Born to the breed Part III
The voix sombrée in the tenors of Rossini, Pacini, Mercadante, Donizetti & Bellini

Andrea Nozzari (Vertova 1775 – Naples 12 December 1832)

When speaking about the archetypic baritenor role, one usually speaks of Manuel Garcia Sr. (21 January 1775 – 10 June 1832), whose various portrait as Otello became the visual reference point for the role. However, Garcia, the first Almaviva in Il barbiere di Siviglia, was far from a baritenor, although he seems to have started coloring his voice darker when this started becoming fashionable. The starting point for this fashion, though, should perhaps be seen in his contempoarary, the baritenor Andrea Nozzari. While the lyrical tenor Garcia seems to have been unmatched in fioriture and mellifluousness, Nozzari had a beefy voice of dark hued texture. Less agile, but of powerful, dramatic nature. Just how powerful his voice must have been is easy to judge from the roles Rossini enthrusted him with, at their creation:

Nozzari also premièred the title roles in Pacini's Alessandro nell'Indie, Donizetti's Alfredo il Grande, along with operas by Michele Carafa, Manuel Garcia himself, Mayr, Mercadante, Manfroce and Pavesi.

The list alone is stunning, especially given the scope of his roles, which are largely the most taxing ones of his day: Otello, Rinaldo in Armida, Pirro in Ermione, Rodrigo in La donna del lago, and Antenore in Zelmira. Stendhal thought him one of the best singers of his day, and as a teacher he later produced the likes of the quintessential Bellini creator Giovanni Battista Rubini (1794-1854), and Antonio Poggi (1806-1875). The latter was an important Donizetti creator, who eventually went on to create Carlo VII in Verdi's Giovanna d'Arco (1845).

•
Rossini: Elisabetta Regina d'Inghilterra

Andrea Nozzari created Leicester in Rossini's Elisabetta Regina d'Inghilterra on October 4, 1815, Teatro San Carlo, Naples.

'Della cieca fortuna' (Chris Merritt (Leicester)) © PHILIPS 'The Heroic Bel Canto Tenor'

•
Rossini: Otello

Andrea Nozzari created Rossini's Otello on 4 December 1816 at the Teatro San Carlo, Naples. Domenico Donzelli debuted in the role May 12, 1822, whereas Manuel Garcia perhaps became the most famous Otello in Rossini's time. In retrospect, the role tells us much of Nozzari's powers. At the same time the fact that Donzelli and even Garcia are now the most well known original exponents of the role, poses questions with respect to Nozzari. And these are not the only questions, since we have an abundance of portraits of Donzelli and Garcia, whereas even Opera Rara booklets fail to produce pictures of Nozzari in his roles. With a mere look to all his creations and the vocal requirements these demanded, Nozzari is easily the most enigmatic Italian baritenor, and perhaps this unique survey of his art will help to make those interested aware of the vocal phenomenon that he must have been. Less agile than Garcia? Perhaps, but the florid elements in his roles are enough to give the likes of Chris Merritt, Bruce Ford, Rockwell Blake, William Matteuzzi and Juan Diego Florez a real challenge to date. 

ACT I

Ah, sì, per voi già sento (Otello, Jago) (1979 José Carreras (Otello), Gianfranco Pastine (Jago), Jesús López Cobos (conductor)); © CD Philips 454 791-2

 

Incerta l'anima (Tutti) (1999 Bruce Ford (Otello), Elisabeth Futral (Desdemona), Juan José Lopera (Jago), William Matteuzzi (Rodrigo), Ildebrando D'Arcangelo (Elmiro), David Parry (conductor)); © CD OPERA RARA ORC 18

ACT II

ACT III

Ah Che Sento...Chi Batte (1979 José Carreras (Otello), Jesús López Cobos (conductor)) © CD Philips 454 791-2

•
Rossini: Armida

Nozzari created Rinaldo in Armida on November 7, 1817, Teatro San Carlo, Naples.

