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Francesco Tamagno Otello's aria from Otello "Niun mi tema!" 1904
Francesco Tamagno (1850-1905)
Otello's aria from Otello "Niun mi tema!"
an operbathosa video
Portrait of the Italian Singer Francesco Tamagno. 1891. Oil on canvas. The Tretyakov Gallery, Moscow, Russia.
Role : Otello, a General in the Venetian Army and a Moor
Voice Part : tenor
Fach : dramatic tenor/heldentenor
Setting : Desdemona's bedroom
Synopsis : Iago's treachery has been revealed and Otello realizes his fatal mistake.
Niun mi tema, Otello's aria from Otello
Niun mi tema
s'anco armato mi vede. Ecco la fine
del mio camin. . .Oh! Gloria! Otello fu.
E tu. . .come sei pallida! e stanca, e muta, e bella,
pia creatura nata sotto maligna stella.
Fredda come la casta tua vita. . .
e in cielo assorta.
Desdemona! Desdemona!. . .
Ah. . .morta! morta! morta!. . .
Ho un'arma ancor!
Pria d'ucciderti. . .sposa. . .ti baciai.
Or morendo. . .nell'ombra. . .
in cui mi giacio. . .
Un bacio. . .un bacio ancora. . .ah!. . .un altro bacio. . .
Definition: dramatic tenor
Also "tenore di forza" or "robusto" a rich, emotive, ringing and very powerful, clarion heroic tenor. The dramatic tenor has an approximate range from the C one octave below middle C (C3) to the C one octave above middle C (C5). Many successful dramatic tenors have historically avoided the coveted high C in performance. Similarly, their lower range may extend a few notes below the C3.
Francesco Tamagno (b. 28 December 1850, Turin - d. 31 August 1905, Varese) was an Italian opera singer who performed to enormous acclaim in Europe and America. On 5 February 1887, he cemented his place in musical history by creating the tenor role of Otello in Giuseppe Verdi's opera of the same name.
Born in Turin (Torino) in 1850, Tamagno was the son of a wine-seller who owned a modest trattoria. His vocal promise manifested itself early, and although steered into learning a trade by his parents, he was able to take singing lessons with Carlo Pedrotti at Turin's "Liceo Musicale" and find work as a chorister.
Tamagno graduated from the liceo in 1873. Having completed a stint of compulsory military service, he sang several small operatic parts at Turin's Teatro Regio (Royal Theatre). He then made the most of an invitation to sing in Palermo, bursting into prominence on 20 January 1874 with a sensational performance as Riccardo in Giuseppe Verdi's Un ballo in maschera at the Teatro Bellini. Tamagno next undertook a series of singing engagements in Ferrara, Rovigo, Venice and Barcelona which further raised his profile and enabled him to make his debut at Milan's La Scala in December 1877.
La Scala was Italy's most important opera theatre, and Tamagno became a core member of its company of singers. His voice continued to mature at La Scala, reaching its full potential after a few years of vigorous use in a variety of operas. He enjoyed the added advantage of working closely with Verdi, and his singing acquired a discipline and polish that hitherto it had lacked. According to The Concise Oxford Dictionary of Opera, he would eventually take part in every La Scala season until 1887 and appear there again in 1901 as a guest artist.
Argentina was an overseas bastion of Italian opera throughout this period, and Tamagno made the first of several well-remunerated visits to its capital city of Buenos Aires in 1879. But his international career would not take off in an explosive way until the 1887-1888 season, with the role of Otello -- which Verdi had written with Tamagno's extraordinary voice in mind -- serving as his global calling card.
Tamagno travelled widely during the final dozen years of the 19th century, accepting lucrative invitations to perform Otello and other strenuous operatic parts in France, Portugal, Spain (where he had first sung in 1875-1876), Germany, Austria, Russia, Uruguay, Brazil, Mexico and, as we have noted, Argentina. He appeared, too, at the Monte Carlo Opera and at the most important operatic venues in New York City, Chicago, Boston, San Francisco and London. (To give three specific examples: he sang at the New York Metropolitan Opera in 1891 and 1894-1895, at London's Lyceum Theatre in 1889, and at the Royal Opera House, Covent Garden, in 1895 and 1901.)