The interview with Sicilian tenor, Michelangelo Verso, May 28, 2004. His career began in 1949 in Palermo in leading roles and soon took him around the world. He sang with such legends as Gigli, Caniglia, Bardelli and Morelli. He appeared in films, television, and recorded extensively for Columbia and Cetra.

[PCB]:   Dear Michelangelo Verso, allow me to thank you for this opportunity to interview you for the Belgian Opera Guide.

I am aware that you studied voice in Palermo in the 1940’s and it was there that you made your debut in opera. Tell us something about your teacher, your studies, and your first performances.

[MV]:   When I was about 17 years old, my first teacher was Maestro Salvatore Pollicino who lived in Palermo and who had been a very good tenor himself, especially in dramatic roles.
After having studied for about three years several operas with him, I was invited to sing in various concerts on Tour throughout Sicily.

Then in 1940 I had to go to Naples to join the army where I started as a pupil pilot.
During my service I got special permissions to follow classes at the Musical Conservatory of Naples where I was invited to sing several concerts in that city at that time.

In Naples I also had the occasion to meet Maestro and Tenor Raffaele Punzo who had been Caruso’s personal assistant and who, before that, had received singing lessons from Maestro Vergine, the same teacher of Caruso!
He didn’t make a singing career because of his great shyness to go on stage so he decided in the end to become assistant of Caruso despite of his powerful, robust and dramatic type of voice.
Maestro Raffaele Punzo gave me singing lessons for about one year long.
His lessons gave me some benefit regarding my vocal emission and how to put the sounds in the mask ('voce in maschera') projecting those sounds as best as possible.

Because of having won a scholarship for becoming an actor, while I was still serving in the army, I was transferred to Rome to follow classes at the ‘Centro Sperimentale di Cinematografia’ where I met the famous Italian actor Amedeo Nazzari and who proposed me to sing a Sicilian song ‘E vui durmiti ancora’ in one of his movies which I recorded as first in history for Fonit on 78 rpm records just like the other famous Sicilian folk song ‘Vitti ‘na crozza’ which I recorded for Cetra records.
While I was  in Rome, I had the occasion of being auditioned by Maestro Polverosi who was Artistic Director of the EIAR (former RAI), the Italian Radio Television Broadcast Services, and who invited me to sing in a well known Radio Program of that time 'Trenta Minuti nel Mondo' (Thirty Minutes in the World) which was broadcasted worldwide. These Radio programs were in fact competitions for Italian singers in which I won the first prize.

Unfortunately, at some moment, all classes and courses were interrupted and didn’t continue anymore due to the war which was going on… it was a difficult time for all of us.

After the war, in 1946, I returned to Palermo where I had my first debut in the opera 'The Barber of Seville' in the role of the count of Almaviva
This opera was held in the ‘Arena delle Palme’ of Palermo.
My second opera has been 'Lucia di Lammermoor' in the role of Edgardo and the third opera was Cavalleria Rusticana in which I sang the role of Turiddu and where I obtained very good critics as a hot tempered and impulsive Turiddu with a rare bright voice, very good diction and power.
Other operas and performances followed after…

In 1949 with the presence of the great Beniamino Gigli, who had to sing several concerts in Palermo and throughout Sicily, out of many tenors I was selected and got the honor to sing in the same concert with him that was held at the ‘Teatro Massimo’ of Palermo obtaining excellent success.
On this occasion, and because of always having been a great fan of Beniamino Gigli whole my life since I was a boy, I was befriended by him and got the opportunity to be also very close to him and to receive precious advice regarding the usage of the ‘Mezza-Voce’ and the ‘Falsetto’ and how and when to use them appropriately and in conformity with the aria or other piece that has to be interpreted and how to transmit in the singing, feelings of love, tenderness, passion etc.

Having won a scholarship for vocal perfection at the International Academy ‘Chigiana di Siena’ in 1950, I continued to study there with the well-known Soprano Ines Alfano Tellini and was selected to sing at the memorial concert in occasion of the 50^th Anniversary of Giuseppe Verdi’s death in the 'Basilica of San Francesco' of Siena and was accompanied with a Symphonic Orchestra and choir that were conducted by Maestro Andrea Morosini.
The audience consisted of about 3000 persons and I garnered excellent critical reviews.

[PCB]:   I understand that you were an associate of the legendary Beniamino Gigli. What an inspiring person to be associated with at the beginning of your career. How did he influence you?

[MV]:   He behaved like a true friend or even as a father to me with true modesty and humbleness and with a very big and generous heart…
He influenced me in such a way that I tried to follow his advice and singing style and decided to keep him as my favorite singing model.
He being such a great personality and a big star, I can say that I really learned from him what true modesty, humbleness and generosity meant…

He also influenced me to use more the belcanto way of singing, using the ‘Mezza Voce’ and  ‘Falsetto’ thereby giving a greater variety of ‘colors’ and less monotony to the interpretation.

