No tenors

Non-Tenors Index

Secret Tenor Dreams (Non-tenors singing tenor arias and/or in tenor key)

The section below is reserved for unusual or unfortunately not well known Non-Tenor material

Baccaloni, Bathe, Madame Betty, Bianco, Brescia, Burt, Casini, Cooke, Cotogni, Crabbé, Fink/Slabbert, Godor, Grizunov, Il Grande Inquisitor!, Maero, Manikas, Marvini, Melchissédec, Merrill, Milnes, Mossesgeld-Santiago, Negrete, Pinza, Pons compared to Shore, Quasthoff, Shore, Siepi, Sinatra, Sinyavskaya, Stecchi, Svéd, Zaremba
  • Salvatore Baccaloni
    • Salvatore Baccaloni sings Bibbity babbity boo, in RA format
      • I would like to thank Thomas Silverboerg for the recording.
  • Guido Bathe
  • Madame Betty
      • Picture of Madame Betty's label
    • Madame Betty sings la Chanson à des Grieux, in RA format
      • I would like to thank Serge Escalaïs for the recording and label.
  • René Bianco (21 June 1908-24 January 2008)
    • Picture of René Bianco
    • Hommage à René Bianco, in RA format
      • This was the only reminder of Bianco's death in France, where now morons reign supreme. Michel Sénéchal is telling us about his souvenirs of Bianco. The recording was received from Claude Ribou.
  • Victor Brescia
    • Victor Brescia sings Pagliacci: Prolog, in RA format
    • Victor Brescia sings Andrea Chenier: Nemico della patria, in RA format
      • I would like to thank Victor Brescia for the recordings.
  • Michael Burt
    • Michael Burt sings Die Götterdämmerung: Auf, Gunther, edler Gibichung!, with Johanna-Lotte Fecht and Zelotes Edmund Toliver
    • Michael Burt sings Siegfried: Mein Vöglein schwebte mir fort, with Wolfgang Müller-Lorenz
    • Michael Burt sings Die Walküre: Leb wohl, du kühnes, herrliches Kind...Loge, hör, in RA format
    • Michael Burt sings Das Rheingold: Abendlich strahlt der Sonne Auge, in RA format
      • I would like to thank Robert Schlesinger for the recordings and notes.
      • Michael Burt, born presumably in 1944 in Farnham (Surrey), was probably the best bass-baritone of his generation, and I'm fully aware what a surprising statement this is, about a singer who spent his career in theatres of medium size and medium reputation. He sang almost precisely the same repertory as Ruggero Raimondi, plus a lot of Wagnerian roles; he had a large, extraordinarily beautiful voice (a class apart from Raimondi, or Robert Hale, for example), his technique was really good, he didn't wobble, he didn't shout, he didn't declaim, not even in Wagner (a class apart from Raimondi, or James Morris, or Ferruccio Furlanetto, or from what became of Samuel Ramey all too early in his career); he was a handsome, tall, elegant guy, and a good actor (a class apart from Raimondi, or Furlanetto, or Ramey), so didn't leave anything to be desired. I heard him as Wotan in both Rheingold and Walküre, as Wanderer, Gunther, Holländer, the Four Villains (twice), Escamillo, and Filippo (twice). All performances but the latest - the Holländer in the mid-90s - were excellent to great (though it must be said that he failed, like so many others, to leave stage in time, and continued singing in small theatres for many years when he should already have enjoyed his retirement). He was a terrific Wotan (particularly in Walküre), and the best Filippo by far that I ever heard on stage. One of those careers, thus, that make really muse about fame in opera.
  • Silvano Carroli
  • Lelio Casini

