The sun. [volume] (New York [N.Y.]) 1833-1916, 1897-08-17
TAMBERL1K AND MS soHooL.
Az Analysis by scudo-Tho Wonderful High G.
OLD italian singers.

A., Analysis by scudo-Thc Wonderful High c.
OLD Italian singers.
scudo Of tho RGrue des Deur Mondes. at the
time OF Tamberlik's first performance in Paris
in 1853, wrote concerning tho tenor an article
which. translated. is appended for the benefit Of
tho modern singers:
1.-THE season would have dragged languidly on
to the end OF the month OF April but for tho
advent OF a celebrated artist who has suddenly
revived the curiosity of our amateurs. We
allude to Signor Tamberlik, n singer long known
in Europe, who had never been heard in Paris.
tho Judgment OF which city, we are told, !
he feared. signor Tamberlik must now be
completely treasured. Eight successive per-
formances have attracted eager and nu-
merous audiences. which have given SiGnor
Tamborlik unequivocal proofs OF their sntisfac-
ton. The artists success, therefore. is unques-
tionable, and We were among the first to recog-
nize It. Our purpose now is to decide the nature
OF his talent and a~nalyze the merits and faults
which form the physiognomy OF an artist.
"He appeared for the first timo before us in
the part OF Otelo. not without violent stage
fri,,ht. Reassured after the grand duct in the
second act by the hearty applause of the public.
Sienor Tamberlik regained self-possession. and
pnye us the measure of his talent as a dramatic
singer.
u AS'aN 'H"aN Oae ~
above the medium height, Signor Tamberlik
possesses a high tenor voice. tho true range of
which extends from the medium A to the octave
above. Tho few additional notes he possesses in
the upper part Of the scale. such as B.. c. and
oven G sharp. form q supplement of vibration. q
luxury of masculine sound. which the artist can
use with advantage to express certain bursts OF
passion. but which do not belong to what is called
tho body Of the voice, to which the Italians give
the namo OF tcssiturd. The lower notes OF Sig.
nor Tamberlik's organ are nearly all hollow and
give only q thick and hourse sound. Signor
Tamberlik's voice. which must originally have
been of delicious quality. is now tired. dry, and
marred by an involuntary vibration Of which
the artist is no longer master. Thus his exccu-
ton Is considerably affected by this omewhat
unsound condition Of the organ, and is heavy.
unequal. strasci.natd. These imperfections in
mechanism were apparent in the first aria Otciio
sings in the beginning of Act l.:
All 81, per vol gia sento
Nuovo vaiorc III pctto.
I'm this magnificent aria COMPOSED OF ascend
ing scales. Signor Tamberlik is not at his case.
He regains a portion OF his powers in the second
movement, Premio Md0Diore Z questo. tho do
| licious phrasing OF which would suit him still
ereetic in the finale OF the first act, Signor
Tarnherlik rises in tho famous jealousy duet
with Tnqo to the pathetic. He declaims with
| UUt CCalLk taS" " 4 -
letter, and in the andantc following.
No. pii rrudel un ANNA
No che grammai 81 vnde?
sobs choke his voice. With what touching and
profound emotion. too, he delivers tho incom-
parable phrase.
ncuorc mi 81 d6vide
Per tantA Crudcltal
How human it is, how beautiful in form. and
yet how dramatic! What shall we say Of the
petty spirits who have dared to misunderstand
beauties like thesci In the allegro of this Same
duet Signor TsInberlik hurls forth with vigor
the bqidan.pso measure which translates the
delivering with simplicity the passage.
81. dopo lei MORO,
he darts, the second time. from F sharp. which
forms a kind OF half rcst. and vigorously strikes
in succession G sharp. A., and finally c sharp.
w, which ;bs sES ShsIi, the q gray Sis SaSFsT Tsm ser Ihsi m voice.
stands out like a flash of light in II blue and
transparent sky. This wonderful note is at
once very sweet, strong, and musical. 1t is un-
do lbtedly tho finest OF Signor Tamoerlik's
voice. md
above ali in the last scene, so Erandly terrible.
Signor Tamberlik rises to the height of the
music nnn nc a Hsr5 1hs br ibe broad sasu m q N wSich he
sings the rccitatiro. bringing in relief the slight
est accent Of th@t noble deGi I'm lion !. ow,s N.
beautiful pronunciation which forms one OF the
precious qualities of his style. and, tho large
the musical phra.ing. to the instruction OF
GiAcomo GuGlielmi. a son Of the illnstr!ousc com
poser VINO was u TlNhl ol III i iolcl
Giacomo Gnslielmi was a tenor singer of great
merit, who came to Paris in 1909. where he ap
fP eHnmorata.' After a. rather BRET career on thu
stage. Guglic!mi quit 1t to devote himself tG
1 n,osiea by A his ef instruc 81 sa's told " mo t 4sG
with the principles of the old Italian school, o
pririieE Te to hear the great singers Of the end .
tho eighteenth century. Tnch os The cider Davit
Ausani, Babbini. Niganoni. and tho sopranos
Marchesi and Cresent!ni.. He was the contem
porary of "a generation OF no less remarkabl
sini had assisted. signor Tamberlik proves yc
again that tho old Italian school. about which
iEnoramuses have talked somnch nonsense. va
than with the art Of delivering a c~antabil
well and adapting the style to the nature of IN
characters and situations. There was no nee,
Of the brilliant examples of Nine. .Ristori an,
SiRnor Salvini TO show us that Italians hn
RnG Ihs snme u Time sinners and actors OF thn ilrs1
rank, like Pasta, Malibran. Pisaroni. GARCIA
pot from Pacchiar;otti that Nine. Pisu
roni learned that grand manner OF sine
!, ing tn. rs GaG aG Ta1is twGn,y't liHo y T"n
bcrlik are the consolation and %justitcs
{ ton of criticism; they prove that we are no
impossible only TO give ourselves the easy nc
vantage of never being satisfied: The ideal W
nursuc can be found outside OF Paradise; an
SSilrnor Tamberlik. without being ali one coui
desire. shows us the elements OF q great virtues
b and q most INTELLIGENT siioF; a,sarro,Dtod No, ,
~ an H. 'Vhf'
;, find in sienor Tnmberlik's voice and vocalizl
Z lion The Incompatible charm and ripple they s
n admircd in Rubini's style have been severe Il
a ward tho new tenor whom good fortune has a
2 lowed them to hear. Had these disenohante
3 amateurs had more taste than recollection the
b would not have instituted a comparison bet%ee
beriik d far from I9biGi. WHO was Nature
such marvellous flcxibiiity and such penotra
ing qu.lity and sensibility, 80 exquisite, that !
had only TO open his mouth to enchant his hea
crs. Rubini. however. never Ind the broad ma
o. ton and delivery which distinguish Signor Tan
ID berlik."
u true at the time / had the good fortune TO he
IT Tamberlik in Havana and IN New York IN ~
r. as IL was on the day tho criticism was publishe
50 The great, tenor's presence on the stage "
"A bore beautiful resemblance TO Christ on CalvaI
his voice was still most remarkable in the upp
register. and his acting and musical doclam
ton were the most striking example Of peril
ton In tho lyric art m mai ever mas been Sc
management Of his VOICE ana musical and d.
10 students who had cars to hear, eyes to see, a