(b Haskovo, 29 June 1896; d Sofia, 31 July 1978). Bulgarian singer, internationally famous as a schlager performer, nicknamed the ‘Knight of the Upper F’. As a child he was a solo singer in the church choir in the town of Stara Zagora. Later on he went to the military school in Sofia and in 1920 took professional vocal lessons. In 1923 Leshnikoff went to Berlin, where he received a scholarship at the Sternischen Konservatorium. In 1927 he was appointed at the Grosses Schauspielhaus – a review theatre – and in 1928 joined Comedian Harmonists, a newly formed male vocal sextet, to perform the first tenor part. Becoming one of the most popular groups in Europe before World War II, Comedian Harmonists developed a style, based on aspects of German schlager, bel canto opera singing, pleasing tunes influenced by traditional lyrical songs, and Afro-American-derived patterns associated with the blues, gospel, and close harmony vocal techniques. Their records were released by labels including Odeon, Electrola, Columbia, and His Master’s Voice. In ...
(b Aberdeen, Scotland, Dec 11, 1946). Scottish tenor and pedagogue. Graduating in 1969 he studied the piano and the clarinet at the Royal Scottish Academy of Music and Drama; he won a scholarship to the RCM in voice, graduating Associate of the Royal College of Music (Hons) and a Postgraduate Diploma in 1972 and 1973, respectively. In 1973 a Gulbenkian Fellowship supported vocal study with Ernst Haeflinger in Munich, followed by vocal studies with renowned English tenor Sir Peter Pears from 1973 to 1986. He has enjoyed a longtime collaboration with Peter Maxwell Davies, creating roles in The Martyrdom of St Magnus (the title role, 1977), Solstice of Light (1979), The Lighthouse (1980), Into the Labyrinth (1983), Jacobite Rising (1997), and Sea Elegy (1998). He sang and recorded first performances from Benjamin Britten’s song canon (after Britten’s death), notably including the première performance of ‘Now sleeps the crimson petal’, which was excised from ...
(b Albion, NY, Oct 23, 1928; d Ashland, OR, Aug 12, 2000). American composer and tenor. Born into a musical family, he toured as a youth, appearing both as a pianist and a boy soprano. After attending the Eastman Preparatory School (1941–4), he was a pupil of Vivian Major and William Willett at SUNY, Fredonia (BM 1950), then of Wolfgang Niederste-Schee while on a tour of military duty in Frankfurt (1950–2). During this period he gave organ and piano recitals, and was a clarinetist in the 4th Division Infantry Band. At the Eastman School (MM 1954, DMus 1958) he studied with wayne Barlow , bernard Rogers , and howard Hanson . After holding several teaching positions he was a member of the music faculty of San Francisco State University (1959–80) and a visiting professor at the University of Hawaii (1970–1). He was active for many years as a concert tenor....
[Francisco Rafael ]
(b San Antonio, TX, May 16, 1883; d New York, NY, Dec 12, 1943). American operatic tenor and recitalist of Mexican and German heritage. He was the most prominent Mexican American opera singer of his day, although perhaps to advance his career he used the Italian-sounding first name “Rafaelo,” and press reports sometimes identified him as Spanish instead of Mexican American or Mexican. Díaz attended the German-English School and the West Texas Military Academy (now Texas Military Institute) in San Antonio. He studied piano with Amalia Hander, a local music teacher, and at the Stern Conservatory in Berlin. After vocal studies with Vincenzo Sabatini in Milan, he returned to the United States and in 1911 began appearing in small roles with the Boston Grand Opera Company, quickly moving up to more prominent assignments. He accompanied the soprano Luisa Tetrazzini on a tour in 1913 and made his Metropolitan Opera debut in Massenet’s ...
(b Dublin, Ireland, Jan 19, 1846; d Rochester, NY, March 19, 1916). Tenor of Irish birth. After studying with Henry Phillips in England he moved to Italy. He made his New York debut in 1871 with the Parepa-Rosa English Opera Company, and in the mid-1870s moved permanently to the United States as a singer of opera, light opera, and oratorio. He was a founding member of the Boston Ideal Opera Company (1887). During the next ten years he became one of the most popular tenors in the country, celebrated for a number of Gilbert and Sullivan roles and for the title role in De Koven’s Robin Hood. He retired in 1896 and taught in New York, then lived briefly in California before settling in Rochester about 1912. Karl possessed a light, lyric voice and considerable personal charm; his integrity and prestige contributed significantly to the popularization of light opera in the United States....
