Roberto Alagna

Roberto Alagna

CONCERT DE CLOTURE 2022 OPERA LA CORUNA

 

Programm

1st 

 

Halevy - La Juive - Rachel quand du Seigneur... 

Bizet - L'Arlesienne (suite n°1) - Adagietto et Carillon

Giordano - Fedora - Mia Madre, la mia vecchia Madre

Giordano - Fedora - la Fante misvela

Giordano - Fedora - Vedi lo piango

Bizet - Carmen - Suite n°1 (Orchestre)

Massenet - Le Cid - Ô souverain...

 

2nd 

 

Tchaikovski - Eugène Onéguine - Kuda, Kuda

Tchaikovski - Eugène Onéguine - Polonesa

Wagner - Lohengrin - Mein Liebe Schwan

Wagner - Tristan e Isolde - Liebestod (Orchestre)

Leoncavallo - La Bohème - Testa adorata

Mascagni - Cavalleria Rusticana - Intermezzo (orchestre)

David Alagna - Le Dernnier Jour d'un condamné - Non je ne suis pas un impie

 

BIS

 

Dicitancello vuie 

Cielito Lindo 

Funiculi, funicula

La Spagnola

Ballade Corse

 

 

Performance

Teatro Colon La Coruña

 

Concert des Amis de l'Art Lyrique

 

Mercredi 7 décembre 2022

 

 

Cast

 

Roberto Alagna - Ténor

 

Orquestra Sinfonica di Galicia 

 

Direction Musicale - José-Miguel Perez-Sierra

 

 

Press  Review

Codalario - Raúl Chamorro Mena - 07/12/2022

❝ THE LAST TENOR DIVO, in the best sense of the word … An ATTRACTIVE programme, sang in 7 DIFFERENT LANGUAGES, including Spanish, Neapolitan and Corsican … From the very first note, a genuine LEADING tenor … an IMPECCABLE VOICE EMISSION, RINGING OUT in the hall ... A perfectly placed voice, well sustained and appropriately PROJECTED, with a beautiful UNIQUE TIMBRE … A WARM, communicative phrasing and well SECURE CLIMAXES … Clear idiomatic diction, perfect articulation, intensity of declamation, VIBRANT accents, in short, the mastery of “CANTO CONCITATO” [fiery, passionate singing] supporting an exemplary rendition in Loris Ipanoff’s aria … Also showcasing his ability to sing the PIANI in “Kuda, Kuda”… An UNFORGETTABLE Lohengrin’s aria in German [featuring back to] a virile, masculine leading tenor [in his characterisation] … Full of COMMITMENT … HUGE SUCCESS, cheers and thunderous OVATIONS, to which Alagna responded with his 1st encore, a perfect "Dicitencello vuje" as a LESSON in how to interpret NEAPOLITAN song … [Next encores were] a demonstration of Alagna‘s ABUNDANT CHARISMA, COMMUNICATION skills and MASTERY … A MEMORABLE concert ❞
 
