Black Hair Blue Highlights Men

Juan Diego Florez

Recital Juan Diego Flórez, tenor,

Vincenzo Scalera, piano

Marseille Opera,

January 31, 2011

After the triumphant reception given to the singing of verismo Cavalleria rusticana and Pagliacci between two of their performances, the audience was welcomed by Marseille apotheosis the current representative of the most consumed true bel canto within the meaning of the word, singing virtuoso inherited ornate Baroque Peruvian tenor Juan Diego Flórez . Bel eclectic taste, wide range of vocal styles, but the common factor, or verismo bel canto, is the beauty of song, the commitment of the singers, that the public knows ardent acknowledge with gratitude.

Helped a remarkable pianist with dazzling charts, Vincenzo Scalera , which has accompanied the greatest singers, Flórez, that the greatest scenes in the world snapped up, from his first aria, dazzled a room immediately seduced, whose fervor is went up to a crescendo final repeat, apotheosis, communion standing passion with which said the generosity of the singer as inexhaustible, multiplying bis acrobatic, whose last famous air Daughter of the Regiment Donizetti with his famous series of cons ut chained raging delirium of the public screaming "Thank you, thank you."

There is, first, this presence, this presence, this look at once noble and simple, these gestures efficient, elegant music that accompanies finely internalized and externalized to the public. The stamp thick, dense, fine grain light points, with the elegance, the great Alfredo Kraus. The range of his recital embraced, in a remarkable equality of tone and volume, two and a half octaves, with cons ut and cons re an astounding ease, holding a stylish without weakness, which is only natural gifts were extraordinary if lined with a flawless technique, enhanced by a musical, a musical articulation and phrasing in the service of an expression without significant sentimentality, of sobriety intense great singer and great performer.

The first part opened with the air of meditation Titus Clemenza di Tito Mozart ("If need to be Emperor, having a severe heart, take from me the empire or give me another heart "), but agreed to the nobility which Flórez lent his natural nobility and his art of singing exercises full, clear, pearlescent, of supreme beauty. Then came two melodies from Rossini charming playful before this rare and tragic Otello the same, the formidable technical difficulties and contrasting emotions, in which Manuel García , the creator, was trembling with fear true his daughter Maria, the future Malibran . With a beautiful piano interlude, was crowned by a Agnus dei yet Rossini, singing piles bristling vocalizations evil.

Three English opened the second half, two extracts zarzuelas regaled in which the tenor of his mastery of this style and these typical ornamentations, often do not yield to difficulties in bel canto, followed by a traditional air Barrera Saavedra Adiós Granada , song of exile and mourning for the beloved dead, copy, upsetting, Engineering of the English people, with the characteristics of flamenco virtuoso trills around the same note, the interpreter adorned with a popular science lecture while the pianist was engaged in variations of the original beauty. He returned with two arias from Rigoletto , the slight "Questa e quella" and "Among the veder lagrime" dramatic, ending with a look much more rare alleging Verdi Un giorno di regno , with great difficulty.

Then came before an enthusiastic audience and standing, six bis chained, still keeping the same voice and technique, with the same generous and inexhaustible wealth. Great singing lesson in simplicity and sympathy smiling contagious.

Marseille Opera

Recital Juan Diego Flórez, tenor,

Vincenzo Scalera, piano.

Mozart, Rossini, Serrano, Soriano, Barrera Saavedra, Verdi.

Photos Christian Dresse