César Vezzani - La donna è mobile (Gramophone Company, 1925)

César Vezzani (1888-1951) was a Corsican tenor, born into an impoverished family in Bastia and raised in Toulon, France. An avid singer from an early age, Vezzani traveled to Paris at age 20 in search of a voice teacher. He auditioned for the Conservatory there, greatly impressing the faculty with his fine natural instrument. Despite the fact that he was barely literate and spoke French in an accent of the lowest class, he was awarded a scholarship. Vezzani was placed in the class of soprano and fellow Corsican Agnès Borgo, under whose tutelage he solidified his technique, polished his diction, and began to master operatic roles. Within three years, the young tenor completed his coursework and began auditioning for work. He was offered a contract by the Opéra-Comique, where he made his debut in the title role of Grétry’s Richard Coeur de Lion on December 17, 1911. Vezzani became quite popular at the Opéra-Comique and spent the next three seasons there in a variety of roles.
In the summer of 1914, Vezzani and Borgo (now husband and wife) were invited for a series of guest appearances with Boston Opera, followed by a U.S. tour. Unfortunately, this opportunity was never realized. In late July, war broke out in Europe and Vezzani was called to serve in the French army. He was deployed to the front, was wounded in action, and spent the rest of the war recuperating in an army hospital. In 1919, the tenor returned to the Opéra-Comique and went about picking up his career. What should have been a major international career wound up being a primarily provincial affair. After leaving the Opéra-Comique in the mid-1920s, Vezzani launched into a series of appearances in the theaters of Marseille, Bordeaux, Toulon, Brussels, Beziers, Oran and Algiers. However, the tenor found himself appearing in secondary venues most of the time and was never able to resume the momentum of his early career.
Over the course of the next two decades, Vezzani crisscrossed the European and North African provinces, singing the most demanding repertoire…Manon, Werther, Faust, Herodiade, Sigurd, Dinorah, L’Africaine, Les Huguenots, La Juive, Carmen, Guillaume Tell, La Favorite, Pagliacci, Cavalleria Rusticana, Tosca, Il Trovatore, Aïda, Otello…sometimes barely taking a day between engagements. Yet, the voice never showed signs of flagging and remained amazingly intact. In 1946, the fifty-eight-year-old Vezzani was invited back to the Opéra-Comique by former colleague Louis Musy, now director of the theater. The invitation was not to appear with the company, however, but to audition on the stage of his early triumphs. The veteran tenor swallowed his pride, accepted the invitation, and sang the audition for Musy and a panel of administrators. He was not engaged.
Following his disappointing reception in Paris, Vezzani was given a contract as principal tenor at the Toulon Opera. During a rehearsal of Sigurd in the fall of 1948, the sixty year old tenor collapsed and was taken to a local hospital. Vezzani had suffered a massive and debilitating stroke, one from which he never recovered. He was taken to his birthplace, Bastia, where he lingered, totally paralyzed, for three years. His meager savings were soon depleted, and he found himself destitute. Former colleagues came to his aid and helped support the tenor during his illness. One bright spot during this period involved Vezzani’s friends taking him to a concert at Bastia’s Place Saint-Nicolas. When the audience recognized him and burst into a spontaneous ovation, Vezzani was moved to tears. Sadly, his condition continued to deteriorate, and he was moved to the hospital in Marseille where he passed away on November 11, 1951 at the age of 63.
There are many possible reasons that Vezzani never had the career he deserved. The outbreak of WWI caused a lengthy interruption in his career during a crucial early phase. With very few exceptions, the tenor’s entire repertoire was deeply rooted in mid-19th century French opera, which made him seem old fashioned and out of vogue. Vezzani could also be touchy, obstinate and difficult to get along with (a fact that his three ex-wives probably could have attested to). In spite of this, he is remembered as a warm and generous man, a man who enjoyed good food and drink and affected large hats to conceal his balding pate. Vezzani enjoyed a lengthy and productive career in the recording studio. Between 1912 and 1933, the tenor recorded over 200 sides for Odeon and French Gramophone. These recordings showcase a powerful dramatic tenor with brilliant top notes, capable of sustained lyricism. His artistry, while not always subtle, is precise. There is no scooping or slurring of notes, no overly long held top notes, and yet, Vezzani’s performances are never anything short of thrilling. Here, Vezzani sings “La donna è mobile” (“Comme la plume au vent” in French) from Verdi’s Rigoletto. This was recorded in Paris for French Gramophone on February 20, 1925.

[@beatrizzunino4371]

Excelente voz y buena interpretación.

[@joseleobardoromeroperez3898]

La voz y facultades de un tenor heroico, un tenor de historia de la ópera de todos los tiempos. Un tenor muy especial para mi.

[@deadtenorssociety2973]

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