ACT I

Amor... Possente nome! (2010 MET Lawrence Brownlee (Rinaldo), Renée Fleming (Armida). © Metropolitan Opera House

ACT II

Dove son io? (1991 Chris Merritt (Rinaldo), Cecilia Gasdia (Armida), Claudio Scimone (conductor)) © Europa Musica CD 350-211 / Arts CD 47327-2

ACT III

Amor... Possente nome! (1993 PESARO Gregory Kunde (Rinaldo), Renée Fleming (Armida), Daniele Gatti (conductor) © Sony CD S3K 58968

•
Rossini: Mosè in Egitto

Nozzari created Osiride in Mosè in Egitto on March 5, 1818, Teatro San Carlo, Naples.

ACT I

Those in posession of the 1980's Hungaroton recording of Mosé, will look in vain for the heroic tones of the dark character of Osiride as createdd by Nozzari at the San Carlo stage, in 1818, since that cd uses a later version where Rossini had rewritten the part for a basso. In the original verison that is usually given in the last two decennia, the role is restored to it's original, tenoral splendor. Surprisingly, Osiride reveals a more heroic tenor type, that seems to anticipate Arnold in Guillaume Tell.

The heroic allusions to the role of Arnold are further stressed by the concluding Act I duet between Osiride and the Pharao, 'Parlar spiegar non posso':

•
Rossini: Riccardo e Zoraide

Nozzari created Agorante in Riccardo e Zoraide on December 3,1818, teatro San Carlo Naples.

ACT I

The utterly romantic style of Agorante's role decidely preludes the nocturnal, lyrical writing that Donizetti would later employ for Edgardi di Ravenswood in Lucia di Lammermoor. This is mmediately clear form his entrance aria 'Popoli Della Nubia... Minaccia pur', in Act I:

Popoli Della Nubia... Minaccia pur (Bruce Ford (Agorante), David Parry (conductor)) © Opera Rara CD ORC 14

The likeness between the two roles (of which Corelli sang Donizetti's Edgardo), is further stressed by the exalted Act I trio 'Cruda Sorte!', between Agorante, Zomira, and Zoraida:

Cruda Sorte! (TRIO)(1996 Bruce Ford (Agorante), Della Jones (Zomira), Nelly Miricioiu (Zoraida), David Parry (conductor)) © Opera Rara CD ORC 14

•
Rossini: Ermione

Nozzari created Pirro in Ermione on March 27, 1819, at the Teatro San Carlo, Naples.

ACT I

Although not Rossini's most inspired opera and certainly not his most inspired part written for Nozzari, the part of the power hungry Pirro in Ermione has a decidely heroic ring to it, as is imemdiately clear from the Act I aria 'Balena in man del giglio':

'Balena in man del giglio' (1995 Chris Merritt (Pirro)) © Philips CD 'The Heroic Bel Canto Tenor'

Apart from being one of the more noisy Rossini villains, Pirro does have some genuine feelings, as expressed in the duet ofollowing the previous aria:

'Deh serena i mesti rai' (1988 Ernesto Palacio (Pirro), Cecilia Gasdia (Ermione), Claudio Scimone (conductor)) © Erato CD 2292-45790-2

•
ROSSINI: LA DONNA DEL LAGO

Nozzari created Rodrigo in La donna del lago on September 24, 1819, at the Teatro San Carlo, Naples.

ACT I

Rebel leader Rodrigo appears on the scne as Lord Malcolm's rival for the love of Elena, mixing heroic threatenings with soave cantilena when he thinks of his beloved. Rossini was not the first to discover Walter Scott's worldof knights in shining armor near moonlit Scottish lakes, but his renedering of Walter Scott's The lady of the lake helped in creating the rage for Scottish subjects in romantic opera, which culminated in once again, Lucia di Lammermoor (after Scott's The bride of Lammermoor).

Ma dov'è colei... Se a miei voti (1984 Dano Raffanti (Rodrigo), Maurizio Pollini (conductor)) © CBS Masterworks/Fonit Cetra CD M2K 39311

ACT II

'Qual pena in me' (1984 Katia Ricciarelli (Elena), Dalmacio Gonzales (Uberto), Dano Raffanti (Rodrigo), Maurizio Pollini (conductor)) © CBS Masterworks/Fonit Cetra CD M2K 39311

•
Rossini: Maometto II

Nozzari ceated Paolo Erisso in Maometto II on December 3,1820 at the Teatro San Carlo, Naples.