  • Martin Cooke
    • His Website
    • Martin Cooke's site is very interesting. He talks about his career, with the inclusion of many interesting pictures. We have also a run down on Australia where Martin is from. We have also have the best information available on the Australian tenor Ken Neate. Ken Neate was Martin's Teacher, while Muratore was Ken Neate's teacher. It also has audio samples of Ken Neate. If you click on the articles and Ken Neate memorial link, you will find an obituary of Ken Neate written by Martin for the magazine "Opera, Opera".
  • Antonio Cotogni
    • Antonio Cotogni? sings Le Roi de Lahore: O casto fior, in RA format
      • Antonio Cotogni recorded one official record only, the Mulatieri duet with Francesco Marconi. The present recording of Massenet's le Roi de Lahore was recorded during the Tamagnos' recording sessions and bears a Tamagno matrix number. It is thought that it is Cotogni who sang, but his name appears nowhere. Now when Historical Masters published all the 12 inch recordings of Tamagno pressed on vinyl, there is a new way of thinking that is not Cotogni but Giovanni Tamagno, brother of Francesco and a baritone himself, who had a career. There is also no indication of Giovanni's name in the logs.
  • Armand Crabbé
    • Armand Crabbé sings Patrie: Air du sonneur, in RA format
      • Crabbé as a tenor.
      • I would like to thank Robert Schlesinger for the recording and notes.
      • This one, however, is enjoyable more for its rarity than for its quality - in my opinion, no comparison with his tenor effort, and certainly no comparison with Belhomme's legendary rendition of this rare & nice aria.
  • Walter Fink
    • Walter Fink (Daland) singsDer fliegende Holländer: He! Holla! Seemann!, in RA format
      with Wicus Slabbert and Donald George
      • I wish to thank Robert Schlesinger for the recording.
  • Daniele Godor
      • Picture of Daniele Godor
      • Picture of Daniele Godor
    • Daniele Godor sings Serenata
    • Daniele Godor sings Giovinezza
      • I would like to thank Daniele Godor for the recordings.
  • Ivan Grizunov
    • Picture of Grizunov
      • I wish to thank Vladimir Efimenko for the picture.
    • Ivan Grizunov singsThe Prisoner of the Caucasus: The sun was brightly shining , in RA format
      • I wish to thank Thomas Silverbörg for the recording.
  • Il Grande Inquisitor!
  • Philip Maero

    • Philip Maero was born in New York City in 1924. His father, Fernando Maero was singing teacher. Tenor Fernando Maero and his brother, baritone Joseph Maero were brought to American by Oscar Hammerstein Sr to sing in his opera company.
      Phil grew up a healthy and athletic young boy in New York and he soon became interested in taking singing lessons from his father. His natural baritone voice developed rapidly, and soon he was singing in his local church and other venues.
      When he was 17 years of age, Pearl Harbor was attacked by the Japanese and it was evident that war would be declared. He was approached by his cousins, Frank and Joe Campanella, to join the U.S. Marine Corps. They made an appointment to meet at the recruitment center in New York and, the next day, Phil appeared there bright and early. When he arrived, he did not see his cousins, so, while he was waiting, he enrolled expecting them to be along shortly. After a long wait, he returned to his home where he encountered his cousins. He inquired why they had not met him at the recruiting center and they told him that they had changed their minds. It wasn't long after that that private first class Maero was sent to Bougainville and Guam where he was wounded in action. He earned a Silver Star and two Purple Hearts and was honorably discharged. Later, Phil revealed what had happened when he was injured. According to his account, he was on patrol with seven other Marines when they were attacked by friendly fire. The others were all killed and Phil was seriously wounded. Graves Registration brought all the bodies, including Phil, to a local morgue. Later, when they were being identified, one of the soldiers exclaimed, "Hey, that guy is moving!" Phil was taken to a hospital where he spent a year and a half recovering.
      When he returned home, he was suffering from what was then called "battle fatigue". He would sit all day and stare at the wall and hardly spoke. His family became very concerned and his father decided to bring him to his studio while he was teaching. Phil would sit silently in a corner listening to the students. After a while, he began to hum and his father brought him to the piano and played while Phil tried to follow the music. Little by little, his musical renditions became more and more secure until his beautiful baritone voice began to emerge in full force. He continued to study with his father expanding his repertoire. It was then that he told his father that he wanted to go to Rome, Italy to study and sing in opera. His father agreed only if Phil learned ten operas first. Phil applied himself and attained that goal. He sailed for Rome and was immediately accepted at the Rome Conservatory. His teacher, Maria Teresa Pediconi, was so impressed with him that she suggested that he audition for the great Tenor Beniamino Gigli. When Gigli heard him, he was also impressed and he insisted that Phil be included at the experimental theater in Spoleto, Italy where all the promising artists made their initial debut. Phil was scheduled to sing one role, but his repertory was so extensive that he substituted for every other baritone who became indisposed. Many artists who had brilliant careers remembered him fondly as the baritone with whom they made their debut.
      Phil's career began to skyrocket. His dependability, clear diction and beautiful voice was requested in every theater in Italy. He also sang in Cairo, Holland, Spain, France, Switzerland, Greece, and Canada. He sang over 60 operas in Italian, French and English. Critics praised whenever he sang.
      During the late 1950's and early 1960's Phil recorded complete operas for RCA Victor with great artists. Some of those operas (Madam Butterfly, Lucia di Lammermoor and La Boheme) were re-released by RCA and are available on CD. Those recordings gave testimony of his beautiful voice and crystal clear diction.
      His future was destined to become secure and glorious. That is, until a performance where he was scheduled to sing a transmission on the coveted Martini & Rossi Program. During the day, Phil went swimming to pass the time. When he returned, he fell asleep and waited for the evening performance. When he woke up, he was hardly able to move his legs. He forced himself to get dressed and arrived at the radio studio. During the performance, he collapsed and was rushed to the hospital. Radio reports announced that he had died. He claims to have had an out of body experience. He said that he was floating above his hospital bed and saw himself lying in that bed. Eventually, he was diagnosed with polio. That was just two months before Dr. Salk developed his polio vaccine!
      Phil returned to the United States in the 1960's, and despite the tragic turn of events, Phil continued his career as well as he was able. Eventually, the polio affected his diaphragm and his lung capacity was diminished. In 1983, he retired to Hudson, Florida where his morale never faltered. The progression of his polio impeded him from walking without a cane but that did not stop him from performing some concerts and he never lost his positive attitude. As walking became more and more difficult, he was compelled to use a wheel chair. His doctors diagnosed his deteriorating condition as post polio syndrome. Despite all this, in a newspaper interview he stated, "My life's been blessed. I've been very very lucky." Phil died in 2003.
      Giuseppe Tomaselli

