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Roberto Alagna - Opera Arias

Gaetano Donizetti (Composer), Jules Massenet (Composer), Francesco Cilea (Composer), Format: Audio CD

4.2 27 ratings

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Roberto Alagna
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Track Listings

1	Lucia di Lammermoor, opera: Tombe Degl' Avi Miei
2	Lucia di Lammermoor, opera: Act 3: Fra Poco A me Ricovero
3	Werther, lyric drama in 4 acts: Act 3: Toute Mon Ame Est LÃ ...Pourquoi Me RÃ©veil
4	L'Arlesiana, opera: Act 2: E La Solita Storia (Lamento Di Federico)
5	Guillaume Tell (William Tell), opera: Ne M'Abandonne Point...
6	Guillaume Tell (William Tell), opera: Act IV: Asile Héréditaire
7	Rigoletto, opera: Act III: La Donna E Mobile
8	Carmen, opera: Act II: La Fleur Que Tu M'Avais JetÃ©e
9	Mefistofele, opera in prologue, 4 acts & epilogue: Epilogue: Guinto Sul Passo Estremo
10	MÃ¢rouf, Savetier du Caire, opera: Act II: A Travers le DÃ©sert
11	Martha, opera: Act 3: M'apparÃ¬ tutt'amor ('Ach, so fromm')
12	Polyeucte, opera: Act 4: Source DÃ©licieuse
13	Don Pasquale, opera: Act 2: Povero Ernesto!
14	Don Pasquale, opera: Cercherò Lontana Terra..
15	Don Pasquale, opera: E Se Fia Che Ad Altro Oggetto
16	RomÃ©o et Juliette, opera: Act 5: C'est La!...Salut! Tombeau Sombre
17	La bohÃ..me, opera: Act 1: Che Gelida Manina

Editorial Reviews

Roberto Alagna ~ Roberto Alagna - Opera Arias

Product details

Is Discontinued By Manufacturer ‏ : ‎ No
Product Dimensions ‏ : ‎ 5 x 5.75 x 0.45 inches; 3.21 Ounces
Manufacturer ‏ : ‎ EMI Classics
Date First Available ‏ : ‎ February 10, 2007
Label ‏ : ‎ EMI Classics
ASIN ‏ : ‎ B000002RVI
Number of discs ‏ : ‎ 1

Best Sellers Rank: #356,977 in CDs & Vinyl (See Top 100 in CDs & Vinyl)
- #920 in Arias
- #48,771 in Classical (CDs & Vinyl)

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4.2 27 ratings

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4.2 out of 5

27 global ratings

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Marthe caillaud

Five Stars

Reviewed in the United States on January 13, 2018

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The best interpreter of French opera. Diction impeccable and voice as usual superb

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Gus A. Vaninetti Jr.

Solo arias in French by a fine tenor voice

Reviewed in the United States on March 29, 2015

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This bel canto cd is nice...he has a fine tenor voice.

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George R.

Very interesting program, variable approach

Reviewed in the United States on June 17, 2013

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Alagna has a virile, basically attractive blend of Italianate tone with excellent French, but as so often he frequently over-sings and tends to belt out the climaxes. Some tracks are quite fine and show what he might have achieved more often. Worth it for some of the off-beat repertoire but seek out some of the great tenors of yore to hear what's missing here.

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Joy Fleisig

The first great French tenor of the 21st century!

