Customer Reviews

In My Heart - 17th and 18th Italian Songs

5 star:		(5)
4 star:		(3)
3 star:		(0)
2 star:		(0)
1 star:		(3)

 

 

Ramon Vargas is probably the most elegant and classy tenor singing today. If I may be forgiven an ethnic cliche, the Mexican singer's voice reminds me of dulce del leche ice cream - rich, sweet, and smooth as caramel. Having sung both on stage and on records a wide operatic repertory ranging from bel canto to French works to Puccini and Verdi, Vargas now turns his efforts to this album of arie antiche entitled (rather unimaginatively, I think) `Nel Mio Cuore' - In My Heart. Nearly all lovers of classical vocal music are familiar with the songs represented on this disc; many singers have recorded them and just about everybody who has ever had a voice lesson has studied at least some of them. The defining feature of these songs - which is why they are used by voice students - is that while it is easy to learn the basics of singing them, it takes true expertise to handle all their technical challenges and to bring out all their nuances. If some misguided performance practice decisions make the CD a less than total success, Vargas' vocal beauty, excellent technique and total commitment make this a mostly very enjoyable listen.

As Vargas says in his brief comments, he wants to sing this music in a more 'romantic', (i.e. unrestrained and overtly emotional) manner than many other performers do, to bring a 21st century sensibility to mostly 17th and 18th century music. Vargas as a child was a soloist in the choir of the Basilica Guadalupe of Mexico City, and it was standard procedure there to sing sacred music from this and earlier periods that way. While this approach to the actual singing works very well, I am not entirely happy with the decision to use a small 'salon' orchestra instead of the usual piano or harpsichord, and I suspect many will agree with me on this. I don't object to orchestral arrangements on principle - the arrangements of the arie antiche recorded by Richard Tucker on the superb CD 'The Soul of Italy' work very well, particularly the delightful 'Gia sole del Gange'. On this disc, however, few of the arrangements (by Sascha Goetzel and Joseph Turrin) really enhance the music or make it more interesting, and sometimes they just get in the way. Perhaps in an actual salon or concert setting, this wouldn't be as big a problem. In general, the best arrangements are the most quiet and unobtrusive ones, such as 'Nina' or 'Plaisir d'amour', allowing Vargas to sing softly and tenderly instead of just ardently. The major exception to this is actually the best track on the disc, `Sebben crudele', where the music helps Vargas' anguish and pain reach appropriately operatic proportions. Gluck's `O del mio dolce ardor', an actual opera selection often sung with orchestra, also responds well to this treatment. For most of the other selections, however, it might be helpful to play individual selections or a few at a time instead of the entire album at once, and I wouldn't advise playing it at much more than medium volume.

The good news, though, is that Vargas sings this music with real passion, warmth, and style. The arrangements may require him to sing the music more loudly than many singers do but he never forces or shouts - his heart may be on his sleeve, but is sincere and never vulgar. He pays close attention to the meaning of the words and is musically sensitive and expressive. His Italian diction is excellent, although his French could be a bit crisper. His long experience with bel canto operas makes runs and articulated grace notes easy for him, and he inserts some lovely decorations. The musicians, led by pianist Katherine Chu, do an excellent job with what they are given, and Vargas should actually have been credited as their conductor. I note particularly the beautiful wind playing in 'Teco, si, vengo anch'io'.

In addition to Vargas' comments, there are also notes on the music and full texts and translations. However, I thought the tone of the notes was just a bit too defensive of the more 'modern' approach. All the musicians are listed by name, a nice touch.

The sheer beauty of Vargas' voice, his enthusiasm and his sincerity should set aside most objections to the performance decisions made here. However, I would definitely recommend a more 'traditional' piano-or-harpsichord-accompanied set of this music alongside this if you don't already have one. Cecilia Bartoli's 'Se Tu M'Ami' is essential, and I would also suggest that if you are interested in hearing the music sung by a tenor, you should listen to Alfredo Kraus, especially since many opera lovers consider Vargas to be an heir to this late great Spaniard. Also, Vargas' 'Canzoni' album, from a live concert in Mexico City, shows how wonderful his voice sounds with piano in Italian and Mexican songs - including 'Gia sole del gange' sung in much the same way it is here. It's at super-budget price, too. Still, `Nel Mio Cuore' will give admirers of this lovely tenor the opportunity to wallow in a wonderful voice and experience the heart of an artist.

