Franco Lo Giudice

Franco Lo Giudice, the third of twelve children, was born March 14th, 1893 in Paternò. In the early twentieth century, while attending primary school, he was passionate about opera listening to records of Enrico Caruso.

Upon recommendation of maestro Antonio Catania in 1911, Lo Giudice went to study singing at the San Pietro Majella conservatory in Naples with maestro Benjamin Carelli. In 1913, he returned to Sicily and continued his studies in Catania with maestro Matteo Adernò.

In 1914, his operatic debut took place while he was a soldier in the Italian army. An impresario named Borboni managed to sign Lo Giudice for Pagliacci (Beppe) at the Teatro Biondo in Palermo – the singer got 5 Lire, his officers free tickets.

After the war he remained in Milan where his agent was located. One day, his agent greeted him at the office exclaiming, Here is Alfredo. But my name is Franco, replied Lo Giudice. However, his agent's words were addressed towards the others present, particularly towards the impresario of the Politeama in Livorno, maestro Dell'Acqua. Dell'Acqua asked whether he had ever sung the role. Yes, replied the bold liar, in Palermo. His real debut was at the Politeama Livorno in November 1919 with an initial commitment for eight nights, with additional three nights on top, while receiving in homage a free suit by the best tailor in town for an agreed two hundred lire per night.

Thus began his ascent to fame in Italian and foreign opera houses, with the most influential singers of the moment, such as Rosa Raisa, Viglione Borghese, Carmelo Maugeri, Tancredi Pasero, Gilda Dalla Rizza, Toti Dal Monte, Bianca Scacciati, Carmen Melis, Maria Laurenti, Lina Bruna Rasa, Ebe Stignani, Elvira Casazza, Mafalda Favero, Maria Caniglia, Iva Pacetti, Gina Cigna.

With his lirico-spinto voice, Lo Giudice had a thirty years brilliant career with more than 60 operas in his repertoire, and many world premieres, collecting awards, honors, flattering judgments by critics and enthusiastic approval by the public.

After Livorno, again in 1919, he sang at the Dal Verme (La fanciulla del West) and between 1920 and 1922, Lo Giudice had a memorable first season in Trieste (Boris Godunov), at the Verdi in Padua (Madama Butterfly), at the Malibran in Venice (Ruy Blas), at the Balbo in Turin (La fanciulla del West), at the Giglio in Lucca (Lodoletta), at the San Carlo (Wally, Andrea Chénier, Cavalleria rusticana, Boris Godunov), and at the Teatro Costanzi (Andrea Chénier).

Also in 1922, he made his debut at the Amphitheater Cangi in Catania with Cavalleria rusticana. In 1923, he sang at the Adriano in Rome (Loreley, La fanciulla del West, roles so congenial to his voice).

In a performance of a Puccini opera, in Rome, Puccini heard him and was so impressed as to extend, through the manager, his compliments to Lo Giudice, apologizing for not being able to meet him the same night as he had to leave urgently. On his return, Puccini was pleased to meet him and they were planning something together. However, Puccini died soon after in Brussels.

In 1924, Lo Giudice met Riccardo Zandonai for the first time at the Municipale in Piacenza, where Lo Giudice was hired to sing three performances of Giulietta e Romeo: the beginning of a happy and successful collaboration.

On February 19th, Zandonai conducted his work and called him for a private rehearsal where Zandonai wanted to discuss peculiar points that he wanted to be carried out during the performance. In the evening, a flawless execution is greeted by an ovation. Still in 1924, Zandonai presented the work with Lo Giudice at the Grande in Brescia, at the Teatro Regio in Turin, at the Massimo Bellini in Catania, at the Politeama Fiorentino, and at the Petruzzelli in Bari. Zandonai, preparing I cavalieri di Ekebù, invited Lo Giuduce to his home in Pesaro, from 19 June to 6 July 1924, to study with him the new work, and also to make him learn his Conchita.

Arturo Toscanini was rarely willing to accept the works of contemporary composers. However, I cavalieri di Ekebù convinced him for the originality of the subject, the inspiration of the beautiful human drama, the romance of a love story full of strong feelings of passion, and the characterization of dissolute characters. The appreciation of Toscanini for Zandonai was also evident when the managers of Casa Ricordi recommended him to conclude the unfinished Turandot. The negotiations, however, were closed by the veto of Puccini's son Antonio.

