Giulio Gari secured his international standing as a “Primo Tenore” from the outset of his brilliant career. Under the baton of the great Tullio Serafin, he made his distinguished operatic debut at the TEATRO REALE DI ROMA in Rossini’s IL BARBIERE DI SIVIGLIA, the success of which was soon followed by the offer of a contract in The United States with THE NBC SYMPHONY. His talents were immediately recognized by conductor Laszlo Halasz, who not only engaged him for Premiere performances of Gian Carlo Menotti’s AMELIA AL BALLO, but for eight seasons as an essential leading tenor at THE NEW YORK CITY OPERA.
Maestro Gari’s unbroken record of success in New York as well as with companies across The United States, in Europe, and in Central America, led to an invitation from Sir Rudolf Bing to join the roster of principal tenors at THE METROPOLITAN OPERA, where he debuted as Lt. Pinkerton in Puccini’s MADAMA BUTTERFLY, paired with the ravishing Butterfly of Licia Albanese.
The list of his colleagues is literally a “Who’s Who” in the world of Classical Music.
Conductors – Dimitri Mitropoulos, Eric Leinsdorf, Leopold Stokowski, Tullio Serafin, Rudolf Kempe, Alberto Erede, Fausto Cleva, Nicholas Rescigno, Julius Rudel, Kurt Adler, Renato Cellini, Anton Coppola, Jean Morel, Fritz Stiedry, Joseph Rosenstock, Carlo Moresco, Emerson Buckley, and Vincent la Selva.
Singers – Licia Albanese, Camilla Williams, Victoria de los Angeles, Dorothy Kirsten, Leonie Rysanek, Astrid Varnay, Inge Borkh, Blanche Thebom, Birgit Nilsson, Dusolina Giannini, Herva Nelli, Irra Pettina, Regina Resnik, Eleanor Steber, Gladys Swarthout, Martina Arroyo, Rosalind Elias, Roberta Peters, Elaine Malbin, Lucia Evangelista, Jerome Hines, Robert Merrill, Ettore Bastianini, George London, Ramon Vinay, Giogio Tozzi, Salvatore Baccaloni, Zinka Milanov, Cesare Siepi and the list goes on…
His repertoire was as broad as could be imagined, spanning with equal ease and suitability Bel Canto works such as LUCIA DI LAMMERMOOR and IL BARBIERE DI SIVIGLIA; operas of Verdi including DON CARLO, IL TROVATORE, RIGOLETTO, AIDA, and LA TRAVIATA; operas of Wagner including DIE MEISTERSINGER, DER FLIEGENDE HOLLANDER, and TANNHAUSER; Puccini’s TURANDOT, TOSCA, MADAMA BUTTERFLY, and LA BOHEME; Strauss’ SALOME and DER ROSENKAVALIER; Mussorgsky’s BORIS GODUNOV; Bizet’s CARMEN; Gounod’s FAUST; Giordano’s ANDREA CHENIER; and twentieth-century masterpieces including Janacek’s KATYA KABANOVA, Kodaly’s PSALMUS HUNGARICUS, Pizzetti’s L’ASSASINIO NELLA CATTEDRALE, Berg’s WOZZECK, and also Stravinsky’s OEDIPUS REX and THE RAKE’S PROGRESS.
In addition to his maintaining a busy private vocal studio, Maestro Gari’s wonderful work as a teacher was immediately recognized by invitations to join the faculties of educational institutions, including The Curtis Institute of Music, Temple University, The Long Island Institute of Music and Lehigh University.
The sterling levels of artistic and professional excellence which he exemplified in the course of his long and illustrious career continue to be upheld today by the Vocal Foundation established in his memory: THE GIULIO GARI FOUNDATION.