READ MORE (EXCERPTS translated from Spanish): «Amigos de la Opera de La Coruña" has closed their opera season 2022 with the only performance of Roberto Alagna in Spain. He can be considered the last tenor-divo. As I always emphasize, divo in the best sense of the word, because it is a concept that has been omniously and torturously manipulated and discredited by the current opera establishment. Of course, there is almost no one who can boast such a designation without blushing. The truth is that most of the repertoire on the program of opera houses around the world is written for divos, that is, exceptional singers, because of their privileged vocal conditions and particular stage personalities.
The attractive programme, in which the French-Sicilian tenor sang in seven different languages, including Spanish, Neapolitan and Corsican, began directly with a vocal piece by the star of the evening, who from the very first note reminded us what a genuine leading tenor is, as the acclaimed, flowing and impeccably emitted sound of his voice rang out in the centre of the hall. A perfectly placed voice, well supported and appropriately projected, with a beautiful timbre that has logically lost some of its smoothness after a career spanning 35 years, but is still rich in value and timbral uniqueness. Eléazar's splendid aria "Rachel quand du seigneur" from Jacques Hálevy's opera La Juive benefited from all this, as well as from Alagna's warm, communicative phrasing and well secure climaxes […].
A strike by Italian air traffic controllers prevented me from witnessing Alagna's return in Fedora at Milan's Teatro alla Scala. Therefore, the interpretation of the story of Vladimiro's death from the second act of the above-mentioned opera by Umberto Giordano was therefore a kind of compensation. Clear diction, perfect articulation, intensity of declamation, vibrant accents, in short, the mastery of « canto concitato » (fiery, passionate singing) supported the exemplary rendition of the aforementioned excerpt. Charisma, so hard to find in today's opera and which Alagna has in abundance, is also an important quality of an opera protagonist, and especially in an excerpt such as this, because the story of Loris Ipanoff, even with the handicap of taking place outside an opera performance in theatre, could not capture our attention more than the one expressed by Alagna.
The first part of the concert had a wonderful finishing touch with the intense prayer "O souverain" from Le Cid by Jules Massenet, in which the flowing, beautiful, velvety sound, the established musicality and the vehemence of the accents shone through, together with the ability of the Clichy-born tenor to be idiomatic in both French and Italian.
Alagna also sang in Russian, specifically Lensky's beautiful aria "Kuda, kuda" from Piotr Tchaikovsky‘s Eugene Onegin, in which the tenor's expansive phrasing became introspective, while showcasing his ability to sing the piani and master the intensity of the sound.
Another unforgettable moment of the recital was the farewell to the swan from Richard Wagner's Lohengrin. Alagna sang it in the German original […]. Another important aspect that Alagna saves for us is the virile, masculine leading tenor, which should make us think, since for some the reference Lohengrin in recent years has been a soft tenor with a completely pale timbre.
The French-Sicilian tenor's enveloping singing and passionate accents dominated "Testa adorata" from Ruggero Leoncavallo's La Bohème, and the final piece, full of commitment, was the expression of the suffering, feelings and worries of a condemned to death in the excerpt of the opera by David Alagna, brother of the tenor, Le Dernier Jour d'un condamné (The Last Day of a Condemned Man), based on the novel by Victor Hugo, which is a plea against the death penalty and for the proportionality of punishment.
A huge success, cheers and thunderous ovations, to which Alagna responded with his first encore, an exemplary "Dicitencello vuje" by Rodolfo Falvo, which turned out to be a lesson in how to interpret Neapolitan song. Seductive voice colour, fervent and passionate accents and never-failing communication skills.
Alagna invited tenor Aquiles Machado, the current artistic director of the opera season in La Coruña, to join him on stage and sing together. The Venezuelan replied that it would be a suicide, but he went on stage and sang "Cielito lindo" by Quirino Mendoza and "Funiculì, Funiculà" by Luigi Denza together with the protagonist of the event, with the participation of the audience at Alagna's request, as a new demonstration of Alagna‘s charisma, communication skills and mastery of the situation. After an extended, exuberant performance of Vincenzo di Chiara's "La Spagnola", a Corsican lullaby sung a cappella closed the memorable concert. »

 

 

Opera Actual - José Luis Jimenez - 07/12/2022

 

❝ ALAGNA is the KING OF THE FIESTA, not only for his OUTSTANDING ARTISTIC PERFORMANCE, but also for his ability to convey, his immediate CONNECTION with the audience that in the end gave the "last great divo" a standing ovation … COMMITMENT all the time … Sounds great in the upper register, with WELL-PLACED HIGH NOTES that FILL THE HALL, but at the same time combining different intensities in the emission … Calm and self-controlled singing in "Kuda, Kuda" searching for mezza voce and piani … ABSOLUTE MASTERY OF PHRASING in Italian as before in French, intention in singing and speaking, as well as GREAT EXPRESSIVENESS… Best moment of the evening with "Mein lieber Schwan" in German, full of intention, without any exhibitionism in the singing, his lyrical voice PERFECTLY embodying the purity of the Swan Knight ❞ 


