Edoardo Garbin Video
tenore italiano
Commemorazioni 2025 (Nascita: Edoardo Garbin)
- tenore
- Regno d'Italia
- cantante lirico
Ultimo aggiornamento
2024-04-28
Aggiorna
Edoardo Garbin Antonio Selva Selva Orefice Aureliano Pertile Guevara Franchetti Fenton Verdi Angelo Masini Adelina Stehle Leoncavallo Spiro Samara Rhea Italo Montemezzi Giocondo Fino Cilea Teatro San Carlo Teatro Carlo Felice Scala Teatro Pergola 1860 1865 1889 1891 1892 1893 1900 1902 1904 1908 1909 1910 1912 1913 1918 1943 1945
Edoardo Garbin +••.••(...)) was an Italian lirico-spinto tenor who made a specialty of verismo roles during the late 19th and early 20th centuries. Born to a farming family in Padua, the young Garbin showed musical promise from an early age. He began working with celebrated bass Antonio Selva (creator of Silva in Ernani and Count Walter in Luisa Miller) in the mid-1880s. Following Selva’s death in 1889, Garbin continued his vocal studies with Vittorio Orefice (teacher of Aureliano Pertile), who continued to build the young tenor’s technique. Garbin’s debut occurred on September 6, 1891 at the Teatro Comunale in Vicenza as Don Alvaro in La Forza del Destino. Within four months, Garbin was singing the Duke in Rigoletto at the Teatro San Carlo in Naples and in October of 1892, he was entrusted with the role of Don Fernando Guevara in the world premiere of Franchetti’s much heralded Cristoforo Colombo at Genoa’s Teatro Carlo Felice. Garbin continued his meteoric rise. Less than a year and a half after his debut, he created the role of Fenton in the world premiere of Verdi’s final opera, Falstaff. Was the young tenor really ready to take on such an assignment, though? Verdi, it seems, had his doubts. The great composer had originally tried to secure Angelo Masini for the role of Fenton but had to settle on Garbin when the legendary tenor proved to be unavailable. Verdi coached the role with Garbin for a solid month, during which time the composer fired off a letter to publisher Ricordi, expressing his dissatisfaction. Verdi complained that the tenor was simply not picking up the part quickly enough. The composer stated that Garbin needed, “…a pedant who would teach him notes, tempo and clear words well.” Verdi also complained to Ricordi of Garbin’s habit of spreading his final vowels. “For example,” he wrote, “when he pronounces ‘che gli risponde alla sua parolaaa’, the ‘a’ is so open that his voice changes and seems to be somebody else’s.” Somehow, composer and tenor managed to find the right mutual wavelength and Garbin sang in the opera’s premiere at La Scala on February 9, 1893. Incidentally, the Nanetta to Garbin’s Fenton, Austrian born soprano Adelina Stehle +••.••(...)), was to become the tenor’s frequent singing partner, as well as his wife. Garbin built a major career in Italy, but was never invited to sing in North America. In fact, the English-speaking world seemed to have little use for Edoardo Garbin. His one season in London (1908) was a total disaster, with one critic describing his Cavaradossi as “miserable”. Luckily, much of Europe, including Germany, Austria, Russia, Poland, Spain and Portugal (not to mention South America) had a much greater appreciation for the tenor’s talents. His repertoire included leading roles in such works as La Bohème, Tosca, Madama Butterfly, Manon Lescaut, Fedora, Adriana Lecouvreur, Andrea Chénier, Cavalleria Rusticana, Iris, Loreley, Mefistofele, La Gioconda, La Traviata, Rigoletto, Carmen, Manon and Lohengrin. Garbin created the role of Milio Dufresne in the world premiere of Leoncavallo’s Zazà in Milan in November of 1900. He also had the honor of creating four roles in operas which never entered the standard repertoire, Spiro Samara’s Rhea (Florence, 1908), Héllera by Italo Montemezzi (Turin, 1909), Giocondo Fino’s La Festa del Grano (Turin, 1910) and La Dubarry by Ezio Camussi (Milan, 1912). After passing the age of 50, Garbin began to curtail his operatic performances. After a final La Bohème at Florence’s Teatro Pergola in 1918, Garbin left the stage for good. He retired to Brescia, where he passed away in 1943 at the age of 78. Edoardo Garbin’s death marked the end of an era. The tenor was the last surviving male singer to have premiered a Verdi opera. Edoardo Garbin made dozens of recordings between 1902 and 1913 for The Gramophone and Typewriter Company, Fonotipia and Columbia. The tenor runs the gamut from truly stellar to almost hopelessly inept in these discs. Some of Garbin’s recordings reveal careless musicianship (late entrances abound), a dull and colorless timbre (bringing to mind Verdi’s complaint about overly spread vowels) and painfully flat notes. During introductions or between phrases he can frequently be heard coughing or clearing his throat. When he is at his best, however (which is much of the time, to be fair), the tenor offers phrases of vocal and artistic eloquence that are truly breathtaking. In this recording, Garbin offers a stunning rendition of "No, più nobile" from Cilea's Adriana Lecouvreur. This was recorded in Milan for Fonotipia in the Fall of 1904.