[PCB]:   Singing is a very difficult and demanding art. Were you married when you first started your career? Tell us something of your family and background, and what first set you on the road to an operatic career.

[MV]:   That’s correct, singing is a very difficult and demanding art because in the first place you need a good quality of voice to start with and then you need a good overall musicality and a good technique, knowing how to use your breath (breath control and diaphragmatic respiration) that is sustaining your breath and simultaneously singing in a relaxed way ‘la parola cantata’ (the word to be sung) without producing nasal, artificial or guttural sounds but always keeping in mind to sing as natural as possible with the voice that God has given you and without doing false imitations !

No, I was not married at the beginning of my career; I got married in 1947 and have two daughters and one son.
My father, who was a hotelkeeper, had a good voice as well, he liked to entertain people and to sing mostly popular songs but only as a hobby, he used to accompany himself on his guitar as well.

My very first inspiration as a boy to become a lyric singer came from watching movies of Polish tenor Jan Kiepura, Tito Schipa and Beniamino Gigli and also listening to early records of Caruso, Miguel Fleta and Aureliano Pertile.
I can say that only my own passion set me on the road to an operatic career because I did not have any help or stimulation from my own family at all that didn’t believe and trust in an artistic career as my future.

[PCB]:   What were your favorite roles, and why?

[MV]:   'Cavalleria Rusticana' (Turiddu) because of my Sicilian background and character and because of my passion.
'La Bohème' (Rodolfo) because of the very beautiful music that Puccini composed for this opera and especially for the belcanto you need to sing, then comes the very touching subject and the drama of the opera as well.
'Rigoletto' (Duke of Mantua) because I personally like the role of the young Duke very much and because of the music which is beautiful and ‘Andante’.

[PCB]:   I see that you managed to combine the bel canto as well as some verismo in your career. Callas once said that the bel canto schooling should be applied to even the most veristic style of opera. Do you agree?

[MV]:   Yes I agree completely! The word just says it all, ‘bel canto’ means beautiful (way of) singing and according to me it should be applied always and besides that…. who would have the courage to oppose what the Divine Callas said, she was such a great singer and perfectionist, the greatest of all Sopranos !

[PCB]:   Speaking of Callas, I understand that you are a friend of Giuseppe Di Stefano, and through him became friends with the great soprano. Could you give us some impressions of that friendship with both singers.

[MV]:   When I was contracted to sing in Mexico in 1955 for Radio/TV and for concerts, at the time that I was giving a concert together with the famous Italian Baritone Carlo Morelli at the ‘Palacio de Bellas Artes’, during that lyric season Giuseppe Di Stefano had to sing 'Elisir d’Amore', 'Carmen' and 'Bohème' in the same theatre so on this occasion I had the great pleasure to hear him sing live in 'Bohème' and after the performance I had the honor to meet him personally.
While I was listening for the first time to his singing in 'La Bohème', I was immediately touched and moved by the beauty of his singing, his broad and wonderful quality voice and by all the vocal expressions he made.
After the performance I presented myself, giving him my most sincere compliments regarding his success and since then I can say we remained good friends.

We met each other again in Prague (Czechoslovakia) in 1966 where I was singing for the Radio and where he sang the Operetta “The Land of Smiles” by Franz Lehàr.
We spent some time together and left the country at the same time, traveling together to Vienna where he had to sing in concert.
That concert was a real triumph and I was sitting in the audience next to a young Placido Domingo who, just like me, was admiring Di Stefano with great enthusiasm.
I then accompanied Giuseppe Di Stefano with much pleasure in various other cities of Germany where he was engaged to sing in concerts.

After a couple of more years (1973) we met each other again in Amsterdam: he and Maria Callas were on an World Tour and were doing their series of farewell concerts at that time.
It was on this occasion that Giuseppe Di Stefano presented the Divine Callas to me for the very first time.

I have to clarify that my friendship with Giuseppe Di Stefano started very long ago, back in 1955, and is still lasting while the friendship with Maria Callas was more like an acquaintance at first which, only after I came to Paris to hand over some gifts to her given by Di Stefano and after being invited in her house, turned into a more confidential relationship in the end.

My impression of my friendship with both singers is that I have a great admiration for both of them and that they represent two true phenomena of nature, very rare and unique because Maria Callas had 5 different registers to sing with, she was able to sing as: Coloratura, Lyric Soprano, Dramatic Soprano, Mezzo-Soprano and Contralto, singing repertoire from 'The Barber of Seville' to that from 'Norma' while Di Stefano sang repertoire from 'Elisir d’Amore' to that from 'Aida' as well, thereby leaving many historical memories to all of those who have been able to hear them sing and watch them perform live.
Both singers easily could pass from the light lyric genre to the more dramatic ones.