READ MORE (EXCERPTS translated from Spanish): « Alagna is the king of the fiesta | Amigos de la Ópera de A Coruña wanted to close their 70th anniversary in style, and few could have done it better than Roberto Alagna, one of the biggest names on the international opera scene of the last three decades. It was the icing on the cake of the season of celebration and new times, including a change of artistic direction at A Coruña. And if the concert was conceived as a fiesta, Alagna was undoubtedly crowned its king, not only for his outstanding artistic performance, but also for his ability to communicate, his immediate connection with the audience, that in the end gave him a standing ovation in Teatro Colón […] to enjoy the last great divo, an appellation that the artist wears with pride.
The evening's programme was a tour through Alagna's versatility, between the French and the less common Italian repertoire, but also Russian and German. […] The tenor performed his arias with commitment all the time. In an impeccable black suit, with matching waistcoat and tie, he appeared on stage during the opening bars of "Rachel quand du seigneur" from Halévy's La Juive. Alagna manifested his voice with characteristic timbre and colour that remains personal and recognizable even after 40 years of his career.  The slight wear of vocal enamel helps the artist identify with mature roles such as Eleazar. He still sounds great in the upper register, with well-placed high notes that fill the hall, but at the same time combining different intensities in the emission. His "Kuda, Kuda", which opened the second part, was the best example of calm and self-controlled singing and searching for mezza voce and piani.
Alagna arrived at A Coruña after triumphing at La Scala with Fedora, following 14 years of absence from the Milanese coliseum. And from Giordano's opera he presented the second act scene "Mia madre, la mia vecchia madre". The performer demonstrated an absolute mastery of phrasing in Italian as before in French, intention in singing and speaking, as well as great expressiveness. He lives what he sings, he feels it intimately and expresses it to the audience, as when he crossed himself before the aria "O souverain" from Le Cid. Little details with which he gradually won over the audience. The best moment of the evening came in German with "Mein lieber Schwan" full of intention, without any exhibitionism in the singing. His lyrical voice perfectly embodied the purity of the Swan Knight. The last two pieces on the programme were "Testa adorata" from Leoncavallo's forgotten Bohème and "Non, je ne suis pas un impie", from his brother David Alagna's opera Le dernier jour d'un condamné.
The fiesta needed to lighten up a bit and Alagna did that right from the start. The first encore was deeply felt "Dicitencello vuie", where the Sicilian soul of the performer emerged to show his affinity with popular songs. He brought Aquiles Machado on stage to sing "Cielito Lindo" and "Funiculì, funiculà" in a duet with him, while the audience clapped to the rhythm of the master of ceremonies. And just when it seemed that "La Spagnola" was the end of an extraordinary evening, Alagna surprised us with a [Corsican] lullaby, which, as he explained, he used to sing to his little daughter; again swaying in a half-voice and whisper. »

 

 

Platea Magazine - Alejandro Martinez - 07/12/2022

 

❝ A tenor in PLENITUDE… A truly EXTRAORDINARY evening … The French-Italian tenor was full of COMMITMENT and TALENT, with an instrument of amazing fullness, reminiscent of the GREAT VOICES of the past … Few tenor voices have been so exceptional … At the peak of a quiet VOCAL and INTERPRETATIVE maturity, Roberto Alagna has it all: the flexible creaminess of an Italian-style instrument in the hands of a French-school of emission and style … A BIG, SONOROUS voice, that Alagna takes across different repertoires and languages, without a score, with an easy and exceptional PROJECTION, with a HARMONIC RICHNESS out of the ordinary … VALIANT and DASHING, the singer was in TOP FORM throughout the evening and offered a real LESSON IN SINGING, STYLE and ELEGANCE ❞


