Beniamino Gigli tenor
Gigli made several recital tours of the UK between the wars, beginning in 1934. After World War 2 he returned several times up until his death.
Further Scottish dates to be confirmed.
Beniamino Gigli tenor
Ania Dorfmann solo pianist
Luigi Ricci accompanist
Caccini Amarilli mio ben.
Martini Plaisir d’amour.
Verdi Celeste Aïda Aïda.
Bizet Flower Song Carmen.
Flotow M’appari Martha.
Liszt Liebesträum.
Curran Life.
Di Capua O sole mio.
Cinema Forget-me-not.
Verdi La donna è mobile Rigoletto.
Puccini E lucevan le stelle Tosca.
Mendelssohn Spring Song.
Mendelssohn Sonata no3.
Chopin various solos.
A Review in Dundee
Dundee Courier & Advertiser: Wednesday, November 24 1937
Gigli Charms Big Audience - Golden Voice More Thrilling Than Ever
Famous Tenor Sings Twenty Songs
'With his voice, if possible, more thrilling than ever, Beniamino Gigli returned to the Caird Hall, Dundee, last night, and was rapturously applauded by well over 2000. The dapper Italian with the golden voice and the boyishly shy mannerisms is competently held to be the finest living tenor. His voice and his art are enthralling.
'Always generous, he sang 20 songs. Demonstrations of applause and shouting for encores obviously charmed him. After three years the famous tenor has enhanced the beauty of his art but has abated not a jot of his power to thrill.
'Gigli commands all the subtleties and refinements, in addition to the basic qualification of the great operatic tenor. The foundation is the splendour of his vocal quality - in turn robust to a spine-touching immensity, and again suave and caressing in mezza voce. Upon the foundation is the embellishment of a hundred graces of phrasing, shading, and flexibility.
'The passionate quality of Gigli’s voice was heard “full steam ahead” in such operatic favourites as “Celeste Aïda” and the Flower Song from Carmen.
'Equally magical was the smoothness of his delivery in the superb “M’appari tutt’ amor,” from Marta; in Caccini’s “Amarilli”; and in “Plaisir d’Amour.”
'Gigli greatly pleased with a song in English - an effective song by Curran, “Life.” His rendering of “O Sole Mio,” though rather melodramatic, served to display his thrilling power of range of voice. Another item which touched memories was “Forget-Me-Not,” from his successful film.
'In addition to the numbers from Marta, Carmen, and Aïda, other operatic excerpts by Gigli were the ever-sparkling “La Donna è Mobile,” from Rigoletto, and “E Lucevan le Stelle,” from Tosca.
'Apart from his power and elegance in these numbers, his most tremendous achievement was in Liszt’s famous composition, “Liebesträum.” Gigli built up an immense crescendo in this song, full of passion and glorious vocal display. Another “Spring Song,” by Mendelssohn, gave Gigli an opportunity for a show of remarkable vocal agility.
'It was in this song that the abilities of Luigi Ricci, accompanist, appeared at their most dexterous. Elsewhere in the long recital he maintained a skilful and meticulous background for the beauty of Gigli’s voice.
'By no means clouded by the appeal of Gigli was the appearance of Ania Dorfmann, solo pianist of high culture, who has previously delighted city audiences.
'She was warmly received and repeatedly recalled. Her major choice was the happy and somewhat novel one of Mendelssohn’s Sonata no3 - delightful and interesting music-making. Dorfman played it with characteristic brilliance and elegance. Subsequently she displayed masterful abilities in some of the higher intricacies of Chopin.'
© Copyright Opera Scotland 2024
Site by SiteBuddha