Pourquoi Me Réveiller? [From Massenet's Werther] - Michael Bolton,
Nessun Dorma! [from Puccini's Turandot] - Michael Bolton, Puccini, Giacomo
Una Furtiva Lagrima [From Donizetti's l'Elisir d'Amore] - Michael Bolton, Donizetti, Gaetano
M'Appari [From Flotow's Martha] - Michael Bolton, Flotow, Friedrich v
Che Gelida Manina [From Puccini's LA Bohème] - Michael Bolton, Puccini, Giacomo
O Soave Fanciulla [From Puccini's LA Bohème] - Michael Bolton, Puccini, Giacomo
Vesti la Giubba [From Leoncavallo's I Pagliacci] - Michael Bolton, Leoncavallo, Rugger
E Lucevan le Stelle [From Puccini's Tosca] - Michael Bolton, Puccini, Giacomo
Recondita Armonia [From Puccini's Tosca] - Michael Bolton, Puccini, Giacomo
É la Solita Storia [From Cilea's l'Arlesiana] - Michael Bolton,
Celeste Aïda [From Verdi's Aida] - Michael Bolton, Verdi, Giuseppe
Of course Michael Bolton--the world's greatest mimic--should not be allowed within 200 yards of an opera house, what with his bluesy rasp instead of the round, pure sound associated with opera. But he's no fool, and he has... more » studied the languages (Italian and French), the idiom, and the texts of all of these well-known, oft-recorded arias. He claims to love this music and I, for one, believe him. He hits all the notes--occasionally too hard and invariably with the wrong gloves--but he nails them all--including a very weird high C at the end of the Act One Boheme duet with Renee Fleming (of all people). What's more (and better) is his emotional involvement in each aria--he sings off the words in a way that makes Bocelli, the other crossover pop star du jour--look like an imposter with a pretty voice, which is what he is. To wrap up: This is a valiant try that can never, because of the equipment, be successful on operatic terms, but as an artistic endeavor--even one that ultimately fails--this is to be praised. --Robert Levine« less
Of course Michael Bolton--the world's greatest mimic--should not be allowed within 200 yards of an opera house, what with his bluesy rasp instead of the round, pure sound associated with opera. But he's no fool, and he has studied the languages (Italian and French), the idiom, and the texts of all of these well-known, oft-recorded arias. He claims to love this music and I, for one, believe him. He hits all the notes--occasionally too hard and invariably with the wrong gloves--but he nails them all--including a very weird high C at the end of the Act One Boheme duet with Renee Fleming (of all people). What's more (and better) is his emotional involvement in each aria--he sings off the words in a way that makes Bocelli, the other crossover pop star du jour--look like an imposter with a pretty voice, which is what he is. To wrap up: This is a valiant try that can never, because of the equipment, be successful on operatic terms, but as an artistic endeavor--even one that ultimately fails--this is to be praised. --Robert Levine
"Sorry, but I can't go along with all these hard-core opera fans who are sniffing down their noses at this CD. I give Michael Bolton full credit for making the stretch to another recording genre, if only to share this music with a new audience. I don't know much about his pop music, but I found this CD to be powerful and lovely.I particularly enjoyed "Nessun dorma," "Una furtiva lagrima," and "O soave fanciulla." So what if Renee Fleming sings rings around Michael? They still sound lovely together. Obviously he can't match up to a Pavarotti or a Domingo, but that's not the point here. Personally, I love it when an artist has the courage to experiment a little and try things outside the genre he or she has been boxed into.Now if only we could get a female pop star, say Celine Dion or Barbra Streisand, to record an album of arias. And if they do, more power to them, opera fans, because they'll be introducing thousands of people to the beauty of this wonderful music."
Needs to spend more time studying voice
12/10/1998
(1 out of 5 stars)
"Although Mr. Bolton has potential to become a decent tenor in the operatic style, I believe he needs a few years of studying voice to do these arias justice. They were written for singers with a highly trained voice and that is what is required to sing them correctly and bring out the beauty that lies in each of them. He sounds like a tenor with a very sore throat."
MY Secret Passion
M. Wells | 10/10/1999
(1 out of 5 stars)
"Destroying each and every one of his CDs"
1 Star is too Much
M. Wells | 04/15/1999
(1 out of 5 stars)
"Why did he try to sing these arias' when he can't even sing his dumb pop tunes. When I listen to the album I was embaressed for him!! His voice is full of so much tension and strain. Who the hell does he think he is???"
I almost don't know what to say
M. Wells | 01/01/2006
(2 out of 5 stars)
"I'd like to preface this with the affirmation that most of the general public would consider me an opera snob, a label I feel is somewhat undeserved (but that's the territory that comes with being studying to become a classical singer). This album I think is a valiant attempt by a popular singer to communicate his favorite works of the Romantic/Verismo rep. While I can't say much for the health/state of his laryngeal components or his technique, I have to give him props for actually being able to scream through the punishing tessiture. His diction is better than some singers I know, although it still leaves much to be desired. I do find the variety on the album quite interesting in terms of fach -- Donizetti and Leoncavallo sung on the same collection...but all in all, I admire his work to put something like this together, and hope that it may bring listeners unfamiliar with the standard operatic repetoire to a greater appreciation for the music itself (and hopefully a desire to hear it sung by true greats...Gedda, Kraus, Bjoerling, Pav, the list goes on) :-)"