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Giorgio Tozzi
Giorgio Tozzi
Giorgio Tozzi
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Giorgio Tozzi (January 8, 1923 – May 30, 2011) was an American operatic bass. He was associated with the Metropolitan Opera for many years and sang principal bass roles in nearly every major opera house worldwide.

Key Information

Career

[edit]
Giorgio Tozzi in Medea, Teatro La Fenice, Venice.

Tozzi was born George John Tozzi in Chicago, Illinois.[1] He studied at DePaul University with Rosa Raisa, Giacomo Rimini and John Daggett Howell. He later studied singing in New York City with Beverley Peck Johnson.[2] He made his professional debut in the Broadway production of Britten's The Rape of Lucretia in 1948 as Tarquinius. His signature roles included Figaro in Mozart's The Marriage of Figaro, Philip II in Verdi's Don Carlos, Hans Sachs in Wagner's Die Meistersinger von Nürnberg, and Méphistophélès in Gounod's Faust.[3]

In 1957 he portrayed the title role in a nationally broadcast performance of Mussorgsky's Boris Godunov with the NBC Opera Theatre.[4]

In 1958, he created the role of The Doctor in Samuel Barber's Vanessa. In July 1958, Tozzi also recorded an album alongside Dame Julie Andrews in the operetta Rose Marie. The album was conducted by Lehman Engel, with the New Symphony Orchestra of London. Tozzi was the recipient of three Grammy Awards: in 1960 the Grammy Award for Best Classical Performance, Operatic or Choral for The Marriage of Figaro with Erich Leinsdorf; in 1961 the Grammy Award for Best Opera Recording for Puccini's Turandot, with Erich Leinsdorf; and in 1963 the Grammy Award for Best Opera Recording for Sir Georg Solti's recording of Verdi's Aida (with Leontyne Price and Jon Vickers). Tozzi also sang the bass part in the recording of Sir Thomas Beecham's version of Handel's Messiah for RCA Victor in 1959.

After dubbing the singing voice for the character of Emile de Becque (portrayed by Rossano Brazzi) in the 1958 film version of South Pacific, Tozzi spent many years playing the role of de Becque himself in various revivals and road tours of the show, including one at Lincoln Center in the late 1960s. In a return to live national television in 1964, he collaborated with the conductor Alfredo Antonini in the role of Herod in CBS Television's adaptation of Berlioz's oratorio L'enfance du Christ. In 1980, Tozzi earned a Tony Award nomination for Best Leading Actor in a Musical for his work as Tony in The Most Happy Fella.[5][6]

Tozzi was a professor at the Juilliard School, Brigham Young University, and Indiana University. He served as Distinguished Professor of Voice at Indiana University's Jacobs School of Music from 1991 until he retired in 2006.[7]

Tozzi also acted on television and appeared on several TV shows in the 1970s and 1980s, including The Odd Couple, Baretta, Kojak, and Knight Rider.[8]

In 1997, Tozzi published a novel, The Golem of the Golden West.[9]

Personal life

[edit]

Tozzi was twice married. He first married Catherine Dieringer, who died in 1963; in 1967 he married Monte Amundsen, a singer, with whom he had a son and a daughter.[10]

Tozzi died on May 30, 2011, in Bloomington, Indiana, aged 88, of a heart attack.[11][12]

Partial filmography

[edit]
  • South Pacific (1958) – Emile De Becque (singing voice)
  • Die Meistersinger von Nürnberg (1971) – Hans Sachs
  • Shamus (1973) – Dottore

