>Carlo Zampighi

Carlo Zampighi

Picture of Carlo Zampighi with Margherita Carosio in 'Manon Lescaut'
with Margherita Carosio in Manon

Picture of Carlo Zampighi as Almaviva

Carlo Zampighi was born in Galeata (Forlì) in 1927 and died there on January 29th, 1997. Zampighi had a rather short career, but he was one of the most appreciated lirico-leggero tenors of the 50s. He was a pupil of Lamberto Bergamini. His singing was oriented by an elegant "Schipa style", to which Zampighi added a touch of youthful freshness. In my opinion, his 33 rpm LP of duets with Margherita Carosio, under Nino Sanzogno, is one of the best Italian records of the 50s.
Paolo Cavassini
It was a local priest who discovered young Carlo Zampighi's voice and encouraged him to take lessons. He studied, in his native Forlì, first with Giuliana Godoli-Focaccia, then with Anna-Maria Cavalli-Foschi; eventually, he went to Florence for more profound training at the opera studio of the Teatro Comunale.

It was Magda Olivero who arranged, in 1951, an audition with the famous impresario and agent Carlo Alberto Cappelli for Zampighi, in the intermission of a performance at the Teatro Duse in Bologna. Cappelli was so impressed that he had a piano carried onto the stage after the end of the opera, and so he made embarassed Zampighi sing for the first time in front of an audience, three arias: "E` la solita storia", "Una furtiva lagrima" and "Mi par d'udir ancora". It was such a success that Cappelli sent him to Lamberto Bergamini in Milano, who was to study L'amico Fritz with him.

In that role, Zampighi made his debut the same year in Genova at the Teatro Augustus. It was the confirmation for Cappelli that "his" tenor was well-working also in a theater, and he instantly made an exclusive 15-year-contract with him.

Those 15 years became very intense for Zampighi, but also very successful. He sang at every major Italian theater (with the sole exception of the Teatro Verdi in Trieste), and at many a provincial theater, as well. Abroad, he appeared in Cairo, Alexandria, Zürich, Madrid, Bilbao, Sevilla, Oviedo, at the Liceu in Barcelona, the Monnaie in Brussels, the Staatsoper in Berlin, the Champs-Élysées in Paris, the Stoll Theatre in London; every year from 1956 to 1959, he toured South America: Buenos Aires (Colón), La Plata, Montevideo, São Paulo, Rio de Janeiro; in the USA, he sang in New York City (open air), Dallas (Barbiere with Maria Callas), New Orleans, Cincinnati and Detroit.

After the end of the contract with Cappelli, in 1966, Zampighi slowed down considerably. He worked in the management of the Teatro Comunale in Bologna, but he also continued to sing throughout the 1970s: more often abroad than in Italy, more often in aria recitals than in stage performances.

Zampighi's repertory was small and carefully chosen; he sang tenor lead roles in: Il maestro di musica and Lo frate 'nnammurato (both by Pergolesi), Il barbiere di Siviglia, La donna del lago (Uberto), La sonnambula, L'elisir d'amore, Lucia di Lammermoor (Edgardo), Don Pasquale, Les pêcheurs de perles, Rigoletto, La traviata, Falstaff (Fenton), L'amico Fritz, Pagliacci (Beppe), Manon, Werther, Gianni Schicchi, Madama Butterfly, La guerra (by Rossellini), The turn of the screw and Giuliano de' Medici (by Rodolfo Del Corona).

Reference: Fernando Battaglia, L'arte del canto in Romagna, Bologna 1979

Carlo Zampighi sings Les pêcheurs de perles: Mi par d'udir ancora
In RA format

Carlo Zampighi sings Lucia di Lammermoor: Tu che a Dio
The choir and – unknown – bass sing a language that I don't recognize.
In RA format

Carlo Zampighi sings L'amico Fritz: Tutto tace, with Margherita Carosio
In RA format
I wish to thank Lynn Samohel for the picture (Manon).
I wish to thank Albert Scerri for the recording (Pêcheurs de perles).
I wish to thank Tom Silverbörg for the recording (Lucia).
I wish to thank Paolo Cavassini for the picture (Almaviva).

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