  • Louis Manikas

    • Louis Manikas (1938) is a distinguished Greek baritone. His biography can be found on his Web site along with pictures and his present address. Here I am adding other information not available on his site. He was born in a village of Laconia (Sparta district) in 1938. He studied at the National Conservatory in Athens in the class of Miltos Vythinos (a Greek opera singer of the 40s who became one of the most noted music teachers in Greece with students such as Nico Zaccaria, Constantino Ego, Zahos Terzakis and Lela Zografou!). (He also mentions Charalambos Papalambrou as one of his teachers). He studied abroad with a Maria Callas Foundation fellowship. He was a noted Tito Gobbi student. His first major success was as Ford in "Falstaff" in Amsterdam in 1975, followed by "Tosca" in Torre del Lago (with Tito Gobbi as director and Raina Kabaivanska and Luciano Pavarotti in the other two main roles), Cosi fan Tutte (as Alfonso) in Palermo and Tosca (as Scarpia) in Berlin and then at the Vienna Opera. He appeared as Jack Rance in "La Fanciulla del West" at the New York City Opera in 1983. One of his most unusual performances has been in North Korea at the Opera of Pyongyang!
      He appeared often at the Athens Lyric Opera in "Il Barbiere di Siviglia", "Zar und Zimmerman" of Lortzing, "Tosca", "La Traviata", "Eugene Onegin", "Simon Boccanegra", "Il Trovatore", "Salome", "Lohengrin" and "Pagliacci".
      Manikas performances as Conte di Luna in "Il Trovatore" in the Athens Lyric in 1975 obtained enthusiastic reviews. That night Cornel Stavru (the famous Romanian-Greek tenor) was Manrico, Tamara Milashkina was Leonora, Lela Stamatopoulou was Azucena and Vassilis Fakitsas was Ferrando.
      His career developed mainly in Germany (1979-2006) singing in Kassel, Stuttgart, Berlin, Munich, Dusseldorf, Frankfurt, Hannover and also in Vienna, Palermo, Bologna, Genova, Belgium, France, Israel, Denmark, Lithuania, Holland, Portugal, Bulgaria, Finland, Czech Republic. In Greece he has sung in Athens and in Salonica.
      Regrettably, I am aware of only one recording with his voice, a 1986 "Les contes d' Hoffman" from Frankfurt.
      Nicholas Peppas and Juan Dzazópulos E.

