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Francesco Marconi (14 May 1853 (1855〔1855, given by Eaglefield-Hull 1924: 1853, given by Scott 1977〕 ) – 5 February 1916) was an operatic tenor from Rome who enjoyed an important international career. In 1924, a reputable biographical dictionary of musicians called him 'one of the most renowned and esteemed singers of the last 50 years'.〔Arthur Eaglefield Hull (Ed.), ''A Dictionary of Modern Music and Musicians'' (Dent, London & Toronto 1924), 319.〕 Along with his great contemporary Francesco Tamagno (1850–1905), he is the earliest Italian tenor to have left a representative legacy of acoustic recordings. ==Life & singing career== Born of humble origins in Rome, "Cecco" Marconi worked as a carpenter during his youth. The promising quality of his voice came to the attention of a singing teacher, Ottavio Bartolini, who gave him his first lessons. Later, he studied with a much more prominent pedagogue, Venceslao Persichini, at the Rome Conservatory.〔M. Scott, ''The Record of Singing to 1914'' (Duckworth 1977, London), 121-123.〕 Persichini also taught Marconi's coevals Antonio Magini-Coletti (1855–1912) and Mattia Battistini (1856–1928)—both of whom were baritones with outstanding voices and, like Marconi, international reputations. Marconi made his operatic debut in the Spanish capital of Madrid in 1878 at the Teatro Real, singing the title role in ''Faust'' by Charles Gounod. His debut was a success, and he was soon appearing regularly at Italy's premier opera house, La Scala, Milan, with lucrative summer seasons spent performing in South America, mainly at Buenos Aires. He also sang with distinction at the Royal Opera House, Covent Garden, London, for two seasons: 1883 and 1884. He was engaged to perform the United States, and in New York City in 1888, he appeared as the protagonist in the first American performances of Giuseppe Verdi's ''Otello''. He failed, however, to achieve a real success on this particular occasion because his lyric voice was not equal to the heavyweight dramatic demands of Otello's score, which had been written by Verdi to suit the more powerful tones of his stentorian rival Tamagno.〔Scott 1977.〕 Thereafter, Marconi built his operatic career increasingly in Eastern Europe, singing often in Poland and Russia to considerable acclaim during the 1890s. While in Russia, he appeared at the imperial opera houses situated in Moscow and Saint Petersburg, and added Anton Rubinstein's ''Nero'' and Peter Tchaikovsky's ''Eugene Onegin'' to his repertoire. Marconi's repertoire did not consist entirely of operas, however. He also participated in performances of such significant sacred works as Rossini's ''Stabat mater'' and the Verdi ''Requiem''. Indeed, near the end of his career, he toured widely in the Requiem, performing as part of a regular quartet of singers which contained one other top-class artist, Francesco Navarini (1855-1923), who was considered to be the best Italian bass of the era.〔 The operatic parts that Marconi undertook in Europe and the two American continents included the principal tenor roles in the following works: ''Lucrezia Borgia'', ''Lucia di Lammermoor'' ''La favorita'' (all composed by Gaetano Donizetti), ''I Puritani'' (by Vincenzo Bellini), ''Un ballo in maschera'', ''Rigoletto'', ''La traviata'' and ''Aida'' (all by Verdi), ''La Gioconda'' (by Amilcare Ponchielli), ''Mefistofele'' (by Arrigo Boito), ''Ruy Blas'' (by Filippo Marchetti), ''L'Africaine'' and ''Les Huguenots'' (by Giacomo Meyerbeer) and ''Lohengrin'' (by Richard Wagner). Famed during the peak of his career for the silvery beauty of his singing, the ease of his high notes and the spontaneity of his interpretations, Marconi retained all his life a simplicity of character which endeared him to many admirers.〔Paraphrased from Eaglefield-Hull 1924.〕 He made two sets of recordings, in 1903 (or 1904〔Scott states 1904, but variant Internet and CD liner-note sources offer 1903 for this session.〕) and 1907/08, for the Gramophone Company. Some of them, like Marconi's sweet-toned and finely structured version of Cielo e mar from ''La Gioconda'' and his stylish delivery of arias from ''Lucia di Lammermoor'', successfully convey the limpidity and grace of his bel canto method of vocalism; but most of them demonstrate that by the age of 50, both his breath control and the sweetly lyrical timbre of his voice had been damaged by the strain of singing such taxing roles〔Scott 1977, 123.〕 as Radames, Otello, Lohengrin and Don Alvaro. Marconi notably partnered Antonio Cotogni, an illustrious baritone and voice teacher from an earlier generation, in the only record that is known to have been made by Cotogni, the duet ''I Mulattieri''.〔Scott 1977, 105.〕 (Marconi and Cotogni were well known to each other: they had sung together, for instance, in London in the early 1880s, appearing in the same production of ''La Gioconda''.) In 1990, the English firm Symposium Records issued a compact disc containing 22 of Marconi's recordings, including the duet with Cotogni. (The CD catalogue number of this Marconi collection is 1069; five more Marconi tracks are included on a later Symposium release, number 1073.) 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Francesco Marconi」の詳細全文を読む スポンサード リンク
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