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Voce D'Italia: Arias For Rubini
Gioachino Rossini, Vincenzo Bellini, Gaetano Donizetti
Voce D'Italia: Arias For Rubini
Genre: Classical
 
  •  Track Listings (23) - Disc #1

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 ...  more »

     
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CD Details

All Artists: Gioachino Rossini, Vincenzo Bellini, Gaetano Donizetti, Roberto Abbado, Accademia Nazionale di Santa Cecilia, Juan Diego Flórez
Title: Voce D'Italia: Arias For Rubini
Members Wishing: 0
Total Copies: 0
Label: Decca
Original Release Date: 1/22/2008
Release Date: 1/22/2008
Genre: Classical
Style: Opera & Classical Vocal
Number of Discs: 1
SwapaCD Credits: 1
UPC: 028947590798

Synopsis

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.
 

CD Reviews

Rubini reincarnated!!!!
Stephen | Melbourne, Australia | 09/24/2007
(5 out of 5 stars)

"There is little wonder why people have dubbed Florez as Pavarotti's successor. In fact, more accurately he should be named as Alfredo Kraus' successor. From the first time I encountered this artist, Mozart's Mitridate on Decca, I was spell-bounded by the ringing, typically nasal, tenor voice, secure technique, and broad range: a splendid instrument of the highest quality! Now with a few releases under his belt, a wonderful recital 'Una furtiva lagrima', a Rossini arias program, as well as a simply stunning recording of Rossini's Matilde di Shabran, Florez has tackled the heart of the bel canto repertoire.



As most are aware, Rubini had a stupendous range, his notes in alt were phenomenal; the famous anecdote of interpolating a high F in Bellini's I Puritani caused a sensation at its Parisian premiere in 1835.



The program for this CD has been carefully chosen, the Rossini arias as always demonstrating vocal agility, the Donizetti/Bellini-utmost expression and those 'long, long melodies', as Verdi put it.

1.The defiance, the heroic tone in Il Pirata is the best on disc, surpassing Barnabe Marti in the famous full recording with wife Caballe.

2. One can detect the plea in the Elisabetta aria; at least equaling Bruce Ford on the Opera Rara recording (a favourite!!!! Another underrated tenor who should have taken on and recorded the role of Arturo in I Puritani, what a shame...), the Il turco in Italia aria having the right amount of 'bounce' for early Rossini, and the world premiere recording of a substitute aria for La donna del Lago simply stunning.

3. The Donizetti is a rarity, composed around 1835, is sung with the sweetest voice, perhaps Florez will revive the full opera????

4, Finally, and dear to my heart, are the Bellini Bianca and Rossini Guglielmo Tell arias. Even at an early age Bellini found his own voice among the Rossini hipe, this aria, as well as 'A tanto duol', and the soprano aria 'Sorgi, o Padre' are direct predecessors of the great Norma/Puritani arias. They contain the most beautiful lyricism. Florez certainly has the fine sense of line so important for the performance of Bellini, I cannot implore enough for him to record the Bellini operas-La Straniera needs a revival, and he would make the most ideal Elvino in La Sonnambula since Monti, and more recently Raul Gimenez (perhaps with Bartoli as Amina...listen to her excerpts on the new Maria album, she'll convince you!!!!). The Guglielmo Tell aria is the one of the most heroic arias I know in the bel canto repertoire, the character of Arnold the most taxing for anyone who has attempted. Gedda had the elegance on the Gardelli French recording, Pavarotti the Italianate heroism in the Chailly Italian version. Florez has both of those qualities!!! The legato in 'O muto asil' is beautiful, and then the high C's in the cabaletta are amazing!!! The supporting Academia Nazionale di Santa Cecilia and Roberto Abbado are fantastic, hmmm perhaps the Guglielmo Tell aria taken a little fast, but now I'm just niggling!!!

Congratulations, Florez deserves the highest praise, I'm sure that Rubini is looking down in deepest admiration!



Stephen (Melbourne, Australia)"
By now, a known quantity
klavierspiel | TX, USA | 04/12/2008
(5 out of 5 stars)

"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."
Amazing technique!!!
Joel M. Lebow | Pennsylvania, USA | 04/08/2008
(3 out of 5 stars)

"Florez is astounding in his agility. He is also a very sound musician. It is fair to say that he is in a class by himself in this repertory. All of this must be balanced by the effects of prolonged listening. After hearing a few selections, it is my feeling that this is not a beautiful voice. The sound becomes very "white" and nasal and this can be taken in small doses.

To be fair, others may enjoy this sound and my criticism may well be very personal. For those whose primary enjoyment in singing comes through agility and limitless high notes...very high notes, this will deliver."