Bel Canto [Import]

I'm an Alagna fan, have all his CDs. As the previous reviewer noted, this is a fascinating one -- but more so for how absolutely wrong-headed it is. This is not the ideal repetory for a singer with as light (and that's a compliment), romantic and expressive a voice as Alagna. Or perhaps he just doesn't know what to do with it. He pretty much bellows each number, throwing the notes out to the 5th balcony -- unfortunately, not always hitting them correctly. In fact, Alagna is so often singing below the pitch here that when he actually nails a note dead-on it's a bit startling. If you don't know this singer's work, by all means start with his debut CD, his French arias CD, or perhaps the first CD he recorded with his wife Angela Gheorgieu. If you are a fan and must have this CD, don't say you weren't warned.

I enjoyed Roberto Alagna's singing ever since his first album of opera arias came out. The lyric instrument has darkened a little over the past decade, but it's still a very exciting and unique, clearly setting Alagna apart from so-called cross-over tenors who haven't sang a single role onstage. Alagna, along with José Cura, Ramon Vargas, and most recently Salvatore Licitra, form a distinct group that I would like to call REAL New tenors, capable of not only singing these roles onstage, but infusing them with personality and energy.
The recital at hand pays tribute to the tradition of Bel Canto era and, while some notable music is not represented (most regrettably, Edgardo's death scene from Lucia), it's not to be missed.
First aria from Poliuto is ringing and heroic, and it sets a tone for the whole disc - it's a disc of achievements. Those looking for "money notes" will find them aplenty here.
The aria from La Somnabula is a sharp contrast -- the singing is much lighter, with real care for the legato line, simply beautiful.
La favorite - I actually prefer it sung in Italian, a little more delicacy is needed here. And where's the bass voice? Did not care much for the falsetto notes at all in Un ange une femme inconnue... However, the aria more known as "Spirito Gentil" is sang with real feeling and warmth.
"Meco all'altar di Venere" from "Norma" is a little bombastic, remember that the character is telling a dream.
The "money note" from "A te diro negli ultimi" sounds like it just does not belong there, forced and out of place. I have an unconventional view on high C's, C-sharps, and D's: a tenor can be a wonderful singer without them (oh what blasphemy). If a tenor does chose to sing them, they should be of consistently good quality. Alagna sings some beautifully, but some come out either forced or not 100% clear. I hate to do comparisons, but there are still some great Donizetti and Bellini recordings featuring young Luciano Pavarotti. Even though he did not do as much vocal coloration or characterization, his high notes were ringing with perfect clarity, sounding effortless and even playful.
"A te o cara" is supposed to be an ensemble, but in this arrangement you can't quite hear the lower voices, just Gheorghiu soaring above... In this case, by the way, the tenor's high C's are beautifully and passionately sang.
Interesting arrangement of Una furtiva lagrima", this is a fine morsel in this album. This Nemorino is definitely more mature and sympathetic than the one Alagna did for the complete recording of L'Elisir.
The recital ends with what's bound to be a controversial recording of "Ah, mes amis". While I understand what Alagna was trying to accomplish with singing in "different voices", it still was a bit strange to hear. Same comment about high C's here as above.
Overall, I would give it 4 stars. If anything, it's quite "gutsy" and it alone would be worthy of praise.

With great expectations I purchased this disc. I was awaiting more of the vocalism I had heard on other Alagna recital discs. I was disappointed. I had noticed a raspiness in the Tosca recording, but was hoping it was my imagination, or that he was having a bad day. But NO! This recording shows definite signs of vocal deterioration, misuse, strain, I don't know what else I can say. The more dramatic arias he can still get away with, but the high notes are pushed and thin. Where it really shows up is in the sustained lines. And let's not kid ourselves, all the high C's in the Regiment aria are dubbed in later (and not very well). For those of us who love Alagna, there is still much to admire in this recording. The artistry and intelligence of the other recitals is still present. The voice is still a marvel. But I am saddened that a once magnificent instrument is showing the signs of fading at this early date, instead of lasting for the long healthy career it so richly deserves.