READ MORE (EXCERPTS translated from Spanish): « A tenor in plenitude | The finale of the 70th operatic season in A Coruña, the first with Aquiles Machado as artistic director, was a musical evening with tenor Roberto Alagna, who is approaching his 60th birthday. This evening can be described as extraordinary. The French-Italian tenor was full of commitment and talent, with an instrument of amazing fullness, reminiscent of the great voices of the past.
Alagna's voice still retains the near-intact enamel and smoothness that were astonishing three decades ago. Indeed, few tenor voices have been so exceptional since his emergence in the early 1990s. Alagna has it all: the flexible creaminess of an Italian-style instrument in the hands of French-school of emission and style; he is the perfect blend of both traditions. He seems to have something of Georges Thill and something of Benjamin Gigli at the same time. […] I had the impression of a […] self-assured singer, who is at the peak of a quiet vocal and interpretive maturity. 
A big, sonorous voice, that Alagna takes across different repertoires and languages, with an easy and exceptional projection, with a harmonic richness out of the ordinary: La Juive and Le Cid in French, Fedora in Italian, Lohengrin in German, Eugene Onegin in Russian... And always without a score. Valiant and dashing, the singer was in top form throughout the evening and offered a real lesson in singing, style and elegance, especially in the French repertoire, savouring the lyrics with an incomparable clarity. His interpretation of Le Cid's well-known prayer could be described as historic, without fear of exageration.
The intense and very theatrical last scene of Loris Ipanov in Fedora was sung without cuts. The same could be said of the demanding aria from La Juive, written for a voice like his. Alagna then sounded genuinely romantic in Lohengrin and truly captivating in Onegin, abounding in a delicate mezzo voce. The final scene, Le dernier jour d'un condamné by his brother David Alagna, closed the programme.
Alagna rocked the house with a captivating version of 'Dicitencello vuie'. The tenor then turned to Aquiles Machado and invited him to join him. Together they sang the next few encores together, creating a festive atmosphere that capped off a truly extraordinary evening. »

 

 

La Voz de Galicia - Hugo Alvarez Domingues - 07/12/2022

 

❝ THE LAST GREAT DIVO … A demanding programme … HEALTHY, FULL, WARM and SENSUAL TIMBRE, with an ENVIABLE PROJECTION …  Always SECURE vocal placement … Well turned and always brilliant HIGH NOTES … Full of EMOTION … GENEROUS in accents, with fiery phrasing and full of dramatic intent … Expressive in half-voices and registers, without losing sight of impeccable LEGATO …  HEARTFELT rendition … Roberto Alagna is part of an increasingly rare tradition of singing "as in the old days". He fascinates with his COMMITMENT, the INTENSITY of his interpretation and PRESENCE. A UNIQUE ARTIST, of which there are few left. It is a pleasure to hear the last great divo in fine form. It's something to remember ❞ 


READ MORE (translated from Spanish): « The last great divo | Roberto Alagna closed the operatic season of Amigos de la Ópera with a success like one reminds few others in the city. And no wonder, because the tenor started with a demanding programme (without concessions to the gallery) to demonstrate why he belongs to an almost extinct lineage.
Healthy, full, warm and sensual timbre, with an enviable projection thanks to the always secure voice placement. In addition, the high notes (well turned) are always brilliant. If perhaps the voice shows some wear in certain areas (his career spans 40 years), Alagna uses it as an expressive means to gain drama. "Rachel, quand du seigneur", from La Juive, was full of emotion and the racconto (narration) of Loris, from Giordano's Fedora, generous in accents, with fiery phrasing and full of dramatic intent, as was "Testa adorata" from Leoncavallo's La Bohème. In "Kuda, kuda", from Tchaikovsky's Eugene Onegin, he expressed himself in half-voices and registers, without losing sight of impeccable legato; and he demonstrated his versatility in a heartfelt rendition of Wagner's Lohengrin.
A magnificent version of "Dicitencello vuje" (impossible to sing it better: pure sentiment) started a series of encores and caused delirium. "Cielito lindo", "Funiculí, funiculá" (a duet with Aquiles Machado, sung by the audience too), "La spagnola" and a Corsican song a cappella followed. […] 
By form and results, Alagna is part of an increasingly rare tradition of singing as in the old days. He fascinates with his commitment, the intensity of his interpretation and presence. A unique artist, of which there are few left. It is a pleasure to hear the last great divo in fine form. It's something to remember. »

 

 

 

Gallery

 

 



04/12/2022