Argeo Quadri, conductor

Giacinto Prandelli was a singer, a tenor, who, besides possessing a good voice(and he certainly knew how to use it), uttered sounds that were not an end inthemselves. Those sounds gave life to words with their own meaning that Prandelli offered, with expression – he interpreted what he was singing. That, to me, has always been particularly important, within certain limits, maybe even more so thanvoice quality.

We worked together in many theatres and concert halls, and performed numerous works by Verdi, Puccini and Cilea.

I have particularly fond memories of when we put on Verdi’s Requiem Mass at theRoyal Festival Hall in London.

Now that I have done with Prandelli’s voice and powers of interpretation, I’d like  to relate something that happened between us.

We were at the Royal Theatre in Cairo, doing Tosca. We got to the end of E lucean le stelle, the aria in the third act, which was a triumph for Prandelli and the audience was clamouring for an encore.

Then, as now, I had quite a different understanding of music and everything that goes into the execution.

When the applause died down, I went on with the opera, without allowing the encore. At the end of the opera, Prandelli rushed into my dressing room and demanded angrily why I had behaved like that.

We didn’t meet again until over forty years later at the house of friends, and when I saw Prandelli there I suffered pangs of remorse over not allowing that encore, so I tried to make amends and apologised for my behaviour.