(b Brăila, Romania, Nov 1, 1960). Romanian tenor. After graduating from the George Enescu University of Arts in Iaşi, where he studied with Visarion Huţu, he débuted as Rodolfo in La Boheme at the Iaşi lyric theatre. He has received awards in national and international competitions (Iaşi, 1976; Sofia, 1978; Francisco Viñas, 1979; Ostende, 1980) and was granted a scholarship at the Academy Santa Cecilia, Rome, where he studied with Gino Becchi. He was a soloist at the Iaşi Opera (1976–82), then first soloist of the National Opera in Bucharest (1982–97). He has toured in Italy, Spain, France, Austria, Holland, Germany, Belgium, the United Kingdom, Hungary, Korea, and Japan. His repertory includes works by Verdi, Puccini, Donizetti, Mascagni, Bellini, Mozart, Delibes, Saint-Saëns, Bizet, Offenbach, Tchaikovsky, Richard Strauss, Enescu, Constantin Nottara, Marţian Negrea, Porumbescu, Anatol Vieru, Mihail Jora, Doru Popovici, Cornel Trăilescu, and Nicolae Bretan...
(b Bucharest, Romania, Dec 25, 1907; d Tirana, Albania, March 17, 1979). Tenor, actor, and stage director. He studied at the Mimodramatic High School of Bucharest and then in Rome, with M. Polverosi. In Romania, he had a successful career as an actor and singer. He was in the movie industry in the 1920s and early 30s, playing in more than 15 films, including Ciocoii (1931), Iancu Jianu, (1928), and Maiorul Mura (1927). In the meantime, he worked in the Alhambra theater as a singer and stage director of operettas. In the mid 1930s, Antoniu moved to Albania and pursued a singing career. He made only one cinematic appearance in 1943, for the short film documentary Takimi në liqen (‘Meeting at the Lake’). He was a dramatic tenor, with a baritone quality in his voice. This led him to explore a large range of operatic characters from both the Western opera repertory and the Albanian one. He performed and recorded Albanian traditional or folk songs, handled with an operatic vocal posture and arranged with western harmonies. His son, Gjergj Antoniu was a prominent Albanian cellist....
(b Brockton, MA, USA, Nov 4, 1925). Albanian tenor and pedagogue. Born in the large Albanian immigrant colony in New England (USA), Athanasi returned as a child to his parents’ hometown of Korça, where he participated in its vibrant prewar choral, theatre, and sports scenes. During World War II, he performed with resistance groups singing patriotic and partisan songs and, in 1948, he was selected as a soloist in the newly formed National Army Ensemble by director Gaqo Avrazi. Athanasi was among a handful of young men in this ensemble to receive a scholarship to study in the Soviet Union, and following the completion of his degree in vocal performance at the Moscow State Conservatory in 1958, he was appointed soloist at Tirana’s Theatre of Opera and Ballet. He performed leading roles in premières of Albanian operas, and was active as a recitalist, performing a broad range of art music works from the Western European and Albanian repertories as well as arranged folk songs into the 1980s. In ...
Trena Jordanoska and Dimitrije Bužarovski
(b Glišikj, Kavadarci, Republic of Macedonia, 1918; d Skopje Sept 25, 1976). Macedonian folk singer. His lyric tenor voice, with its distinctive timbre (simultaneously light and warm), was recognized soon after his first performance in Radio Skopje in 1948, and it was established as a model for the male vocal repertory of traditional Macedonian music. He sang softly, with richness, in a narrow piano dynamic spectrum, and with delicate use of vibrato and ornaments. He became an idol among Macedonian audiences worldwide and has been adored by Balkan audiences as well, taking tours in Europe, Canada, USA, and Australia.
His recorded repertory of over 230 songs (without variants) is published on dozens of LPs and cassettes. 359 recorded songs have been digitized and stored in the Buzarovski Archive (BuzAr) in 2005. His diverse repertory was carefully selected with a refined musical taste, mainly from urban traditional songs of all genres—love, elegiac, patriotic, and humorous songs. His voice was well suited to ensemble performance, resulting in duets with V. Ilieva, A. Sarievski, Mirvet Belovska, Dragica Nikolova, Blagoj Petrov Karagjule, Violeta Tomovska, E. Redžepova, Anka Gieva, and Atina Apostolova....
revised by Kimberly Greene
(b London, England, March 20, 1774; d London, England, Feb 17, 1856). English tenor and composer. He made his debut as a boy soprano at Covent Garden in 1787. He sang in Europe after his voice broke, returning to England at the turn of the century, where he established a reputation as one of the country’s leading tenors. He traveled to the United States in the autumn of 1840 and, at the age of 68, “surpassed all expectations” with the “pathos, sublimity, power, and wonderful execution” of his voice. He appeared first in concert, with a selection of tenor and baritone airs from opera and oratorio mixed with popular ballads. His American operatic debut, at the Park Theatre in New York, was in Stephen Storace’s The Siege of Belgrade, and he went on to re-create many of his famous roles, in Charles Horn’s The Devil’s Bridge, Thomas Dibdin’s The Cabinet, and Weber’s Der Freischütz. At one point he astonished audiences and critics by appearing in seven demanding roles in less than two weeks....