TENORE COMPLETO. Sr. Consiglio is not pushing. The phrasing is effortless and with a well placed legato. Check how he uses an easy and beautiful portamento in the last Non..Va. without breaking the musical line. He hit the acuti and expands to FFF. The audio is poor , but the voice has 18 karats. How old was Sr. Consiglio at that time?
I remember this performance well. I believe he sang this aria from I Lombardi as a "guest" in Act II of Fledermaus in a production by Opera Classics in Hackensack, NJ. I also have a tape of it. . .
Mamma Mia! Che voce! Never heard of him. Thank God I found this recording. He has to be considered one of the great tenors of all time. There are many great ones but Signor Consiglio has to be right up there.
Giovanni did what he wanted to do. He sang all over USA and Latin America and Italy before he came here. He was a free spirit. He thought a lot and had a great time while he was enjoying himself . I miss him a lot.
Tenors at the Met, one especially, used their influence to keep Consiglio out of New York. He was not a fighter so he formed his own opera company in Connecticut and sang there!
He sang greatly into his 70's but the Met had blackballed him and no other company except Vincent La Selva's would hire him. YES, he was kept out of the MET by tenors who knew he was better than them!!!!!! Not a recent story.
+Joseph Shore: What are the sources for the allegation that other major tenors succeeded in having the Met "blackball" this memorable artist? Where is the documentation found?
there are no allegations that can be written down and used in court. The things that go on in the back room are supposed to stay there. But I was close friends with many people at the Met and they all gave me the same story. It is not a strange story. It has been known to happen before...known by those who know.
Within what period of time did these friends disclose to you that this alleged "blackballing" occurred? Under which administration--Johnson, Bing, Chapin--did it take place?
Your tone comes off as a little rough and I don't like to get into arguments on youtube, but the period of time was under Bing. By the time Chapin and the others came in, Consiglio was already over in Connecticut at his little company.
You just said something tremendous that all successful singers will agree with! You have to have LUCK!!! You have to be lucky! Every time you win an audition and sang a role, there were many other people in that audition who could have done as well or better than you! But YOU got lucky. Luck and timing are two big ingredients in being successful. Consiglio was unlucky! What a pity for him and us!!!
Those of us who have written for major publishers about singers, and about the Metropolitan Opera administration, know first-hand how challenging it is to separate rumor and lore from fact. When I interviewed Giovanni Consiglio (among others) about Salmaggi, and digressed into an informal discussion of his career, he never alluded to anything about being "blackballed" from the Met. More to the point, Bing, whatever else may be said of him and his administration, neither solicited, listened to, nor made decisions about any singer based on anyone's judgment but his own. When he did solicit input (and he was obsessive-compulsive about documenting meetings, discussions, and even conversations), it was almost always from producers, or from Herman Krawitz, to whom Bing delegated the business side of the Met's operations. In the longest of three interviews I conducted with Bing, he was notably critical of the tenors who had come and gone during his administration; he disparaged DiStefano, Peerce, Bjoerling, Tucker, Bergonzi, and Pavarotti, among others. So the notion that Bing would have been influenced in any way by singers--especially by any tenor(s), singular or plural--contradicts the voluminous documentation of his administration. If you want a source who was there during the period in question, and who will verify how Bing operated, Herman Krawitz is still very active and very accessible.
My sources were Jerome Hines and Louis Quilico( later). And Bing WAS very combative with Hines and tried to force him out of the MET. Hines was close friends with Corelli from whom I got a lot of information. I never said I had "proof.' I said there were a lot of people in the Met saying these things about Consiglio. I also made it plain that if Consiglio were written off it was done at the agent level and Met Artistic Director level. Now I have refrained from giving you my credentials---as you kindly mentioned yours--because I am tired of this conversation.
I knew Jerome Hines quite well and interviewed him many times. He was always candid about his and Bing's difficulties. So was Peerce, whom Bing forced out in a notably punitive way. When I repeated verbatim to Bing what he had allegedly done to Peerce, and when I added that I had verified Peerce's allegations through a third party, Alex Alexay, who had first-hand knowledge of Bing's reasons and strategy, Bing merely smiled, and after referring to Peerce as "a good little Jew," said simply, "If that is what Mr. Peerce believes, then that is what he believes." As to Maestro Consiglio, what he told me was he was assigned a French role for which there was too little time to prepare, and that he, not the management, requested that his contract be voided. He added that in retrospect, his decision may have been "a relief" (his word) to a number of "colleagues" (which I took as his polite way of referring to other tenors at the Met) who, "maybe out of professional jealousy," were happy that he would not be on the roster. He described himself as being "sensitive," and that he could not perform at his best if he had to contend with opera-company politics. I also asked him if the comment attributed to Julius Rudel ("You Italians have a flaw") and he said yes, Rudel had made that comment after Consiglio's audition at the NYCO. Again, I'm only repeating what Giovanni Consiglio told me in an interview. He made essentially the same comments in other published interviews. My personal impression of him (for whatever that may be worth) was that of a delightful, extraordinarily knowledgeable artist and teacher. Hines told me that Consiglio had a masterful way of teaching the passaggio to young tenors, using arpeggio exercises for each vowel. Hines said he referred a number of young singers to him---which in itself is a testament to Giovanni Consiglio.
