Lumina

ベネズエラ出身の驚異の男性ソプラノ歌手によるアリア集

ベネズエラ出身の男性ソプラノ歌手、サミュエル・マリーニョによる男声で歌われたアリア集のアルバムがデッカより発売されます。伝承曲の「夏の名残のばら」とジョゼフ・カントルーブの歌曲集『オーヴェルニュの歌』からの「バイレロ」はサミュエル自身が編曲しました。自然や声、感情にインスピレーションを得た有名なアリアが、ベン・パーマー指揮するCovent Garden Sinfoniaとロンドンで、ピアニストのジョナサン・ウェアとベルリンで録音されました。

「次世代の男性ソプラノ歌手たちのために、私は扉を開きたいのです。そして"聞いて、私はそれをやったのだから、あなたにもできる"と言いたいのです」(サミュエル・マリーニョ)
ユニバーサル・ミュージック/IMS

Samuel Marino is a man who sings in the soprano range, but he is not a countertenor. His voice never broke, and he uses the terms sopranista or male soprano to describe his voice type. He started out, as do most countertenors, recording Baroque arias, and his voice had the agility to make this work. On the 2025 Decca release Lumina, however, he tries something new, namely the performance of female repertory forward to the 20th century, the latter in the form of Edith Piafs Hymne a lamour. Others, including most famously Andreas Scholl, have moved into the Romantic male high voice, but Marino seems to have something more ambitious in mind, a more gender-fluid future for soprano parts. Here, he sings the "Song of the Moon" from Dvořaks Rusalka, which may seem to lack a certain oomph but has a uniquely melancholy quality. Will he eventually perform the role of Rusalka on stage? That depends more on musico-political questions than on purely musical ones. However, it is to be noted that the repertory here arguably suits Marinos voice better than the big Baroque countertenor arias he has done earlier. His voice has a lightness that matches his rather cherubic appearance, and it fits the angelic mood that audiences of the day would have associated with the likes of Gounods Ave Maria. The Czech in "The Song of the Moon" is impressive, and Marino also offers The Last Rose of Summer; it is not Spanish accented, but he seems to be swallowing the words a bit. Nonetheless, this is a genuinely pioneering release, and one that seems to be pulled off with love for the material. ~ James Manheim