Roberto Alagna

Press Review

Operaclick – Alicia Perris – 12/23/2014

"Fantastic Roberto Alagna, in the fullness of his career as a tenor and as a man, with such an emotional and vocal sensibility, that he gives more roundness and mystery to each of his characters, beautiful harmony with Sonya Yoncheva's Juliette [...] Alagna reflects the passion of Romeo and appears as a teenager alongside soprano Yoncheva [...]. The French tenor of Sicilian origin could only thrive on this refined loam that makes some immigrants, so many, Italians from all ages, the custodians of both their homeland and their adopted land, in a blend that gives - as we have an example here, the best fruits. Great Alagna!"

Bachtrack.com – Simon Rees – 12/23/2014

Gounod’s “Roméo et Juliette” works surprisingly well in a concert performance for several reasons. First of all, we do not have to watch out-of-shape singers pretending to fight duels, or wobble the shaky scenery of Juliet’s balcony. More importantly, in placing the orchestra on the stage behind the soloists but in front of the chorus, Gounod’s orchestral scoring is revealed in all its detailed beauty. The main reason that an almost-full house of Madrid’s opera-goers (attired for a winter night in furs and the sharpest of suits) turned up for this performance was Roberto Alagna, who was singing the title role, but there were other excellent reasons to be there. […]

In Act II, Alagna sang the testing, high-lying “Ah, lève-toi soleil!” with its short, ecstatic phrases and its climax on a top B flat, without becoming breathless or strained. It was his best moment of the evening. […]

Alagna managed the difficult pianissimos of the final scene with real beauty of tone, helped by Plasson’s masterly control of orchestral volume, which allowed Roméo’s faintest phrases to sing through.

The opera ended with the shortest death scene imaginable, both major principals leaping to their feet just after the final chords had faded away, to take well-deserved, rapturous applause from the Madrileños, who gave them a standing ovation.

"Desde el Nibelheim" – Alberich el Negro – 12/20/2014                   

"Charles Gounod's opera was one of the most interesting work of this season in Madrid. Classical and romantic style, famous composer, prominent artists, renowned conductor in this repertoire, and especially ..., no "genius" of the stage direction, since the performances were given in concert version, but staged by soloists themselves. These are just music and voice facing the audience, without any thought of a director who would interpret in his own way the composer's will.

It was also an opportunity for the public of Madrid to catch up with the great French tenor Roberto Alagna [...] I can say today that he returned here as in the past, at the foreground on the international stages. He is currently one of the best tenor and probably one of the last true "divo tenor" with such genuine skills. For all these reasons, we could see a very enthusiastic Roberto Alagna and determined in his desire to succeed and his willingness to do well. Somewhat theatrical indeed, with his widely open arms during the curtain calls, as if would like to embrace the entire public, but sincere in his desire to come out triumphant. And very friendly and outgoing, as he is. [...] Wonderful end of Act 2, the balcony scene and the night of love between the two partners. Plasson allowed Alagna to finish with a whisper, creating an atmosphere of intense poetic beauty. Not less important was the duet of the first part of the first scene of Act IV, with the "Nuit d'Hyménée" [...] A masterful job whose refined sound and theatricality have largely contributed to the evening's success [...]

Roberto Alagna's Romeo was for his idiomatism, tone, color of voice, dramatic expression, an almost perfect interpretation [...] He held his role by providing a reading full of drama and strength as well as a perfect idiomatism. For obvious reasons, the tenor is unbeatable even now, in the interpretation of the French repertoire, with his pure vocal line and his undeniable expressive skills. He was magnificent in his "Ange adorable" which was sung exquisitely and punctuated by a very expressive piano on "la main divine." The end of Act 2 was also very very good. He fully gave himself up to his role, singing on an excessively sensitive way, with a phrasing intentionally steeped in emotion. The end of the opera in Act V, was also a great time, with the scene of the grave and the lovers' deaths, where Gounod requires from his character the greatest drama's intensity in the voice, making it ideal for Alagna's instrument. He gave us great things, such as, "Sur ton front calme et pur semble régner encore... " he sang in a perfect piano, delivered in full voice and then recovering volume for "Mes lèvres", donnez lui votre dernier baiser !» which was projected in full voice, round, loud, full of "Squillo" and perfectly hold. At one time, we have felt some problem with the top notes, especially due to the use of some falsetti to address some passages which were consequently projected weaker and broke the homogeneity of the sound; so in [...] his interpretation of the famous cavatina, "Ah! Lève-toi soleil " which was not as round as might be expected. Not that Alagna was no good there, not at all!. But he appeared a little nervous [...]

