Michael Kelly (tenor)
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Michael Kelly (25 December
Dublin beginnings
Michael Kelly's father Thomas, a
Sent to Dr Burke's academy, Kelly met many "men of genius" at friends' houses during vacations. He received singing lessons from a "signor St Giorgio" at the
Among them was the male soprano
Kelly also made his stage debut in Dublin. A promoter, Pedro Martini, brought an Italian company (including Peretti) to perform comic opera at the Smock Alley Theatre. Sig. Savoy, who was to have sung the high soprano role of the Count in Piccinni's La buona figliuola, was ill, and Kelly (who still sang treble) was brought in and made a great success. However Martini failed to pay, and the distinguished cast immediately struck and dispersed. Michael Arne then had him play the role of Cymon for three nights at Crow Street Theatre, and he had a benefit performance as Master Lionel in Baldassare Galuppi's Lionel and Clarissa.[15]
Italy, 1779–1783
In May 1779, Kelly travelled to Naples where, as protégé of Sir
At Naples the male soprano
At Livorno, Kelly first met
The offer of a five-year contract from Linley for
After a benefit concert at Verona, at Treviso he met the 'greatest reputed dilettante singer in Europe', Teresa de Petris.[38] She invited Kelly to sing with her in Anfossi's new oratorio, and her consort Count Vidiman engaged him for four months, sending him first to Parma and Colorno to present himself to the Archduchess, for whom he sang and played billiards for a week.[39] He returned to Venice in October for Vidiman, where Nancy Storace was appearing in an opera of Vicente Martín y Soler.[40] When his contract was completed, through Countess Rosenberg he (and Storace) received an invitation to join an Italian company then being assembled to occupy a permanent residency at the court of Emperor Joseph II, Holy Roman Emperor at Vienna.[41]
Austria, 1783–1787
At Vienna Kelly presented himself to the Court composer
Kelly sang opposite Nancy Storace in this company. In 1785, they were performing Stephen Storace's opera Gli sposi malcontenti. After she lost her voice for a time he sang in three operas with Mmes Cortellini, Antonia Bernasconi and Laschi, and won applause humorously modelling a character on the mannerisms of da Ponte in performances witnessed by that writer. He and one Calvasi played the two Antipholus roles in Storace's Gli equivoci, based on The Comedy of Errors.[45]
Paisiello's The Barber of Seville was presented with Nancy Storace: Kelly and Mandini alternated in the role of the Count.[46] When Paisiello came to the court Kelly witnessed his meeting with Mozart. The poet Giovanni Battista Casti also arrived, and in 1784 with Paisiello produced a new opera Il re Teodoro in Venezia. The cast included Mandini, Francesco Benucci, Francesco Bussani , Laschi, Storace and Viganoni, and Kelly took the buffo role of Gaforio, which became his nickname thereafter.[47]
In each year the Italian company attended the Emperor to Luxembourg for three months.[48] In Vienna, Joseph had two operas staged for the benefit of visiting potentates, Iphigénie en Tauride and L'Alceste. Kelly played in both, being Pylades to Bernasconi's Iphigénie and the Oreste of the tenor Valentin Adamberger, in all of which they were coached by Gluck in person.[49]
In 1786, three operas were being rehearsed, one by Righini, one Salieri's La grotta di Trofonio (to a text by Casti), and one Mozart's The Marriage of Figaro. Kelly took his most famous premiere role as Don Curzio (the stuttering role), and also Don Basilio, with Storace as Susanna. He was on most friendly terms with Mozart, and was the first to hear the duet "Crudel, perche finora?" played over by Mozart while the ink was still wet. Kelly argued with Mozart, who wished him not to stutter in the concerted ensembles. Kelly insisted, threatening to walk out, and carried it off to Mozart's great satisfaction.[50]
With new offers pending for Drury Lane, Kelly had one more Luxembourg season, and then obtained a year's leave to visit home and his ailing mother.[51] Yet he remained until February 1787 at Vienna, appearing in Paisiello's La frascatana nobile ,[52] before setting off with Nancy and Stephen Storace and their mother, and Thomas Attwood, all together in a carriage for England. He and Mozart parted in tears of friendship. They stopped in Munich, Augsburg and Stuttgart, where Kelly went to the top of the spire with Ignace Pleyel. They witnessed some of the greatest theatrical artists performing in Paris, before arriving in London in mid-March.[53]
Old Drury Lane, 1787–1791
In London, Kelly and Stephen Storace met at once with
His entry to oratorio for
In summer 1788, they toured in
Kelly played
Later life
Appearing in London at Drury Lane in 1787, Kelly enjoyed great success, and thenceforth was the principal English-language tenor at that theatre. In 1793, he became acting manager of the King's Theatre, and he was in great demand at concerts.
His relationship with
In 1826, he published his entertaining Reminiscences, written with the assistance of Theodore Hook.[66] He combined his professional work with conducting a music shop and a wine shop, but with disastrous financial results. He died at Margate, aged 64.
