Giovanni Martinelli

Martinelli remains a legend of stamina and longevity in the opera world, particularly for a heroic tenor, a type of voice not always associated with longevity. He made his opera debut in 1908 and sang his last performance in 1967. His voice was not, by contemporary accounts, as huge as that of most heroic tenors, but he had such strong focus and projection that he more than compensated for this perceived shortfall. Particularly at the Met, Martinelli was considered Caruso's successor in the more dramatic roles, as Gigli was in the more lyrical ones. Martinelli had a strong sense of legato phrasing, powerful breath control, and a distinctive timbre, although some listeners found it overly metallic. Martinelli made more use of rubato than what would be permitted in post-1970s practice, but unlike most heroic tenors of any era, he generally sang, rather than slurred, grace notes.

The eldest of 14 children (which may well have been a driving force behind developing such a strong voice!), Martinelli sang in the church choir and played the clarinet. When Martinelli was 17 and serving in the military, his powerful voice drew the attention of an officer who arranged for him to study with Maestro Mandolini, a noted teacher in Milan. Martinelli's opera debut in 1908 was as the messenger in Aida