Category Archives: Tenors

TINO PATTIERA, Tenor * 27 June 1890, Cavtat, Croatia + 24 April 1966, Cavtat, Croatia;

Tino Pattiera - Tino Pattiera.jpg

Tino Pattiera (27 June 1890 – 24 April 1966) was a Croatian-Dalmatian Italian tenor, born in Cavtat, near Dubrovnik.

Prior to taking up the repertory for which he became famous, he was notable in operetta.

Pattiera was a handsome man with an exceptional, dark heroic tenor voice, that was, some say, perfectly suited for roles such as Manrico in Il trovatore. It was in this role that he made his stage debut at the Dresden Opera in 1914 and it was in the Italian repertoire that he specialized. Among his closest friends and colleagues during the early days at Dresden were Richard Tauber and Elisabeth Rethberg.

Pattiera was the most popular tenor in Dresden in the 1920s. It was during that time he partnered with the soprano Meta Seinemeyer and was responsible for a resurgence of interest in Giuseppe Verdi’s operas in Germany. Singing with Seinemeyer under Fritz Busch, they gave performances of La forza del destino and Don Carlos in notable productions.

In addition to his work in Dresden in the Italian repertoire, Pattiera sang Tannhäuser and the role of Bacchus in Ariadne auf Naxos, was a guest artist in several European cities, and joined the Chicago Opera Company for the 1920/21 season.

On 31 January 1925, the Dresden premiere of Umberto Giordano’s Andrea Chénier was given with Seinemeyer as Maddalena. It won praise from the composer himself, who was in the audience. Tino Pattiera, who became her most famous stage and recording partner, sang the title role.

On occasion compared with Caruso during his partnership with Seinemeyer, Steane notes “that Dresdeners are said to have compared their performances together to the Melba-Caruso evenings at Covent Garden.[2]

Pattiera gave his last performance in 1953 in Dresden and then retired, after which he taught in Vienna. He died in 1966 and is buried in his hometown of Cavtat.

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Posted by on June 27, 2017 in Tenors


PETER PEARS, Tenor * 22 June 1910, Farnham, United Kingdom + 3 April 1986, Aldeburgh, United Kingdom;

Image result for Peter Pears GREAT SINGERS OF THE PAST

Sir Peter Pears, in full Sir Peter Neville Luard Pears (born June 22, 1910, Farnham, Surrey, England—died April 3, 1986, Aldeburgh, Suffolk), British tenor, a singer of outstanding skill and subtlety who was closely associated with the works of Sir Benjamin Britten. He received a knighthood in 1977.

Pears studied at the University of Oxford, at the Royal College of Music, and then with Elena Gerhardt and Dawson Freer. In 1936 he met Britten, and in 1938 he gave the first of many song recitals with Britten as accompanist. The two men became lifelong companions. In 1942 Pears made his opera debut in London in Jacques Offenbach’s Tales of Hoffmann. He then joined the Sadler’s Wells Opera, where he created the title role in Britten’s Peter Grimes (1945). In 1946 Pears helped Britten found the English Opera Group, and in 1947 they were instrumental in founding the Aldeburgh Festival.

Pears sang in the first performances of all of Britten’s operas, including Albert Herring, Billy Budd, Owen Wingrave, and Death in Venice. He also performed notably in Wolfgang Amadeus Mozart’s The Magic Flute, Bedřich Smetana’s The Bartered Bride, and much of the Italian operatic repertory as well as in the song cycles of Robert Schumann and Franz Schubert and the Passions of J.S. Bach.

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Peter Pears and Benjamin Britten in 1954, at Crag House, Aldeburgh.

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Britten and Pears preparing the BBC film of Peter Grimes

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Benjamin Britten and Peter Pears


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Posted by on June 23, 2017 in Tenors


MARIO FILIPPESCHI, Tenor * 07 June 1907, Montefoscoli, Palaia, Tuscany, Italy + 25 December 1979, Florence, Tuscany, Italy;

Litrato ni Gerhard Santos.

Mario Filippeschi (June 7, 1907, Montefoscoli – December 25, 1979, Florence) was an Italian tenor, particularly associated with the Italian repertory, renowned for his ringing upper register.

Filippeschi studied the clarinet for two years as a teenager, before joining military service. After military discharge he began studying voice with a Neapolitan teacher, Mr. Vicidomini, in Milan, and later with Mr. Pessina, in Florence. He made his professional debut in Colorno, near Parma, as Edgardo in Lucia di Lammermoor, in 1937.

