The Evolution of Bass Roles in Italian Opera Companies

The question of who was the first bass to sing leading roles in an Italian opera company is a nuanced one. Historically, the figure of a bass singing in a lead role would seem almost contradictory, at least in the context of opera seria. This article will explore the journey of bass singers who gained prominence, with a focus on those who had music tailored to their unique vocal abilities, and the movements that led to their recognition.

The Potential for Bass in Leading Roles

We begin with a historical figure, Don Giacinto Zucchi, a Parmesan bass whose talent was acknowledged during his time. Correspondence from the era praised his ability to create the role of Seneca in Claudio Monteverdi’s 1643 opera L’Incoronazione di Poppea. While Zucchi was just around 23 at the time, he had already appeared in the opera by Benedetto Ferrari the previous year, in La finta savia, suggesting a level of talent that was noteworthy.

Although Seneca might not have been considered a 'leading role' by modern standards, the fact that his role was highlighted suggests that his singing was exceptional. This recognition implies that he had a unique talent that made him stand out among his peers.

Giuseppe Boschi and Antonio Montagnana: Pioneers of Bass Stardom

The transition to more prominent bass roles became evident in the 18th century. Giuseppe Boschi and Antonio Montagnana were key figures in this evolution. These two talented bass singers were capable of performing roles that required a high level of vocal dexterity and expression, despite the prevailing trend of opera being led by high voices.

Giuseppe Boschi first performed in London in 1710, creating the role of Pallas in Handel's Agrippina. His performances were widely recognized, and he quickly became a star. Boschi returned to London a decade later, participating in all 32 operas by Handel's Royal Academy of Music, including works like Flavio, Ottone, Giulio Cesare, Rodelinda, Admeto, Alessandro, and Tolomeo. While the bass parts in these operas might not be traditionally considered 'leading roles', the challenging vocal writing suggests Handel's desire to provide these parts to singers of exceptional skill.

Antonio Montagnana, a Venetian bass, appeared in London in 1731. He was a highly sought-after performer, participating in numerous revivals of operas for which Boschi had previously sung, as well as creating memorable new roles in Ezio, Sosarme, and Orlando. The role of Zoroaster in Orlando is particularly noteworthy, as his music is quite demanding and central to the resolution of the drama.

Handel and Patriotism in Opera

Edmund Herklots wrote that “and Boschi-like to be always in a rage” in reference to the flexibility of Boschi's voice in florid rage arias, subtitled “doubtless inspired by recollections of the brittle temper of Senesino”. This highlights the enthusiasm for these remarkable vocal talents.

Montagnana also performed in Handel's first oratorio season in 1732, featuring Esther. Handel adapted parts in Athalia and Deborah to fit Montagnana's voice, further emphasizing the high standard of his singing. However, Montagnana would later abandon Handel for the Opera of the Nobility in 1733, choosing to perform in Porpora's last London opera, Polifemo.

The existence of these bass singers was a remarkable shift in the prevailing norms of opera. Their contributions demonstrated the potential for bass voices to take on leading roles, thus blurring the traditional boundaries between voices and roles.

Conclusion

While the first bass to sing a leading role in an Italian opera company might be difficult to pinpoint, the evolution of bass roles is clear. Figures like Zucchi, Boschi, and Montagnana paved the way for the recognition and appreciation of bass singers in leading roles. Their unique vocal qualities and skillful performances helped to shift the paradigm, ensuring that basses could be celebrated for their distinctly powerful and emotive contributions to opera.