It stands to reason that we listen to different singers for different reasons at different times. We simply revel in the tonal splendor and magnificence of some voices. We are drawn to the vivid characterizations, sense of drama, or unique interpretations of others. And there are those whose vocalism is so impeccable that they become paragons of technical mastery, healthy production, and the Bel Canto tradition. Among this last group must certainly be included the great Italian baritone Giuseppe De Luca (1876-1950), whose singing launched my own exploration into the world of historic recordings.
At the dawning of the twentieth century, more than a dozen Italian baritones dominated the world’s stages. Competition was keen among these men—but while many of his peers were experiencing vocal decline, De Luca’s singing remained astoundingly consistent throughout a career that lasted 50 years.
De Luca made his operatic debut in 1897 as Valentin in Faust at Piacenza, and in 1902 he sang in the world premiere performance of Adriana Lecouvreur with Enrico Caruso at La Scala. He created the role of Sharpless in Madama Butterfly in 1904 at La Scala and the title role in Gianni Schicchi in 1918 at the Metropolitan Opera, where he was a leading baritone from 1915 to 1935. After performing a few Wagnerian roles early in his career, De Luca turned exclusively to roles for which his voice was ideally suited—particularly those of the Bel Canto era, Verdi, and Puccini. In 1940, he gave his final appearance at the Met as Rigoletto and he gave his farewell recital in New York in 1947, nearly 50 years to the day after his operatic debut. .
The defining characteristic of De Luca’s art was his seamless legato, a result of the unerring efficiency of his vocal technique. While his natural vocal gifts were, perhaps, not as generous as some of his contemporaries, his voice was inherently round and beautiful, consistently ringing, and perfectly produced. De Luca’s singing was devoid of the roughness that was typical of the verismo singers of the day. Instead, he chose to make his dramatic effect through intelligent and subtle musicianship, which was dominated by the noble smoothness of his style.
Recording technology in the earliest decades of the twentieth century, sensitive only to mid-level frequencies, was more sympathetic to certain voice types than to others. Baritones from this era were largely treated favorably and, as a result, we are able to experience De Luca’s elegant singing from throughout his long career.
Nimbus Records’ Prima Voce disc dedicated to De Luca (NI 7815)—comprised of remastered versions of De Luca’s recordings between 1907 and 1930—should have a central place in the library of every baritone and of anyone who appreciates great singing. “Ah! per sempre io ti perdei” exhibits the baritone’s trademark phrasing and sensitivity in central Bel Canto repertoire. De Luca was a respected Rigoletto, which is represented here in three excerpts (two with Amelita Galli-Curci), revealing an exquisitely shaped interpretation of the role. In “O Carlo, ascolta,” his sublimely lyrical approach and radiant tone are especially notable.
For the listeners looking to further immerse themselves in De Luca’s recorded legacy, the Lebendige Vergangenheit label of Vienna’s Preiser Records offers three volumes. Of particular interest on the third volume (PR89135) are lively recordings from Don Pasquale, in which De Luca’s comic deftness and charm are on full display.
