Roberto Alagna

PROGRAMM

• Pergolesi (Lo frate ‘nnamorato) 1732 « Ogni pena più spietata »
• Händel (Serse) 1738 « Ombra mai fu »

• Wagner (Lohengrin) 1850 «In fernem land »

• Gluck ( Gluck (Orphée et Eurydice) Danse des ombres heureuses (arr. Sgambati)
• Mozart (Orfeo e Euridice) 1762 « Che farò senza Euridice »

• Piano : Mozart (Così fan tutte) 1790 « Un’aura amorosa »
• Gretry (Zemire et Azor) 1771 « Du moment qu’on aime »
• Mehul (Joseph en Égypte) 1807 « Vainement Pharaon »
• Piano : Rossini (Péchés de vieillesse) Hachis romantique
• Donizetti (L’Elisir d’Amore) 1832 « Adina, credimi »

• Flotow (Martha) 1847 « Ach so fromm »
• Wagner (Lohengrin) 1850 « Mein Lieber Schw»an 

• Tchaïkovski (Eugene Onegin) 1879 « Kuda, kuda »
• Verdi (Otello) 1887 « Nium mi tema »
• Puccini (La Rondine) 1917 « Parigi e la città »
• Piano : Mascagni (Cavalleria Rusticana) Intermezzo
• Alfano (Cyrano de Bergerac) 1935 « Sa lettre … Roxane Adieu »
• Alagna (Le dernier jour d’un condamné) 2007 « Non, je ne suis pas un impie »

BIS 

• Wagner (Lohengrin) 1850 «In fernem land

• Alagna (Le dernier jour d’un condamné) 2007 « Non, je ne suis pas un impie »

• O Sole Mio 

PERFORMANCE

HAMBURGISH  STAATSOPER

Friday the 12st of November

CAST 

Roberto Alagna - Ténor

Morgane fauchois-Prado  - Piano

PRESS REVIEW

Hamburger Abendblatt -  Marcus Stäbler

❝ Strong debut. An amazingly intimate atmosphere. Not only an exceptional singer, but also a sensitive musician. With Wagner, impressive to see how he gets close to a language that is foreign to him. His brightly luminous sonority radiates into the room. Gripping expressiveness. The audience reacts with bursts of bravos. Standing ovation. ❞ 

EXCERPTS (🇬🇧 translated from German): « The French-Italian star tenor began his solo evening at the Staatsoper Hamburg - the start of a new series - with four arias from the Baroque and Classical periods.  He was able to create an amazingly intimate atmosphere with the pianist Morgane Fauchois-Prado.  Above all, Alagna sang delicate notes with his eyes closed, took a verse of Pergolesi's Ascanio back to pianissimo and demonstrated that he is not only an exceptional singer, but also a sensitive musician. [...] In “Du moment qu’on aime” by Grétry, the tenor is visibly at home, he has this music not only in his voice, but also in his body. [...] With the support of his pianist partner, he enjoys to the full the soft colors, the melodies and the nuances. It is the same with the heartrending "Adina credimi" from "L’elisir d'amore" by Donizetti.  The audience reacts with bursts of bravos.  [Alagna] smiles like a shy boy who realizes he is loved. Sympathetic.
In the second half of the program, the tenor turns the control further up, increasing dynamics and intensity of his performance.  Alagna ventures into the German repertoire, with Wagner's Lohengrin, which he canceled in Bayreuth in 2018 and then performed on stage in a live stream from the Berlin State Opera [during the Covid outbreak] in 2020. It's impressive to see how he gets close to a language that is foreign to him and how his brightly luminous sonority radiates into the room.  [...] His Verdi moment becomes the climax. The way in which Otello - Desdemone's jealous murderer - is broken by his act and finally stabs himself, the tenor sings it and lives it with gripping expressiveness and when needed, with a pinch of steel in the tone.
After a magnificent interlude by the pianist and two lesser-known arias, he comes to the end of his strong debut at the Staatsoper with some encores, which he ends with a genuine tenor hit: "O sole mio", wonderfully ardent and belt out, which the audience celebrates with blown kisses and a standing ovation. »

GALLERY