Franco Bonisolli

Franco Boni Olli, ( born May 25, 1937 in Rovereto, Italy, † 30 October 2003 ) was an Italian opera singer in the vocal range Tenor.

Life

Career

After vocal training with Alfredo Lattaro bonuses Olli won in 1961 the prestigious singing competition in Spoleto, where he debuted a year later as Ruggiero in Puccini's opera La Rondine. 1968 and 1969 he first made ​​his breakthrough at the Vienna State Opera, then at La Scala, and in 1971 at the Metropolitan Opera in New York.

In 1978 came at the Vienna State Opera, a scandal when he threw the sword at the dress rehearsal of the new production of the opera Il Trovatore in the role of Manrico by disapproval from the audience on the floor and left the production. His outstanding talent was paired with a non-conformist and erratic behavior on and off the stage, which also led to the significant productions were occupied with other tenors in the sequence.

Retreat and comeback

In 1990 he moved surprisingly personal reasons from the stage until he celebrated a much celebrated his comeback in March 1999. Among others, performances at the Vienna State Opera as Loris in Fedora by Umberto Giordano, as Cavaradossi in Tosca and followed as Manrico in Il Trovatore and aria evenings in Graz, Poznan, Salzburg, Bamberg, Hamburg and Munich. A 2002 established disease ended the 40 year career of this exceptional singer and led the following year to his surprisingly early death. For 2003, an elaborate opera production was planned with him in Beijing. The invitation for the role of Calaf in the opera Turandot by Giacomo Puccini was to him already.

Importance as a singer

Franco Boni Olli was one of the few tenors who possessed a really secure "high C". The Stretta of Manrico ( Il Trovatore ) was one of its luster numbers. By Verve his voice and his impetuous temperament stage his performances were always full of tension, but at the same time controversial.

In one of his last interviews bonuses Olli summed up somewhat cynically: "I worked for many years as a naive, big kid. I could not and did not want to see that the opera scene is like in connection with the music industry a machine. One machine that requires oil - I've never oiled. "