Giulio Gari’s reputation as an international tenor on the opera stages worldwide strikes a chord of remembrance with awe and admiration as does his nurturing of young singers during his tenure as a voice teacher at prestigious universities and in private practice. It is no wonder, therefore, that The Giulio Gari Foundation, established in 2001, by his widow, Gloria Gari, should also have as its mission statement the same purpose, “to promote and nurture young singers through competitions and grant awards". The foundation attests to Giulio Gari’s largesse, as he always encouraged young singers.
THE EMINENT TEACHER
My recollection of Maestro Gari is as a voice pupil, who aspired to become an opera singer, but who instead was able later in life to use the foundation of music to infuse melody in her books and feature writings. The eminent teacher, Giulio Gari, was patient, he was kind and he was generous with his time, but he was also a strong disciplinarian and demanded of his students only the best in vocal talent, but always with gentle persuasion. These high standards were also set by Gari for himself in his prolific and diversified musicianship that led him to become one of America’s most celebrated tenors.
A PUPIL REMEMBERS
One can only image what a privilege it was have an appointment to study at the Gari studio in his home on West Broadway, at the crossroads of music and a short distance from Lincoln Center. In his sun drenched studio in the heart of a sprawling apartment, one entered by a private elevator and waited in the apartment’s reception alcove. Listening as I did to a previous student’s rendering of an operatic aria I anxiously awaited my turn to demonstrate my vocal skills and take direction from the Master whose remarkable voice and dramatic portrayals are remembered principally through his performances with the New York City Opera and the Metropolitan Opera from 1945 to 1961.
SETTING HIGH STANDARDS
Tension mounted in this fledgling student who wondered if she would live up to the high standard set by the Master teacher, but the calm ambiance and Gari’s reassurance allowed singers to realize their full potential. When I sang an Italian aria he might ask, “Do you understand what the words mean?” This was surely a way of his directing me to infuse myself with comprehension that would reflect in the aria. Giulio Gari’s expertise as a vocal teacher was legendary. He was engaged by the Long Island Institute of Music’s voice department and he taught at Lehigh University, Curtis Institute of Music in Philadelphia and later at Temple University.
THE SUBSTITUTE TENOR
In the annals of operatic history you may wonder, “Who was Giulio Gari,” to have such legendary praise? For one thing, Gari’s oeuvre was prolific. He sang over fifty five roles including lyric and dramatic characters from Rossini to Wagner. Substituting for Tito Schipa as Almaviva in Rossini’s Barbiere di Siviglia (1938) he made his operatic debut at Rome’s Teatro Reale dell’Opera. Giulio was known to frequently substitute and always delivered superb performances.
THE NEW YORK CITY OPERA CONNECTION
The following year, when he sang the American Premiere of Gian Carlo Menotti’s Amelia Goes to the Ball, was the beginning of his long association with Maestro Laszlo Halasz, founder of the New York City Opera. Praise poured in on numerous occasions exalting his vocal talent. In 1945 he stepped on the stage of the New York City Opera as Erik in Wagner's Der Fliegender Hollander. The superlative review he received was one of many he received throughout his career. A reviewer in the New York Times wrote regarding his Rodolfo in La Boheme, “the most distinguished vocalism of the evening; he showed sensitivity and marked refinement of style, climactic and exciting.”
THE METROPOLITAN OPERA
Gari's skill and polish and his fine voice predicted a luminous future. He made his Metropolitan Opera debut (1953) singing Pinkerton to the Butterfly of the renowned Licia Albanese. Even with a 32 week schedule, Guilio's renowned musicianship enabled him to frequently substitute roles at the last minute, which made him an indispensable major headliner at the Metropolitan. The critics proclaimed "He always delivered a superb performance." Guilio's versatility, preparedness, and stamina were legendary. Attesting to his versatility, once, during the Metropolitan Opera's annual seven week tour schedule, Giulio was flown to Boston to sing his first
Don Carlo in a performance that was hailed as "sterling". He also astounded everyone when he made last minute appearances as the Duke in Rigoletto, Don Jose in Carmen, and Dimitri in Boris Godunov, all these on three successive nights. As always he delivered each performance with remarkable control of his fine voice and unusual depth of feeling. On another occasion Giulio performed both Turiddu in Cavalleria Rusticana and Canio in Pagliacci, and the same evening went on to sing Don Jose in Carmen.
THE GUILIO GARI FOUNDATION
Giulio Gari’s long and prolific career attests to the master’s vocal gift that lives on in the memory of opera aficionados. However, it also inspires The Giulio Gari Foundation that fosters the talent and promotes the careers of new and aspiring opera singers. An annual vocal competition is held regularly and grants given to those young talents who, in tribute to Giulio Gari, will endeavor to perfect their vocal talent and perform worldwide in opera houses of the future.