See also:

• COUNT (Lat. comes, gen. comitis, Fr. comte, Ital. conte, Span. conde)

COUNT OF See also:

• CANDIA

CANDIA GIUSEPPE See also:

• COUNT OF CANDIA GIUSEPPE MARIO (1810-1883)

MARIO (1810-1883)  , See also:

• ITALIAN

Italian See also:

• SINGER, SIMEON (1846-1906)

singer, the most famous See also:

• TENOR (through Fr. and It. from Lat. tenor, holding on, course, sense of a law, tone)

tenor of the 19th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century, son of See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

General di See also:

• CANDIA

Candia, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at Cagliari in 1810 . His career as a singer was the result of accidental circumstances . While serving as an officer in the Sardinian See also:

• ARMY
• ARMY (from Fr. armee, Lat. armata)

army he was imprisoned at Cagliari for some trifling offence . When his See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period of confinement was over, he resigned his See also:

• COMMISSION (from Lat. commissio, committere)

commission . His resignation was refused, and he fled to See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris . There his success as an See also:

• AMATEUR (Lat. amator, lover)

amateur vocalist produced an offer of an engagement at the See also:

• OPERA (Italian for " work ")

Opera . He studied singing for two years under M . Ponchard and Signor Bordogni, and made his debut in 1838 as the See also:

• HERO (Gr. open)
• HERO, THE YOUNGER

hero of See also:

• MEYERBEER, GIACOMO (1791-1863)

Meyerbeer's See also:

• ROBERT
• ROBERT (1275—1343)
• ROBERT, HUBERT (1753-1808)
• ROBERT, LOUIS LEOPOLD (1794-1835)

Robert le Diable . His success was immediate and See also:

• COMPLETE

complete, but he did not stay See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long at the Opera . In 1839 he joined the See also:

• COMPANY

company of the See also:

• THEATRE (BEarpov, " a place for seeing," from OeacOae)

Theatre Italien, which then included See also:

• MALIBRAN, MARIE

Malibran, Sontag, Persiani and See also:

• GRISI, GIULIA (1811-1869)

Grisi; Rubini, Tamburini and See also:

• LABLACHE, LUIGI (1794–1858)

Lablache . His first See also:

• APPEARANCE (from Lat. apparere, to appear)

appearance here was made in the See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character of Nemorino in See also:

• DONIZETTI, GAETANO (1798-1848)

Donizetti's Elisir d'Amore . He sang in See also:

• LONDON

London for the first See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time in the same See also:

• YEAR

year .

His success in Italian opera far surpassed that which he had won in See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French, and in a See also:

• SHORT, FRANCIS JOB (1857– )

short time he acquired a See also:

• EUROPEAN

European reputation . He had a handsome See also:

• FACE (from Lat. fades, derived either from facere, to make, or from a root fa-, meaning " appear "; cf. Gr. cbatvstv)

face and a graceful figure, and his See also:

• VOICE (Fr. voix, from Lat. vox)

voice, though less powerful than that of Rubini or that of Tamberlik, had a velvety softness and richness which have never been equalled . Experience gave him ease as an actor, but he never excelled in tragic parts . He was an ideal See also:

• STAGE (Fr. 6/age; from Lat. stare, to stand)

stage See also:

• LOVER, SAMUEL (1797-1868)

lover, and he retained the See also:

• GRACE (Fr. grace, Lat. gratia, from grates, beloved, pleasing; formed from the root cra-, Gr. xav-, cf. xaipw, x6p,ua, Xapts)
• GRACE, WILLIAM GILBERT (1848– )

grace and See also:

• CHARM (through the Fr. from the Lat. carmen, a song)

charm of youth long after his voice had begun to show signs of decay . He created very few new parts, that of Ernesto in See also:

• DON
• DON (anc. Tanais)

Don Pasquale (1843) being perhaps the only one deserving of mention . Among the most successful of his other parts were Otello in See also:

• ROSSINI, GIOACHINO ANTONIO (1792-1868)

Rossini's opera of thatname, Gennaro in Lucrezia See also:

• BORGIA, CESARE
• BORGIA, FRANCIS (1510-1572)
• BORGIA, LUCREZIA (1480-1519)

Borgia, Alamviva in Il Barbiere di Siviglia, Fernando in La Favorita, and Manrico in Il Trovatore . See also:

• MARIO, GIUSEPPE, COUNT OF CANDIA (1810-1883)

Mario made occasional appearances in See also:

• ORATORIO

oratorio singing at the See also:

• BIRMINGHAM

Birmingham Festival of 1849 and at the See also:

• HEREFORD

Hereford Festival of 1855, and undertook various See also:

• CONCERT (through the French from Lat. con-, with, and certare, to strive)

concert See also:

• TOURS

tours in the See also:

• UNITED

United See also:

• KINGDOM

Kingdom, but his name is principally associated with triumphs in the theatre . In 1856 he married Giulia Grisi, the famous See also:

• SOPRANO (a variant of Ital. sovrano, supreme, sovereign, Late Lat. superanus, from super, above)

soprano, by whom he had five daughters . Mario bade farewell to the stage in 1871 . He died at See also:

• ROME
• ROME (Roma)

Rome in reduced circumstances on the 1th of See also:

• DECEMBER (Lat. decent, ten)

December 1883 .