Description

BENVENUTO FRANCI (PIENZA, 1 JULY, 1891 – ROME, 27 FEBRUARY, 1985)

 

 

 

 

As a youngster, he was fascinated by the musical instruments of the town band: large and small instruments, woodwinds and brass – he played them all but preferred the euphonium. He studied the viola and performed in a trio with the band-master on the violin and the town barber on the cello.  As he grew up, people noticed that he not only had great talent with musical instruments but that he also sang with an easy and sonorous voice. In 1910 his parents decided to send him to study voice in Rome at the Academy of Santa Cecilia where he attended the famous school of the great Maestro Antonio Cotogni.  Fellow students, Beniamino Gigli and Giacomo Lauri Volpi, shared with him all their anxieties, hopes and fears. In 1917, he brazenly requested an audition with Emma Carelli, who was then running the Teatro Costanzi. After hearing the baritone, Carelli said: “A beautiful voice, a great voice. I would like to discipline and release it. This season the new opera Lodoletta by Mascagni will be performed. I will prepare you myself and will put you on the stage.” The day after Christmas of 1917 he debuted in Rometo great acclaim. This success at the Costanzi immediately earned him a contract with the San Carlo in Naples, where, working with Maestro Franco Capuana, he expanded his repertoire: Un Ballo in Maschera, Aida, Rigoletto, Il Barbiere di Siviglia, La Gioconda, Andrea Chenier, Cavalleria, Pagliacci, La Bohème, La  Traviata, Don Pasquale, all operas that he would continue to sing throughout his career. His great success opened the doors to La Scala. Toscanini wanted him for Aida, Tristan, Carmen, Traviata, affirming his faith and esteem for Franci over a ten year period. He premiered a number of important works: Boito’s posthumous work Nerone,  Zandonai’s Francesca da Rimini and I Cavalieri di Ekebù, directed by the composer himself, Umberto Giordano’s La Cena delle beffe, Il piccolo Marat  by Mascagni, and  Marinuzzi’s Palla dé Mozzi, directed by the composer. For twenty years he sang in the most important Italian and foreign theatres, all the while expanding his repertoire: I Puritani, Tosca, La Fanciulla del West, Guglielmo Tell, Gianni Schicchi, La forza del destino, Fidelio, Otello, Nabucco, Die Meistersinger, and Lohengrin (Franci is one of the few Italian singers to embrace the Wagnerian repertoire). In Bologna, on the occasion of the premiere of Il Tabarro, he met Puccini who advised him to study Gianni Schicchi, a role he subsequently performed many times. The list of theatres in which Benvenuto Franci performed is long and glorious including, among many, Rome, Naples and Milan, Bologna, Genoa, Verona, Torino, Parma, Palermo, Trieste, Florence, etc. Abroad, he was regularly invited to perform at Covent Garden in London, at the Paris Opéra, in Madrid, Barcelona, Vienna, Berlin, and Lisbon. In the summer of 1924 he set sail for South America with the Company of Ottavio Scotto and Claudia Muzio, and the director Marinuzzi. The sixteen performances he was scheduled to sing became forty. He returned regularly to Brazil, Chile, and Argentina for ten years. In 1956, he retired from the stage where he had performed for forty years. “At the end of the opera, Toscanini called me into his dressing room, hugged me and spoke to me in a way that filled me with emotion and joy. Never will I forget that hug – I consider it the ultimate prize of my career.”

(Benvenuto Franci)

 

Chronology of some appearances

 