References

[edit]
[edit]
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Giorgio Tozzi

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Giorgio Tozzi (January 8, 1923 – May 30, 2011) was an American operatic bass celebrated for his versatile and enduring career at the , where he performed 528 times in 38 roles across 34 operas over 21 seasons from 1955 to 1975. Born George John Tozzi in , he initially pursued studies in biology at before discovering his vocal talent as a teenager and switching to voice training. He studied with renowned teachers including Rosa Raisa, Giacomo Rimini, and John Daggett Howell in , and later with Giulio Lorandi in after . Tozzi began his professional career as a under the name George Tozzi, making his debut in 1948 as Tarquinius in Benjamin Britten's at the Ziegfeld Theater in New York. After transitioning to bass during his studies, he adopted the Italianized name Giorgio Tozzi and achieved early success with his debut at in 1953 as Gellner in Alfredo Catalani's . His debut followed in 1955 as Alvise in Amilcare Ponchielli's La Gioconda, marking the start of a prolific tenure that included his final performance in 1975 as Colline in Giacomo Puccini's . Among his most acclaimed roles were Philip II in Giuseppe Verdi's , Boris in Modest Mussorgsky's , Figaro in Wolfgang Amadeus Mozart's Le Nozze di Figaro, Ramfis in Verdi's , and Don Basilio in Gioachino Rossini's Il Barbiere di Siviglia; he also created the role of the Doctor in the 1958 Met premiere of Samuel Barber's Vanessa. Tozzi appeared at other prestigious venues, including the , , and , showcasing a broad repertoire from Mozart and Verdi to Wagner's in . Beyond opera, Tozzi diversified into musical theater and film, dubbing the singing voice for Rossano Brazzi in the 1958 film adaptation of Rodgers and Hammerstein's South Pacific. He earned a Tony Award nomination for his portrayal of Tony in the 1979 Broadway revival of Frank Loesser's The Most Happy Fella and made guest appearances on television series such as The Odd Couple, Baretta, Kojak, and Knight Rider. Tozzi won three Grammy Awards for his contributions to recordings: Le Nozze di Figaro (1959), Turandot (1960), and Aida (1962). Later in his career, he transitioned to education, serving on the faculty of The Juilliard School and joining Indiana University's Jacobs School of Music in 1991 as a distinguished professor of voice, from which he retired in 2006 as professor emeritus. Tozzi died of a heart attack in Bloomington, Indiana, at the age of 88.

Early life and education

Childhood and family

Giorgio Tozzi was born George John Tozzi on January 8, 1923, in , , to Italian immigrant parents Enrico Tozzi and Anna Buontempi Tozzi. His father worked as a in the working-class neighborhoods of the city, where the family was part of Chicago's vibrant Italian-American community. This heritage instilled a strong sense of Italian cultural identity from an early age, though Tozzi later embraced it fully by adopting the name Giorgio professionally. Growing up in this environment, Tozzi developed an initial interest in and during his high school years, which led him to enroll at to pursue those studies. He also began exploring music early on, starting vocal lessons at the age of 13 and performing in school productions. These formative experiences in a household shaped by immigrant traditions laid the groundwork for his later pivot toward the arts. Tozzi's early path was disrupted by World War II, during which he served in the U.S. Army, interrupting his university education. After his service in , he returned to to refocus on his developing musical interests.

Vocal training

Giorgio Tozzi enrolled at in initially intending to major in , but he soon shifted his focus to music and began formal vocal studies. There, he trained under prominent instructors including the Rosa Raisa, the Giacomo Rimini, and John Daggett Howell, who helped develop his foundational technique and stage presence. Following his studies at DePaul, Tozzi pursued private lessons in with voice teacher Beverley Peck Johnson, refining his skills in a more intensive environment. Initially classified as a upon entering professional vocal training after service, he encountered challenges in expanding his range and tonal depth, learning essential techniques for breath control, resonance, and phrasing that emphasized mechanical precision over emotional excess. These methods prepared him for a gradual vocal maturation, though his full transition to bass occurred later during advanced studies abroad. Tozzi's early non-professional singing experiences began in his teens with amateur performances in , providing initial opportunities to apply his training and build confidence before formal engagements.

Operatic career

Debut and early roles

Tozzi's professional debut occurred on December 29, 1948, when he performed as George Tozzi in the role of Tarquinius in Benjamin Britten's at New York City's Ziegfeld Theatre. This Broadway production represented the opera's first professional mounting in the United States and showcased Tozzi's emerging baritonal voice in a dramatic supporting role within Britten's chamber opera. The engagement lasted through January 15, 1949, providing Tozzi with initial exposure in a high-profile theatrical setting. In 1951, Tozzi adopted the stage name Giorgio Tozzi, a change prompted by RCA Victor's publicity department to emphasize his Italian ancestry and better suit the operatic milieu. This transition coincided with his shift toward a full-time operatic career, as his voice deepened into a bass following further studies abroad. Early engagements in the included performances with regional American companies such as the Opera—where he debuted that year as Colline in Puccini's La Bohème—and the Chicago Lyric Opera, allowing him to hone his craft in live productions. Tozzi's initial repertoire emphasized supporting bass parts in Italian and French operas, including roles like Colline and figures in works by Puccini, , and Gounod, which served as foundational steps toward more prominent characterizations. These performances built his technical command and stage presence, focusing on lyrical depth and dramatic nuance rather than star billing, while establishing connections within the U.S. scene.

