Roberto Alagna

Programm

1St Part

Torna ai felici di (Le Villi)
Orgia chimera (Edgar)
La Bohème, scène de Musette - Piano
Tra voi belle (Manon Lecaut)
Donna non vidi (Manon Lescaut)
Manon Lescaut - Intermezzo - Piano

2nd Part

Che gelida manina (La Bohème)
E lucevan le Stelle (Tosca)
Madama Butterfly - duet - Piano
Addio, fiorito asil (Butterfly)
ch'ella mi creda (La Fanciulla del West)
La Rondine, Nella dolce carezza - piano
Nessun Dorma (Turandot)

ENCORES

Orgia Chimera (Edgar)

Performances

La Scala de Milan 

26th of  June 2024

Cast

Roberto Alagna - Ténor

Jeff Cohen - Piano

Press Review 

Impiccione Viaggiatore and ÓPERA ACTUAL - Andrea Merli - 23 juin 2024

❝ A thunderous success that can truly be described as apotheotic, an authentic consecration to the Artist … Roberto Alagna is in spectacular physical and vocal form. His voice still retains the "squillo" and projection of his younger years, having gained in color and depth in the lower register, while maintaining remarkable range and delivering blazing high notes, including a brilliant high C … Surprising ease and breath control … His experience, wisdom, and impeccable technique allow him to deliver soft and pianissimo notes with poignant sweetness, always with a legato of the highest quality. His undeniable charisma and playful interaction with the audience added to the evening's brilliance … The ecstatic crowd followed Alagna to the artists' exit of the theater on Via Filodrammatici, reminiscent of the days of Callas. The Divo spent nearly an hour under the Piermarini porticoes signing autographs and posing for countless selfies. This is the price of popularity today, which in this case is indisputable and undoubtedly deserved!❞ 

« Between performances of Adriana Lecouvreur at the Teatre Liceu, Roberto Alagna has announced his upcoming performances as Calaf in Turandot, starting from June 29 at the Teatro alla Scala, with a recital dedicated exclusively to Puccini, in the year that marks the centenary of the Composer's death. He achieved a success that can truly be described as apotheotic, an authentic consecration to the Artist.

The Italian-French tenor, who made his debut in Milan in the now-historic Traviata conducted by Riccardo Muti in 1990, returned to the stage after a long absence following the incident in Aida in 2006. This hiatus was broken only in 2022 with his sensational return in the role of Loris in Giordano’s Fedora. As he recently demonstrated with his stunning performance as Maurizio of Saxony in Cilèa’s opera at the Barcelona theater, Alagna is in spectacular physical and vocal form. His voice still retains the "squillo" [ring, brilliance] and projection of his younger years, having gained in color and depth in the lower register, while maintaining remarkable range and delivering blazing high notes, including a brilliant high C in the "speranza" from "Che gelida manina" in La Bohème with surprising ease and breath control. In addition to all this, his experience, wisdom, and impeccable technique allow him to deliver soft and pianissimo notes with poignant sweetness, always with a legato of the highest quality. His undeniable charisma and playful interaction with the audience, joking about his "madness" in tackling arias meant for a dramatic tenor, like "No, pazzo son" from Manon Lescaut, or rather for younger voices, such as the extremely difficult aria from Gianni Schicchi "Firenze è come un albero fiorito", which he offered as the fourth and final encore, added to the evening's brilliance. He did not hold back in masterfully interpreting the entire Puccini tenor repertoire, starting from the first opera, Le Villi, passing through the almost forgotten Edgar, and concluding, of course, with a splendid "Nessun dorma" from Turandot.

A thunderous success also greeted the performance of the American pianist Jeff Cohen, who proved to be a better accompanist than solo pianist in the transcriptions of some pages from Puccini’s operas, which mainly served to give the tenor a rest between arias. The ecstatic crowd followed Alagna to the artists' exit of the theater on Via Filodrammatici, reminiscent of the days of Callas. The Divo spent nearly an hour under the Piermarini porticoes signing autographs and posing for countless selfies. This is the price of popularity today, which in this case is indisputable and undoubtedly deserved.»

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