Listening and watching 'Cavalleria Rusticana' live with Giuseppe Di Stefano and Maria Callas, could be considered the same as assisting at a Bull Fighting event in the Arena ‘Plaza de Toros’ of Madrid regarding to the same perceived emotions, tension  and feelings…

I heard that tenor Jussi Bjorling, the first time that he listened to Giuseppe Di Stefano, was biting on his lips out of angriness, not being able to use his Mezza Voce like Di Stefano could, so he invited him at his home in order to give him an explanation or demonstration on how to do or achieve that…

[PCB]:   Your career seemed to take you to many other countries. You had a great success in the Pittsburgh Opera House, then associated with the Metropolitan in the 1950’s. What was that like?

[MV]:   Yes, because of my career I can truly say that I have been to many countries…

Before I was contracted to sing at the Pittsburgh Opera House, I was singing in New York for several Radio stations like WEVD and WHOM, the latter which was an Italian Radio station sponsored by Director Scaramelli of The Bertolli Oil Company.
Mr. Alfredo Salmaggi, who was the artistic manager of the Metropolitan Opera of New York at that time, contracted me to sing for Radio station WEVD in several concerts that were broadcasted live and accompanied with a symphonic orchestra.

So while I was in New York, I decided to visit Maestro Enrico Rosati to convey Beniamino Gigli’s greetings to him. As you might know, Enrico Rosati had been the singing teacher of Beniamino Gigli and later became the teacher of Mario Lanza as well.
The house where Maestro Rosati lived in, was donated personally by Gigli out of gratitude for all his lessons and precious advice that he had given him.

Enrico Rosati received me with much pleasure and wanted to hear my voice so he asked me to sing ‘Una furtiva lacrima’ which he accompanied me personally on his piano.
After having heard my performance with particular attention, he said: “You ought to thank God that He gave you such a beautiful voice! It’s a pity that I am too old now to give you lessons… my last pupil was Mario Lanza and I wouldn’t be able anymore to give you lessons because of my advanced age”.
He told me that Mario Lanza was his last revelation who was giving him much satisfaction.

After Enrico Rosati I desired to be auditioned by tenor Giovanni Martinelli as well who, after he listened to me, was very pleased to give me his advice and some singing lessons.
I remember he complimented with me for my belcanto style of singing and for my ‘Mezza Voce’ because he didn’t have a ‘Mezza Voce’ due to his own nature as a dramatic tenor…
He was a great friend and fan of Beniamino Gigli as well.
Speaking with him about Caruso and asking him how Caruso sounded live, he told me that his voice wasn’t as nasal as you can hear on those old 78 rpm records….
The color and timbre of his voice was more like the sound of a musical instrument that resembled the Violoncello and that blended very well with the sounds of the orchestra.

My artistic experience regarding the Pittsburgh Opera has been wonderful and most satisfying because first of all I was given the opportunity to sing with great singers like Cesare Bardelli who was named the Prince among the Baritones and also with the famous Bass, Gerhard Pechner.
In that same lyric season 1953/54 of the Pittsburgh Opera there were also included great singers like: Licia Albanese, Ramon Vinay, Lucine Amara, Giuseppe Di Stefano, Ferruccio Tagliavini and many others
One can read all the other names by visiting my site at: www.geocities.com/miverso/Playbill.htm and by clicking on the ‘Playbill of the lyric season 1953/54 at the Metropolitan Pittsburgh Opera House’.

When I made my debut at the Pittsburgh Opera House with ‘The Barber of Seville’ in the role of the Count of Almaviva, I remember that I was amazed that there was no prompter at all and not even a prompter’s box on stage !
Therefore it was very demanding for all us singers on stage to sing…. in this way we were not allowed to forget one single word or phrase !

[PCB]:   Is there one role that stands out in your mind as one with which you most identify?

[MV]:   The role of Turiddu in the 'Cavalleria Rusticana'.

[PCB]:   You recorded extensively during your career, and also did quite a lot of early television and radio. Tell us something about that.

[MV]:   In Italy my very first Radio transmissions were for the Italian National Radio Station EIAR (former RAI) around 1938 with as conductor Maestro Nello Segurini.
Many other Radio programs followed hereafter.
My very first TV performance was in New York in 1953 on the Ed Sullivan show, an American program that established a reputation for featuring all the great operatic voices of the time. Next I was invited to perform on the Perry Como show, a program that was immensely popular in the United States and allowed me to reach millions of viewers, something unique at the time. This led to a great many engagements on television.
I made my first film ‘Invitacion a Italia’ in Mexico in 1956. This led to a very busy career as a television concert performer in Mexico, with appearances every week.

