ヴェルディ: オペラ・アリア集

人気バス歌手によるDGファースト・ソロ・アルバムはヴェルディ・アリア集!

ロシアのバス歌手イルダル・アブドラザコフが指揮者ヤニック・ネゼ=セガンとモントリオール・メトロポリタン管弦楽団という最強のメンバーで臨んだドイツ・グラモフォンからのファースト・ソロ・アルバムです。ヴェルディはイルダルの人生にとって大きな役割を果たした作曲家で、常に寄り添ってきました。イルダルのヴェルディの役は非常に評判が高く、今まで同様、これからもずっと歌い続けていくことでしょう。このアルバムではヴェルディの特に有名なバス役の歌唱を収録しています。

イルダルは現在最もよく知られた人気のバス歌手で、ロンドン、ミュンヘン、パリ、ベルリン、ミラノの主要な歌劇場に出演しています。
ユニバーサル・ミュージック/IMS

This release marks the debut release of Russian bass Ildar Abdrazakov on the Deutsche Grammophon label, but he has been singing the material in performance, notably at New Yorks Metropolitan Opera, for some years. Several factors promise a long, happy tenure at the label. First is that Abdrazakov has stuck with material he knew well, and in which he had something to contribute, rather than simply offering the expected group of operatic hits or even Verdi hits. There isnt a standard Verdi tune in the bunch, but Abdrazakov approaches them deliberately and with warm familiarity. This is the albums key attraction: Abdrazakov makes a strong case for several pieces that until now have been considered also-rans in the Verdi canon. Most are from the first part of Verdis career, and several bring to life the very first Verdi opera of all, Oberto, which is not often performed. Sample the aria Lorror del tradimento for a taste of Abdrazakovs style. Although he played Russian bass Fyodor Chaliapin in a film, hes not quite the same kind of powerhouse singer. Instead, his virtues lie in phrasing and in a certain sense of inhabiting the role. (The big Verdi roles will doubtless come later.) Abdrazakovs intention to dig deeply into early Verdi is indicated by the retention of several lengthy instrumental scene introductions, which give him room for his measured readings, and more generally by fine support from conductor Yannick Nezet-Seguin, leading the Orchestre Metropolitain du Grand Montreal and Choeur Metropolitain de Montreal. A very strong debut that may reshape the repertory a bit.