Toscanini himself conducts the premiere of I cavalieri di Ekebù at La Scala. Zandonai offered Lo Giuduce an autographed picture First and great interpreter of Giosta in I cavalieri di Ekebù.

At La Scala, Lo Giudice, at the height of technical perfection, was also chosen to sing La Wally; he sang La cena delle beffe and a reprise of I cavalieri di Ekebù (season 1925/26), L'amore dei tre re (December 1926), Turandot (1930), La fanciulla del West (1930); in 1931 Nerone by Boito; and in 1932 La notte di Zoraima by Montemezzi.

Lo Giudice's intense artistic activity is confirmed by thrilling performances at the Teatro Comunale in Bologna in 1925 (La cena delle beffe), in 1926 at the Teatro Regio in Turin (La cena delle beffe), at the Politeama Fiorentino (Madame Sans-Gène) and at the Arena di Verona (Nerone), in 1927 at the Teatro Comunale in Bologna (Conchita), at the Regio in Parma (Turandot) and at the San Carlo (Nerone).

On February 4th, 1928, Lo Giuduce sang in another memorable world premiere: Giuliano by Zandonai at the San Carlo. The soprano Maria Laurenti remembered: Maestro Zandonai asked me if I wanted to be the first Reginella in his new opera, Giuliano, next to the great tenor Franco Lo Giudice, matchless interpreter of the works of Zandonai. I accepted enthusiastically with deep gratitude.

The chronicle of the time reported a great success of this memorable performance:
Maria Laurenti won a big success in the role of Reginella, the whole sprinkled with lyricism, a gentle tone, purity of sound, freshness of feeling of a lyric soprano voice that caresses the ear, and the technical perfection of her singing. Lo Giudice has confirmed his reputation of a great dramatic tenor and sensitive artist. It is unlikely that another tenor in this role filled with heroism, passion and mystical compunction can surpass him. His ringing voice, the plasticity of his phrasing, the volume of his voice produces a warmth resulting in a maximum of effectiveness. He is an ideal Giuliano. (Saverio Procida in Il Mezzogiorno, 5/6 February 1928)

In the inaugural season of Costanzi in Rome, he sang Nerone with the great baritone Carmelo Maugeri, and was the first interpreter of Dafni by Mulè. He also sang Giuliano.

In 1928, he sings in Mantua, at the Malibran in Venice, at the Augusteo in Rome (Les béatitudes), Bergamo, Varese, Treviso (Dejanice), Bologna and Modena.

In 1935, to celebrate the centenary of Bellini, Lo Giudice sang in I Capuleti e i Montecchi and Norma in Catania, I Capuleti e i Montecchi at the Carlo Felice in Genoa, Norma at the Teatro Regio in Turin. He had great success in Norma at the Massimo Bellini with Gina Cigna, skillful and evocative soprano.

Further memorable performances in 1936 in Turandot at the San Carlo, in Il piccolo Marat at Lirico in Milan, and in Verdi's Requiem.

In the following years, Lo Giudice sang among other works: Turandot, La Wally, Andrea Chénier, La fanciulla del West.

With Andrea Chénier, Lo Giudice closed his career in Florence in December 1944. His career covered the period during and between the two wars.

His Italian career can be summarized as follows:

1923: Teatro Adriano, Rome: Loreley and Fanciulla del West (which earned him compliments by Puccini)
1924: Teatro Comunale, Piacenza: Giulietta e Romeo by Zandonai, which earned him compliments by Zandonai, this time. They became close friends. Joint performances of the same opera followed, still in 1924, in Brescia, Torino, Catania and Bari.
Augusteo, Rome: Verdi's Requiem
1925: 7 March, La Scala, Milan: world premiere of Zandonai's I cavalieri di Ekebù, with Lo Giudice, Elvira Casazza, Maria Luisa Fanelli, Benvenuto Franci, and Toscanini conducting
Lo Giudice would return to La Scala in 1926, 1930, 1931 and 1932, and sing there in La Wally, La cena delle beffe, Turandot, Nerone, L'amore dei tre re, and La notte di Zoraima (the two latter by Italo Montemezzi)
1926: Politeama, Florence: Madame Sans-Gêne (by Giordano)
1927: Teatro Comunale, Bologna: Conchita (by his friend Zandonai)
1928: 4 February, Teatro San Carlo, Naples: world premiere of Giuliano, again by Zandonai, with Lo Giudice and Maria Laurenti
Teatro Reale dell'Opera, Rome: Dafni (by Mulè, with Carmelo Maugeri)
Augusteo, Rome: Les béautitudes (by Franck)
Treviso: Dejanice (by Catalani)
1934: Teatro Massimo, Palermo: Galatea (by Savasta)
1935: Teatro Bellini, Catania: I Capuleti e i Montecchi and Norma
1936: Teatro Lirico, Milano: Il piccolo Marat (by Mascagni)
Torino: Verdi's Requiem
1937: Teatro Massimo, Palermo: Vespri siciliani

