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Italo Gardoni
Italo Gardoni (12 March 1821 – 26 March 1882) was a leading operatic tenore di grazia singer from Italy who enjoyed a major international career during the middle decades of the 19th century. Along with Giovanni Mario, Gaetano Fraschini, Enrico Tamberlik and Antonio Giuglini, he was one of the most celebrated Italian tenors of his era.
His voice was not large but it was exceptionally pure toned and sweet, lacking any disruptive vibrato. He sang legato passages with impressive smoothness but he could also dispatch florid music with flair and considerable agility.
==Career==
Born in Parma, Gardoni studied with Antonio De Cesari (1797–1853).〔See short biography in Italian, ().De Cesari studied singing at Piacenza, and then at the Music Lyceum in Bologna. From 1820 he was singing teacher at the College of St Augustine at Piacenza, and, becoming a fine singer, was summoned as tenor to the Ducal Chapel in 1830 and was made stipendiary ''virtuoso da camera'' of Maria Luigia.
Two years later he began teaching in Parma and at his death had become a citizen there.〕 He made his debut as ''Roberto Devereux'' (Donizetti) in Viadana in 1840, and over the following 7 years made his career in France, Italy and Germany.〔Rosenthal and Warrack (1974), p. 146.〕 In Paris in December 1844 he was Bothwell in the Paris première of Louis Niedermeyer's opera ''Marie Stuart'' at the Théâtre de l'Académie Royale de Musique opposite the soprano Rosine Stoltz,〔Enciclopedia della Musica (Garzanti - AA.VV.)〕 and was with her again there for the premiere of Michael Balfe's ''L'étoile de Seville'' in the following year.〔(See external link )〕 Gardoni knew and worked with Balfe, who composed items particularly for him.〔Basil Walsh, 'Balfe in Italy', ''Opera Quarterly'' Vol. 18.4 (Autumn 2002), 484-502.〕 The limpidity and clarity of his voice, and his ravishing upper notes (no less than his youth, charm and elegance) were greatly admired in Paris:〔E.g. Théophile Gautier, ''Histoire de l'Art dramatique en France depuis vingt-cinq ans, Série 3'', p.305 (facsimile edition Elibron Classics, Adamant Media Corporation) ().〕 and if he was not ready for all the roles from the repertoires of Adolphe Nourrit and Gilbert Duprez, still (they thought) some Meyerbeer would have suited him well, not least Raoul in ''Les Huguenots''.〔A. H. Blaze in ''Revue des Deux Mondes'', 15 December 1844, Vol. 8, p 1106ff.()〕 Gardoni continued to sing in Paris throughout his career.〔Elizabeth Forbes, ''Biographical notice'' (see external link).〕
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