Thank you for that info, and it is harmonious with my own feelings about Consiglio, a great singer with a great voice but not a combative ego. He would not have enjoyed playing all the games to sing at the top. He was also a nice guy without a mean bone in his body. It meant more to him to stay that way than to do combat in the New York arena. But lousy decisions WERE made at the MET and all from the ego level of pettiness and smallness.
+Joseph Shore: I forgot to add what I think is a crucial comment that Maestro Consiglio made in my interview with him: he was not taken on as a client by Columbia Artists Management (CAMI), Hurok, or ICM, which would have given him a potentially lucrative concert career. On the concert platform, he could have sung the arias and Neapolitan songs that he delighted in. About Bing, it was ironic that Roberta Peters, the protege who came to the Met through Peerce, the "good little Jew" whom Bing had forced out, arranged (with Teresa Stratas) for him to be admitted to the Hebrew Home for the Aged.
Yes, but the big question is "WHY" all those big agencies didn't take him on. Did nobody have ears or were they just protecting the tenors they had from him as competition, or were they just unwilling to spend the time and money to develop a new great tenor?
TENORE COMPLETO. Sr. Consiglio is not pushing. The phrasing is effortless and with a well placed legato. Check how he uses an easy and beautiful portamento in the last Non..Va. without breaking the musical line. He hit the acuti and expands to FFF. The audio is poor , but the voice has 18 karats. How old was Sr. Consiglio at that time?
First class, finest. So under appreciated, thank you,
I remember this performance well. I believe he sang this aria from I Lombardi as a "guest" in Act II of Fledermaus in a production by Opera Classics in Hackensack, NJ. I also have a tape of it. . .
Damn - were he around today, when we really need him! Great spinto sound - loads better than Domingo any day!!!!
VECCHIA SCUOLA !!!!! SUPER BRAVO !!!!
Mamma Mia! Che voce! Never heard of him. Thank God I found this recording.
He has to be considered one of the great tenors of all time. There are many great ones but Signor Consiglio has to be right up there.
Bravissimo, fantastico tenore da me da poco scoperto grazie a YT . Questa è una delle interpretazioni migliori del brano in oggetto.
Pure gold!!!
GRANDE!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
GRANDE!!
Bravo Maestro Consiglio!!
Giovanni did what he wanted to do. He sang all over USA and Latin America and Italy before he came here. He was a free spirit. He thought a lot and had a great time while he was enjoying himself . I miss him a lot.
Bravissimo.
Beautiful!
Tenors at the Met, one especially, used their influence to keep Consiglio out of New York. He was not a fighter so he formed his own opera company in Connecticut and sang there!
He sang greatly into his 70's but the Met had blackballed him and no other company except Vincent La Selva's would hire him. YES, he was kept out of the MET by tenors who knew he was better than them!!!!!! Not a recent story.
+Joseph Shore: What are the sources for the allegation that other major tenors succeeded in having the Met "blackball" this memorable artist? Where is the documentation found?
there are no allegations that can be written down and used in court. The things that go on in the back room are supposed to stay there. But I was close friends with many people at the Met and they all gave me the same story. It is not a strange story. It has been known to happen before...known by those who know.
Within what period of time did these friends disclose to you that this alleged "blackballing" occurred? Under which administration--Johnson, Bing, Chapin--did it take place?
Your tone comes off as a little rough and I don't like to get into arguments on youtube, but the period of time was under Bing. By the time Chapin and the others came in, Consiglio was already over in Connecticut at his little company.
Domingo isn't around today. He's nearly seventy and singing baritone.
Eccellente
O_O
just amazing
He had an incredible voice. not a lirico -as carlogic1953- said. He was a true Spinto, but had no real luck.Also a very, very good singer.
