Programm
G. Pergolesi, Lo Frate 'nnamorato, « Ogni pena più spietata »
G. Verdi, Luisa Milller ,« O ! fede negar potessi ! »
G. Verdi, Rigoletto, « Questa O Quella »
[Instrumental] Vincenzo Bellini, Casta Diva (solo violoncelle)
F. Cilea - L’Arlesiana, « E la solita storia del pastore »
G. Puccini, Tosca, « E lucevan le stelle »
[Instrumental] G. Rossini, La Danza
R. Cordiferro & S. Cordillo, « Core’ngato »
De Curtis, « Torna a Surriento »
Capaldo, « Come facette Mametta »
Traditionnel, « Mi votu »
F.P. Tosti, « Marechiare »
R. Alagna, « Malena »
Traditionnel, « Abballati »
Traditionnel, « Ninna Nanna »
[Instrumental] N. Rota, Le Parrain « La Valse »
N. Rota, Le Parrain « Parla più piano »
Bis :
L. Dalla, Caruso
L. Denza, Funiculì Funiculà
Performance
"Les Invalides" Church
Thursday 7th of November 2024
Cast
Roberto Alagna - Ténor
Yvan Cassar - Piano
ulie Sevilla-Fraysse - Violoncelle
Thomas Coeuriot - Guitare/Mandoline
Benoît Dunoyer de Segonzac - contrebasse
Célestin Guérin - trompette
Review
Ôlyrix - Damien Dutilleul - 11/7/2024
❝Roberto Alagna at Les Invalides: Shivers in a Cathedral … The tenor demonstrates his full vocal health. While his lyrical high notes are secure and radiant, he is equally at ease in delicate piani, infinitely fine yet clearly audible, carefully vibrated and sustained for long moments. He moves effortlessly from one style to another, smiling or reserved, alternating between bold attacks and lyrical phrasing, exploring the full extent of his technique to cultivate a remarkable musicality and a constant evocative power❞
« Roberto Alagna at Les Invalides: Shivers in a Cathedral | The musical season at Les Invalides invited tenor Roberto Alagna for a recital titled "La Dolce Vita, A Journey Through Italy," accompanied by pianist Yvan Cassar and a quartet of musicians.
Relatively rare in France in recent months, Roberto Alagna offered a concert combining Italian opera excerpts in the first half and Neapolitan-Italian songs in the second. Two repertoires that the tenor holds dear and fully immerses himself in, showing clear enjoyment in sharing these works. The program was varied, moving from laughter to tears, from dance to introspection, from well-known arias (such as "Questa O Quella" from *Rigoletto*) to rarities, from bold vocal bravura to the softest, most thrilling piani. Alagna might have made the audience dance a tarantella if the concert hadn't been held in a cathedral, but the audience was happy to clap their hands or fingers instead.
Throughout the concert, Roberto Alagna, dressed in a shiny black suit, demonstrated his vocal health in full force. His high notes were steady and radiant, while he was equally at ease in delicate piani—infinitely fine, yet clearly audible, carefully vibrated, and held for long moments, with eyes closed and hands joined. He moved effortlessly from one style to another, smiling or more reserved, alternating between bold attacks and lyrical passages, exploring the full extent of his technique to create a vast musicality and a constant evocative power.
He also performed two of his own compositions (written with his brother Frederico), dedicated to his daughters Malena and Ornella. These two melodies were among the most interesting of the evening: the second, dedicated to his first wife who passed away from a sudden illness more than thirty years ago, was sung with great tenderness and infinite gentleness. Deeply moving.
Once the program was finished, Roberto Alagna "offered a little something extra" to the audience. Two encores, showcasing the same variety of styles as the rest of the concert: *Caruso* by Lucio Dalla, followed by *Funiculì Funiculà* by Luigi Denza, to "end on a joyful note." The audience responded with a standing ovation. The tenor can now prepare for his upcoming performance of *Fedora* at the Grand Théâtre de Genève. »
Gallery