He quickly sang throughout Italy, France, Spain and Portugal, as well as Latin America. He first concentrated on lyrical roles such as the Duke in Rigoletto, Alfredo in La traviata, Rodolfo in La Bohème, Pinkerton in Madama Butterfly, etc., and was one of the few tenors of his generation to tackle with success such high lying roles as Arnold in Guglielmo Tell and Arturo in I puritani.

After the war, he began adding more dramatic roles to his repertory. In 1950, he appeared to great acclaim in Mexico, as Radames in Aida, and as Cavaradossi in Tosca, opposite the young Maria Callas.

Other notable roles included; Manrico in Il trovatore, Arrigo in I vespri siciliani, Alvaro in La forza del destino, Calaf in Turandot.

Filippeschi made several recordings, notably Pollione in Norma, opposite Maria Callas, and Carlo in Don Carlos, opposite Tito Gobbi and Boris Christoff.

A handsome man, Filippeschi also appeared in film versions of Lucia di Lammermoor and Rigoletto, in 1946.

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Posted by on June 7, 2017 in Tenors


ROLAND HAYES, Tenor * 03 June 1887, Curryville, near Calhoun, Georgia, USA + 01 January 1977, Boston, Massachusetts, USA;

The American lyric tenor, Roland Hayes, was born in Curryville, Georgia, near Calhoun, to Fanny and William Hayes, who were former slaves. When Hayes was 11 his father died, and his mother moved the family to Chattanooga, Tennessee. He was a singer trained with Arthur Calhoun in Chattanooga as well as at Fisk University in Nashville. As a student he began publicly performing touring with the Fisk Jubilee Singers in 1911. He furthered his studies in Boston with Arthur Hubbard. During his period studying with Hubbard he was a messenger at the Hancock Life Insurance Company to support himself. Then in London he studied with George Henschel and Amanda Ira Aldridge.

Roland Hayes began with arranging his own recitals and coast-to-coast tours from 1916 to 1919. He sang at Craig’s Pre-Lenten Recitals and several Carnegie Hall concerts. He made his official debut that year in Boston’s Symphony Hall which received critical acclaim. He performed with the Philadelphia Concert Orchestra, and at the Atlanta Colored Music Festivals and at the Washington, D.C. Washington Conservatory concerts. In 1917, he toured with the Hayes Trio which he formed with baritone William Richardson and pianist William Lawrence who was his regular accompanist. His London debut was in April 1920 at Aeolian Hall with pianist Lawrence Brown as his accompanist. Soon Hayes was singing in capital cities across Europe and was quite famous when he returned to the USA in 1923. He was awarded the Spingarn Medal in 1924.

Roland Hayes finally secured professional management with the Boston Symphony Orchestra Concert Company. He is considered the first African American male concert artist to receive wide international acclaim as well as at home. He was reportedly making $100,000 a year at this point in his career. Critics lauded his abilities and linguistic skills with songs in French, German and Italian. He published a collection of spirituals in 1948 as My Songs; Aframerican Religious Folk Songs Arranged and Interpreted.

Roland Hayes is a member of Omega Psi Phi Fraternity. He and his wife Helen Alzada Mann had a daughter, Afrika, in 1933. After Hayes’ wife and daughter were thrown out of a Rome, Georgia shoe store for sitting in the white-only section, Hayes confronted the store owner. The police then arrested both Hayes, whom they beat, and his wife. Hayes and his family eventually left Georgia.

In 1982, the University of Tennessee at Chattanooga opened a new musical performance center, the Roland W. Hayes Concert Hall. The concert venue is located at the Dorothy Patten Fine Arts center. The Roland Hayes Committee was formed in 1990 to advocate the induction of Roland Hayes into the Georgia Music Hall of Fame. In 1992, when the Calhoun Gordon Arts Council was incorporated, the Roland Hayes Committee became the Roland Hayes Music Guild and Museum in Calhoun, Georgia. The opening was attended by his daughter Afrika. There is a historical marker located on the grounds of Calhoun High School (Calhoun, Georgia) on the north west corner of the campus near the front of the Calhoun Civic Auditorium.

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Portrait of Tenor Roland Hayes as a child. Handwritten on front: “Roland Hayes.” Undecipherable handwriting on back.
Courtesy of the E. Azalia Hackley Collection of African Americans in the Performing Arts, Detroit Public Library

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Tenor Roland Hayes: 1940 ca

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Posted by on June 4, 2017 in Tenors


RAOUL JOBIN, Tenor * 8 April 1906, Québec City, Québec, Canada + 13 January 1974, Québec City, Québec, Canada;

Resulta ng larawan para sa raoul jobin
Raoul Jobin (April 8, 1906 – January 13, 1974) was a French-Canadian operatic tenor, particularly associated with the French repertory.