Overall, we can say that his performance throughout the whole evening was excellent, both on a melodic and dramatic standpoint, with a communicative outpouring from Alagna who in the last scene, came to lie on the floor for the last dialogue with her partner ... it was another oustanding moment.

In summary: a beautiful evening of opera, which has again demonstrated that, when performers are up, it is possible to obtain a show of great quality to satisfy the audience, without spending much money."

El Pais – Juan Ángel Vela del Campo – 12/17/2014

"A high-level musical performance. French-Sicilian tenor Roberto Alagna has kept his popularity over time [...] Romeo is certainly one of the great roles of his career, in this well-balanced confluence of style, color and phrasing, perfectly expressed all along Act II, and generally throughout the whole performance. Moments like the cavatina "Lève-toi soleil " in the second act, or the duet "Nuit d’hyménée " in the fourth act, were emotionally intense. [...] The Alagna-Yoncheva-Plasson trio is the clear winner of this concert in Madrid, but the cast as a whole proved to be outstanding and the orchestra and choir of the Teatro Real has delivered a substantial and good quality performance.

El Imparcial – Alicia Huerta – 12/17/2014

“Soprano Sonya Yoncheva and tenor Roberto Alagna formed Tuesday the splendid cast of the opera "Romeo and Juliet" in concert version, who delighted the audience of the Teatro Real in Madrid, demonstrating that sometimes there is no need for elaborate sets or explanations to reach the true interpretation of a work. [... ] Resounding success also for the tenor Roberto Alagna particularly acclaimed for his delivering of one of the most dramatic Romeo’s aria. When the audience rewarded cheering him with "bravo", he received them with closed eyes, the head slightly raised, open hands and palms upwards, as if he was garnering this well-deserved award”

El Mundo – 12/18/2014

"Leading the cast, Roberto Alagna, one of the most acclaimed tenors of the moment. He owns a personality and great potential so that really, very few singers are able to match him in this role which seems in various areas "custom-made" for him."

Opera e Oper.com – Natalia Di Bartolo – 12/14/2014

"The audience is thrilling, in an atmosphere that sometimes took on an unreal dimension. Tonight, everyone (starting with the performers) was fascinated by the expressive power fully rendered through the dramatization of this opera in a concert version. Nothing static, nothing starchy, but only the spirits of Romeo and Juliet and of the other protagonists, physically gliding on stage around Maestro Plasson. Facing the performance running around him, he interacted almost in a unique atmosphere for the audience, but also for him first.

Michel Plasson's conducted with a disarmingly authority: nothing was against his conception of French dynamics; nor against his idea of the appropriate tempo and of the support to be given to the performers: qualities that are the signature of the greatest.

The combination Plasson-Alagna is definitely a winning one. Recently, it was the case for the memorable Werther at the Opéra Bastille in January 2014, it is again the case today for this wonderful work.

As Romeo, Alagna has no peer. He performed and embodied this role as a very young singer, with the freshness and the spirit of youth. And now he performs and embodies it at fifty years, again and again in a crescendo of emotions and with the intensity that characterizes all his interpretations. On the stage of the Spanish Theater, in an admirable empathy, but also a true fusion with his character, modulating his singing with his eyes closed, Roberto Alagna, as usual, "became" Romeo.

Singing also means for him to relive the bright and dark episodes of his life: as the title of his latest CD - "My life is an opera" - suggests it, in each character he plays, Alagna lives and relives his own experience inextricably linked to Opera, as intimately embedded in it. He enriches the character with his deep feelings and his great experience as an artist, complemented by a professionalism that never become a mechanical routine; Indeed, he renews each and every time, more and more, the thrill of his performance and his encounters with the audience. This Romeo in Madrid, therefore, was for the great tenor the reflect

of his maturity and sensitivity, but also the expression of the suffering, of all that a man can experience and deliver in a vocal performance always perfect, flawless in terms of diction and phrasing, inimitable in pronunciation, overhelming in expression.

Sonya Yoncheva shined as Juliette. The Bulgarian soprano has also demonstrated her good complementarity with the French-Sicilian tenor in the duets, where the communion of both partners is the basis to make the success of the overall exercise. Yoncheva today confirmed that she was a leading performer on the international stage.

Audience galvanized in Madrid's temple, greeting a masterpiece sung by those who can be considered as among the best French opera's performers in the world. Standing ovation at the end, endless applause for all the artists, the director, chorus and soloists, all congratulate each other."