See also
The zestful anecdotes of the Reminiscences are quoted in several articles in this encyclopedia:
- Nancy Storace - on the flamboyant virtuosity of this singer as a teenager
- Wolfgang Amadeus Mozart - his physical description of Mozart
- Mozart and dance - Mozart as a highly skilled dancer
- Haydn and Mozart - Kelly's description of a string quartet party at which Haydn and Mozart played together
- Non piu andrai on its performers at the first rehearsals of The Marriage of Figaro
Compositions
There is no reliable register of Kelly's compositions. In his Reminiscence he lists 62 works for various London theatres, which he had "composed and selected".[67] This means that he often mixed his own music with that of other composers or arranged works by others to suit his purposes. In these cases, therefore, the share of his original contribution is not at all clear and may vary a lot. In a number of cases, Kelly merely wrote the melody and "relied on professional assistants in matters of orchestration and technique."[68] It is claimed that the first Cinderella Pantomime in England was the 1804 production at Drury Lane, for which the music was by Michael Kelly.[69] An 1801 comic opera The Gypsy Prince, written in collaboration with Thomas Moore, was not successful. Some of his original operas are:
- Blue Beard, or Female Curiosity (libretto by George Colman the Younger), "Grand Dramatic Romance"; London, Theatre Royal, Drury Lane, 16 January 1798.
- Pizarro (Richard Brinsley Sheridan), musical play; London, Theatre Royal, Drury Lane, 24 May 1799.
- Love Laughs at Locksmith (George Colman the Younger), comic opera; London, Theatre Royal, Haymarket, 25 July 1803.
Kelly also wrote many songs, one of the best-known being The Woodpecker to words by Thomas Moore.
Recordings
Recordings of Kelly's music are extremely rare. They can be found on one 1971 LP and two CDs issued in 2011 and 2012.
- Michael Kelly & Mozart, performed by Sasha Abrams (S), Dan Klein (tenor), Peter Alexander (piano): Decca Ace of Diamonds SDD 273 (LP, 1971). Contains the songs: Cara son tuo così, Soffri che intraccia, The Woodpecker, Placa gli sdegni tuoi, Rui seize thee, as well as the Kelly/Mozart collaboration Grazie agl'inganni tuoi.
- Entertaining Miss Austen. Newly discovered music from Jane Austen's family collection, performed by Amanda Pitt (soprano), John Lofthouse (baritone), David Owen Norris (piano): Dutton Epoch CDLX 7271 (CD, 2011). Contains the songs: The Wife's Farewell, The Husband's Return.
- English and Scottish Romantic Songs, performed by Gudrún Ólafsdóttir (mezzo) and Francisco Javier Jáuregui (guitar): EMEC Discos E-104 (CD, 2012). Contains the song Flora McDonald in a 19th-century arrangement with guitar by C.M. Sola.
References
- H. van Thal(ed.): Solo Recital. The Reminiscences of Michael Kelly (London: Folio Society, 1972), p. 19, note.
- ^ This article includes text drawn from Encyclopædia Britannica, 1911.
- ^ This name was given by Father Dolphin, Prior of the Convent of St Dominic at Naples, cf Thal (ed.) 1972, p. 85.
- ^ H. Rosenthal and J. Warrack: Concise Oxford Dictionary of Opera (London: Oxford University Press, 1974).
- ^ Richard Graves: "The Comic Operas of Stephen Storace", in The Musical Times vol. 95 no. 1340 (October 1954), pp. 530–532.
- ^ Thal (ed.) 1972, p. 19.
- ^ van Thal, 1972 (biographical index), p. 329.
- ^ By using the word 'true', Kelly indicates that he means not what was vulgarly thought to be a portamento, i.e. a slur, but some lost idea of carrying-over on the breath from one note to another.
- ^ Thal (ed.) 1972, p. 20.
- ^ (i.e. Philip Cogan, 1750–1813, composer, harpsichordist, organist of St Patrick's Cathedral, Dublin, 1780–1806, then teacher): van Thal 1972, 338.
- ^ (i.e. Mattia Vento, 1735–1777, Neapolitan composer): Thal (ed.) 1972, p. 370.
- ^ Thal (ed.) 1972, p. 21–22.
- ^ Thal (ed.) 1972, p. 362.
- ^ Thal (ed.) 1972, p. 24–26.
- ^ Thal (ed.) 1972, p. 26–28.
- ^ Thal (ed.) 1972, pp. 29, 32–33.
- ^ Thal (ed.) 1972, p. 39–40.
- ^ Thal (ed.) 1972, p. 42–43.
- ^ Thal (ed.) 1972, p. 45.
- ^ Thal (ed.) 1972, p. 52–53.
- ^ cf. Rosenthal and Warrack, 1974.
- ^ Thal (ed.) 1972, p. 328.