Reviewed in the United States on June 22, 2001

Roberto Alagna is probably the greatest tenor to come from France since Georges Thill, widely considered to have been the greatest French tenor of the 20th century. This is unquestionably Alagna's best solo album, the equal of his astonishing work in Werther. All of his virtues are amply displayed here: a splendid voice, directness and honesty of expression, superb diction in his native French, intelligence, imagination, complete and utter immersion in character, and the ability to make each word he sings mean something. Throughout the disc we hear nobility and sweetness, elegance and passion, tenderness and pain, even charm and humor. This is not merely a 'stud', but a great artist in the service of music.
Most important of all is Alagna's questing spirit. While some superstar singers barely change or add to their repertory over decades of performing, Alagna is eager to mine the rich lode of French repertory (of which we only know a few nuggets) and bring otherwise unknown or forgotten works to a new public. Some of these arias haven't been recorded in at least 60 and even almost 80 years. In fact, so rarely performed are they that the ROH Orchestra had to borrow the orchestral parts for two arias from the Orchestre de Paris!
Since his career began Alagna's voice has grown in drama and power with little loss to the basic lyric quality of his instrument. He does so well with the more dramatic selections not only because of his great skill as a vocal actor, but also because he actually sings the arias beautifully and lyrically instead of just belting them. He is strongest when he can combine heroism with introspection, as in the arias from `Samson et Dalila', `Le Cid', and especially `La Juive', where he perfectly embodies the inner conflicts of these three very different religious men. Indeed I found the grief and guilt of a father about to lose his daughter in the last absolutely heartwrenching. Still, I hope Alagna waits a long time before doing any of these roles on stage, and limits his appearances in them to small theatres. The best track on the disc is `O Paradis', filled with the genuine wonder of discovery. In the aria from `Joseph', Alagna convinces in the widest range of emotions from nostalgia to rage to the desperate desire for reconciliation, and the aria from `Les Abencerages' is also a dramatic tour-de-force. There is also a truly heroic rendition of `Nature immense' from `La Damnation de Faust'. The glorious paean to friendship from `Iphigenie en Tauride' is both urgent and sensitive, and the farewell to life from `L'Attaque du Moulin' is sung even more beautifully than by some historic tenors.
He also shows that he is quite capable of the light touch, such as in the aria from `Le Roi d'Ys' and especially `Elle ne croyait pas' with its beautiful diminuendi. The aria from `Maitre Pathelin' which opens the disc is a sweet, lovely serenade capped by a splendid high C#. It's a pity that he does not take all of `Je crois entendre encore' as sweetly and headily as he takes certain phrases, but I admit to being extraordinarily picky about the performance of this aria and am only truly satisfied by Gedda.
As with his performances at the Met and elsewhere, Bertrand de Billy proves his skill in bringing out the spirit and elegance of French opera. If his tempi are a trifle slow (and nowhere near as much as those of, say, Michel Plasson) they only aid musical expression. He has been a long time friend and collaborator of Alagna, and their rapport shows here. The orchestra plays very well and London Voices makes a fine choral contribution to the `Samson et Dalila' scene.
If there is any complaint to be made, it is that while Alagna differentiates character superbly, he doesn't differentiate actual musical style much. Over 100 years separate the Gretry and Bruneau arias, and he sings them basically the same way. And there are a few moments where he overdoes the heroism (and volume) a bit, notably in `Anges du paradis' and the Gretry aria. Still, in the context of the disc's overall splendor, these are minor flaws. It's also a shame that the originally announced aria from `Herodiade' is not included. I presume it didn't fit onto the otherwise generously filled (73 minute) disc.
By and large the documentation is also very good. Admirers of French opera who have only heard the rarities on historical labels with minimal documentation will greatly appreciate the full texts and translations included here. There is a nice essay on the French tenor tradition 'which Roberto Alagna inherits' written by noted English critic John Steane, who also provided explanatory notes for each track (some for the rarities could have been slightly more detailed). Although I am glad that Alagna isn't subjected here to the sugary publicity gush that most singers these days get in their CD booklets (so much for him being 'overhyped'!), it's a pity that there is no biographical or career information about him or de Billy.
I really hope that Alagna gets his wish to have some of these and other rare operas recorded in their entirety and staged, but I doubt if the political and economic situation in the opera world will permit it. Even if performances or complete recordings are impossible, Alagna absolutely must record many more solo French albums. A Berlioz disc with both Enee's and Hylas' arias from Les Troyens is essential. Certainly this wonderful stage comedian should also record more comic repertory. And of course, he should continue to bring us many more recordings of arias that haven't been recorded in ages, and even some world premieres. I also seriously hope that he gives us his interpretations of French song repertory as well. Frankly, if he wants to record the Paris phone book, that's fine with me too!

21 people found this helpful

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curlyonline

Early recording for fans.

Reviewed in the United States on January 17, 2019

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Arrived on time, well packaged. The sound quality was uneven which I suspect follows from the original masters. I quite enjoyed hearing these early recordings and will keep this one in my collection.

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Music lover

SUPERBLY PHRASED VERDI

Reviewed in the United States on November 10, 2003

I am surprised to find myself giving this record a complete thumbs up. Alagna's voice sounds comfortable in all of the selections, and they range from the lyrical to the outpourings of Otello. But what impressed me most was his musicality, his phrasing in thses demanding pieces. There are hundreds of "Celeste Aida" out there, bringing something new to such a warhorse would seem impossible, but it is done here. The key to much of Verdi's music is the 'arch', Verdi is famous for his arching melodies. Alagna uniquely understands this and phrases the very difficult 'ergerti un trono vicino al sol' in a beautiful arch, with a nice corona on the B flat, he then shows off his breath control by aliding right into the succeeding upward sweep of 'celeste Aida'. Fabulous! And I have never heard it this way before. Every other tenor in my experience goes up to the B flat and holds it for dear life and then swiftly descends on the phrase, never making it one continuous phrase and thus altering the inherent shape of the piece.
The "Ballo" aria is full of detailed expressive touches as Alagna follows Verdi's markings. He is the only tenor I have heard to actually sing with the 'voce cupa' Verdi demands at 'ed or, qual reo pressagio'.
Examples like this arethroughout the recital. This is a musician of the first rank with an attractive voice and personality. Bravo Signor Alagna.