1919 Teramo Teatro Comunale Andrea Chenier (Gerard)

1919 Pesaro Teatro Rossini Andrea Chenier (Gerard)

1919 Napoli Teatro San Carlo Ballo in maschera (Renato)

1920 Lisbona Coliseo Recrejos Barbiere di Siviglia (Figaro)

1921 Genova Polietama Genovese Andrea Chenier (Gerard)

1922 San Severino Marche Teatro Feronia Andrea Chenier (Gerard)

1922 Milano Teatro Dal Verme Ballo in maschera (Renato)

1923 Rimini Teatro Vittorio Emanuele Andrea Chenier (Gerard)

1924 Milano Teatro La Scala Andrea Chenier (Gerard)

1924 Verona Arena Andrea Chenier (Gerard)

1925 London Covent Garden Andrea Chenier (Gerard)

1925 Livorno Politeama Barbiere di Siviglia (Figaro)

1926 Riode Janeiro Teatro Lirico Andrea Chenier (Gerard)

1926 Milano Teatro La Scala Andrea Chenier (Gerard)

1927 Buenos Aires Teatro Colon Andrea Chenier (Gerard)

1927 Riode Janeiro Teatro Municipal Andrea Chenier (Gerard)

1927 San Paolo Teatro Municipal Andrea Chenier (Gerard)

1928 Buenos Aires Teatro Colon Andrea Chenier (Gerard)

1928 Cremona Teatro Ponchielli Andrea Chenier (Gerard)

1929 Roma Teatro dell’Opera Andrea Chenier (Gerard)

1930 Ravenna Teatro Alighieri Andrea Chenier (Gerard)

1931 Roma Teatro dell’Opera Andrea Chenier (Gerard)

1931 Roma Teatro dell’Opera Ballo in maschera (Renato)

1931 Napoli Teatro San Carlo Andrea Chenier (Gerard)

1931 Napoli Teatro San Carlo Ballo in maschera (Renato)

1932 Cento Teatro Comunale Borgatti Andrea Chenier (Gerard)

1932 Verona Arena Ballo in maschera (Renato)

1934 Genova Teatro Carlo Felice Andrea Chenier (Gerard)

1934 Verona Arena Andrea Chenier (Gerard)

1935 Venezia Teatro La Fenice Andrea Chenier (Gerard)

1937 Roma Eiar Andrea Chenier (Gerard)

1938 Noto Teatro del Littoriale Ballo in maschera (Renato)

1939 Genova Aperto della Foce Ballo in maschera (Renato)

 

TRACKLIST

 

 

Don Pasquale (Donizetti) Bella siccome un angelo Phonotype C 2339

Favorita (Donizetti) Vien Leonora Phonotype C 2334

Gioconda (Ponchielli) Enzo Grimaldo!… O grido di quest’anima (w. De Lucia) C2340, C2341, Phonotype, Napoli 1920-04-11

Barbiere di Siviglia (Rossini) Largo al factotum Phonotype M 2337

Aida (Verdi) Suo padre!… Anch’io pugnai Phonotype M 2339

Traviata (Verdi) Mio figlio! Oh, quanto soffri! Phonotype M 2320

Rigoletto (Verdi) Pari siamo! Phonotype M 2319

Rigoletto (Verdi) Cortigiani, vil razza dannata! Phonotype M 2324

Dinorah (Meyerbeer) Sei vendicata assai Phonotype C 2328

Don Carlo (Verdi) Per me giunto è il dì supremo… O Carlo, ascolta Phonotype C 2338, C 2339

Pagliacci (Leoncavallo) Prologo, pt 1, pt 2 Phonotype 2330, 2330

Andrea Chénier (Giordano) Un dì m’era di gioia Phonotype C 2327

Africaine (Meyerbeer) Adamastor DB 1509 CM 1332 HMV, Milano 1930-07

Africaine (Meyerbeer) Averla tanto amata DB1393 CM1284-1 HMV, Milano 1929-12-02

Aida (Verdi) Quest’assisa (w. Masini, Lucini & Lois) DB1320 CM993-1 HMV, Milano 1929-06-28

Aida (Verdi) Quest’assisa D5110 B238 Columbia, late 1923 Milano

Aida (Verdi) Quest’assisa DQ 1131 Columbia Milano, 1930

Andrea Chénier (Giordano) Son sessant’anni DQ 1130 WB 3860 Columbia, Milano 1930-12-01

Andrea Chénier (Giordano) Un dì m’era di gioia D1521 B273 Columbia, 1924

Andrea Chénier (Giordano) Un dì m’era di gioia DQ 1130 WB 3859 Columbia 1930-12-01

