Search - Gioachino Rossini, Daniel Auber, Jacques Offenbach :: William Matteuzzi ~ Ferme tes yeux... / with B. Ford · Cullagh · Shkosa · Scano · R. Wood - D. Parry

A Wonderful Treat

dwadefoley | New York, New York United States | 08/05/2001

(5 out of 5 stars)

"William Matteuzzi is a throwback to an earlier age: a tenor with a dulcet, high-lying voice and incredible agility. He makes use of falsetto in his highest notes, but is able to effect a seamless transition between "head" and "chest"registers. This album is a perfect showcase for his unusual talents, as well as another opportunity for Opera Rara to exhume some long-interred music and infuse it with new vitality. Matteuzzi is amazing, showing incredible coloratura technique and always singing in a sweet, pliant tone. He is joined by a variety of other talented singers, including soprano Majella Cullagh, who wowed us with her angelic voice in Opera Rara's "Zoraida di Granata", and Albanian mezzo Enkelejda Shkosa, who is a worthy successor to Valentini-Terrani and Horne if this album is anything to go by. Also featured is soprano Elisabetta Scano, whose vibrant and funny portrayal of Antonia in Donizetti's "La Romanziera" was a treat. And of course, Opera Rara's star tenor, Bruce Ford, gets to join in. Although it is difficult to choose, for this writer the most enjoyable numbers on the disc were the first two. Scano and Shkosa first join Matteuzzi in a trio from Rossini's "Le Comte Ory", a piece abounding in flowing lines as well as rapid-fire coloratura. The three interpreters are amazing. They are clearly having fun, and make the most of the amusing dramatic situation; at the same time, the vocal execution is as close to perfection as I have heard. Quick on the heels of this gem, Matteuzzi and Shkosa join forces in a comic duet from the same composer's "Il Viaggio a Reims". Again, both show their aplomb in Rossini comedy, and the result is both witty and an astounding display of technique. Both of these last two numbers feature the most dizzyingly rapid coloratura (in perfect unison, yet) I can ever recall hearing. Matteuzzi does, of course, get to sing arias, too. This album marks his first expeditions into the French operetta repetoire. A delightful and funny Offenbach rarity, from "Le Pont de Soupirs" shows off Matteuzzi's abilities admirably, giving him the opportunity to spin a long, lyrical melody with absolute perfection. The Auber and Adam selections are sung with the same sweetness and beauty of tone, and are a delight to hear. Opera Rara would be remiss if they did not use this album to forge ahead into the realm of unknown Italian works, and they do not disappoint us in that department. A wonderful duet from Carafa's "Gabriella di Vergi", in which Matteuzzi is joined by Ford, finds Matteuzzi eclipsed by Ford's strong dramatic voice, and a bit out of his element in a serious opera. Nevertheless, it represents an enjoyable opportunity to hear a long-forgotten work of great historical importance. A trio from Giovanni Pacini's "Alessandro nell'Indie", which features Cullagh and Shkosa, is a banal piece but gains credibility due to the three interpreters' enthusiasm. Finally, a quartet from Donizetti's "Il Castello di Kenilworth", in which Ford, Cullagh, Scano, and Matteuzzi all participate, gives us an exhilarating glimpse of Donizetti's least-known Tudor opera. An alternate version of Tonio's "Pour me rapprocher de Marie" from "Le Fille du Regiment", featuring participation from the three other characters, is a fresh alternative to the well-known version of the aria. Matteuzzi's voice is not for everyone, but even those who don't particularly like his voice will find something to savor in this wonderful disc. The excellence of Opera Rara's liner notes is a tradition that is continued with this release. David Parry leads the Academy of St. Martin in the Fields, and the Geoffrey Mitchell Choir, which gets to participate in the Adam aria, is excellent. I can recommend this disc with no reservations whatever."