100 Singers - PIERO DE PALMA

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• published: 27 Dec 2013
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Piero de Palma, Tenor (~1924-2013) Giacomo Puccini: MADAMA BUTTERFLY Scenes from Act I With Carlo Bergonzi, Tenor (1924-2014) Rolando Panerai, Baritone (*1924) Recorded 1966 My personal opinion: With this last posting for now, I would like to remember one of the most recorded tenor in history who died on April 5, 2013 in Milan, presumably at the age of almost 90. Very little is known about life and origin of Piero de Palma, called by his admirers 'Il Principe dei Comprimari', the prince of the comprimarios (from the Italian 'con primario', which means 'with the primary'). The craft of the comprimario singers in supporting or small roles is indispensable for any opera house. Italy produced many great 'comprimari', for instance Alessio de Paolis (*1893), Adelio Zagonara (*1909), Angelo Mercuriali (*1909), Mario Carlin (*1915), Renato Ercolani (*1920) or Ernesto Gavazzi (*1941). Not to forget some exponents from Austria such as Ferry Gruber (*1926) and Heinz Zednik (*1940) and from France, the magnificent Michel Sénéchal (*1927). Swiss born Hugues Cuénod (*1902) was a unique comprimario and character tenor who died at the age of 108! Also Welsh Robert Tear (*1939) was much more than just a pleasant guest in supportings parts. Willy Hofmann (*1909 in Frankfurt) was the chameleon among 'buffo' tenors with a versatility spanning opera, operetta, popular and folk-songs. However, because of his engagements first in Italian opera recordings, later in international productions, Piero de Palma became the most famous of all. Between 1951 (beginning with Spoletta in Tebaldi's first studio TOSCA) and 1992 (again as Spoletta, this time under Muti with Carol Vaness as Tosca), de Palma participated in more than 150 (!) recordings (an omnipresence surpassed only by Placido Domingo), working with legendary singers from Tebaldi and Callas to Freni and Caballé, from Gigli, Del Monaco, Björling and Di Stefano to Domingo, Carreras and Pavarotti. Many of his signature roles he recorded several times: Spoletta in TOSCA (7), Goro in MADAMA BUTTERFLY (4), Pong (6) and Pang (2) in TURANDOT, Gastone in LA TRAVIATA (4) and Borsa (3) in RIGOLETTO, to name a few - not including numerous live documents. His voice was a small lyric tenor without specific qualities. The timbre was neither attractive nor unappealing. The character of the voice came into effect only by concise articulation and intensified expression (in contrast to, say, Zednik, Sénéchal or Hofmann, whose timbre was pleasing by nature). As an interpreter, de Palma was indifferent, almost monotonous (if compared with the picturesque sound shaping of Adelio Zagonara as Goro next to Gigli in BUTTERFLY or as Pong in the first complete TURANDOT under Franco Ghione, recorded 1938). An excellent ensemble singer and of high musical self-assurance, Piero de Palma was chosen many times, perhaps because his colorless voice did not distract too much from the protagonists. On stage he was a good and, if necessary, funny actor - as you can see in the FALSTAFF video (1992) with de Palma as Dr. Caius - the only role he ever sang at the Metropolitan Opera... De Palma began in the early 1940s as a chorister, the first soloist role was 1945 Beppe in PAGLIACCI. Three years later he was a RAI radio singer, soon later first engagements to Italian stages followed. In 1952 he sang the at the 'Rome Opera' (as Rodolfo in GUGLIEMO TELL). In succession he participated in several first performances of modern operas. After further obligations in Florence and Bologna, de Palma debuted at the 'Scala Milano' as Pong, a role he performed during his very long career more than 200 times. Other highlights in his repertory were Mozart's Don Basilio in NOZZE, Normanno in Donizetti's LUCIA (next to Callas), the spy in Giordano's ANDREA CHÉNIER (on records opposite Corelli), the simpleton (once a showpiece of Ivan Kozlovsky) in BORIS GODUNOV, and Malcolm in Verdi's MACBETH. In 1982, at last, de Palma moved up the ladder to become (after many years as the cook Pong) finally the Emperor in Karajan's TURANDOT recording. As an artist, Piero de Palma was highly appreciated and sought after, from the man behind the mask as good as nothing is known. Maybe he confirmed with his restraint the proposition of English art critic John Ruskin (1819-1900): "An artist has to serve society, but he also should stay away from it."