Giulio Marco Bordogni (23 January 1789 – 31 July 1856), usually called just Marco Bordogni, was an Italian operatic tenor and singing teacher of great popularity and success, whose mature career was based in Paris.Principal source: Joannes Rochut, Melodious Etudes for Trombone: Selection from the Vocalises of Marco Bordogni, Transcribed and Progressively Arranged by Joannes Rochut, in 3 Books (Carl Fischer, New York 1928).

Biography Bordogni was born in Gazzaniga, near Bergamo, Italy. He was a late exponent of that formidable generation of tenors that flourished in Bergamo between the two centuries. It originated with Giacomo David, Jesus and , and continued, in the first decades of the 19th century, with such leading figures as Andrea Nozzari, Giovanni David (Giacomo's son and pupil), Eliodoro Bianchi, Domenico Donzelli, Giovanni Battista Rubini and Bordogni himself.Salvatore Caruselli (ed), Grande enciclopedia della musica lirica, Longanesi, Roma, p 334 (article: Giacomo David). Gaetano Crivelli too can be considered an honorary member of the group, having been born in the neighbouring Brescia.

Bordogni made his operatic debut in Novara in 1808 without initially meeting with much success. In 1813 he distinguished himself as a performer of the role of Argirio in Rossini's TancrediCelletti, Rodolfo, Voce di tenore, IdeaLibri, 1989, p. 82, at the Ferrara revival with a tragic endingCasaglia. and at the inauguration of the Teatro Re in Milan, and later became very active in promoting that composer's music. He appeared in many of Rossini's operas on their first presentation in various towns and theatres, mainly performing the roles originally sung by Giovanni David. In 1825 he created the role of Conte di Libenskof in Rossini's Il viaggio a Reims.Marco Beghelli e Nicola Gallino (a cura di), Tutti i libretti di Rossini, Milan, Garzanti, 1991, pp. 741-742, . He sang for many years at the Théâtre des Italiens in Paris. He became a teacher at the Paris Conservatoire in 1823 and continued to teach there until shortly before his death, which occurred in Paris. His pupils included Juliette Borghèse and Hermine Küchenmeister-Rudersdorf.

He was the author of a published singing method and composed many sets of vocalises which remained in use for singers for a century afterwards. He was probably the most influential teacher of the English tenor Sims Reeves, who went to him in 1843:S. Reeves, The Life of Sims Reeves, Written by Himself (Simpkin, Marshall co, London 1888), p. 32. Other students include Sophie Cruvelli and Giovanni Matteo Mario.

Bordogni was awarded the Légion d'Honneur on 10 May 1839 by M. de Gasparin, at the same time that it was awarded to the Director of the Opéra Duponchel, and to the composer Hector Berlioz, who wrote that Bordogni was the best singing-master of that period.H. Berlioz, Memoirs of Hector Berlioz from 1803 to 1865 (Alfred Knopf, New York 1932), 213. His daughter Louise Bordogni sang successfully in New York City in 1834.

Town or theatre first performances of Rossini operas The following list comprises the town or theatre's first performances of Rossini operas in which Marco Bordogni appeared. From this list one can recognize the singer's considerable virtuosity, ranging between his traditional baritonal tenor roles, and the leading tenor contraltino parts written by Rossini in tragic, serio-comic and comic operas.

In addition to the Rossini roles, Bordogni also gave first performances at the Théâtre-Italien in Paër’s Agnese di Fitz-Henry (Ernesto) in 1819; in Mayr’s Medea in Corinto (Giasone) in 1823; in Mercadante’s Elisa e Claudio ossia L'amore protetto dall'amicizia (Claudio) (also in 1823); and in Vaccai’s Giulietta e Romeo (Capellio) in 1827.

RôleOpera’s title TheatreTownFirst performance’s date ArgirioTancrediTeatro Re (inauguration)Milan18 December 1813ArgirioTancrediReal Teatro San CarloNaples14 April 1818duca BertrandoL'inganno fortunato (L’inganno felice)Salle Louvois du Théâtre-ItalienParis13 May 1819NarcisoIl turco in ItaliaSalle Louvois du Théâtre-ItalienParis23 May 1820JagoOtello ossia Il moro di VeneziaSalle Louvois du Théâtre-ItalienParis5 June 1821GiannettoLa gazza ladraSalle Louvois du Théâtre-ItalienParis18 September 1821LeicesterElisabetta, regina d'InghilterraSalle Louvois du Théâtre-ItalienParis10 March 1822ArgirioTancrediSalle Louvois du Théâtre-ItalienParis23 April 1822RamiroLa Cenerentola ossia La bontà in trionfoSalle Louvois du Théâtre-ItalienParis8 June 1822OsirideMosè in EgittoSalle Louvois du Théâtre-ItalienParis20 October 1822Giacomo V-UbertoLa donna del lagoThéâtre de l'Académie Royale de MusiqueParis7 September 1824LiebenskofIl viaggio a Reims (premiere) Salle Louvois du Théâtre-ItalienParis19 June 1825IdrenoSemiramide Salle Louvois du Théâtre-ItalienParis8 December 1825AntenoreZelmiraSalle Louvois du Théâtre-ItalienParis14 March 1826AlmavivaLe barbier de Séville ou La précaution inutile (in French)Théâtre de l'Académie Royale de MusiqueParis14 January 1828

Legacy In 1928, the Melodious Études for Trombone were published in New York. These études were arranged by Joannès Rochut, then principal trombonist of the Boston Symphony Orchestra. The études had been transcribed directly from Bordogni's "Vocalises". Since then, the "Vocalises" have been transcribed for many instruments and are a standard method of study for many music students.Bruns, Robert. "Incorporating wind excerpts in the school band curriculum." Music Educators Journal 96.4 (2010): 43-47.

Notes and references

External links