イル・テノーレ

スター・テノール歌手初のオペラ・アリア集

スター・テノール歌手フレディ・デ・トマーゾは、彼のトップチャート入りしたデビュー・アルバムに続き、初のオペラ・アリア集を録音しました。《Il Tenore (イル・テノーレ)》は「誰も寝てはならぬ」「星は光りぬ」、『カルメン』の「花の歌」など、プッチーニとビゼーによるテノールの人気曲を収録しています。『トスカ』と『蝶々夫人』、そして『カルメン』の最後のシーン、それぞれの有名な愛のデュエットが、ソプラノのリーゼ・ダヴィドセンとナタリア・ロマニウ、メッゾ・ソプラノのアイグル・アクメチーナ(カルメン)という素晴らしい歌手たちと歌われています。ヴェテランのイタリア人指揮者パオロ・アリヴァベーニ率いるフィルハーモニア管弦楽団との共演。
ユニバーサル・ミュージック/IMS

This is the sophomore release by tenor Freddie De Tommaso (who is English, not Italian, explaining the capitalization), and he continues to show promise. The territory here is more challenging than that on Passione, his debut album of semi-popular Italian songs, and he steps confidently into operatic selections. De Tommaso does well not to present just another recital of operatic favorites. Instead, he offers sets of excerpts from several operas, most prominently Tosca, where he has made waves in the role of Cavaradossi. His familiarity shows in the preternatural ease of his performances, which is what has people talking; it is the kind of relaxed power possessed by Pavarotti, whom De Tommasos father admired, and by Franco Corelli, whom De Tommaso himself has cited as a model. Those are big idols to live up to, and right now, De Tommasos voice has none of the colors that those of the two great tenors had. However, his voice does have a quality of turning ones head after one has heard it for just a short time, and it is this quality that has attracted similarly talked-about young collaborators such as Lise Davidsen in several of the Tosca excerpts, and, most spectacularly, the young mezzo Aigul Akhmetshina in a pair of excerpts from Carmen. Thats the only non-Italian opera on the program, and it doesnt dent De Tommasos power a bit. One still awaits this voices development in a range of roles, but it is most definitely one for which to keep an ear cocked. ~ James Manheim