You just said something tremendous that all successful singers will agree with! You have to have LUCK!!! You have to be lucky! Every time you win an audition and sang a role, there were many other people in that audition who could have done as well or better than you! But YOU got lucky. Luck and timing are two big ingredients in being successful. Consiglio was unlucky! What a pity for him and us!!!
Those of us who have written for major publishers about singers, and about the Metropolitan Opera administration, know first-hand how challenging it is to separate rumor and lore from fact. When I interviewed Giovanni Consiglio (among others) about Salmaggi, and digressed into an informal discussion of his career, he never alluded to anything about being "blackballed" from the Met. More to the point, Bing, whatever else may be said of him and his administration, neither solicited, listened to, nor made decisions about any singer based on anyone's judgment but his own. When he did solicit input (and he was obsessive-compulsive about documenting meetings, discussions, and even conversations), it was almost always from producers, or from Herman Krawitz, to whom Bing delegated the business side of the Met's operations. In the longest of three interviews I conducted with Bing, he was notably critical of the tenors who had come and gone during his administration; he disparaged DiStefano, Peerce, Bjoerling, Tucker, Bergonzi, and Pavarotti, among others. So the notion that Bing would have been influenced in any way by singers--especially by any tenor(s), singular or plural--contradicts the voluminous documentation of his administration. If you want a source who was there during the period in question, and who will verify how Bing operated, Herman Krawitz is still very active and very accessible.
My sources were Jerome Hines and Louis Quilico( later). And Bing WAS very combative with Hines and tried to force him out of the MET. Hines was close friends with Corelli from whom I got a lot of information. I never said I had "proof.' I said there were a lot of people in the Met saying these things about Consiglio. I also made it plain that if Consiglio were written off it was done at the agent level and Met Artistic Director level. Now I have refrained from giving you my credentials---as you kindly mentioned yours--because I am tired of this conversation.
I knew Jerome Hines quite well and interviewed him many times. He was always candid about his and Bing's difficulties. So was Peerce, whom Bing forced out in a notably punitive way. When I repeated verbatim to Bing what he had allegedly done to Peerce, and when I added that I had verified Peerce's allegations through a third party, Alex Alexay, who had first-hand knowledge of Bing's reasons and strategy, Bing merely smiled, and after referring to Peerce as "a good little Jew," said simply, "If that is what Mr. Peerce believes, then that is what he believes." As to Maestro Consiglio, what he told me was he was assigned a French role for which there was too little time to prepare, and that he, not the management, requested that his contract be voided. He added that in retrospect, his decision may have been "a relief" (his word) to a number of "colleagues" (which I took as his polite way of referring to other tenors at the Met) who, "maybe out of professional jealousy," were happy that he would not be on the roster. He described himself as being "sensitive," and that he could not perform at his best if he had to contend with opera-company politics. I also asked him if the comment attributed to Julius Rudel ("You Italians have a flaw") and he said yes, Rudel had made that comment after Consiglio's audition at the NYCO. Again, I'm only repeating what Giovanni Consiglio told me in an interview. He made essentially the same comments in other published interviews. My personal impression of him (for whatever that may be worth) was that of a delightful, extraordinarily knowledgeable artist and teacher. Hines told me that Consiglio had a masterful way of teaching the passaggio to young tenors, using arpeggio exercises for each vowel. Hines said he referred a number of young singers to him---which in itself is a testament to Giovanni Consiglio.
Thank you for that info, and it is harmonious with my own feelings about Consiglio, a great singer with a great voice but not a combative ego. He would not have enjoyed playing all the games to sing at the top. He was also a nice guy without a mean bone in his body. It meant more to him to stay that way than to do combat in the New York arena. But lousy decisions WERE made at the MET and all from the ego level of pettiness and smallness.
+Joseph Shore: I forgot to add what I think is a crucial comment that Maestro Consiglio made in my interview with him: he was not taken on as a client by Columbia Artists Management (CAMI), Hurok, or ICM, which would have given him a potentially lucrative concert career. On the concert platform, he could have sung the arias and Neapolitan songs that he delighted in. About Bing, it was ironic that Roberta Peters, the protege who came to the Met through Peerce, the "good little Jew" whom Bing had forced out, arranged (with Teresa Stratas) for him to be admitted to the Hebrew Home for the Aged.
Yes, but the big question is "WHY" all those big agencies didn't take him on. Did nobody have ears or were they just protecting the tenors they had from him as competition, or were they just unwilling to spend the time and money to develop a new great tenor?
please if you have a video let`s share let me know thanks enzo
BRAVO! BETTER THAN DOMINGO
Great sound but very sloppy musician.