Metropolitan Opera years

Giorgio Tozzi made his debut at the on March 9, 1955, portraying Alvise Badoero in Amilcare Ponchielli's La Gioconda, a role that showcased his commanding presence and rich bass from the outset. This performance marked the beginning of a significant chapter in his career, earning praise for his vocal security and dramatic insight in a production featuring Zinka Milanov and Kurt Baum. Tozzi's tenure with the spanned from 1955 to 1975, during which he performed 528 times in 38 roles across 34 operas, establishing himself as a pillar of the company's bass repertory. His engagements encompassed regular New York seasons, national tours that extended the company's reach, and several live recordings, including notable broadcasts of and . He frequently collaborated with esteemed conductors such as , who led his early appearances in 1955, and , under whom he performed in in 1957, contributing to the era's high artistic standards. By the early 1970s, Tozzi began a gradual reduction in his stage performances at the Met, influenced by his growing commitments to vocal teaching at the , which allowed him to balance performing with mentorship. His final appearance came on April 12, 1975, as Colline in Puccini's , closing a two-decade legacy of reliability and versatility at the house.

Signature roles and international performances

Giorgio Tozzi's signature roles showcased his versatile bass voice across major operatic traditions, including Figaro in Mozart's Le nozze di Figaro, Filippo II in Verdi's Don Carlo, in Wagner's , and Méphistophélès in Gounod's . These portrayals highlighted his commanding stage presence and vocal depth, particularly in dramatic and authoritative characters that demanded both lyrical finesse and dramatic intensity. Tozzi also created the role of the Doctor in the world premiere of Samuel Barber's Vanessa at the on January 15, 1958, under , bringing a nuanced to the enigmatic figure in this Pulitzer Prize-winning American opera. Tozzi's international career expanded rapidly after his European debut at Milan's Teatro Nuovo in 1950 as Rodolfo in Bellini's , followed by his La Scala debut in 1953 as Gellner in Catalani's . He performed at House, , notably as Daland in Wagner's in a 1962 production conducted by Antal Doráti, alongside George London and Leonie Rysanek. At the Vienna State Opera, Tozzi sang principal roles through 1975, including Figaro in Mozart's Le nozze di Figaro in a recording with the under . His engagements at the included reprising the Doctor in Vanessa in 1958, Jacopo Fiesco in Verdi's in 1961, and Figaro in Le nozze di Figaro in 1966. Tozzi toured extensively in and performed in major houses across as part of his global schedule, contributing to his reputation in nearly every prominent opera venue worldwide. Tozzi's repertoire encompassed over 60 roles spanning Italian, German, French, and Russian s, demonstrating his adaptability from lyricism to Wagnerian heft and Mussorgskian intensity, as seen in his portrayal of .

Other professional activities

Teaching career

Tozzi began his teaching career while still active as a performer at the , joining the voice faculty at the of Music in the late 1950s and continuing through the 1960s. Later, in the 1970s, he taught briefly at , where he focused on vocal training for students. His extensive experience, including signature bass roles, directly informed his pedagogical approach, emphasizing practical application of technique to dramatic performance. From 1991 to 2006, Tozzi served as a professor of voice at University's , retiring as Distinguished Professor Emeritus after 15 years of service. During his tenure, he established the Giorgio Tozzi Scholarship, an endowment supporting bass students pursuing advanced vocal studies at the school. His style prioritized individualized instruction tailored to each singer's physical and emotional needs, fostering empathy and independence while stressing core elements of vocal technique, repertoire selection, and for large venues. Tozzi conducted masterclasses worldwide, such as those at in 1986—where he advised on internalizing accompaniment and projecting dramatic intent—and in 1985, guiding young singers toward self-reliant artistry. Among his notable students at were Kyle Ketelsen and bass John Paul Huckle, both of whom advanced to prominent international careers. After retirement, Tozzi continued guest teaching and vocal coaching sporadically until health issues limited his activities in the late 2000s.

