! No! pazzo son (Dal vivo) aria trata di Manon Lescaut. Citta del Messico.
This is a very young Mario del Monaco singing Pagliacci live for the Opera Cameos TV show sponsored by Progresso Soup. I do not know the year.
Renata Tebaldi and Mario Del Monaco sing "Mr. Johnson, siete..." from G. Puccini's "Fanciulla del West" Conducted by Franco Capuana, Rome
From King KILM 110 Japan in 1993 (C) NHK 1961 Tokyo. From Giordano's Andrea Chenier Act 4. October 1, 1961
Mario Del Monaco (Florence July 27, 1915 - October 16, 1982 in Mestre) was an Italian tenor and is regarded by his admirers as being one of the greatest dramatic tenors of the 20th Century. Del Monaco was born to a musical upper-class Florentine family. As a young boy he studied the violin but had a passion for singing. He graduated from the Rossini Conservatory at Pesaro, where he first met and sang with Renata Tebaldi, with whom he would form something of an operatic dream team of the 1950s. His early mentors as a singer included Milocchi, his teacher at Pesaro, and Maestro Raffaelli, who recognized his talent and helped launch his career. That career began in earnest with Del Monaco's debut on December 31, 1940, as Pinkerton at the Puccini Theater in Milan. (His initial appearance in an opera had occurred the previous year, however, in Mascagni's Cavalleria Rusticana at Pasero.) He sang in Italy during the Second World War and married, in 1941, Rina Filipini. In 1946, he appeared at London's Royal Opera House, Covent Garden, for the first time. During the ensuing years he became famous not only in London but also across the operatic world for his powerful, metallic voice. It was heldentenor-like in scope but Del Monaco was no Wagnerian, confining his activities overwhelmingly to the Italian repertoire. Del Monaco sang at the New York Metropolitan Opera from 1951 to 1959, enjoying particular success in Verdi parts such as Radames. He established himself as one of the Italian tenor "superstars" of the 1950s and '60s, along with Giuseppe Di Stefano, Carlo Bergonzi and Franco Corelli. His trademark roles during this period were Giordano's Andrea Chenier and Verdi's Otello. He first tackled Otello in 1950 and kept refining his interpretation throughout his career. It is said that he sang Otello an astonishing 427 times. However, the book published by Elisabetta Romagnolo, Mario Del Monaco, Monumentum aere perennius, Azzali 2002, lists only 218 appearances by him as Otello, which is a more realistic figure. Aptly, the tenor was buried in his Otello costume. Del Monaco made his first recordings in Milan in 1948 for HMV. Later, he was partnered by Tebaldi in a long series of Verdi and Puccini operas recorded for Decca. On the same label was his 1969 recording of Giordano's Fedora, opposite Magda Olivero and Tito Gobbi. In 1975 he retired from stage. He was a good-looking man, and his ringing voice and virile appearance earned him the nickname of the "Brass Bull of Milan". Despite his idomatic phrasing, he was still widely criticized for being unsubtle and unyielding in his vocal interpretations. In this regard, the soprano Magda Olivero noted in a recent interview ( http://www.belcantosociety.org/pages/oliverodivas.html ) that: "When del Monaco and I sang Francesca da Rimini together at La Scala [in 1959] he explained his whole vocal technique to me. When he finished I said, My dear del Monaco, if I had to put into practice all the things youve told me, Id stop singing right away and just disappear. The technique was so complicated: you push the larynx down, then you push this up, then you do that—in short, it made my head spin just to hear everything he did. "We recorded Francesca excerpts together [in 1969]. Francesca has a beautiful phrase, Paolo, datemi pace, marked piano, and then Paolo enters with Inghirlandata di violette, which also should be sung softly, delicately. Instead, del Monaco was terrible—he bellowed the phrase [she imitates him and laughs]! When he listened to the playback he exclaimed, I cant believe it! After that soft poetic phrase I come in and what do I sound like—a boxer punching with his fists! He recorded the phrase again, but the second attempt was more or less the same because he was incapable of singing piano. He was furious with himself because he wanted to. He tried everything, but his technique would not permit him to sing softly since it totally was based on the muscles." Del Monaco belonged to a once flourishing lineage of dramatic tenors born in Italy. Famous predecessors of his included Francesco Tamagno, Francesco Signorini, Giuseppe Borgatti, Giovanni Zenatello, Edoardo Ferrari-Fontana, Bernardo De Muro, Giovanni Martinelli and Francesco Merli, among others. His present-day Italian successor has yet to appear.
Mario Del Monaco in his alleged last live performance on a French TV show singing "Pieta Signore".