Gigli was born in Recanati, in the Marche, the son of a shoe-maker and an opera buff.
In 1914, Gigli won first prize in an international singing competition in Parma. His operatic debut came on October 15, 1914 when he played Enzo in Amilcare Ponchielli's La Gioconda in Rovigo, following which he was in great demand. Gigli made many important debuts, in quick succession and always in Mefistofele: Teatro Massimo di Palermo (March 31, 1915), Teatro San Carlo di Napoli (December 26, 1915), Teatro Costanzi di Roma (December 26, 1916), La Scala (November 19, 1918), and finally the Metropolitan (November 26, 1920).
Other roles Gigli became particularly associated with included Rodolfo in Giacomo Puccini's La Bohème and the title role in Umberto Giordano's Andrea Chénier, both of which he would later record in full.
Gigli rose to prominence after the death of Italian tenor Enrico Caruso in 1921. He was often called "Caruso Secondo", though he much preferred to be known as "Gigli Primo."
Gigli left the Met in 1932, ostensibly after refusing to take a pay cut. Giulio Gatti-Casazza, the Met's General Manager at the time, was furious at his company's most popular singer; he spread numerous lies to the press, e.g., that Gigli was the only singer not to accept the pay cut. There were several others, e.g., Lily Pons and Rosa Ponselle. And it is well-documented that Gatti-Casazza gave himself a large pay increase in 1931, so that after the pay cut in '32 his salary remained the same as it had been. Furthermore, Gatti was careful to hide Gigli's counteroffer to the press, in which the singer offered to sing five or six concerts gratis, which in dollars was worth more than Gatti's imposed pay cut.
After leaving the Met, Gigli returned again to Italy, and sang in houses there, elsewhere in Europe and in South America. He was criticized for being a favorite singer of Benito Mussolini, and toward the end of World War II was able to give few performances. However he immediately returned to the stage in 1945, and the audience acclaim was greater and more clamorous than ever.
In the last few years of his life, Gigli gave concert performances more often than he appeared on stage. Before his retirement in 1955, Gigli undertook an exhausting world tour of Farewell Concerts. This impaired his health in the two years that remained to him, during which time he helped prepare his Memoirs (based primarily on an earlier Memoir, fleshed out by a series of interviews). Gigli died in Rome in 1957.
Like many artists, Gigli was a man of contradictions. On the one hand, he gave more fundraising concerts and raised more money than any other singer in history -- one thousand benefit concerts! He was deeply and genuinely devoted to Padre Pio, his confessor, to whom he donated a huge amount of money. Also, Gigli sang an unusual amount of sacred music (especially in the 1950s), atypical of a leading operatic tenor. Additionally, he was throughout his life deeply devoted to the sacred music of Don Lorenzo Perosi.
On the other hand, Gigli's relationships with women were all tainted by scandal. He lied in his memoirs, saying that he was married six months earlier than he really was. This was to conceal that his wife Costanza was pregnant before reaching the altar. Gigli had two children with Costanza, Enzo and Rina. (The latter was a famous soprano in her own right.) Later, Gigli is well-known to have had a second family with Lucia Vigarani, producing three children. Gigli is rumored to have had at least three other children with as many different women. Like Caruso, Schipa, Björling, Tagliavini, and other of history's greatest tenors, Gigli's exact number of offspring will probably never be known.
There is little disagreement that Beniamino Gigli possessed the most beautiful lyric tenor voice of his time. It was also a large voice, which—with Gigli's extraordinary technique and vocal understanding—permitted Gigli to make frequent forays into repertoire normally reserved for spinto and dramatic tenors. Andrea Chénier was Gigli's favorite role. Another role in which he was unsurpassed was that of Des Grieux in Manon Lescaut. Both of these roles are supposedly for "heavier" voices, not lyric tenors.
Gigli's heart, which he infused into every phrase he sang, made him a natural in the realm of popular song. Whereas Caruso sang every song like it was his last, Gigli made each song or aria sound like he could sing twenty more with equal ease. And he sometimes did: Gigli's stamina was such that, after an opera, a piano would be wheeled onto the stage, and Gigli would sing an improvised concert of 10, 20, sometimes 30 encores. Virtually all of these post-opera concerts were fundraisers for which Gigli did not receive a penny. Gigli sang like this for 41 years without interruption. It is likely that neither Gigli's vocal longevity nor durability will ever be surpassed.
His remarkable singing can still be appreciated in the numerous recordings he made, both acoustical and electrical, primarily for RCA Victor (formerly known as the Victor Talking Machine Company). RCA even recorded Gigli's final performance in Carnegie Hall in 1955.