  • M. Marvini
  • Léon Melchissédec
    • Picture of Léon Melchissédec as Guillaume Tell
      Léon Melchissédec as Guillaume Tell

    • Picture of Léon Melchissédec's Berliner Label
      Léon Melchissédec's Berliner Label

    • Léon Melchissédec sings Le Caïd: Air du Tambour-Major
      In RA Format

    • Discography

      32639 Le Caïd: Le Tambour-Major 3069 July 1899

      APGA (1907-09)
      1624 L'Africaine:Fille des rois, ŕ toi l'hommage
      1625 L'Africaine: Adamastor, roi des vagues profondes
      1626 Un Ballo in Maschera: Et c'est toi qui déchires mon âme
      1627 Rigoletto: Oh! mes maîtres, ma voix vous implore
      A 150 Don Giovanni: Je suis sous ta fenętre
      A 151 Roméo et Juliette: Soyez les bienvenus...Allons, jeunes gens (Re-recorded IRCC 3149-B)

      11853 Guillaume Tell: LaPriére de Guillaume Tell (Une leçon de chant au Conservatoire National de Musique par Monsieur Melchissédec)
      X-2060 La Marseillaise
      X-2060-2 La Marseillaise
      X-2109 Guillaume Tell (Prière de Guillaume Tell)

      3680 Faust: Sérénade
      3681 Faust: La mort de Valentin
      3694 Le Caïd: Air du Tambour-Major
      3698 Les Dragons de Villars: Quand le dragon a bien trotté
      3699 Les Dragons de Villars: Chanson à boire
      3705 La Marseillaise