I don't for one second, regret having bought this CD and the moment you've heard the first aria, neither will you. Ramon Vargas voice is golden with an innate melodiousness and elegance rarely found these days. Though his approach is hardly authentic in style, it's also not overwrought or bombastic. A sense of sweetness is ever present in his singing and is a balm to ears often assaulted by over indulgent tenors only too eager to prove themselves. I would have loved to have given this release 5 stars, but couldn't, in all conscience, do so and the fault lies exclusively with the arrangements. They really are inappropriate, at best, with piano, strings and winds creating a sonic wall of schmaltz, that rarely compliments these lovely arias. I don't' mean to imply that the arrangements are unpleasant but they do, as a whole, diminish the experience considerably. Nevertheless, it's still a very worthwhile effort and highly recommended if only for Mr. Vargas' charming approach and pure, tonal beauty.

I think Ramon Vargas is the best tenor out there right now. His is a beautiful solid voice, well trained and used with both taste and showmanship. I hardly ever buy a recital disc, preferring to hear my favorite singers perform a role in a complete opera recording, but after a few seconds of hearing this disc, I was hooked. I think Vargas is the best tenor I've heard since Pavorotti was in his prime. The songs on this disc are tastefully (if not authentically) performed. Charming.

This recital is simply a must have. Ramon Vargas sings an aria recital that could rank with the very best that have been recorded. I feel this recording will become a classic.

The tone is beautiful, the phrasing is melting and lovely, and the orchestral arrangements are always tasteful and not overdone. If you think you have heard these pieces before (and they are all bascially familiar), you will be delighted to the fresh and beautiful approach to the material.

We are lucky to live in an age with tenors such as Vargas (and the wonderful Juan Diego Florez and equally wonderful Marcelo Alvarez)

If you buy this cd you will not be disappointed!!

Every beginning classical singer works on these arias that Vargas chose for this album, so naturally, they are often heard and almost always abused. Vargas makes them music again. Absolutely stunning work. He is the real thing - voice, brains and musicality. This combination is sadly lacking in many of todays top operatic stars.

This is a very personal interpretation of some old Italian favorites by beloved tenor Ramon Vargas, who possesses one of the most beautiful male voices currently in active in the world stage. The tenor makes full use of modern (as in 19th century) vocal technique to create an exquisite collections of songs. In contrast to the restrained singing that is usually associated with more orthodox versions of these songs, Ramon Vargas offers us far more passionate and melodic signing. The arrangements are simply remarkable, managing to multiply the beauty of these songs but still showing excellent taste. The result is strikingly beautiful, and I have enjoyed listening to this CD in countless occasions.

The Arie Antiche recorded here have been recorded countless times before, most notably recently by Cecilia Bartoli. Ms. Bartoli's approach to these songs was a very intimate one, a native Italian singing with a piano, she extracted every ounce of emotion, plaintive, joyeous, playful, as appropriate, from each selection. Mr. Vargas's approach is less intimate, but no less satisfying. He is accompanied by a small chamber ensemble and his gorgeous voice is very well displayed, the emotion a bit more restrained, but no less evident. This is a beautiful recording.

Lovely music, but somehow I find it not very involving. Listen to it some, if possible and see if it really is what you are looking for.

Those who love Mr Vargas' singing will probably be satisfied.
His voice is beautiful and this repertoire is most apt to show it to advantage. His technique is good (some problems with pianos), his agility commendable.

Those instead looking for an adequate rendering of old arias will find this compilation lacking: he chose (as declared in the booklet) to ignore philologicas and stylistical issues, singing them beautifully but also romantically, as late Donizetti or early Verdi. Problem is that this, to educated ears, sounds incredibly wrong, nearly inaudible.

A pity: with more attention to style this could have been a useful compilation for singing students too. Such as it is, it is only good for Mr Vargas' fans.

I am sorry I bought this album. I did not listen to the sound bytes first...my bad! Vargas croons his way through music that has been orchestated out of all recognition. It sounds syrupy and sentimental, not intensely emotional. The Carissimi is a joke! The Scarlatti is painful to hear. There are too many fine performances of 17th & 18th century music out there for this to pass muster. For example, if you want to hear Bononcini as he should be sung, listen to Martin Oro or Gerard Lesne. My recommendation is a most emphatic "NO".