Amore, sublime amore: Tenor Arias

Giuseppe Verdi (Composer), Mikhail Glinka (Composer), Richard [1] Strauss (Composer), Gioachino Rossini (Composer), Adolphe Adam (Composer), Umberto Giordano (Composer), Giacomo Puccini (Composer), Johannes Wildner (Conductor), Ukrainian National Opera Symphony Orchestra (Orchestra), Yaroslava Poberezhina (Performer), Janez Lotric (Performer), Ruslan Tansky (Performer) | Format: Audio CD

Product Details

• Performer: Yaroslava Poberezhina, Janez Lotric, Ruslan Tansky
• Orchestra: Ukrainian National Opera Symphony Orchestra
• Conductor: Johannes Wildner
• Composer: Giuseppe Verdi, Mikhail Glinka, Richard [1] Strauss, Gioachino Rossini, Adolphe Adam, et al.
• Audio CD (July 15, 2003)
• Number of Discs: 1
• Label: Naxos
• ASIN: B00009NJ1E
• In-Print Editions: MP3 Download
• Average Customer Review: 2.0 out of 5 stars  See all reviews (1 customer review)
• Amazon Best Sellers Rank: #1,070,018 in Music (See Top 100 in Music)

Customer Reviews

Most Helpful Customer Reviews

3 of 3 people found the following review helpful:

2.0 out of 5 stars Janez Lotric' Tenor Recital, August 5, 2003

By 

Jorge Luis Castillo (Goleta, CA) - See all my reviews

This review is from: Amore, sublime amore: Tenor Arias (Audio CD)

Naxos offers a dubious bargain with this recital by the Slovenian tenor Janez Lotric. The repertory encompasses some of the most demanding arias for a voice rare on this day and age: a dramatic tenor with a big, wide ranging voice like Tamagno or Escalais. Mr. Lotric certainly has an instrument of the correct size and weight for most of the repertory he attempts but his vocal production is ugly, labored and coarse. The tone is nasal, many of the top notes are hardriven and pinched; the Italian pronunciation is approximate at best and his interpretative approach to the chosen program is depressingly provincial. The Ukrainian National Opera orchestra and soloists provide adequate support.

The tenor aria from Glinka's A Life for the Tsar comes off best and is, at least, idiomatically sung, although some soft singing in the slow section of the aria would not have come amiss. The rest of the program provides much less satisfaction. The tenor aria from Der Rosenkavalier is in a word awful. The scene from Il trovatore is rudely deprived of the duettino and crowned by one of the ugliest High Cs on record.