Manuel García

Background

García was born in Seville, Spain, on 21 January 1775.

Education

He became a chorister at the cathedral of Seville, and studied music under the best masters of that city.

Career

At seventeen he made his debut on the stage at Cadiz, in an operetta, in which were included songs of his own composition. Soon afterwards he appeared at Madrid in the twofold capacity of singer and composer. His reputation being established, he proceeded to Paris, where he appeared for the first time, in 1808, in Paer's opera Griselda. Here also he was received with great applause, his style of singing being especially appreciated. This he further improved by careful study of the Italian method in Italy itself, where he continued his successes.

His opera II Califo di Bagdad was favourably received at Naples in 1812, but his chief successes were again due to his perfection as a vocalist. His opera La Morte di Tasso was produced in 1821 in Paris, where it was followed in 1823 by his II Fazzoletto. In 1824 he went to London, and thence proceeded to America (1825) with a company of artistes, amongst whom were his son Manoel and his daughter Maria, better known under her subsequent name of Malibran. In New York was produced his opera La Figlia dell' aria in 1827. He extended his artistic tour as far as Mexico, and was on the point of returning to Europe in order to retire from public life when he was robbed of his well-earned wealth by brigands on his way to Vera Cruz.

Settled again in Paris in 1829, he soon retired from the stage, and devoted himself exclusively to teaching. He died in Paris on the 2nd of June 1832. His method of teaching was famous, and some of the most celebrated singers of the early part of the century were amongst his pupils. He also wrote an excellent book on the art of singing called Metodo di canto, of which the essence was subsequently incorporated by his son Manoel in his admirable Traitb complct de I'art du chant (1847). His operas have not survived their day. He wrote nearly forty in all, but with the exception of those quoted, and El Poeta calculisla, produced when he was thirty, none are remarkable.

Personality

Despite his range, he cannot be regarded as a tenore contraltino. He had, for instance, in his repertoire the role of Lindoro in L'italiana in Algeri, but, when he had to confront "the extremely high tessitura and the mainly syllabic writing of [his entrance aria] 'Languir per una bella', he transposed the aria down a minor third, performing it in C major instead of E flat". García was also able to master falsetto vocal phonation to such a point that, in a tonadilla of his, El poeta calculista, he could perform a duet with himself, where he sang both the tenor and the soprano parts.

Quotes from others about the person

• According to James Radomski, "García's dynamic perfectionism left its impact on three continents and his legacy, in the hands of his children, was carried into the 20th century".

Interests

• Music & Bands

  His reputation being established, he proceeded to Paris, where he appeared for the first time, in 1808, in Paer's opera Griselda.
  
  He also wrote an excellent book on the art of singing called Metodo di canto, of which the essence was subsequently incorporated by his son Manoel in his admirable Traitb complct de I'art du chant (1847).

Connections

His elder daughter was the celebrated mezzo-soprano Maria Malibran, and his second daughter was Pauline Viardot, a musician of consequence and, as a singer, one of "the most brilliant dramatic stars" of her time. His son, Manuel Patricio Rodríguez García, after being a second-rate baritone, became a world-famous vocal pedagogue, "the leading theoretical writer of Rossini vocal school".

Daughter:

Maria Malibran

Daughter:

Pauline Viardot

Son:

Manuel Patricio Rodríguez García

References

• Manuel García (1775-1832): Chronicle of the Life of a bel canto Tenor at the Dawn of Romanticism