In 1939, he played a leading role in the musical film Troppo tardi t'ho conosciuta.

Outside Italy, Lo Giudice sang at the Municipal in Rio de Janeiro (Turandot, Aida), Santiago de Chile (Aida, Turandot, Nerone, Boris Godunov, Salome, Cavalleria rusticana, La traviata), Nice (La cena delle Beffe with Maugeri), Royal Opera House in Budapest (La traviata, Tosca, Pagliacci), and at Covent Garden (Madama Butterfly).

From 1952 to 1961, Lo Giudice taught singing at the Conservatorio Bellini in Catania at the invitation by the president of the conservatory.

In 1950, he married Rosetta Brusadelli (a daughter Stella was born in 1955) in Milan, where he built a splendid palace in Via San Gallo.
Salvatore D. Randazzo and Bruno Cagnoli

Franco Lo Giudice sings

Loreley: Infranto ogni altro vincolo

Franco Lo Giudice sings

La fanciulla del West: Or son sei mesi

Discography

Fonotipia, Milano, 11 July 1911
xPh4752	  Graf von Luxemburg: Amor, raggio di sol			X92801
	  with Emma Vecla & Gino Vannutelli

Pathé acoustic, 1922/23
86828  	  Andrea Chénier: Colpito qui m'avete        			10364
86829  	  Andrea Chénier: E volli pien d'amore        			10364
86830  	  La fanciulla del West: Or son sei mesi     			10365
86831  	  Loreley: Infranto ogni altro vincolo       			10365
86832  	  Lodoletta: Ah ritrovarla                   			10366
86833  	  Il piccolo Marat: Comprendi quello che ho fatto		12589
       	  with Anna Sassone-Soster
86834  	  Il piccolo Marat: Avrai nella mia mamma      			12589
       	  with Anna Sassone-Soster
86849  	  Il piccolo Marat: Ah se tu m'ami           			10366
86850  	  Pagliacci: No Pagliaccio non son           			10367
86851  	  Il trovatore: Deserto sulla terra          			10367

Grammofono, Milano, 11 December 1924
CK1806-1  Nerone: Queste ad un lido fatal  	     			2-052271, DB819

Grammofono, Milano, 13 December 1924
CK1809-2  Nerone: O come vieni a errar               			2-052272, DB820
CK1810-2  Nerone: Scendi scendi            	     			2-052273, DB820

Grammofono (La Voce del Padrone), Milano, 3 to 12 September 1929
CM-1056	  Messa da Requiem (Verdi), complete recording with		D 1751-1760
to	  Maria Luisa Fanelli (s), Irene Minghini-Cattaneo (ms), Ezio
1078	  Pinza (bs). Orchestra & chorus of La Scala, Carlo Sabajno

Columbia Electric 1939
WB9720    Oggi lo so (Redi) *                    			GQ7214
WB9721    Come le rose (Lama) *    	            			GQ7214
WB9723    Amore, amor (Redi) *  	               			GQ7215
WB9722    La canzone del cuore (Redi) *     	   			GQ7215	
WB2072    Luna sul mar *                              			OQ2072
WB5390    Sei tu l'amor *                             			OQ2072
WB5444    Cantani ancor *                             			OQ2071
WB5445    Dora *                                      			OQ2071
* from film: "Troppo tardi t'ho conosciuta"

I wish to thank Juan Dzazópulos E. for the new discography. One addition from Gesellschaft für historische Tonträger, Wien.

Many thanks to Anton Bieber for the Loreley and Fanciulla recordings plus label scans.

Reference: Cagnoli & Randazzo: Il tenore Franco Lo Giudice nel centenario della nascita di Riccardo Zandonai, International Ediemme, 1984.

Reference for the chronological information Roberto Marcocci's website