2 people found this helpful

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G. ferguson

opera fan gene says NO

Reviewed in the United States on April 16, 2013

Verified Purchase

a big NO for this CD -- i like Alagna very much BUT this CD is a BIG NO -- he has no style - just FORTE thru out - bad, bad -- try one of the other ones which does have style & beauty of voice -- sorry old friend gef

4 people found this helpful

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Rick Holden (sceptic.one@mindspring.com)

He may be opera's Bad Boy, but the voice is so good.

Reviewed in the United States on September 27, 1999

Here we go again! Before the week is out, some wag will comment viciously on Alagna's display of hairy chest on his new CD cover. (Well, some Verdi arias are rather hairy-chested, aren't they?) What was the last complaint? Oh, yes, there were too many cutesy photos of he and his wife in the last CD "paperwork." Okay, it's out of the way--shall we discuss music, now? Sorry to keep repeating myself, but this is a superb recording. Obviously more disciplined in the studio than on stage, the voice is just incredibly lush, strong, and beautiful. If he keeps it up, he will become another Bergonzi, and that is the highest praise I can give any singer. I like the fact that he doesn't take the easy way out on this CD-there are lots of vocal challenges. Expecting to hear a rather limp Otello, I was surprised by the maturity of the interpretation; he's not ready to do it on stage (if he's smart), but he provided a real fortaste of what that event will be like. Alagna is the most "tenor-ly" of all the newer tenors today: he does not sing toward the tenor-baritone "line," nor is he overly lyrical. Seemingly a true "spinto," he is rapidly becoming the Pavarotti for the next century (which, incidentally, folks, begins Jan 1st, 2001). He and the other great new singers--Bocelli, Cura, Heppner, et al--will no doubt provide us with many years of beauty and excitement in the years ahead.

5 people found this helpful

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Exit

Best opera singer on the planet

Reviewed in the United Kingdom on January 2, 2021

Verified Purchase

Best opera singer on the planet. I was going to Berlin booked to see him until Covid nonsense ——- Refunded on all parts of the trip.

Loredana

Bellissimo

Reviewed in Italy on July 7, 2020

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prodotto arrivato nei modi e nei tempi previsti. Una selezione di alcune tra le più belle Arie Verdiane, dall' Otello a Luisa Miller senza dimenticare il Trovatore nella splendida esecuzione di "Ah si, ben mio" per poi concludersi nella caballetta "Di quella pira" eseguita in modo esemplare. Registrazione eccezionale. All' interno della confezione un piccolo libretto con una breve introduzione alle Arie e alcune foto del Tenore.

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Klingsor

Con Passione

Reviewed in Germany on November 8, 2015

Verified Purchase

Roberto Alagna verfügte 1995 über eine schöne, dunkel timbrierte Stimme, die er sehr differenziert einzusetzen verstand: so ist bsw.die zweite Strophe des Ohrwurmes "La Donna e mobile.." nicht nur gefordert pp gesungen, sondern er singt sie gleichsam für sich!!
So geht es auch in allen anderen Piecen dem Tenor m.E.nicht um den überrumpelnden Effekt, sondern um die musikalische Gestaltung der hier en nuce vorgestellten "Helden". Dadurch macht Zuhören wieder richtig Spaß und es wird nie langweilig, weil die Sorgfalt zu merken ist, mit der hier gearbeitet wurde.
Begleitet im wahrsten Wortsinn wird er von Richard Armstrong und The London Philharmonic, in der Ernesto Arie superb assistiert von dem Trompeter Paul Beniston.
Der Titel des EMI Albums "Popular Tenor Arias" greift hier zu kurz, weil zu beliebig.
Eine wundervolle Aufnahme,
großartig gesungen!!

One person found this helpful

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TOURREAU

Verdi et Roberto

Reviewed in France on October 25, 2013

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Cet album était difficile à trouver à un moment donné dans les circuits classiques de distribution... Merci à Amazon d'en disposer.
Musicalement parlant, ce n'est pas le meilleur album de Roberto dont je suis pourtant fan. Il adopte une couleur sombre pour donner l'illusion d'une voix dramatique qu'il n'a pas. L'intention est louable car certaines œuvres le nécessite. Toutefois Roberto, vous êtes solaire et non dramatique. Vous excellez dans le répertoire qui le demande et le public, dont je fais parti, vous aime ainsi ! Merci et bravo l'artiste.

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david hawcroft

Choice of arias

Reviewed in the United Kingdom on November 4, 2017

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Turns out to be 'not so popular arias ' to a significant extent. However the singing is glorious

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