Film and television work

Tozzi provided the singing voice for the character Emile de Becque, portrayed by , in the 1958 film adaptation of Rodgers and Hammerstein's South Pacific, directed by . His vocal performance included key songs such as "" and "This Nearly Was Mine," contributing to the film's musical authenticity. In 1971, Tozzi appeared on-screen as in the filmed Die Meistersinger von Nürnberg, a production directed by Leopold Lindtberg and filmed from a staging, conducted by Leopold Ludwig. He also took a non-singing role as the enigmatic Dottore in the 1973 crime thriller Shamus, directed by and starring , marking one of his rare ventures into mainstream cinema outside . On television, Tozzi made guest appearances in several 1970s series, leveraging his operatic presence for dramatic effect. He portrayed the imposing Big Boss in the 1974 episode "Our Fathers" of The Odd Couple, opposite and . In 1976, he played the vengeful Anselmo in the Kojak episode "A Wind from Corsica," a role that highlighted his commanding screen presence amid the series' gritty New York setting. Tozzi also featured in opera broadcasts, including the 1978 NBC production of Gian Carlo Menotti's Amahl and the Night Visitors, where he sang the role of King Melchior. His Metropolitan Opera tenure extended to televised performances, such as live relays under the Live from the Met banner, showcasing roles like Ramphis in Verdi's . Tozzi's recordings in film soundtracks and opera albums formed a significant part of his media legacy, earning critical acclaim and awards. Beyond South Pacific, his discography included Grammy-winning opera recordings: the 1960 RCA Victor release of Mozart's The Marriage of Figaro (conducted by ), the 1959 RCA Victor recording of Puccini's Turandot (with , , , and conducted by Leinsdorf), and the 1962 RCA Victor Aida (featuring , , Rita Gorr, , and conducted by ). These albums highlighted his rich bass in major Verdi and Puccini roles, with highlights extending to musical theater compilations and complete opera sets that bridged his stage and studio work. In 1997, Tozzi ventured into literature with the novel The Golem of the Golden West, published by Vantage Press, which wove operatic motifs into a fictional exploring identity and in . This work reflected his multifaceted career, blending themes from his professional life with creative storytelling.

Personal life

Marriages and family

Giorgio Tozzi was first married to singer Catherine Dieringer in 1954; she died in 1963, and the couple had no children. In 1967, he married soprano Monte Amundsen, with whom he had two children: son Eric Tozzi and daughter Jennifer Tozzi Hauser. Amundsen died in 2011. The family settled in Bloomington, Indiana, where Tozzi balanced his professional commitments with family life. Tozzi's second marriage provided personal support during career transitions, including his move to Bloomington to teach at . His children pursued private lives away from the public eye. He was survived by three grandchildren. Beyond his operatic career, Tozzi engaged in writing as an avocation, publishing the novel The Golem of the Golden West in 1997, which explored themes of identity and history.

Death and legacy

Giorgio Tozzi died on May 30, 2011, in Bloomington, Indiana, at the age of 88, following a heart attack. His funeral was held on June 4, 2011, in Bloomington, drawing tributes from the opera community, including a statement from the Metropolitan Opera describing him as one of its most versatile principal artists. Throughout his career, Tozzi received three for his contributions to recordings: in 1959 for The Marriage of Figaro conducted by , in 1960 for Puccini's Turandot conducted by , and in 1962 for Verdi's conducted by . In 1980, he earned a Tony Award nomination for in a Musical for his portrayal of Tony in the Broadway revival of Frank Loesser's The Most Happy Fella. He was also honored with lifetime achievement recognitions, including Indiana University's University Honors for his distinguished service as a leading at the over two decades, where he performed 528 times in 38 roles, and the establishment of the Giorgio Tozzi Scholarship at the to support bass and graduate students in . Tozzi's legacy endures through his influence on subsequent generations of bass singers, particularly as a professor at institutions like , where he shaped vocal technique and repertoire choices for emerging artists. Critics praised his versatile career, which bridged with musical theater and film dubbing, such as providing the singing voice for in the 1958 film South Pacific, demonstrating a rare adaptability that expanded the bass role's presence in popular media. Posthumously, his recordings continue to be reissued and streamed widely; notable releases include live performances of in 2020, La Gioconda in 2021, and in 2022, maintaining his impact on opera audiences as of 2025. A memorial tribute concert was held at in 2012 to celebrate his contributions.