I have to add that all the TV performances that I did at that time were all sung live. Without any extra takes for corrections or spliced in notes, as is the custom today.
The Ampex Videorecorders were not in use yet so there was no play-back at all.

In 1957 I was asked by ‘Soto Mayor Mexican Movie Productions’ to compose and  sing a Neapolitan song (Tarantella) for the Mexican film ‘Locos Peligrosos’ (Dangerous Men).
That song was ‘Jamme Bello’ (Let’s go and have fun) and my rendition of that song was included in the soundtrack of the film.
In that movie were famous actors like Tin Tan, Luis Aguilar (who was a noted Ranchero singer as well) and Marcello Chavez.
The film was a big financial success and is still broadcast today across Latin America.

My very first record (78 rpm) was for Cetra records in 1951 in Turin, where I recorded the famous Sicilian classical folk song ‘Vitti ‘na Crozza’ that is considered the Hymn of Sicily.
Another hit record for me was ‘E vui durmiti ancora’ (And you are still asleep) which I recorded in 1952 for Fonit records in Milan.
This song is a beautiful and well-known classical Sicilian serenade.

In Mexico I recorded several LPs during 1955-1957 for Columbia Records that were best sellers across the Americas.

For further details I am referring to my site where one can see my complete discography at: http://www.geocities.com/miverso/Discogpy.htm

[PCB]:   What do you think of the singers that you hear today? I have heard it said that the great traditions of vocal style have not been passed down, and that the chain to the past has been broken.

[MV]:   Alas, I regret to say, in my humble opinion, that now, after Giuseppe Di Stefano, the tenors that came after him didn’t give me much emotions or thrills….  
I  feel that the tenors that made true history in the world of Opera are:
Caruso, Jan Kiepura, Miguel Fleta, Beniamino Gigli, Tito Schipa, Mario Lanza, Aureliano Pertile, Mario del Monaco, Franco Corelli and last but not least Giuseppe Di Stefano.

You are right in saying that the great traditions of vocal style have not been passed down and that the chain to the past has been broken.

This seems to have come about  mainly because of an overall state of well being… an artist can only become a real artist if he has suffered in one way or another, otherwise he wouldn’t be able to love or to transmit feelings of sufferings to his audience through his own art… In the past a lyric singer used to sing more by heart and soul, giving usually all of himself.

Then there is a lack of good and competent singing teachers as well because they should be the ones to pass down the great traditions of vocal style of the past in the first place.

And there is also another thing… in my opinion the conductors in this era have more power in deciding the vocal expressions of the singers… in the past it was more the singer who decided how to sing a phrase or how to express himself as best through his singing so there might have been more creativity and spontaneity back in that time.
Now all has to be manipulated and technically or mechanically be perfect as best as possible…, but what about spontaneity?

Among the young tenors that I heard lately my preference is tenor Roberto Alagna who I heard sing live ‘Il Trovatore’ at the Teatro Massimo of Palermo in 2002.

(Please see a photo of him which he dedicated on this occasion to me on my site at: http://www.geocities.com/miverso/Gallery8.htm)

[PCB]:   Do you have some advice for those young hopefuls who wish to make a career in the world of opera today?

[MV]:   First of all my advice is to have a strong faith and belief in yourself as a singer and to evaluate precisely what kind of voice and what possibilities the voice might have.
Then secondly to find a good teacher and not to let ruin your voice by teachers who do not know your nature and physical possibilities.
Then each teacher should personalize as much as possible his teaching techniques to each of his students because we don’t have all the same kind of voice with exactly the same capabilities…
My advice to sing as natural as possible avoiding to strain the voice too much singing only appropriate repertoire best suited to your voice which is very important!

I truly feel the voice is like a palette full of colors. You need to mix the different colors of your voice into the right tones and shades and distribute them into the various interpretations demanded by the character of the role that has to be interpreted.

Today it’s very important to be well prepared and to know the theory of music in general, especially the solfeggio, because the conductors of today are very demanding, they prefer more a musically well trained and prepared singer with an average quality of voice then someone with a splendid voice with little or no musical training.

As a last thing I want to say that for all people who would like to know more of me or my career, that they will always be welcome to visit my site at: http://www.geocities.com/miverso

[PCB]:   Thank you very much for taking the time to share some insight into the wonderful world of opera and an overview of your long career.

[MV]:   Dear Patrick, it was a pleasure to be interviewed by you for the Belgian Opera Guide. 

I thank you very much for having given me the opportunity to share some of my opinions and to have collaborated with you, hoping that you and your readers enjoy what I have told about my experiences that I have gathered during my whole artistic life.

With much humbleness and modesty,

  Yours sincerely,

Michelangelo Verso

Note of Patrick C. Byrne:

I didn't edit the interview too much, for I think Mr. Verso's typically Italian use of English adds to the charm.