ACT I

In Maometto II we fine Rossini yet another step up toward Grand Opéra, with Nozzari as Paolo Erisso cutting a heavy weight father figure. Erisso decidedly anticipates both the tragic Donizetti heroes, as well as the early Meyerbeerian tenors, although he violates operatic rules in being a tenor rather than a baritone father. The baritonal quality of Nozzari as apparent from the notes is all but obvious from his declamatory Act I introduction, Volgon due lune or già':

'Volgon due lune or già' (2008 PESARO Francesco Meli (Erisso), Gustav Kuhn (conductor) © Rossini Festival Pesaro

That Maometto II is a direct forebearer of Grand Opéra is also clear from the simple fact that it was effectively the original version of Rossini's French tagedie lyrique Le siege de Corinth, which musically has most of the ingredients of Grand Opéra in place. The dramatic surprise trio 'Ritrovo l'amante' is another fine example of a furtile seed that would inspire numerous similar passages in Italian opea by the likes of Bellini, Donizetti, and Verdi. Hence it isn't difficult to imagine the voice of a Corelli in this trio:

'Ritrovo l'amante' (2008 PESARO Francesco Meli (Erisso), Michele Pertusi (Maometto II), Marina Rebeka (Anna), Daniella Barcellona (Calbo), Gustav Kuhn (conductor) © Rossini Festival Pesaro

•
Rossini: Zelmira

Nozzari created the role of Antenore in Zelmira on February 16, 1822 at teatro San Carlo, Naples.

ACT I

'Che Vidi Amici!' (1990 Chris Merritt (Antenore), Boaz Senator (Leucippo), Claudio Scimone (conductor)) © Erato CD WE 815-ZA

'La Sorpresa... Lo Stupore' (Chris Merritt (Antenore), Boaz Senator (Leucippo), Cecilia Gasdia (Zelmira), William Mattuzzi (Ilo), Claudio Scimone (conductor)) © Erato CD WE 815-ZA

ACT II

'Ne Lacci Miel Cadesti' (Chris Merritt (Antenore), José Garcia (Polidoro), Cecilia Gasdia (Zelmira), Boaz Senator (Leucippo), Barnarda fink (Emma), Claudio Scimone (conductor)) © Erato CD WE 815-ZA

•
Pacini: Alessandro nell'Indie

Nozzari created the title role in Pacini's Alessandro nell'Indie on September 29, 1824, at the Teatro San Carlo, Naples.

ACT II

Although David Parry, in an interview with the undersigned, thought that Pacini's Alessandro nell'Indie was decidedly not the best early 19th Century opera he ever conducted, Nozzari's creation of the title role propelled it to short lived success at the stage of the San Carlo. A nearly predictable success, since Nozzari was a San Carlo favorite, and a beloved veteran, with his last and final Rossini creation a good two years behind him. In line with Rossini's progressive exploitation of Nozzari's beefy sound, Pacini created an ultra heavy weight tenor part. It is indeed not the most imaginative or original one from a musical point of view, but in its mixture of bel canto idiom with Spontini like declamatory elements, it links Nozzari directly to the French ancestors of the baritenor breed as mentioned in 'Born to the Breed' Part II. It also is a taxing role, since Pacini, less gifted in original melodic invention, set out to impress by exploiting Nozzari's instrument as far as possible. Those who have Licinio in La vestale in mind will find it easy enough to imagine Corelli here:

'Invan l'India s'affanna' (2006 Bruce Ford (Alessandro), David Parry (conductor)) © Opera Rara ORC3 Andrea Nozzari portrait © 2013 René Seghers

BORN TO THE BREED PART III-2

The voix sombrée in the tenors of Rossini, Pacini, Mercadante, Donizetti & Bellini
From Donzelli to Duprez

•
Domenico Donzelli (February 2, 1790 – March 31 1873)

"Domenico Donzelli's voice had a clearness, a brilliancy, and a power—a metallo or natural vibratory power—that belonged to very few, either before or since his time."
John Cox, Musical Recollections of the Last Half-Century, Vol. I, 171.