Ballo in maschera (Verdi) Alla vita DA1093 BM1291-1 HMV, Milano 1929-12-11

Ballo in maschera (Verdi) Eri tu Columbia D5096 B477 approximately 1925 Milan, Italy

Ballo in maschera (Verdi) Eri tu DB 1320 CM 994-1 HMV, Milano 1929-06-28

Barbiere di Siviglia (Rossini) All’idea di quel metallo… Dunque all’opra (w. Landi) DB1433 CM 15 HMV, Milano 1930-03-20

Barbiere di Siviglia (Rossini) Dunque io son, pt 1 pt 2 (w. Gherardi) LB9 WB4605-1 WWB4606-1 Columbia, Milano 1932

Carmen (Bizet) Con voi ber! (w. Buades, Ticozzi, Mion & Carmassi) DX8055 WBX1220-2 Columbia, Milano 1933

Dinorah (Meyerbeer) Sei vendicata assai D12456 B481 Columbia, Milano 1925

Ernani (Verdi) Gran Dio… O dei verd’anni miei DB1138 CD4797-2 HMV, Milano 1927-10-23

Ernani (Verdi) O sommo Carlo (w. Palet & d’Urbino-Poloni) DB1138 CD4920-2 HMV, Milano 1927-10-23

Faust (Gounod) Dio possente D 5173 B281 Columbia, late 1923 Milano

Favorita (Donizetti) Ah l’alto ardor (w. Pederzini) Gramophone DB1748 HMV, Milano 1929-12-11

Forza del destino (Verdi) Invano, Alvaro… Le minaccie (w. Pertile) DB1219 CF2 HMV, Milano 1928-12-12

Forza del destino (Verdi) Urna fatale DB1262 CF2482-1T1 HMV, Milano 1928-11-22

Gioconda (Ponchielli) Ah! Pescator, affonda l’esca (w. chorus) DB1117 (2-052357) CD4791-2 HMV, Milano 1927-10-21

Gioconda (Ponchielli) O monumento D1520 B256 Columbia, Milano 1924

Gioconda (Ponchielli) O monumento DB1117 (2-052359) CD4790-1 HMV, Milano 1927-10-21

Guillaume Tell (Rossini) Ah, Mathilde (w. Pertile) DB1480 CF3677-1 HMV, Milano 1930-11

Guillaume Tell (Rossini) Resta immobile DB1393 CM1283-1 HMV, Milano 1929-12-02

Lucia di Lammermoor (Donizetti) Cruda funesta smania D1520 B506 Columbia, Milano 1925

Madama Butterfly (Puccini) Si, tutto … Addio fiorito asil (w. Valente) B3141 (30-614) BM921-2 HMV, Milano 1929-06-04

Otello (Verdi) Credo DB1154 CF1527-1 HMV, Milano 1928-02-15

Otello (Verdi) Era la notte DB1154 (2-052367) CD4912-2 HMV, Milano 1927-11-08

Otello (Verdi) Sì, pel ciel (w. Pertile) DB1402 CF2471-1 HMV, Milano 1928-11-19

Pagliacci (Leoncavallo) Prologo D9453 B239 Columbia, Milano 1924

Pagliacci (Leoncavallo) Prologo, pt 1, pt 2 GQ7172 WB4581-1 WB4582-1 Columbia, Milano 1932

Pescatori di perle (Bizet) Del tempio al limitar (w. Borgioli) D5127 B249 Columbia

Rigoletto (Verdi) Pari siamo D5108 B236 Columbia, Milano 1924

Rigoletto (Verdi) Si vendetta (w. Surinach) D5108 B279 Columbia, Milano 1924

Tosca (Puccini) Va, Tosca DB1508 CF2519-1T1 HMV, Milano 1928-12-06

Traviata (Verdi) Di Provenza D5109 Columbia, Milano 1924

Trovatore (Verdi) Per me ora fatale (w. Masini) DB1262 CF2539-2 HMV, Milano 1928-11-22

Trovatore (Verdi) Il balen D5109 Columbia, Milano 1924

Trovatore (Verdi) Mira d’acerbe lagrime (w. Fanelli) DB1509 CM 970-2 HMV, Milano 1929-06-22