Philippe Graffin Petru Munteanu Gyula Stuller Kaneko Kuroiwa Panova Székely Arrigoni Marco Guidarini Corbetta Mercuri Trevisan Garzia Garbin Larsen Breitkopf 2003 2004 2005 2007 2017
trailer "IL PICCOLO VIOLINO MAGICO" International competition for young violinists aged 9 to 13 A docu-reality about the competition would be released in December on Sky Channel Classica HD. Il Piccolo Violino Magico President: Paolo Ciganotto Art Direction: Pavel Vernikov Head of Organization: Domenico Mason Jury chairman: Pavel Vernikov International jury: Ludmilla Krylova Philippe Graffin Giancarlo Guarino Michael Guttman Petru Munteanu Gyula Stuller Semifinalists: Bulayev Daniil - 2004 - Latvia Igbaria Alida Shahrazad - 2007 - Italy Kalamir Dunja - 2005 - Serbia Kaneko Mei - 2005 - Japan Khuong - Huu Fiona - 2007 - USA Khuong - Huu Hina - 2004 - USA Kim Theodore - 2004 - Belgium Kuroiwa Kento - 2005 - Japan Manza Daria - 2004 - Russia Markova Lora - 2003 - Bulgaria Masote Pendo - 2004 - South Africa Ng Tricia En Lin - 2004 - Singapore Panova Ani - 2005 - Bulgary Székely Anna Lilla - 2003 - Hungary Accompanied by: Accademia d'archi "G. G. Arrigoni" conducted by Maestro Giancarlo Guarino Mitteleuropa Orchestra conducted by Maestro Marco Guidarini Media partners: Videe, Classica HD Final Show Introduction: Silvia Corbetta (Classica HD) TV show production by Bruno Mercuri, Videe S.p.A. Director: Bruno Mercuri Director's assistant: Andrea De Bortoli Cinematographer: Fabio Cordenos Editor: Matteo Trevisan Production coordinator: Marco Carillo Chief engineer: Fabio Colavecchi Camera operators: Jonathan Feruglio, Stefano Siciliotti, Pietro Palcini, Ignazio Garzia, Nicola Degano, Andrea Garbin CCU operator: Daniele Crosara Sound engineer: Massimiliano Coden Sound assistants: Alberto Petracco, Roberto Gariup, Mario Brunetta, Giovanni Buoro, Antonio Petris, Mattia Giudici In partnership with: Regione Autonoma Friuli Venezia Giulia, Comune di San Vito al Tagliamento, Fondazione Friuli, Consorzio per la Zona di Sviluppo Industriale Ponterosso, Cidim, Università della Terza Età del Sanvitese Technical supporters: Gewa, Larsen Strings, Artonus, Biasin, Fabio Piagentini, Yamaha, Breitkopf & Hãrtel, Walter Barbiero Partners: Conad Superstore, Pitars, Umana, Midj, Rotary, Cà Malvani, Jafet, Floricoltura Trevisan, Friulovest Banca, Venchiaredo, BCC Pordenonese, Fondazione Fabbrica della Pace
Edoardo Garbin Antonio Selva Selva Orefice Aureliano Pertile Guevara Franchetti Colombo Fenton Verdi Angelo Masini Adelina Stehle Dufresne Leoncavallo Spiro Samara Rhea Italo Montemezzi Giocondo Fino Pergola Puccini Teatro San Carlo Teatro Carlo Felice Scala 1860 1865 1889 1891 1892 1893 1900 1902 1908 1909 1910 1912 1913 1918 1943 1945
Edoardo Garbin +••.••(...)) was an Italian lirico-spinto tenor who made a specialty of verismo roles during the late 19th and early 20th centuries. Born to a farming family in Padua, the young Garbin showed musical promise from an early age. He began working with celebrated bass Antonio Selva (creator of Silva in Ernani and Count Walter in Luisa Miller) in the mid-1880s. Following Selva’s death in 1889, Garbin continued his vocal studies with Vittorio Orefice (teacher of Aureliano Pertile), who continued to build the young tenor’s technique. Garbin’s debut occurred on September 6, 1891 at the Teatro Comunale in Vicenza as Don Alvaro in La Forza del Destino. Within four months, Garbin was singing the Duke in Rigoletto at the Teatro San Carlo in Naples and in October of 1892, he was entrusted with the role of Don Fernando Guevara in the world premiere of Franchetti’s much heralded Cristoforo Colombo at Genoa’s Teatro Carlo Felice. Garbin continued his meteoric rise. Less