SLIDE SHOW

If Domenico Donzelli (February 2, 1790 – March 31 1873) did not have the High C at the end of 'Meco all'altar di venere' up his sleeve in the first Norma performance, in which he created the role of Pollione, this is no suprprise, since Donzelli he is generally considered the arch father of the dramatic, dark hued, baritonal tenor.

Donzelli's debut occured in Bergamo, 1808, as second tenor in an opera by Mayr. In his formative years, he was foremost a comic tenorino of secondary importance. An important early role in the context of this chapter, is perhaps that of Cinna in Spontini's La vestale, an opera that played a significant part in Corelli's career since it was the opera that launched his La Scala career (Corelli did not sing the secondary part of Cinna, but rather the tragic Licinio).

The rising star of Donzelli started to be noticed at the operatic firmament as off 1815, when Rossini wrote the part of Torvaldo in Torvaldo e Dorliska for him. Donzelli's la Scala debut occured in 1816, as the protagonist in Paër's Achille. Until 1822, he was foremost renowned as a tenor in the Rossini mould, with Otello as his trump card, after which he added La cenerentola and Mathilde di Shabran. Onwards, Donizetti's star rose and the repertoire changed, not in the last place because composers like Donizetti and Bellini embraced Donzelli's histrionics. Donizetti was the first, when, in 1822, he entrusted Donzelli with the creation of Almuzir in Zoraide di Granata. Admittedly, that part was still a long way from the compositions of the mature Donizetti, to which it should be added that it wasn't until 1826 that Donzelli emerged as a true tenore di forza. If we are to believe Bellini, he actually made the best of his limits, since by then Bellini himself judged him unfit for Gualtiero in Il pirata, writing: "In my opinion Donzelli should not sing Il Pirata, because it must be transposed three tones lower and then the music is not in the character of his singing."

The lowered larinx technique

SLIDE SHOW LOWERED LARINX

When reading such a line, one is inclined to believe that Donzelli'scareer was nearing its end, but the opposite was true. By 1826 Bellini was still 5 years before writing Pollione in Norma for Donzelli. Jason Christopher Vest, in his 2009 doctoral dissertation on the subject, asked himself what exactly could have caused the tremendous change in Donzelli's voice, that, from 1827 onwards, turned him from a Rossini tenor into a tenor noted for his great vocal power and dark color? He found the answer in a text by Albert Mazzuccato from 1842, here Mazzuccato described that:

"Donzelli had adopted what eventually became known as the voix sombrée, or closed timbre, equivalent to the sound of a modern dramatic tenor. The closed timbre is characterized by a darkened sound caused by a lower laryngeal position, higher soft palate, and expanded pharynx. These physical adjustments would have caused acoustical changes, enhancing the overall volume and color of his voice, as well as boosting the higher harmonics produced by his voice. Voix sombrée would also have resulted in a heavier sound production. Donzelli's high notes, nevertheless, continued to be produced in the old-fashioned manner of falsetto or head voice, save with a different resonance."

Donzelli himself explained it as follows:

"The range, then, of my voice is around two octaves, from low D to high C. From the chest, I stop at G; and in this extension I can declaim with equal vigor and sustain all the force of declamation. From high G to high C, I can use a falsetto that I employ with art and strength given a resource like ornamentation. I have sufficient agility, but descending scales are far more easy to me than ascending ones."

A development that went hand in hand with the emergence of the new, romantic repertoire that lend more weight to the tenor hero. Otello and Licinio, but also Enrico di Brauschwig in Spontini's Agnese di Hohenstaufen, can bes een as significant steps on the way to the full blooded romanticism of years later, in 1832, Donizetti wrote the role of the protagonist in Ugo, conte di Parigi for Donzelli, and nearly one more decade thereafter, by 1841, after a career that spanned then more than 30 years, he was still the tenor of choice for the World Premiere of Maria Padilla, in which he created the part of Don Ruiz; no longer the hero, but a rather dominant father figure.

