How Gigli studies an Operatic Rôle - THE ETUDE, July 1923

"How Gigli studies an Operatic Rôle" (THE ETUDE, July 1923)

 

"How Gigli studies an Operatic Rôle" (THE ETUDE, July 1923)

Mr. Beniamino Gigli, the Metropolitan Grand Opera tenor, who recently made a great sensation in the role of 'Vasco di Gama', in "L'Africaine", gave a Musical America reporter an enlightening story as to how he studies an operatic rôle. This highly successful singer, of world renown, is a man of high intelligence and a serious student, notwithstanding he has in late years had triumphs which would have turned the head of many a vocalist. He said: "When one acts out the operatic situation the words, that is, their meaning and the sense of the dramatic values should guide one." And further, he remarked that, in studying an operatic score new to him, that is, new in the sense that he had not attempted to sing it upon the operatic stage, Mr. Gigli, believes, says the Musical America writer, "The history and manners of the time portrayed in the book of the opera should be the first consideration. Exemplifying this idea, Mr. Gigli pointed out that on taking up the score of "L'Africaine", his first concern was to visit the art galleries there to study carefully the portraits of 'Vasco di Gama', the better to portray the explorer in conncection with "make-up". The next step was the study of the 'Gama's' life and the life, ideals, manners and customs of the people of his day.
"It is easy to comprehend that with the knowledge thus acquired, the operatic singer finds himself thoroughly at home in a role and is enabled more faithfully to throw himself into the spirit of the opera. He then becomes one with the character he portrays, and, given the voice, the singing and acting of the score as the composer indicates his desires is practically assured. And that is Mr. Gigli's method.
Having completed these essential preliminaries and without for a moment forgetting their import, Mr. Gigli has the musical score played through for him a number of times. This, to quote Mr. Gigli, may be compared to the 'painter's first sketching-in of the picture'. The work of memorizing and mastering the score follows."