Varese, 7 October 1898. The forty-seven-year-old Francesco Tamagno commits to paper the first four bars of ‘Ora e per sempre addio’. This is the famous Act II aria from Verdi’s Otello which he had first sung at the opera’s premiere more than ten years earlier. Now, with hand rather than voice, Tamagno retraces its opening gestures. Below the musical excerpt, which consists solely of the vocal line (words and music), he places his own signature, complete with place and date. A deictic relationship is established between these elements and the valedictory utterance entrusted to the quotation. These bars mark the moment in the opera when Otello, convinced by Iago of Desdemona’s infidelity, bids farewell to his past glory and indeed his entire identity. Memories of his juvenile life – of flying arrows and galloping steeds, reveilles and clamour and songs of battle – crowd in upon him, and are given a sonic dimension through Verdi’s orchestration. Otello sings overtly of his intimate bereavement. Similarly, but quietly, in 1898 Tamagno also mourns, through writing, a personal loss. It has been suggested that the tenor was preparing to take leave of his daughter Margherita on the day of her engagement. Even if impossible to prove, it is a compelling reading: the two were extremely close, largely because Tamagno had brought up his child on his own. The juxtaposition of the various items in his autograph would thus articulate a multi-layered discourse: traces of different times and places, of real as well as operatic Selves and their disintegration, become conjoined. The separation of father and daughter is graphically validated, almost emboldened, by a final, vehement stroke of the pen: a sign, devoid of semantic content, that in this context seems to evoke Tamagno’s famously stentorian voice; to fill the hollowness, both aural and emotional, opened wide by the musical excerpt. Or maybe not. This is a vacuum we may well be too eager to fill up, encouraged by the protracted echoes of Tamagno’s vocal power. For this is the image – a voice with both a literally and metaphorically sweeping force – that history has handed down to us.

中文翻译：

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Tamagno否则Verdi，“ Oper e semper addio”（奥赛罗），奥赛罗，第二幕

瓦雷泽（Varese），1898年10月7日。47岁的弗朗切斯科·塔马格诺（Francesco Tamagno）承诺用纸写出“ Oper e per semper addio”的前四个小节。这是威尔第的《 Otello》中著名的第二幕咏叹调，他十多年前首次在歌剧首映式上演唱过。现在，Tamagno用手而不是声音来追溯其打开手势。在仅由声带（单词和音乐）组成的音乐摘录的下方，他放置了自己的签名，并附上了日期和地点。在这些元素与委托报价中的变态话语之间建立了密切的关系。这些酒吧标志着歌剧的一刻，当奥泰罗（Otello）被戴高乐（Iago）对戴斯蒙德娜（Desdemona）的不忠行为说服时，告别了他过去的辉煌和他的整个身份。他少年时代的回忆-飞箭和骏马，狂欢，喧闹和战斗之歌–挤在他身上，并通过威尔第（Verdi）的编排给人以声音的感觉。奥泰罗公然歌颂他的亲人丧亲。同样，但悄悄地，1898年塔玛尼诺也通过写作哀悼个人损失。有人建议，男高音订婚那天正准备离开他的女儿玛格丽特（Margherita）。即使无法证明，这也是一个令人信服的读物：两者非常接近，主要是因为Tamagno独自抚养了他的孩子。因此，在他的亲笔签名中，各种项目的并置将阐明一个多层次的话语：不同时间和地点，真实的以及可操作的自我以及它们的瓦解的痕迹变得相互联系。父亲和女儿的分离得到了图形化的验证，并且最终被加粗了，笔的力度：一种没有语义内容的符号，在这种情况下似乎唤起了塔马格诺著名的展翅高手的声音；音乐节选填补了听觉和情感上的空缺。或者可能不是。在Tamagno声带的持久回声的鼓舞下，这可能是我们非常渴望填补的真空。因为这就是历史传承给我们的图像-一种具有字面意义和隐喻力的声音。