O sole mio
Beniamino Gigli Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
n'aria serena doppo na tempesta!
Pe' ll'aria fresca pare gia' na festa...
Che bella cosa na jurnata 'e sole.
Ma n'atu sole
cchiu' bello, oi ne'.
'o sole mio
o sole, o sole mio
sta 'nfronte a te!
sta 'nfronte a te!
Lcene 'e llastre d'a fenesta toia;
'na lavannara canta e se ne vanta
e pe' tramente torce, spanne e canta
lcene 'e llastre d'a fenesta toia.
Ma n'atu sole
cchiu' bello, oi ne'.
'o sole mio
sta 'nfronte a te!
o sole, o sole mio
sta 'nfronte a te!
sta 'nfronte a te!
Quanno fa notte e 'o sole se ne scenne,
me vene quase 'na malincunia;
sotto 'a fenesta toia restarria
quanno fa notte e 'o sole se ne scenne.
Ma n'atu sole
cchiu' bello, oi ne'.
'o sole mio
sta 'nfronte a te!
o sole, o sole mio
sta 'nfronte a te!
sta 'nfronte a te!
The song O Sole Mio by Beniamino Gigli is a tribute to the beauty of a sunny day in Naples. The first stanza describes the beauty of the day after a storm, where the air is clear and fresh, and the day seems like a celebration. The second stanza describes the view from the singer's window, where a woman is singing and doing laundry, enjoying the beautiful day. The chorus repeats the phrase "O sole mio" which means "my own sun" and is a declaration of love to the sun, which is personified as a beautiful companion.
The third stanza is a confession of the singer's sadness when night falls and the sun is gone, and he is left feeling lonely. The repetition of the chorus reinforces the idea that the sun is a constant companion in the singer's life, and the beauty of the day is something to be treasured.
Overall, the song celebrates the beauty of life, the power of nature, and the joy of simple pleasures. It is a classic Italian song that has been enjoyed by generations around the world.
Line by Line Meaning
Che bella cosa na jurnata 'e sole,
What a beautiful thing is a sunny day,
n'aria serena doppo na tempesta!
The calm after a stormy weather!
Pe' ll'aria fresca pare gia' na festa...
In the fresh air there's already a celebration...
Che bella cosa na jurnata 'e sole.
What a beautiful thing is a sunny day.
Ma n'atu sole
But another sun
cchiu' bello, oi ne'.
Is more beautiful, don't you think?
'o sole mio
My sun
sta 'nfronte a te!
Is right in front of you!
o sole, o sole mio
Oh sun, my sun
sta 'nfronte a te!
Is right in front of you!
sta 'nfronte a te!
Is right in front of you!
Lcene 'e llastre d'a fenesta toia;
The panes of your window
'na lavannara canta e se ne vanta
A laundress sings and boasts
e pe' tramente torce, spanne e canta
As she works, twists, stretches and sings
lcene 'e llastre d'a fenesta toia.
The panes of your window.
Quanno fa notte e 'o sole se ne scenne,
When night falls and the sun goes down,
me vene quase 'na malincunia;
I feel almost melancholy;
sotto 'a fenesta toia restarria
I would linger beneath your window
quanno fa notte e 'o sole se ne scenne.
When night falls and the sun goes down.
Ma n'atu sole
But another sun
cchiu' bello, oi ne'.
Is more beautiful, don't you think?
'o sole mio
My sun
sta 'nfronte a te!
Is right in front of you!
o sole, o sole mio
Oh sun, my sun
sta 'nfronte a te!
Is right in front of you!
sta 'nfronte a te!
Is right in front of you!
Writer(s): E. di Capua, G. Chapman, Poem by G. Capuero Copyright: G. Schirmer Inc.
Contributed by Arianna P. Suggest a correction in the comments below.
Vincenzo Russo Traetto
UNA GIORNATA DI SOLE A MILANO ('O SOLE MIO)
UGO FRIGERIO è stato un grande italiano ed un grande milanese: il primo campione nella storia della marcia italiana. Ma non un " Campione cosí.... " è stato un " Campione cosí! così! cosí! ": 3 ori ed un bronzo alle Olimpiadi di Anversa (1920), Parigi (1924) e Los Angeles (1932).
Tagliava il traguardo al grido « Viva l'Italia! » non solo nelle gare all'estero ma anche in quelle disputate sul territorio italiano.
A fine carriera intraprese l'attività di imprenditore nel settore dei formaggi.
Morì a Garda, in una giornata di sole, il 7 luglio 1968 a 66 anni, ma era milanese, un grande milanese.