Life and career
Born Joseph Roméo Jobin in Québec City, Québec, where he first took private voice lessons before studying with Emile Larochelle at the Laval University. He then went to Paris to continue his studies with Mme d’Estainville-Rousset (singing) and Abby Chéreau (stage skills), his exceptional voice quickly captured attention and he made his debut at the Paris Opéra on July 3, 1930, as Tybalt in Roméo et Juliette.

From then on, his career made rapid progress. He quickly sang principal tenor roles at both the Opéra and the Opéra-Comique, as well as in many cities throughout France, Lyons, Toulouse, Bordeaux, Marseilles, etc. He sang mainly the French repertoire, with occasional incursions into the Italian repertoire. In 1939 he created the role of Fabrice Del Dongo in La Chartreuse de Parme by Henri Sauguet. With the outbreak of the war, he returned to North America.

He made his debut at the Metropolitan Opera on February 19, 1940, as des Grieux in Manon. He remained with the company until 1950, where he sang many roles alongside such singers as Lily Pons, Bidu Sayao, Licia Albanese, Rise Stevens, under conductors such as Wilfrid Pelletier and Thomas Beecham, among many others. He made regular appearances in San Francisco, Chicago, Boston, New Orleans, etc., also appearing in Mexico City, Rio de Janeiro, and Buenos Aires.

The war over, he returned to Paris in 1947, where he successfully sang his first major Wagnerian role, Lohengrin, earning him the nickname “Monsieur Lohengrin”. He later sang the role of Walther in Die Meistersinger von Nürnberg with equal success.

Subsequently, Jobin divided his time largely between Europe and America, maintaining his high standard in his accustomed roles while adding new ones, until his retirement from the stage in 1958.

He began teaching at the Conservatoire de musique du Québec à Montréal, and later at the Conservatoire de musique du Québec à Québec where he notably served as director from 1961-1970. He trained many young Canadian singers, notably Colette Boky and Huguette Tourangeau.

He had been created Chevalier de la Légion d’honneur in 1951, and he was made a Companion of the Order of Canada in 1967.

His son, André Jobin (born in 1933), was also an opera singer, first as a baritone, and later as a tenor. He enjoyed a successful career in both Europe and North America.

Resulta ng larawan para sa raoul jobin

Resulta ng larawan para sa raoul jobin

Resulta ng larawan para sa raoul jobin

Resulta ng larawan para sa raoul jobin

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Posted by on April 8, 2017 in Tenors


IVAN KOZLOVSKY, Tenor * 24 March 1900, Marianovka near Poltava, Ukraine + 23 December 1993, Moscow, Russia;


The Ukrainian tenor, Ivan (Semyonovitch/Semyonovich) Kozlovsky, studied at the Kiev Conservatory, drama, piano and singing with N.V. Lissenko (Lysenko) and Mouravyova (Muravyova).

Ivan Kozlovsky made his operatic debut at Poltava in 1918 (or 1920) as Faust, then moved to the Kharkov opera in 1924 and Sverdlovsk in 1925. He joined the Moscow Bolshoi Theatre in 1926 and was one of the leading tenors until 1954, then appeared occasionally until 1970 (role of the Innocent in Boris and farewell concert). In an unusually long career, he appeared still frequently in public 1972-1976 and sings on July 4, 1985 for the Reizen’s 90th birthday at the Moscow Bolshoi.

Singer mastering a rare technique Ivan Kozlovsky was famous as Lensky (Onegin), Berendey (Snegurochka – the Snow Maiden), Levko (May Night), Vladimir (Prince Igor), Nero by Rubinstein, Doubrovsky by Napravnik, The Indian Guest (Sadko) etc. He also encouraged contemporary works and was outstanding in the western repertoire: Faust (Charles Gounod), Werther, Rigoletto, Barber of Seville, Lohengrin, Orfeo, Traviata, Bohème, etc. He was renowned for his high register and his rich palette of shadings. Apart from operatic performances, he gave many recitals in all Russia in programs of the classical repertoire (Lieder of Schubert, Robert Schumann, and Liszt) as well as Russian and Ukrainian songs.

Ivan Kozlovsky taught at the Moscow conservatory from 1956 to 1980. An artist of imaginative power, he expanded his activities into stage direction, striving to synthesise dramatic action with its musical realisation. With his own company, 1938-1941, he staged Werther, Orfeo (Gluck), and Katerina of Arkas, which he directed.

