Roberto Alagna

Alagna as a Baritone

Roberto Alagna singsIl trovatore: Di quella pira
In RA Format

Roberto Alagna singsPolyeucte: Source délicieuse
In RA Format

Roberto Alagna singsTurandot: Nessun dorma
In RA Format
I wish to thank Jacques Franken for the recording (Turandot).
Roberto Alagna Appreciated by the Public
In RA Format
Bravo the loggionisti for good taste and knowledge of the voice required to sing Radames.
Below is for the benefit of those two great experts of Grandi-Tenori, John D'Ancoca, who calls the loggionisti idiots, and Alfred Gioacchino, who call them queens. Hans Werner Henze wrote this in 1984. It is in German. I am sure that somebody of the Grandi-tenori site will be able to understand, but probably not Danyo, the Grandi-Tenori clown, who once wrote to me that knowing other languages was for idiots. In a nutshell, Henze tells that the real Connoisseurs sits in the upper range of the house and come from different ways of life. As Henze states those people are ready to praise or protest at any time as it should be.

Aus: Hans Werner Henze: Musik und Politik. München 1984, S. 47f.

Opernpremiere in San Carlo: Unter den Torbögen des Hauses und auf der Piazza davor stehen zierliche Polizisten, mit Dreispitz und Federn, Degen, weißem Handschuh geschmückt, und regeln den Verkehr der unübersehbaren Masse von Fiats und Alfa Romeos. Wie früher die Kutschen, so fahren heute sie in das Theater hinein, auf einer richtigen Straße, die durch das Haus hindurchführt. Rote Teppiche werden vom Foyer auf diese Straße hingerollt, über die Stufen zum Foyer hin. Lievrierte Diener öffnen den Schlag, kleine Damen und Herren, die den Wagen entsteigen, um sich im Foyer zu versammeln, bevor sie ihre privaten Logen beziehen, scheinen von der gleichen leutseligen Exklusivität wie ihre spanischen, bourbonischen und französischen Vorfahren. Hunderte von Fächern rauschen und knistern. Das Parkett und die Logen spenden der Opernaufführung sehr zurückhaltende Aufmerksamkeit – kaum, daß die Hände sich zum Applaus rühren; aber auf der Galerie, in den oberen Rängen überhaupt, da wohnt das wahre Publikum, mit feinem Ohr, mit skeptischem Blick, kritischen Bemerkungen, jederzeit bereit zum Protest, zur Eloge, zum Höllensturz, zur Aufmunterung, aber auch leicht ganz von Begeisterung dahingeweht. Da sind magere, bleichgesichtige Musikstudenten, verarmte Advokaten mit einem letzten Schimmer von Freude unter den halbgeschlossenen Lidern, da sind Marinesoldaten, Bersaglieri, Schuhputzer, fettleibige Kleinbürgerehepaare und mannigfaltige Vertreter unbesstimmbarer Gewerbe mit feingebundenen Krawatten und sorgfältigen Tuchanzügen. Das sind die großen Connoisseurs. In der Höhe des Theaterraums, wo sich die feinen Parfums aus dem Parkett mir dem Geruch von Brillantine und ärmlichen Dreigroschenlavendel mischen, schweben die Pianissimi der Sänger aus, eingeatmet von offenen Mündern in verzauberten Gesichtern, da spiegelt sich das Menschendrama der Bühne in feuchten Augenwinkeln, Wahrheit und Tragik des Lebens, in schöne Formen gebannt. Seltsames und liebenswertes Leben der Galerie des San Carlo!

Was wären Verdi, Puccini, Bellini und Donizetti ohne dieses Publikum im Dunkel gewesen, und wie sehr wußten sie um die Bedeutung und Gewicht seiner Reaktionen, seiner Meinungen. Von hier aus, vom Dachgeschoß her, wurden, wie auf Flügeln, wie von Vogelzungen verbreitet, Ruhm und Liebe in die kleinsten Winkel der Stadt getragen, wurden die Arien unsterblich gemacht, vielleicht bis zur Unkenntlichkeit, um dann aus dem heißen vulkanischen Boden als neues Lied wieder aufzutauchen.


I wish to thank Daniele Godor for the German text.
On of the great Grandi-Tenori (John D'Ancona) expert said (Source Grandi-Tenori):
However 'none' of this would have happened if those idiots in the la Scala audience had behaved with a little more respect and more maturity. It goes both ways. From what has been posted and what we know of the majority of the audience's reaction on that night, Alagna's performance did not warrant such a reaction from the minority of imbeciles, who are just as much to blame in this incident as Alagna.

In other, we should be happy to have a lyrical tenor sing Radames, even if he is over parted. Bravo D'Ancona. Truth Alagna was booed because the connoisseurs did not to accept that type of voice singing Radames. Now cry baby Alagna wants to sue La Scala after his desertion. Cry Baby thinks he sang well. I suggest that he gets an hearing aid.

I got following comments from Roger Yaeche on the disaster
Tu as entièrement raison pour le site "grandi tenori". Quelque uns sont des ignorants! Alagna s'est fait "ramassé" à la Scala, je ne suis pas étonné. Car on ne peut pas tromper le public milanais comme on trompe le public français qui n'y connait rien en chant. Alagna ne soutient pas sa voix, la place en arrière dans le palais, elle tremble et n'a aucune ampleur. Et pourtant quelle prétention de la part de cet homme ! Thanks.
Grandi-Tenori is a source for amusing experts comments on the recent justified Alagna booing at la Scala. The actual booing was quite reserved and should have been a lot wilder for such a poor performance at La Scala.