The part that will forever be linked to his name, however, is that of Bellini's Pollione, which he created in the 1831 Norma World Premiere. It became the quintessential baritenor role withouth the coloratura frivolities that the dramatic Rossini parts still featured, without the repetitive da capo lamentations that Mayr and Donizetti's tenors still had to execute, while it was at the same time exclusively centered around the heavy, middle part of the tenor voice, giving Donzelli ample opportunity to impress with what were then his renowned trump cards: volume and a distinct, dark, veiled timbre.

The 'voix sombrée'

Donzelli's darkened tone was not merely a natural aspect of his voice, but rather the result of a deliberate darkening of his timbre, which became known as 'the voix sombrée'. In addition, he punctated his diction with declamatory accents. He was also renowned for the nobility of his phrasing, and, finally, he was considered a great 'method actor', able to convincingly express the exalted emotions of his characters.

It was with these qualities that he impressed to the point where he influenced an entire breed of tenors that followed thereafter, and yet... he is not considered the true 'father' of the breed.

•

SLIDE SHOW

Donzelli's important creations were all of Italian operas. The roles written for him, increasingly reveal a stunning masculine voice with what defenitely must have been a large, squillante voice. Pacini's Cesare in Egitto (1821) and the smaal part of Cavalier Belfiore in Rossini's Il viaggio a Reims (1825) are still bridging parts, but Mercadante's Il Bravo is arguably the most taxing dramatic tenor role of his time; more taxing perhaps than, say, Pollione. What Mercadante dreams up in terms of rchestral forces is dazzling and the scope and sheer size of Donzelli's voice rises up from the score in a cristal clear, impressive silhouette.

Lacking the High C (and pehaps even the B), he was but the bridge between the dramatic tenors of the classical era to the heroic-dramatic tenor to come, the later Rossini–Meyerbeerian monster that dominated the stage with... the High C from the chest! The accomplishment of this ultimate development in tenor singing is today credited to Gilbert Louis-Duprez, who achieved it building upon Donzelli's stylistic features.

What if...

The question 'what if Corelli had been singing in the 1830s and 40s?' seems rather irrelevant, since it is simply impossible. But... what if the repertoire of Donzelli and Duprez at large would have been fashionable in the 1950s and 60s?

Today, Corelli's recordings of the Duprez and Donzelli repertoire, serve to give us an idea of their voices as well as off the origins of his style. At the same time, the Duprez and Donzelli roles that he did not sing, today stand as repertoire possibilities for Corelli that no one considered in the 1950s and 60s, because they were completely out of fashion then. Below we collected some typical samples of Durpez and Donzelli repertoire that Corelli never sang. For thsoe who know the Corelli voice well, it presumably is not very difficult to project his voice into these excerpts, stirring the intriguing question, what if...

For Domenico Donzelli these would be:

•

•

•

Act I

Act II

•

ACT I

03 Claudio! Claudio! Ritorna (Count, Claudio)(1988 WEXFORD János Bándi (c), Lena Nordin (E)) 05 Elisa! O ciel (Terzetto Claudio, Carlotta, Elisa)(1988 WEXFORD János Bándi (c), Lena Nordin (E))

ACT II

•

Act I

O bel lampo lusinghiero (CD OPERA RARA 'PACINI REDISCOVERED' Bruce Ford, Annick Massis, Kenneth Tarver)

•

ACT I

ACT I I

17 Che Vidi! Che Ascoltai!

ACT I I I

ALTERNATIVE ACT I

•

•

Act 1

Act 2

•

9 December 1828 The Duke in Clari (Halevy)

•

•

•

Act I

ACT II

ACT III

•

ACT I

ACT II

ACT III

•

ACT II

ACT III

•

FAMOUS ROLES
NOT CREATED BUT WITH DONZELLI IN IMPORTANT RECREATIONS

Atto I

Atto II

•••