THE MASTER MUSICIANS

Sun (Auckland), Volume I, Issue 168, 6 October 1927, Page 16

THE MASTER MUSICIANS

GREAT SINGERS PAST & PRESENT BBfflßßfaaniflinßnßfnfln UllHUil.ilUlHMlfiilßififßi

MANUEL GARCIA. ’ V i HWSHSRI HE GARCIAS were a family of musicians who have been well characterised as “representative artists, whose power, genius, and originality have impressed a permanent trace on the -records of the methods of vocal execution and ornament.” Various church musicians of the name were eminent at tSsSaKAIiJ different times in Spain, notably Don Francisco Saverio (17311809) who was maestro de capilla at Saragossa, and who wrote an oratorio “Tobia” in 1782. He may have been related to the family of singers, the founder of which, Manuel del Popolo Vicente, was born at Sevilie, January 22, 1775. Beginning as a chorister in the cathedral at the age of six, at 17 Manuel Garcia was already known as a composer, singer., actor, and conductor. By 1805 he had established his reputation at home and his pieces—chiefly short, comic operas—were performed all over Spain. He made his debut in Paris, February 11, 1808, in Parr’s “Griselda,” singing in Italian for the first time. Within a month he had become the chief singer at that theatre. In 1809 he produced his “Poeta caluiista” originally brought out at Madrid in 1805. In 1811 he set out for Italy. At Naples Murat appointed him (1812) firs! tenor in his chapel. There he met Anzani, one of the best tenors of the old Italian school, from whose hints lie profited largely. There also, still combi oing the roles of singer and composer he produced his “llaliffo di Bagdad," which obtained an immense success. In 1815 Rossini wrote for him one of the principal roles in “Elizabetta” and in 1810 that of Almaviva. At the end of 1816 he returned from Naples to England, and thence to Paris, where he revived his “Califfo,” produced "Le Prince d’Occasion,” and sang in Catalani's troupe, where he made a great hit as Paolino in the “Matrimonio Segreto.” Annoyed by Catalani’s management, he left Paris for London, about the end of 1817. In the ensuing season he sang in the “BarOiere,” and in other operas with much eclat. In 1819 he returned to Paris, and sang in the “Barbiere,” not till then heard there. There he remained till 1823, perlortiing in “Oteila,” “Don Giovanni,” etc., and composing “La Menuiere” at the Gymnase, and three others which never reached the stage. In the spring of 1823 he reappeared in London, where he was still a most effective singer (Ebers). Here he founded his famous school of singing He sang in London again in 1824, in “Zelmira” and “Ricciardo e Zoraide.” In Die same year his “Deux Contrats” was given al: the Opera Comique. In 1825 he was in London again, bis salary having risen from £260 (1823) to £1250. He continued to gain still greater fame by teaching than by singing, and his fertility as a composer was shown by at least two Italian operas “Astuzia e Prudcnza” and “Un Avertimento.” The education of his illustrious daughter Marie, subsequently Mme. Malibran, was now completed, and under his care she made her debut. He then realised the project he had long entertained of founding an opera in New York, and sei out with that object from Liverpool, taking with him an Italian company, which included the young Crivelli as tenor, his own son Manuel and Angrisani, De Rosich, Mme. B irbieri, Mme. Garcia, and his daughter. At New York he produced no less than 11 new Italian operas in a single year. In 1827 he went to Mexico, where he brought out eight operas, all apparently new. After 18 months’ stay he went out to return with the produce of his hard toil, but the party was stopped by brigands, and he was denuded of everything, including nearly £6OOO in gold. Garcia now returned to Paris, where he devoted himself to teaching. He died June .1, 1832. Garcia was a truly extraerd nary person. His energv. resource, and accomplishments may be gathered from the foregoing brief narrative. His singing and acting were remarkable for verve and intelligence. He was a good musician and wrote with facility end effect as the list of his ir»Th chows, no less than 17 Spanish, 19 Italian, and aeven kieucb operas being credited to him.