| Marco Bordogni | |
| Birth Name: | Giulio Marco Bordogni |
| Birth Date: | 23 January 1789 |
| Birth Place: | Gazzaniga, Italy |
| Death Place: | Paris, France |
| Occupation: |
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Giulio Marco Bordogni (23 January 1789 – 31 July 1856), usually called just Marco Bordogni, was an Italian operatic tenor and singing teacher of great popularity and success, whose mature career was based in Paris.[1]
Bordogni was born in Gazzaniga, near Bergamo, Italy. He was a late exponent of that formidable generation of tenors that flourished in Bergamo between the two centuries. It originated with Giacomo David, Jesus and, and continued, in the first decades of the 19th century, with such leading figures as Andrea Nozzari, Giovanni David (Giacomo's son and pupil), Eliodoro Bianchi, Domenico Donzelli, Giovanni Battista Rubini and Bordogni himself.[2] Gaetano Crivelli too can be considered an honorary member of the group, having been born in the neighbouring Brescia.
Bordogni made his operatic debut in Novara in 1808 without initially meeting with much success. In 1813 he distinguished himself as a performer of the role of Argirio in Rossini's Tancredi[3] at the Ferrara revival with a tragic ending[4] and at the inauguration of the Teatro Re in Milan, and later became very active in promoting that composer's music. He appeared in many of Rossini's operas on their first presentation in various towns and theatres, mainly performing the roles originally sung by Giovanni David. In 1825 he created the role of Conte di Libenskof in Rossini's Il viaggio a Reims.[5] He sang for many years at the Théâtre des Italiens in Paris. He became a teacher at the Paris Conservatoire in 1823 and continued to teach there until shortly before his death, which occurred in Paris. His pupils included Juliette Borghèse[6] and Hermine Küchenmeister-Rudersdorf.[7]
He was the author of a published singing method and composed many sets of vocalises which remained in use for singers for a century afterwards. He was probably the most influential teacher of the English tenor Sims Reeves, who went to him in 1843:[8] Other students include Sophie Cruvelli and Giovanni Matteo Mario.
Bordogni was awarded the Légion d'Honneur on 10 May 1839 by M. de Gasparin, at the same time that it was awarded to the Director of the Opéra Duponchel, and to the composer Hector Berlioz, who wrote that Bordogni was the best singing-master of that period.[9] His daughter Louise Bordogni sang successfully in New York City in 1834.
The following list comprises the town or theatre's first performances of Rossini operas in which Marco Bordogni appeared. From this list one can recognize the singer's considerable virtuosity, ranging between his traditional baritonal tenor roles, and the leading tenor contraltino parts written by Rossini in tragic, serio-comic and comic operas.
In addition to the Rossini roles, Bordogni also gave first performances at the Théâtre-Italien in Paër’s Agnese di Fitz-Henry (Ernesto) in 1819; in Mayr’s Medea in Corinto (Giasone) in 1823; in Mercadante’s Elisa e Claudio ossia L'amore protetto dall'amicizia (Claudio) (also in 1823); and in Vaccai’s Giulietta e Romeo (Capellio) in 1827.
| Rôle | Opera’s title | Theatre | Town | First performance’s date | |
|---|---|---|---|---|---|
| Argirio | Tancredi | Teatro Re (inauguration) | Milan | 18 December 1813 | |
| Argirio | Tancredi | Real Teatro San Carlo | Naples | 14 April 1818 | |
| duca Bertrando | L'inganno fortunato (L’inganno felice) | Salle Louvois du Théâtre-Italien | Paris | 13 May 1819 | |
| Narciso | Il turco in Italia | Salle Louvois du Théâtre-Italien | Paris | 23 May 1820 | |
| Jago | Otello ossia Il moro di Venezia | Salle Louvois du Théâtre-Italien | Paris | 5 June 1821 | |
| Giannetto | La gazza ladra | Salle Louvois du Théâtre-Italien | Paris | 18 September 1821 | |
| Leicester | Elisabetta, regina d'Inghilterra | Salle Louvois du Théâtre-Italien | Paris | 10 March 1822 | |
| Argirio | Tancredi | Salle Louvois du Théâtre-Italien | Paris | 23 April 1822 | |
| Ramiro | La Cenerentola ossia La bontà in trionfo | Salle Louvois du Théâtre-Italien | Paris | 8 June 1822 | |
| Osiride | Mosè in Egitto | Salle Louvois du Théâtre-Italien | Paris | 20 October 1822 | |
| Giacomo V-Uberto | La donna del lago | Théâtre de l'Académie Royale de Musique | Paris | 7 September 1824 | |
| Liebenskof | Il viaggio a Reims (premiere) | Salle Louvois du Théâtre-Italien | Paris | 19 June 1825 | |
| Idreno | Semiramide | Salle Louvois du Théâtre-Italien | Paris | 8 December 1825 | |
| Antenore | Zelmira | Salle Louvois du Théâtre-Italien | Paris | 14 March 1826 | |
| Almaviva | Le barbier de Séville ou La précaution inutile (in French) | Théâtre de l'Académie Royale de Musique | Paris | 14 January 1828 |
In 1928, the Melodious Études for Trombone were published in New York. These études were arranged by Joannès Rochut, then principal trombonist of the Boston Symphony Orchestra. The études had been transcribed directly from Bordogni's "Vocalises". Since then, the "Vocalises" have been transcribed for many instruments and are a standard method of study for many music students.[10]