Nel 1920 , ad Anversa , alla premiazione della sua prima medaglia d'oro , alla presenza di RE ALBERTO del BELGIO, la banda belga che doveva eseguire l'inno italiano smarrí lo spartito della Fanfara e marcia reale d'ordinanza dell'esercito italiano , allora inno nazionale del REGNO D'ITALIA dall'unificazione del Paese (1861) fino alla caduta della monarchia sabauda (1946), composto nel 1831 dal torinese Giuseppe Gabetti proprio per i Savoia.
Il direttore si costernó e si adoperò a trarsi dall'impaccio, una situazione di forte imbarazzo che poteva portare a danni diplomatici incalcolabili. Era difficile avere la " comprensione internazionale " su una giustificazione tipo " Qualcuno ha dimenticato lo spartito... una folata di vento ha portato via i fogli della marcia reale italiana...."
Allora chiese agli orchestrali cosa conoscessero di musica italiana da poter utilizzare al momento e tutti, sottovoce, " Direttore, 'O sole mio ".
" Si! 'O sole mio di Capurro e Di Capua! Come non ci avevo pensato? " esclamò il maestro a voce viva ed animo soddisfatto.
Bisbiglió all'orecchio al violinista che gli stava vicino alla ronda di direzione, il violinista al fagottista, il fagottista al suonatore di corno, da orecchio a orecchio ormai erano pronti ad eseguire il brano per la premiazione del campione olimpionico della marcia l'italiano Ugo Frigerio.
Il campione salí sul podio più alto, fermo con mento al petto continuava a ripetere in estasi a se stesso «Viva l'Italia!» «Viva l'Italia!» «Viva l'Italia!», e alle prime note alzò gli occhi al cielo fiammingo le nubi si allinearano creando un corridoio e da lí cascó sulla sua fronte un raggio di sole.
La banda parti a memoria, senza spartito, e tutti, non solo i musicisti ma tutti-tutti gli spettatori dello stadio, prima a bocca chiusa la melodia e poi a gran voce le parole.
Frigerio si commosse e alla presenza di Alberto, re del Belgio, disse: " Che bella cosa na jurnata 'e sole!... Viva l'Italia!"
Quando ritorno in Italia, a Milano, raccontó il fatto ma i milanesi, salvo la mamma e la sorella di Frigerio, non credettero alla questione della sostituzione dell'inno nazionale con la canzone napoletana composta dal giornalista Giovanni Capurro per la nobil donna Anna Maria Vignati-Mazza detta "Nina", sposa del Senatore Giorgio Arcoleo e vincitrice a Napoli del primo concorso di bellezza della città partenopea.
Questo anche perché a Milano era difficile abbinare il sole con qualsiasi cosa. Sicuramente non ad una giornata sempre nebbia, pioggia, umidità.
A Milano, in quel periodo e parliamo degli anni venti del secolo scorso tutte le canzoncine, i racconti in osteria o i giochi tra ragazzi e, perfino, corteggiamenti tra morosi terminavano con un "E ora 'ndem a lavurá!". Capite la prospettiva?
A questa incredulità sul suo racconto ( se non si comprendeva la cosa era una medaglia a metà ) il campione olimpionico attaccava a cantare "O' Sole mio"*, ovviamente come la possono cantare i milanesi ma succedeva sempre (e qui vi è la mirabilia) che il cielo milanese si apriva è il sole diradava nebbia ed umidità. Sempre, accadeva sempre, al punto che quando, raramente, usciva il sole a Turlo, Greco, Sesto San Giovanni, Porta Venezia, Sempione, Lorenteggio i Milanesi, ma tutti i milanesi, dicevano " *Ma che bravo Ugo Frigerio a vincere la medaglia olimpionica peró è bravo anche a cantare".
A prescindere se "O sole mio" sia una canzone ucraina o napoletana Viva Milano (ora ne ha bisogno più di tutte), Viva l'Italia, Viva Ugo Frigerio
Luís Alberto Castañeda Rojas
Nítida, fuerte y al mismo tiempo tierna¡ qué voz!!!!
Lory Lory
The voice from the soul!!! Thanks for uploading it!!!
Cristina Krosl
Adoro la opera y los cantantes que encuentro aqui...epoca de oro ..me viene la nostalgia del pasado
alejandro giurdanella
que cantores. q voz. genios siempre genios
Maria Coppola
Grande emozione in tutti i sensi
talento che si troverà più
Wendy Darling
απλα τελειο Bravo !
Rasta Mon
2:06 always makes me cry. I think of my grandpa, miss him so much
pipposki49
Un voce stupenda....da brivido....
Clary Elle
Grandioso!
Alberto Battisti
EL MEJOR CANTANTE LIRICO DE TODOS LOS TIEMPOS.