- ^ Thal (ed.) 1972, p. 54–60.
- ^ Thal (ed.) 1972, p. 62.
- ^ Kelly tells the story that, arriving at Livorno from Sicily, he was as thin as a rake, with a mass of fair hair, and had not long ceased singing treble. Nancy and Stephen, whom he did not know, stood together on the Livorno Mole, and Nancy said in English to her brother, "Look at that girl dressed in boy's clothes." Kelly then astonished her by replying, also in English, "You are mistaken, Miss; I am a very proper he animal, and quite at your service!"; Thal (ed.), p. 64.
- ^ P. H. Highfill, K. A. Burnim and E. A. Langhans: A Biographical Dictionary of Actors, Actresses, Musicians, Dancers, Managers and Other Stage Personnel in London, 1660-1800, vol. 15: Tibbett to M. West (Carbondale and Edwardsville: Southern Illinois University Press, 1993), pp. 162-64 (Google).
- ^ La Baglioni was Mozart's first Rosina in La finta semplice: see K.-J. Kutsch and L. Riemens, ed. H. Rost, Grosses Sängerlexikon, 4th, enlarged edition, vol. 1 (Munich: K. G. Saur, 2003), p. 205 (Google).
- ^ Thal (ed.) 1972, p. 66–68. For Soderini see Highfill, Burnim and Langhans, Biographical Dictionary, vol. 14 (1991), p. 193.
- ^ Filippo Laschi (1739-1789), see short biography in L. Macy, The Grove Book of Opera Singers, 2nd edition (O.U.P., 2008).
- ^ Thal (ed.) 1972, p. 68–71.
- ^ Highfill, Burnim and Langhans, Biographical Dictionary, vol. 5 (1978), pp. 438–440 (Google).
- ^ a b Thal (ed.) 1972, p. 73.
- ^ Thal (ed.) 1972, pp. 74, 78.
- ^ The singer Anna Benini was the wife of Guarducci's pupil, the composer and singer Bernardo Mengozzi (1758–1800): see Highfill, Burnim and Langhans, Biographical Dictionary, vol. 10 (1984), pp. 196 ff (Google).
- ^ Thal (ed.) 1972, p. 85.
- ^ Thal (ed.) 1972, p. 87.
- ^ Thal (ed.) 1972, pp. 93–94, 96–99.
- ^ Thal (ed.) 1972, p. 103.
- ^ Thal (ed.) 1972, p. 104–107.
- ^ Thal (ed.) 1972, p. 108.
- ^ Thal (ed.) 1972, p. 110–111.
- ^ Thal (ed.) 1972, p. 112.
- ^ Thal (ed.) 1972, p. 118–121.
- ^ Thal (ed.) 1972, pp. 123, 126–127.
- ^ Thal (ed.) 1972, p. 130–131.
- ^ Thal (ed.) 1972, p. 140.
- ^ Thal (ed.) 1972, p. 131–132.
- ^ Thal (ed.) 1972, p. 134.
- ^ Thal (ed.) 1972, p. 138–140.
- ^ Thal (ed.) 1972, p. 140–142.
- ^ Thal (ed.) 1972, p. 143–144.
- ^ Thal (ed.) 1972, p. 146.
- ^ Thal (ed.) 1972, p. 150–156.
- ^ Thal (ed.) 1972, p. 156–157.
- ^ Thal (ed.), 1972, p. 158.
- ^ Thal (ed.) 1972, p. 160.
- ^ a b Thal (ed.) 1972, p. 161.
- ^ Thal (ed.) 1972, p. 162–163.
- ^ Thal (ed.) 1972, p. 163–166.
- ^ Thal (ed.) 1972, p. 166–171.
- ^ "Little Stanmore: Church | British History Online". www.british-history.ac.uk.
- ^ Thal (ed.) 1972, p. 173.
- ^ "030.106 - Spirit of My Sainted Sire. | Levy Music Collection". levysheetmusic.mse.jhu.edu.
- ^ Thal (ed.) 1972, p. 174–178.
- ^ Thal (ed.) 1972, p. 178–179.
- ^ Kelly, Michael (18 June 1826). "Reminiscences of Michael Kelly of the King's theatre, and Theatre royal, Drury lane [ed. by T.E. Hook]". Colburn – via Google Books.
- ISBN 0-19-255417-4.
- ^ Basil Walsh: "Kelly, Michael", in: The Encyclopaedia of Music in Ireland, ed. H. White & B. Boydell (Dublin: UCD Press, 2013), p. 560–1.
- ^ Russell A. Peck (John Hall Deane Professor of English at the University of Rochester) A Cinderella Bibliography (online)
Sources
- public domain: Chisholm, Hugh, ed. (1911). "Kelly, Michael". Encyclopædia Britannica. Vol. 15 (11th ed.). Cambridge University Press. p. 720. This article incorporates text from a publication now in the
External links
Media related to Michael Kelly at Wikimedia Commons