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Michael Kelly (25 December〔H. van Thal (Ed.), ''Solo Recital – The Reminiscences of Michael Kelly'' (Folio Society, London 1972), p. 19, note.〕1762 – 9 October 1826) was an Irish singer (tenor), composer and theatrical manager who made an international career of importance in musical history.〔This article includes text drawn from ''Encyclopædia Britannica'' 1911.〕 One of the leading figures in British musical theatre around the turn of the nineteenth century, and a close associate of Richard Sheridan's, he had been a friend of Mozart and Paisiello, and created roles in operas of both. With his friend Nancy Storace, he was one of the first singers in that age from Britain and Ireland to make a front-rank reputation in Italy and Austria. In Italy he was also known as O'Kelly〔This name was given by Father Dolphin, Prior of the Convent of St Dominic at Naples, cf Kelly, ed. Thal 1972, 85.〕 or even Signor Ochelli.〔H. Rosenthal and J. Warrack, ''Concise Oxford Dictionary of Opera'' (OUP, London 1974 printing).〕 Although the primary source for his life is his ''Reminiscences'', it has been said 'Any statement of Kelly's is immediately suspect.'〔Richard Graves, 'The Comic Operas of Stephen Storace', ''Musical Times'' 95 no. 1340 (October 1954), pp. 530–532.〕 ==Dublin beginnings== Michael Kelly's father Thomas, a Roman Catholic wine merchant and dancing-master, held an important social position as Master of Ceremonies at Dublin Castle, the seat of British government in Ireland.〔Kelly, ed. Thal 1972, 19.〕 Michael was given a serious musical education (mainly voice and keyboard) from a young age, his first teachers being the Italians, Passerini (of Bologna) and Nicolo Peretti, a male contralto, who sang at Covent Garden in the original productions of Thomas Arne's opera (on a Metastasio text) ''Artaxerxes'' (title role).〔van Thal 1972 (Biographical index), 329.〕 Kelly remarked that Peretti possessed the ''true portamento,''〔By using the word 'true', Kelly indicates that he means not what was vulgarly thought to be a portamento, i.e. a slur, but some lost idea of carrying-over on the breath from one note to another.〕 'little understood by the 1820s.' With him Kelly studied the air 'In infancy our hopes and fears', composed for Peretti.〔Kelly, ed. Thal 1972, 20.〕 Kelly also studied keyboard with Thomas Arne's son, Michael Arne. Sent to Dr Burke's academy, Kelly met many 'men of genius' at friends' houses during vacations. He received singing lessons from Sig. St Giorgio at the Rotunda, and piano lessons from Dr Cogan.〔(i.e. Philip Cogan, 1750–1813, composer, harpsichordist, organist of St Patrick's Cathedral, Dublin, 1780–1806, then teacher): van Thal 1972, 338.〕 Also the famous surgeon-violinist John Neale, a constant family visitor, tutored him in an aria from Vento's〔(i.e. Mattia Vento, 1735–1777, Neapolitan composer): van Thal 1972, 370.〕 opera ''Demofoonte''. At various times the visitors to the Kelly's house included such distinguished musicians as François-Hippolyte Barthélemon, Wilhelm Cramer (father of John), Thomas Pinto (grandfather of George), Johann Peter Salomon and the cellist John Crosdill.〔Kelly, ed. Thal 1972, 21–22.〕 Among them was the male soprano Venanzio Rauzzini (1746–1810), friend of Haydn and Dr Charles Burney, who after a period at Vienna and Munich settled in England c. 1774 and was the teacher of the young Nancy Storace.〔van Thal 1972, 362.〕 While in Dublin in 1778 he took Michael Kelly under his wing, gave him lessons and taught him several songs, including his own 'Fuggiamo di questo loco' (which Linley introduced into ''The Duenna'' with words by Sheridan as 'By him we love offended'). Rauzzini advised he should be sent to a Conservatory in Rome or Naples, and his father laid plans accordingly. Meanwhile, Michael Arne stayed in Dublin to produce Garrick's dramatic romance ''Cymon'', for which he had written the music: in exchange for his father's kindnesses, Arne gave Michael daily lessons and regular encouragement.〔Kelly, ed. Thal 1972, 24–26.〕 Kelly also made his stage debut in Dublin. A promoter, Pedro Martini, brought an Italian company (including Peretti) to perform comic opera at the Smock Alley Theatre. Sig. Savoy, who was to have sung the high soprano role of the Count in Piccinni's ''La buona figliuola'', was ill, and Kelly (who still sang treble) was brought in and made a great success. However Martini failed to pay, and the distinguished cast immediately struck and dispersed. Michael Arne then had him play the role of Cymon for three nights at Crow Street Theatre, and he had a benefit performance as Master Lionel in Baldassare Galuppi's ''Lionel and Clarissa''.〔Kelly, ed. Thal 1972, 26–28.〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Michael Kelly (tenor)」の詳細全文を読む スポンサード リンク
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