References

  1. https://www.nytimes.com/2011/06/02/arts/music/giorgio-tozzi-esteemed-bass-at-the-met-dies-at-88.html
  2. https://jussibjorlingsociety.org/advisory-board-giorgio-tozzi
  3. https://www.npr.org/sections/deceptivecadence/2011/06/01/136854475/bass-giorgio-tozzi-dies-at-88
  4. https://www.findagrave.com/memorial/70717924/giorgio-tozzi
  5. https://www.telegraph.co.uk/news/obituaries/culture-obituaries/music-obituaries/8575890/Giorgio-Tozzi.html
  6. https://www.washingtonpost.com/local/obituaries/giorgio-tozzi-operatic-bass-who-dabbled-in-musical-theater-dies-at-88/2011/06/02/AGNqSYHH_story.html
  7. https://operawire.com/artist-profile-american-bass-giorgio-tozzis-diverse-career/
  8. http://www.bruceduffie.com/tozzi.html
  9. https://www.nytimes.com/2001/01/22/arts/beverley-peck-johnson-96-voice-teacher.html
  10. https://www.ibdb.com/broadway-production/the-rape-of-lucretia-2053
  11. https://www.nytimes.com/1960/04/10/archives/higher-career-in-lower-range.html
  12. https://www.naxos.com/Bio/Person/Giorgio_Tozzi/40609
  13. https://classical.music.apple.com/gb/artist/363084
  14. https://vocalwisdom.com/giorgio-tozzi/
  15. https://playbill.com/article/giorgio-tozzi-tony-nominated-opera-star-dies-at-88-com-179709
  16. https://www.classicstoday.com/review/review-13425/
  17. https://www.wqxr.org/story/11931-barbers-emvanessaem
  18. https://www.highdeftapetransfers.ca/products/wagner-the-flying-dutchman-dorati-orchestra-chorus-of-the-royal-opera-house-covent-garden
  19. https://www.discogs.com/master/1137664-Mozart-Giorgio-Tozzi-Roberta-Peters-Lisa-Della-Casa-George-London-2-Rosalind-Elias-Fernando-Corena-V
  20. https://www.salzburgerfestspiele.at/en/p/vanessa-1958
  21. https://www.salzburgerfestspiele.at/en/p/simone-boccanegra-1961
  22. https://uhaweb.sites.iu.edu/awards/honoree/1148.html
  23. https://www.dignitymemorial.com/obituaries/bloomington-in/giorgio-tozzi-4694164
  24. https://music.indiana.edu/giving/scholarships/scholarships-tozzi.html
  25. https://www.latimes.com/archives/la-xpm-1986-10-23-ca-6937-story.html
  26. https://www.latimes.com/archives/la-xpm-1985-05-28-ca-16444-story.html
  27. https://operawarhorses.com/2010/12/20/50-year-anniversaries-simon-boccanegra-with-tito-gobbi-giorgio-tozzi-october-6-1960/
  28. https://www.pacificsymphony.org/storage/program_notes_pdf/pacificsymphony/1647725252pdf_21-22_Verdis_Otello.pdf
  29. https://www.imdb.com/title/tt0345642/fullcredits
  30. https://www.imdb.com/title/tt0664263/fullcredits
  31. https://books.google.com/books/about/The_Golem_of_the_Golden_West.html?id=S44aAQAAMAAJ
  32. https://www.dignitymemorial.com/obituaries/tampa-fl/monte-tozzi-4932891
  33. https://query.nytimes.com/gst/fullpage.html?res=9906E3DE153AF937A35755C0A9679D8B63
  34. https://music.amazon.com/artists/B000QKCLMY/giorgio-tozzi
  35. https://www.heraldtimesonline.com/story/entertainment/2012/01/08/ius-musical-season-a-real-celebratio/47584977/
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