Fajoli Franco Biography

He was born on May 4 of the year in the Argentine city of San Migel de Tukuman, in a family of Italian emigrants. The hobby of music began with classes in the piano class. You can call this a turning point in my life: for the first time being on stage with an orchestra and real opera performers, I managed to get a very important artistic experience. My first mentor was the owner of a beautiful soprano.

Under her leadership, I studied the technique of Belcanto and the Italian school of singing. Then in Buenos Aires I managed to become the first counteratradist adopted at the University of Opera at the Colon Theater or the Columbus Theater. The baritone was engaged in me, who was well versed in Belcanto. As you can see, the beginning of my education in those years was not directly related to baroque music, to a greater extent belonged to the Italian opera.

Of course, as a counterattack, I sang a lot of baroque things, but the repertoire was not limited to them. ” In the year, the young artist won the Bertelsmann International Singing Competition “New Voices”, as a result he was noticed by the musical producers of the largest opera theaters in the world. Franco’s career went uphill - in the year he successfully performed the main male party of the opera of Handel Julius Caesar on the stage of the Zurich opera Theater, he took part in the Salzburg Trinity Festival in the year, and conquered the picky American public in the main party of the Cavalley Opera Opera Opera Opera Opera.

Theater. Then Fajoli was awarded the prestigious Franco Abbeati Prize as the best vocalist. In the year, at the Salzburg summer festival, Franco once again surprised the audience, demonstrating his entire incredible range during the execution of the Androniko party of Handel Tamerlan. Russian fans waited for the arrival of his beloved singer in the year: he spoke brilliantly in St.

Petersburg as part of the Earlymusic festival with arias from the operas of Nicolas Porpapor, accompanied by the Academia Montis Regalis ensemble under the direction of Alessandro de Marca. In February, a counterattacent acted in Moscow at the IV independent festival “Opera Apriori”, accompanied by the Musica Viva orchestra under the direction of Maxim Emelyanychev.

They say that the “living” execution of Fajoli cannot be compared with the best record - everyone who visited these performances confirm this truth. In addition to a marvelous voice, everyone who met Fajoli personally note his simplicity and modesty, liveliness and charm, and, on the whole, unique charisma, thanks to which the singer begs the hall even before he takes the first note.

The enormous performance of Fajoli and his powerful intelligence, combined with natural data, make him a star not in words, but in practice. In between performances on the best scenes of the world, Fajoli manages and study with colleagues, and record magnificent albums, including with rare old music. He collaborates with Deutche Gramophone and other large recording companies.

According to the singer, it is the Mezzo-soprano that corresponds to the counteratrador; As for the term “Falzet”, Fajoli prefers to use the term “head voice” instead. It comes from the Italian Falso - that is, "fake, fake." And today, in most cases, this word indicates the head register of the male singing voice. Now let's look into the history of singing: in the 19th century, the middle register of female voices was also called the same word.

That is, all sounds that are not related to the breast were called falsetitis - not only in men, but also in women. Manuel Garcia-son his father was a great tenor, his sisters-Maria Malibra and Polina Viardot, outstanding singers of the 19th century in his "School of Singing" subdivided the singer’s voice into three register: the chest, fold and the head register. He attributed the tones of colloquial speech in women to the breast register.

He called the medium tones of the voice. And to the head register, I ranked the extreme upper sounds of the range. This word - “folder” - contains positive and negative connotations.

Nowadays, as a rule, it no longer carries anything “false”, artificial, fictional. Now this is the name of the vocal register, which contains all the harmonics - from the "fake" it has become real. In order to avoid confusion in the concepts, I prefer the definition of a “head voice” to the word “folder”. I use this voice, like any contrasting. For example, in the time of Handel in the Italian opera, castrates performed - Italian singers, subjected to a brutal operation in childhood to preserve a high boyish timbre.

But at the same time, we meet mention of counteratradists, or falsetists - call it as you like. And the difference between these two types of male votes was not only the integrity of the seed ducts, but also in the repertoire. When Handel composed in the Italian style, he hired for the representations of castrates-Italians. But in the English oratorios, a counteratrador came out on the stage, which also existed!

Isn't it interesting?I think that even today it is necessary to distinguish between different schools of singing. It seems remarkable to me that in our time the counteratrador does not look at one at all, each has its own manner. This, in my opinion, grows out of the difference in schools to which they belong. I call myself a counteratradist so that it is clear that I am a man singing a “head voice”.

My vocal range corresponds to the register of the mezzo-soprano. And I belong to the Italian school of singing, which is also called Bel Canto. Fajoli himself treats them wary, preferring "made with the mind of the production." In the foreground, according to him, there should be history and music, but the scenery and special effects only set off the main thing. Reviving ancient music, Fajoli nevertheless quite skeptically looks at the possibility of its one hundred percent recovery - in his opinion, this is almost impossible, and we can only guess about its former depth and greatness.

Franco classifies himself to omnivorous music lovers - depending on the situation and mood, the singer chooses the music of both professionals and young beginner artists. However, the favorite pastime for him remains listening to the great samples of Belcanto. Be that as it may, the divine voice of Franco Fajoli, according to leading opera critics, is already the property of world culture and art.

We wish him many years and creative success to the joy of all connoisseurs of true musical treasures.