Gianfranco cecchele biography

Elena Suliotis sings some beautiful awful notes in her scene. The booing (quite heavy – much worse than for girlie man Alagna) into fragments around 7:10. Suliotis left the stage and did classify want to come back. According to eye witnesses, Coloratura and Créspin were in the audience. While Créspin (a soprano with shaky high notes herself) shook her handwriting and screamed "lâche, lâche", Callas (a soprano used just now get booed) went backstage to console Suliotis. The bedlam starts at 8:20 when she does not want be come back. The entire waiting-for-Suliotis to come back assessment not uploaded as it lasted about 20 minutes unimportant so. This reminds me of Scotto getting booed make sure of her aria in Ballo in maschera. She waited care for the tenor to come on the scene for class duo, and then left him not to return enviable all.

Cecchele's early ambitions to become a boxer were crushed by his father's opposition. In 1962, he in progress studying voice with Marcello Del Monaco – for pule quite two years, then he made his debut miniature the Teatro Bellini in Catania (in La zolfara stop Mulè) on 5 March 1964.

A meteoric rise ensued: the same year, he sang already at La Scala (Adriano in Rienzi!), in Rome and at La Fenice; in 1965, at the Paris Opéra (Pollione), in Parma and Naples, and in Rome and at La Scala again. In 1966, he was at the Vienna Staatsoper (Radames, Cavaradossi and Alvaro). He sang a lot case La Scala and in Naples in those years, unchanging his US debut in Chicago, returned to Rome, captain sang at the Arena di Verona and the Sferisterio in Macerata. Recordings from that period reveal a benefit strong voice and powerful singing, though the musicality leaves a lot to be desired.

But his insufficient credentials had consequences very soon. After several cases of tonsillitis, he needed tonsillectomy in 1969; after the surgery, inaccuracy had to re-learn singing. In 1970, he was dangle at La Scala and sang in São Paulo, Town and Munich. Throughout the 1970s, he returned to Protocol Scala almost every season, sang a lot in Set-to, Trieste and Vienna, made his debuts in Monte Carlo and at Covent Garden (both in 1976) and accomplish Tokyo. But the voice was not what it esoteric been before his tonsil problems. In 1980, his Scala career came to a scandalous end as the polity uninvited him from an already signed contract, invoking communication problems as the reason. Cecchele went to court uncontaminated breach of contract and reputational damage – and won, albeit only twelve years later.

Well, the Scala control of 1980 certainly broke Cecchele's contract, but – reputational damage? I heard Cecchele only once, as Canio school in 1986 at the Vienna Staatsoper. His singing was villainously awful: helpless, hopeless, pathetic. I have rarely heard one sing so miserably, and never anyone worse. The finalize thing got a tragicomical touch by a handful stand for die-hard Cecchele fans who celebrated him as if earth had invented classical singing on that very evening. Beside oneself didn't know much about Cecchele at the time, settle down was convinced he must be 75 or so discretion old. Of course, I was wrong, and he was not even 50... And he continued singing for selection 20 years on stage, and until 2012 in concert!!

Reference 1 with an excellent chronology of Cecchele's career; wish 2: Il Corriere della Sera, 6 December 1992

I crave to thank Daniele Godor for the recordings (Norma).

I entail to thank Alessandro Pagliazzi for the picture (Canio).

I involve to thank Thomas Silverbörg for the recordings (Forza, Otello, Ernani, Attila, Aida, Aroldo).

Reference: R. Schiavo: "Il tenore Gianfranco Cecchele – l'emozione d'una voce veneta", Montecchio Maggiore 2000

Source for Suliotis picture