アリア集

アメリカの「今」を代表するテノール歌手、デビュー・アルバム

チリ生まれニューヨーク育ち、ジョナサン・テテルマンのデビュー・アルバム。現在、欧米の主要歌劇場で主役として活躍中のアメリカのテノール歌手です。
スペイン領カナリア諸島の中心都市ラス・パルマスを本拠地とするオーケストラ、グラン・カナリア・フィルハーモニー管弦楽団と首席指揮者であるカレル・マーク・チチョンと共演しています。
アルバムに収録されているよく知られたアリア、そしてあまり知られていないアリア、どちらも力強いテノールの声で歌い上げられています。
ユニバーサル・ミュージック/IMS

The Deutsche Grammophon label issues an unusual number of debut recitals from opera singers who may go on to disappear almost completely. Will that happen with tenor Jonathan Tetelman? There are good reasons to think not. The label bills Tetelman as Chilean-American, doubtless to double the potential customer base, but in fact, he was raised in the U.S. from the age of seven months and is American as apple pie in several respects. His background is eclectic, including stints as a baritone (very hard to hear in the arias here) and a Manhattan club DJ (what kind of impact does that leave on the voice?). He is growing into a full lyric tenor voice, and the top is already there, even if other parts havent taken shape. (Tetelmans pianissimi are impressive as well.) Perhaps the most promising thing is that Tetelman knows how to play to his strengths; versatility is a less valuable thing in opera than being able to choose ones moment and bring the house down. The tenor puts his best foot forward immediately in "Cielo e mar" from Ponchiellis La Gioconda, and hes not afraid to pick lesser-known operas, like Flotows Martha or Riccardo Zandonais Francesca da Rimini if they offer material that sits in his sweet spot. Consider too his duets with the soprano Vida Miknevičiūtė from the latter opera. Some of the big Verdi arias arent as strong, but these will come with time. Tetelman gets excellent support from the Orquesta Filarmonica de Gran Canaria under Karel Mark Chichon, perhaps another example of selecting what fits instead of the very most prestigious name. A young singer to watch, no doubt! Buyers seem to be on board as this album hit classical best-seller charts in the summer of 2022. ~ James Manheim