Taglieri Makes His Appearance

“Old Italian Method of High Front Tone Placement.”

This is how Gio Tyler Taglieri featured his teaching in an ad that appeared in an April 2015 post. Taglieri also wrote that his method included “nasal resonance” and “deep breathing.” Perfect for the period, place and time, which wasn’t shy about terms like “voice placement,” “open throat” and “singing position.”

Gio’s Teachers

Gio was George Tyler from Brooklyn, who found his way to Italy, where he pursued a four-year course of study with Scafati of Naples, Vannuccini and Cortesi of Florence, and Francesco Lamperti of Milan; studies which awarded him a repertoire of 40 operas and 12 seasons as “primo tenor de grazia” in Italy, England, South America and the United States. He also studied with Trabadello in Paris. Not bad for a kid who started out as a dry-goods clerk!

After his career wound down, Taglieri found his way to his mother’s house in Portland, Oregon, which was nearly destroyed in a fire.

The fire

“Gio Tyler Taglieri, the daddy of opera tenors in this city and the faithful friend of all who are musically inclined, suffered a loss by fire at his art studio, Nineteenth and Everett, about 2 A. M. last Monday, and it looked at one time as if his famous pictures of Arab chiefs, Turkish lamps, and general bric-a-brac would go up in smoke and flame.

A portion was saved, and his personal loss is about $1200. The Coleman residence where he and Mrs. Taglieri made their home with Mrs. Taglieri’s mother, Mrs. L. P. Coleman, was damaged to the extend of $3000, partially covered by insurance. The only circumstance that saved the house from being razed to the ground was the forethought of the late Mr. Coleman who saw to it that his house, built around 30 years ago, had inside walls made of Portland cement and then of plaster.

The origin of the fire is thought by the Taglieri’s to be caused principally by electric wire trouble. The house had been enlarged and repaired lately.

Mr. Taglieri was awakened by the janitor who told him that the house was on fire. Hurriedly dressing, Mr. Taglieri was surprised that he smelled no smoke, but thought he detected the crackle of flames. He and Mrs. Taglieri looked out the Nineteenth street window, and saw that about 200 people were standing on Trinity church lawn directly opposite, and on inquiry found that the roof, etc., had been on fire for one hour perviously. No time was lost in moving the Taglieri art treasures, pictures, and a small host of keepsakes.

When the fireman arrived, they experienced difficulty in getting the nozzles of the fire hose through the frame structure of the house, because of the wall construction of cement. Several holes were made in the frame structure, and latterly separate jets of flame appeared in each. The fire was only distinguished by being deluged with water.

It is pleasant to know that the Taglieri ebony Chinese chair, Arab scenes, Turkish swords and other bits of the orient that Taglieri loves are safe, but injured slightly by smoke.

Taglieri is now located professionally and vocally, in a downtown building. He and Mrs. Taglieri have taken apartments in a Washington street hotel.”

Me Too

The photo and the accompanying article tell us Taglieri was dapper, cultured and well-traveled; while other articles give evidence of a highly successful teacher, one who spent his post-career life helping others acquire the methods, teaching and tools of his own teachers. That is, of course, what I am all about.

I have more than an academic interest in the teachings of the old school, which entered my life when I met the indomitable Margaret Harshaw at the age of 27. Like most singers who worked with her, I wanted to sing professionally and studied with a mind intent on acquiring the technical skill necessary to do so. I also told her during my first lesson that I wanted to teach. Her reply? Why not do both? As it is, I had a long career as a professional singer while maintaining a private voice studio.

I may not be quite as dapper as Taglieri [I’ve only worn spats and mustaches onstage], but like him, I have a keen interest in the Orient, the meaning of high-tone placement, and helping singers find their voice.