Editorial Review:

Album Description:
Juan Diego Flórez is THE tenor for bel canto operas, the first choice for any new production at the world's greatest opera houses. Flórez recently performed the first aria encore at La Scala in 74 years. On Voce d'Italia, he pays tribute to an extraordinary predecessor who inspired some of his greatest stage roles and became the first `superstar tenor': Giovanni Battista Rubini. Like Flórez today, Rubini was loved as much for the touching pathos of his slow singing as for the thrilling power of his fast, high roulades. Roles the two singers have shared include the Prince in Rossini's La Cenerentola, Elvino in Bellini's La sonnambula, Arturo in Bellini's I puritani, Uberto in Rossini's La donna del lago, and the title role of Rossini's Otello. Many of the arias by Rossini, Bellini and Donizetti on this new recording with the Orchestra of the Academy of Santa Cecilia, Rome under Roberto Abbado, are unknown gems which show the tremendous range of Flórez's vocal and dramatic art. Flórez thrillingly tosses off those high Cs which have brought him so much fame, and ventures further into the stratosphere with a few high Ds and his first high E-flat on record.

Amazon.com:
The remarkable young Peruvian tenor Juan Diego Florez continues his triumphs over the difficulties of the bel canto repertory with this recital devoted to arias sung by Giovanni Battista Rubini (1794-1854). Rubini redefined the role of the tenor, singing heroically, with warmth, sensitivity, an amazing capacity for florid music, and an upper extension that allowed him to sing an F above high C. Florez seems to have it all (although his highest note here is a still-staggering high E-flat). The bright tone, charm, ease of production, comfort with coloratura, superb diction, and sheer love of singing is evident throughout this razzle-dazzle recital. High Ds pop out effortlessly in the heroic aria from Bellini's Il pirata and Rossini's lighter-hearted Il Turco in Italia. More introspective sections are sung with feeling and a long, seamless line. The final piece on the CD--a 12 minute tour de force from Rossini's William Tell that ends with a blazing high C--will have you cheering. Roberto Abbado's leadership is expert, sympathetic, and lively. Thrilling! --Robert Levine









Availability: Usually ships in 24 hours

---

Related Items:
     see more

Related Items:

• Gaetano Donizetti - La Fille du regiment / Dessay, Florez, Palmer, Corbelli, French, Campanella, Pelly (Royal Opera House 2007)
• Romantic Arias
• Italian Opera Arias [Includes DVD]
• Cielo e Mar
• Jules Massenet - Manon / Dessay, Villazon, Ramey, Lanza, Henry, Perez, McVicar (Gran Teatre del Liceu 2007)
• see more

---

Disc 1:

1. Ascolta. Nel furor delle tempeste
2. Del disastro di questi infelici
3. Pet te di vane lagrime
4. (Che intesi!)
5. Deh! troncate i ceppi suoi
6. (Vendicar saprò l'offesa)
7. No, no, d'abbandonaria senza un addio
8. Di mia patria o bel soggiorno
9. Ma un solo conforto
10. Intesti: ah! tutto intesti ... Tu seconda il mio disegno
11. Se il mio rival deludo!
12. Tutti siam? - Sì, tutti uniti
13. Eccomi alfin, guerrieri
14. All'udir del padre afflitto
15. Degna suora di Fernando
16. Odo in tuo pianto, o padre
17. Pace non trovo
18. Tu sorda ai miei lamenti
19. Ah! come nascondere
20. Non mi lasciare, o speme di vendetta
21. O muto asil
22. Vendetta!
23. Corriam! voliam!

Rating: - * Florez sings arias ... I have been thrilled seeing Florez in operas, his voice is powerful and pure; his acting ability is unmatchable. But his CD's are produced very purely. He sings too loud, it is not pleasing to the ear. I have seen audiences move Florez to tears with ovations; he is amazing. But the people who produced this CD apparently did not listen to it before selling it to the public. I found it offensive. Rating: - * Florez sings Arias written for Rubini ... I like this CD a lot. These are not all very familiar arias, but they are all from Bellini, Donizetti and Rossini operas. Florez has a magnificent voice, although I'm not always sure about his intonation or that of the backup chorus. Overall it's a treat. Rating: - * Pavoratti's Replacement ... This tenor is really exciting to listen to. He makes it sound so easy and effortless. He flows up to the top notes and doesn't slam them. The CD is a fitting tribute to Rubini. Worth the purchase. Mark Rating: - * Good voice ... The Tenor from Peru is one of the best tenors in the world at this time;I feel that the selection of arias, could have been a lot better.I do recommend that when you see the name Juan Diego Flores, you pay a lot of attention. Rating: - * By now, a known quantity ... After flirting with other repertoire and recording a crossover disc or two, the reigning Rossini tenor Juan Diego Florez returns to what he does best on this album: the florid, high-lying music of early nineteenth-century bel canto opera. The concept here is to evoke comparison with Giovanni Rubini, the tenor for whom this music was written, and it's hard to believe that Florez' predecessor was more facile or could negotiate the numerous coloratura runs with greater accuracy and ease. Florez doesn't actually go as high as Rubini was reputed to have done (high F)--he touches one E-flat above high C, but otherwise reaches "only" high D. On the other hand, he sings his high notes in full voice, something Rubini would not have done. For fans who know what Florez is all about and have enjoyed his live performances (and I certainly am one) this album will certainly confirm their high opinion. The tenor's voice seems to have grown in size, and occasionally there is a hint of unsteadiness in sustained notes--perhaps fatigue due to his frantic international career? As I have noted before, with vocal gifts of such magnitude it seems almost churlish to wish occasionally for more differentiation of character or vocal color, since all of the music is so much of a piece. Did contemporary audiences demand the vocal acting abilities of a Callas from Rubini? My guess is not. Let's wish Florez a long career and continued vocal health--he's certainly become an indispensable fixture on the international operatic scene. FOOTNOTE: As is the case so often with the bel canto composers, a listener can amuse him/herself by identifying music in the more obscure operas that was later re-used to greater fame. There's a big chunk of "Norma" in one of the tracks, for example.