than a year and a half after his debut, he created the role of Fenton in the world premiere of Verdi’s final opera, Falstaff. Was the young tenor really ready to take on such an assignment, though? Verdi, it seems, had his doubts. The great composer had originally tried to secure Angelo Masini for the role of Fenton but had to settle on Garbin when the legendary tenor proved to be unavailable. Verdi coached the role with Garbin for a solid month, during which time the composer fired off a letter to publisher Ricordi, expressing his dissatisfaction. Verdi complained that the tenor was simply not picking up the part quickly enough. The composer stated that Garbin needed, “…a pedant who would teach him notes, tempo and clear words well.” Verdi also complained to Ricordi of Garbin’s habit of spreading his final vowels. “For example,” he wrote, “when he pronounces ‘che gli risponde alla sua parolaaa’, the ‘a’ is so open that his voice changes and seems to be somebody else’s.” Somehow, composer and tenor managed to find the right mutual wavelength and Garbin sang in the opera’s premiere at La Scala on February 9, 1893. Incidentally, the Nanetta to Garbin’s Fenton, Austrian born soprano Adelina Stehle +••.••(...)), was to become the tenor’s frequent singing partner, as well as his wife. Garbin built a major career in Italy, but was never invited to sing in North America. In fact, the English-speaking world seemed to have little use for Edoardo Garbin. His one season in London (1908) was a total disaster, with one critic describing his Cavaradossi as “miserable”. Luckily, much of Europe, including Germany, Austria, Russia, Poland, Spain and Portugal (not to mention South America) had a much greater appreciation for the tenor’s talents. His repertoire included leading roles in such works as La Bohème, Tosca, Madama Butterfly, Manon Lescaut, Fedora, Adriana Lecouvreur, Andrea Chénier, Cavalleria Rusticana, Iris, Loreley, Mefistofele, La Gioconda, La Traviata, Rigoletto, Carmen, Manon and Lohengrin. Garbin created the role of Milio Dufresne in the world premiere of Leoncavallo’s Zazà in Milan in November of 1900. He also had the honor of creating four roles in operas which never entered the standard repertoire, Spiro Samara’s Rhea (Florence, 1908), Héllera by Italo Montemezzi (Turin, 1909), Giocondo Fino’s La Festa del Grano (Turin, 1910) and La Dubarry by Ezio Camussi (Milan, 1912). After passing the age of 50, Garbin began to curtail his operatic performances. After a final La Bohème at Florence’s Teatro Pergola in 1918, Garbin left the stage for good. He retired to Brescia, where he passed away in 1943 at the age of 78. Edoardo Garbin’s death marked the end of an era. The tenor was the last surviving male singer to have premiered a Verdi opera. Edoardo Garbin made dozens of recordings between 1902 and 1913 for The Gramophone and Typewriter Company, Fonotipia and Columbia. The tenor runs the gamut from truly stellar to almost hopelessly inept in these discs. Some of Garbin’s recordings reveal careless musicianship (late entrances abound), a dull and colorless timbre (bringing to mind Verdi’s complaint about overly spread vowels) and painfully flat notes. During introductions or between phrases he can frequently be heard coughing or clearing his throat. When he is at his best, however (which is much of the time, to be fair), the tenor offers phrases of vocal and artistic eloquence that are truly breathtaking. Here, Garbin sings "Guardate, pazzo son!" from Puccini's Manon Lescaut. This recording was made in Milan in November of 1902.
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- cronologia: Cantanti lirici (Europa).
- Indici (per ordine alfabetico): G...