  • Robert Merrill
    • Robert Merrill sings Beautiful Dreamer, in RA format
      • I would like to thank Thomas Silverboerg for the recording
  • Sherill Milnes
  • José Mossesgeld-Santiago
    • José Mossesgeld-Santiago sings Rigoletto: Pari siamo, in mp3 format
      • I would like to thank Robert Schlesinger for the recording (Columbia 52020-X, mx. 83064 (back side mx. 83067, Di Provenza))
      • the first Filipino who ever sang at La Scala (late 1930s). For his biography, for pictures and some recordings of Filipino folk songs, see Website. What is unusual is that, he sang bass roles on stage, but recorded as a baritone!
  • Jorge Negrete
    • Picture of Jorge Negrete
    • Picture of Jorge Negrete
    • Jorge Negrete sings Mexico lindo y querido, in ra format
    • Jorge Negrete sings Ay! Jalisco, in ra format
    • Jorge Negrete sings El jinete, in ra format
      • I would like to thank Andres Acuña Guzman for the recordings and pictures.
  • Ezio Pinza
    • Ezio Pinza sings with the Budapest String Quartet, in RA format
      • I would like to thank Thomas Silverboerg for the recording
      • I researched this famous "Ezio Pinza and the Budapest String Quartet" recording. There are three questions about this file: what the composition may be (I still don't, and will probably never know), whether it's really the Budapest String Quartet (their official discography says it's a fake), and whether it's really Ezio Pinza - this is what my research was about. Pinza, no it's not. It's an imitator. First of all, amusing as the Italian accent in the "Budapest" recording is, it's clearly underdone - Pinza's own accent was definitely stronger, as strong as even the imitator was not able to do it. Later on, when singing "South Pacific", Pinza improved his English; but our recording is supposed to be from 1943, and there's no reason why also this date should be a fake (for what purpose?) - several years before "South Pacific". There are not that many examples of Pinza's English singing (at least not from the pre-South-Pacific period), but still in 1946, on a Bing Crosby radio show where they sang together, his accent was simply amazing. Second, the imitator's own voice is - it's obvious in direct comparison - darker timbred and much less forward than Pinza's, and the imitator displays a slight wobble on the high notes that Pinza never had. Of course you can imitate a wobble, but why would you if the imitated singer has none; and more important, this wobble is genuine. It has been suggested, and a recent CD publishing the piece takes this position, that the imitator be Earl Wrightson, a radio singer who was apparently famous for his funny Pinza imitations. But this is nonsensical for two reasons: first, the imitator must be really fluent in Italian, or he wouldn't be able to display the accent he does (which is, though less strong than Pinza's own, still strong enough!). Americans of the period (and far later on) were rarely capable to roll their r's in this truly Italian manner. Second, Earl Wrightson had a smooth lyrical baritone voice, definitely lighter and also lighter-timbred than Pinza's - way lighter! To think that he could imitate Pinza like in the "Budapest" song is like thinking that Andrea Bocelli could imitate Lauritz Melchior. Voice expert Mike Richter once suggested that the imitator be either Nicola Moscona, or less likely Igor Kipnis, who was equally famous for his private Pinza imitations, said Richter. Well, funny as these imitations may have been, I think we can exclude Igor Kipnis; the one singing here certainly has a very large voice, and certainly is a trained singer - had Igor Kipnis been able to sing like that, he would hardly have become a harpsichordist, but a bass like his father. Remains Moscona - but his voice, as related to the imitator's, is like the imitator's as related to Pinza's: much less forward, wobbly (a hundred times more wobbly than the imitator!), and darker in timbre. His is definitely the lowest and least forward voice of all singers considered here, so he is far indeed from Pinza's singing; and what's maybe more important, he couldn't have achieved that accent. His Italian wasn't very good (he was Greek, not Italian), and he didn't roll his r's. So who else? Well, I think the answer is already on the site: listen to Salvatore Baccaloni's "Bibbity bobbity boo"... he was a proven humorist, he was Italian, he spoke a far better English than Pinza (which was not difficult either), he had a large, dark-timbred voice, forward, but not that forward as Pinza's - and he had a slight wobble...
        Robert Schlesinger
  • Juan Pons
    • Juan Pons sings! Rigoletto's final note!, in RA format
    • Juan Pons ruining Rigoletto's final note. He tries to go up to the high A flat and A natural at the end and there is nothing there but rasp. He doesn't even make the A natural (B double flat actually).
    • Joe Shore sings Rigoletto's final note!, in RA format
    • This is how it is done.
      • I would like to thank Joe Shore for the recordings
  • Frank Sinatra
    • Frank Sinatra sings Don Giovanni: La ci darem la mano, with Kathryn Grayson
    • I would like to thank Daniele Godor for the recording.
  • Thomas Quasthoff
    • Thomas Quasthoff sings Die Zauberflöte: Clowning his way through die Zaubferflöte as bass, baritone and tenor, in RA format
    • I would like to thank Daniele Godor for the recording.
    • There is a nice story on Quasthoff. A man who was 45 when it happened called him and asked if he (Quasthoff) would listen to his voice. Quasthoff asked: "How old are you" - he said "45". Quasthoff: "You're a grandpa, and I won't listen to a grandpa" and he hang up.
  • Joe Shore
  • Cesare Siepi
    • Cesare Siepi sings I get a kick out of you, in RA format
      • I would like to thank Thomas Silverboerg for the recording
  • Tatyana Sinyavskaya
    • Tatyana Sinyavskaya sings Ivan Susanin (Zhizn' za tsarya): Bedniy kon' v polye pal (My poor horse fell in the field), in RA format
      • Glinka wrote that aria for Vanya later and incorporated it in Life for the Tsar. When the Communists modified the opera into Ivan Susanin they dumped the tenor's aria
      • I would like to thank Robert Schlesinger for the recording
  • Marco Stecchi
  • Alexander (Sándor) Svéd (1906-1979)
    • Picture of Alexander (Sándor) Svéd
  • Yelena Zaremba
    • Picture of Yelena Zaremba
    • Yelena Zaremba sings Ivan Susanin (Zhizn' za tsarya): Bedniy kon' v polye pal (My poor horse fell in the field), in RA format
      • Glinka wrote that aria for Vanya later and incorporated it in Life for the Tsar. When the Communists modified the opera into Ivan Susanin they dumped the tenor's aria
      • I would like to thank Robert Schlesinger for the recording