(1.) I saw Piero Cappuccilli many times, in Chicago, and at La Scala, and in NY in concert and in concert performances. I saw him in Traviata, Ballo (where he stole the show from Domingo and Ricciarelli in London), Attila, Luisa Miller, Boccanegra, Macbeth, Otello (where he drowned out Domingo on the high A to end the “Si pel ciel”). The man had incredible top notes, and I heard him sing high Bbs in Traviata and Attila that would be the envy of any tenor!

I was present at his one Met performance, La Traviata in 1960, with Albanese and, I think, Labo. The Met tried three young and fairly unknown baritones, Cappuccilli, Colzani in Boccanegra, and Opucelli in Forza with Tebaldi & Bergonzi, which I also saw. They kept Colzani, but never re-engaged the other two. What a mistake with Cappuccilli! The Met really blew it when they didn't engage him when they had him in 1960, when he was still relatively unknown.

Piero joined the La Scala troupes when they went to Washington D.C. in 1976, where he sang the most moving Boccanegra imaginable. It was one of the great portrayals of any role I have ever seen, and magnificently sung.

I had the pleasure of meeting him and spending a few hours over lunch with him, along with his Fiesco, Ghiaurov, in the Watergate apartment of Ricciarelli and Carreras, who were also singing with the Scala tour.

Cappuccilli was a short, pleasant man, who said at the time that for him there were only three real Verdi baritones singing at the time, and that two were getting on in years. Those were Robert Merrill and Cornell MacNeil, and he admired both of these baritones very much. He absolutely loathed Sherrill Milnes (maybe because Milnes got so many recordings?), but I happened to agree with him, and said so. He only spoke Italian, but I was able to understand.

Cappuccilli was effusive in his praise of tenors of the then recent past, such as Tucker and Corelli, and told me he sang with Tucker only once, in a Trovatore in the late 60's in Italy, and he was thrilled by Tucker’s singing. He also said that Tucker enjoyed a good dirty joke!

He told me that the Met contacted him every so often, and their last contact was around 1974 (remember, this was 1976) and they offered him a few Rigoletto performances, which interested him, but first they said he had to sing a few Marcellos in Boheme, which didn't interest him. I found this hard to believe, but this is what he said.

He was a great, great baritone, with breath control to burn, and sang phrases in one breath that most singers did in two or three or more. Just listen to his Rodrigo death scene in Don Carlo to hear this amazing breath control.

I was so fortunate to see and hear this great baritone.

May he rest in peace. He gave great music and great singing to millions for over 40 years.

Ed Rosen



(2.) Piero Cappuccilli was a voice I first heard as Antonio in the Giulini recording of ‘Nozze’. He left no specific impression and the next encounter was as a young sounding Enrico in the second commercial ‘Lucia’ of Callas. I didn't particularly enthuse but thought it a good manly voice. But the best was yet to come because Cappuccilli was a singer who grew into greatness as his career developed. His best recordings show him to be a remarkable interpreter of the great Verdi roles in particular. The voice was never conventionally beautiful but it was a virile, rich instrument that he often used with passion and with great intelligence.

Unlike many I had only one opportunity to hear him live and this was when ROH visited Manchester where I saw him twice as Iago to two different Otellos. I loved the voice and the presence and also noted that he reacted differently to the contrasting Otellos of Craig and Bonisolli who had replaced an ailing Cossutta.

I also treasure (though hanging my head in shame) a performance of ‘Forza’ from Cesena during which he accepts the obvious challenge of a vocal duel with tenor Bruno Prevedi and raises the roof to the shame of Verdi purists but to the delight of the audience and myself.

I believe he is one of those rare singers whose reputation will grow as time passes. Imagine, even in 50 years time, reviewing recordings of ‘Macbeth’ or ‘Simon Boccanegra’ without mentioning Piero Cappuccilli!

I think his best was greatness indeed. What better epitaph?

Steve Bell