Roberto Alagna

✪ REVIEWS - TURANDOT at the Wiener Staatsoper | ❝Certain even in the highest spheres, a pithy or lyrical voice as called for, a lot of melodiousness, a total commitment, a stupendous stage presence, he wins up to the High C, reaches an effortless and well held High B  …❞

► “Calaf’s big musical moment is “Nessun dorma” and Alagna literally rose to the occasion, his final high B seemingly effortless and held well into the applause that rewarded his efforts. But he was fine beyond the opera’s signature area as well, his voice pithy or lyrical, as called for. “ George Jahn for Bachtrack

► "As Calaf, the star singer sings the part with a tenor, that is still certain even in the highest spheres, and he exudes a lot of melodiousness. (...) The audience is enthusiastic about all aspects. It cheers!“ Dr. Helmut Christian Mayer for Opera Online (from German)

► “The tenor makes his attacks in the quiz for life and death with the total commitment characteristic for him - and wins up to the high C, which documents impressively his self-confidence: Such a “foreign prince” doesn’t succumb. Alagna shows a stupendous stage presence. “ Wilhelm Sinkovicz for Die Presse (from German)

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✪ REVIEW - TURANDOT Wiener Staatsoper | ❝It is admirable how Roberto Alagna, slender and agile, keeps the age at bay. It is also remarkable how his voice holds on. As Calaf, he sings beautifully consistently in the ‘old school’ way exactly as the best Italians do. Nessun dorma was sung wonderfully, the last top note was perfect❞ by Renate Wagner for MERKEROnline

 

EXTRACT (from German) : “A beautiful repertoire performance proves, that it is worth taking care of casts. First of all Roberto Alagna in the mix of Calaf & Giacomo Puccini, that the production of Marco Arturo Marelli brings on stage. The composer, presumably in his villa in Torre del Lago (?) works (partly at the piano) on his „Turandot“, he himself steps into the action, but embodying Calaf… This "breaks" the character, makes him more modern and easier for the artist, who nevertheless has to be a convincing tenor prince and great lover, otherwise the story won't work. Alagna has already sung in the Viennese production and he is really confident as an actor in his portrayal - how he faces the riddles of Turandot and ponders their solution, belongs to the most exciting moments of the evening ... It is also admirable, how the man in his mid-fifties keeps the age at bay. It isn‘t just makeup artists and dressers, who take care of his appearance. One has to be very disciplined to stay that slender and agile – an effort that relatively few colleagues make. Or is that part of being top class – namely not to be lazy, in any respect? It is also remarkable, how his voice holds on (happy family life as a preservation factor?): Despite the metal essence that Calaf needs, he still sings beautifully consistently in the „old school“ way, exactly as the best Italians do (even if he is French). In "Nessun dorma" he didn‘t succeed like the famous role model, nobody has this sensual melodiousness anymore, but it has been sung wonderfully, the last top note was perfect, at most one "shade" shorter than one would like it to be. In short, Signor Puccini as Calaf sovereignly dominated the evening, and Alagna earned an achievement, that will be written in his personal book of “Turandot” performances. (…) The audience rewarded the finale with a scream of enthusiasm and Alagna also shook hand with the prompter (or suggeritore?). A nice gesture to remember those underestimated, who are involved in the success of such an evening.”

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