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Posted by on March 24, 2017 in Tenors


ROBERT TEAR, Tenor * 8 March 1939 – Barry, Glamorgan, Wales, UK + 29 March 2011 – London, England;

The distinguished tenor (and conductor), Robert Tear, was born and educated in Wales. He attended King’s College, then joined then joined St. Paul’s Cathedral as lay chorister, and later became a choral scholar at King’s College, Cambridge (1957-1961).

Subsequently Robert Tear embarked on his career as a soloist and quickly established an enviable reputation. Robert tear had a distingished association with the English Opera Group and his interpretations of the tenor roles in the performances of Benjamin Britten’s operas have received special praise. In 1966 he undertook the domanding role of Quint in performances of The Turn of the Screw throughout England and in Leningrad and Moscow during the Opera Group’s highly successful tour of Russia.

Throughout his career Robert Tear has shown his versatility and great talent as one of the world’s leading tenors and has worked with eminent conductors such as Leonard Bernstein, Carlo Maria Giulini, Josef Krips and Herbert von Karajan. He is sought after by all the major opera houses of Europe and the USA and is a regular guest of various orchestras. His first appearance with the Israel Philharmonic Orchestra was in 1970. He has also been in great demand at important festivals, including Holland, Versailles, City of London and Edinburgh Festivals.

Robert Tear was a regular guest at the Royal Opera House, Covent Garden, appearing there every season since his debut in l970. In 1988-1989 he made his debut with English National Opera in The Turn of the Screw and the following season included his highly successful debut as Aschenbach in Death in Venice with the Glyndebourne Touring Company, later filmed by BBC TV.

Robert Tear was also greatly in demand as a concert singer, appearing regularly at the South Bank Centre and in many European capitals. He also worked on many television projects, including the Jeunesses Musicales War Requiem performances in East and West Berlin to celebrate the City’s 750th Anniversary in l987.

Robert Tear made well over 250 records for every major recording company, including Bach Cantatas, numerous recital records, Victorian ballads with his friends Benjamin Luxon and André Previn, B. Britten’s Serenade and Nocturne with Carlo Maria Giulini for DGG and all the major choral works. Recent recordings include B. Britten’s War Requiem, Gustav Mahler’s Das Klagende Lied (both with Sir Simon Rattle), Die Winterreise with Philip Ledger and one of the first recordings of Arnold Schoenberg’s arrangement of G. Mahler’s Das Lied von der Erde for BMG Records with Mark Wigglesworth and The Premiere Ensemble. His recording of Dyson’s The Canterbury Pilgrims with the London Symphony Orchestra and Richard Hickox for Chandos was released in 1997.

In l985 Robert Tear made his USA conducting debut in Minneapolis and subsequently has worked with the BBC National Orchestra, London Mozart Players, Northern Sinfonia, English Chamber Orchestra, Philharmonia, Royal Liverpool Philharmonic Orchestra, Royal Scottish National Orchestra, Toulouse Chamber Orchestra, Tapiola Sinfonietta and Scottish Chamber Orchestra.

The 1997-1998 season included performances of Billy Budd with Welsh National Opera, Dream of Gerontius with the Hallé Orchestra and coaching at the Aix Festival. During the 1998-1999 season, opera performances included The Bartered Bride/ROH, Boris Godunov/ENO, Billy Budd/Australian Opera, Elektra/Bayerische Staatsoper. Concert performances included Das klagende Lied/Royal Philharmonic Orchestra, The Mask of Time/BBC Symphony Orchestra (BBC Proms), Elektra/Royal Scottish National Orchestra and solo and conducting engagements with the Hong Kong Philharmonic Orchestra.

In April 2004, Robert Tear marked his 65th birthday with an accomplished Wigmore Hall recital bravely devoted to songs by Britten, Dove and Madeleine Dring. A full house must have gladdened the heart of a singer – “Bob” to his friends – who, over 40 years, had met many exigent challenges with a fine lyric tenor, a questing intellect and altogether admirable musicianship. He made a final performance at the Royal Opera House in London in 2009, as emperor Altoum in Puccini’s Turandot.

From 1992-1994 Robert Tear was Artistic Director of the Vocal Faculty of the London Royal Schools of Music, and he currently holds the Chair of International Singing at the Royal Academy of Music. He was an Honorary Fellow of King’s College, Cambridge, and in l984 was awarded the C.B.E.

Robert Tear married his childhood sweetheart Hilary Thomas in 1961. He died in a London hospice on March 29, 2011 at the age of 72. The cause was cancer. He is survived by his wife, their two daughters, Becky and Lizzie; and two grandchildren. Lizzie Tear has enjoyed a career in pop music.

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Posted by on March 8, 2017 in Tenors

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