Here from Grandi-Tenori as written (with comments in RED):

Thread TitleThere is a big conspiracy for Alagna why Which one, clarify?
Let say,
*Alagna sings the role that bit bigger than his voice,(Didn't Carreras do the same dont we still love him?) There is no reason to love somebody who destroyed his voice
*Alagna does push his high Bflat or Bnaturel(Domingo even he doesnt have Bnaturel thats why people make a joke Si(B)MiNGO but dont we adore him?) So what, because Domingo does not have one, everybody else should not have one
*Alagna is not tall etc.Why people are so cruel..Respect to the art and Artist. Caruso, Poncet were not tall either. No respect for a pompous jerk
Alagna is one of the best lyric tenor of this century... The century is far from over to make such a statement
History has already written.. Not very picky
According to RODiALVA
La Scala's loggione is unworthy of C class singersLa Scala prefers A class singers . Alagna's Celeste Aida was just wonderful, as I have heard it now many times on youtube. An hearing aid is appropriate here
I think he is just fine for Aida. No kidding
According to The great Gioacchino
Here is RODiALVA again
I think he is able to sing Radames not more than this,but for my taste also he is suited for Romeo he was one of the best Romeo actually. Maybe he should research what type of tenors were singing Romeo in the past When he sings french repetoire his coperto sounds wunderfuly but italian sounds like he is covering too much and pushing at the same time. Non sense I saw his Cyrano di Bergirac he made me cry . Can I send you an handkerchief he is great Tenor and the good actor at the same time.Which is very seldem to find... Great thought
Here is Gioacchino again
Yes, I agree there was some pushingSurprised you noticed, and he had somewhat of a bleat in the middle voice because of the pushing. Is bleat good? I don't think it was GREAT, but I do think it was still wonderfully sung and phrased, certainly not deserving of the ridiculous display from La Scala people. Fully deserved booing Then again, I have been up there a few times and know how stupid and worthy of lashings the conceded little queensAccording to the Grandi-Tenori rules this type of language is not allowed, of course if you are a chosen it is fine. and failed singers that go there to boo people are... can you tell I don't like La Scala's loggione? Insulting moron, who is the tenor Gioacchino Lauro Li Vigni who on his website sing the Cenerentola cabaletta transposed down. Li Vigni should listen to Blake. If his website is up to date, he sings mostly comprimario roles and has a lot of time on his hands, hence the posting diarrhea he has, together with non experts like Ben, Pawel etc .
The Great RODiALVA again
I agree he was still good in the aria of RadamesAn hearing aid here is also appropriate and I can easly tell I dont like this kind of people. The loggione is now scarred I m sure it was speacialy organised.I saw Lucrezi Borgia there in 2002 Devia was Borgia good enough but she was refrigerator Devia is a great singeras usually. Marcello Alvarez was Gennaro and he was really in great form.Any way curten call came up.Devia got aplouse 10 times more than Alvarez. Poor man Nowadays Italian people has to know people respect this art all over the world. I will tell them
According to Tenorfach
I just wish the Italians (and especially La Scala) would take opera, as serious as they take football!! Just look to what extend they go over boys kicking a ball around!! That's why they booed, and what does this have to do with soccer
Thread TitleBeing booed alagna walked of the stage of la scala
The audiences booed him even he had not finished his Celeste Aida...ReallyI think they were so imprudent to do so. They judged him within the few minutes. Seems that they just wanted to get there and boo him.It was enough time to judge him
According to Kenneth Leung
Whether you like him or not, I think the finger of blame should also be on the idiots Insulting people who knowof la scala who made such a petulantThe booing was mild and childish display, quite easily on a par with alagna, and perhaps more soOf course. He had far more pressure put upon him to perform in such a big role in such big circumstances: way beyond the normal call Singing at La Scala is beyond the call of dutyof duty if you really look at the whole situation. What pressure did those in the audience haveThey pay to hear good singing, not a moron pushing??? We are kidding ourselves if we think they are true 'fans' of operaDeep thought. Whether you are talking about the media machine of 'Alagna-Gheorghiu' or the highly well-paid situation they are in, they are still fallible human beings like the rest of us. I am sure that Alagna will be concerned over this whole episode, which I definitely believe he would NOT have wanted upon himself in the first place. Rubbish
According to GT thinker John d'ancona

Alagna's popular arias CD

Roberto Alagna: Popular Tenor Arias, CD EMI 7243 5 55540 2 4.

This CD of popular arias sung by Golden Boy Alagna is a bitter disappointment after all the hypes from the English operatic press.

Cilea
L'Arlesiana: È la solita storia
An underpowered rendition, mostly sung using ridiculous pianissimos, not even coming close to Pavarotti's rendition (and Big P is not a favorite of mine). There are much better renditions already on disc.

Rossini
Guillaume Tell: Ne m'abondonne pas … Asile héréditaire
Another bland rendition, compared to O'Sullivan, Lois, Gilion, … His voice is not up to the role like Thill who had to give up singing the role very quickly because of the stress imposed on his vocal resources. However Thill had a much better voice than Alagna who does not risk to sing the ensuing cabaletta.

Gounod
Polyeucte: Source délicieuse
Another lifeless small scale interpretation, listen to Escalais' and Luccioni's renditions. No passion, no power.

His renditions of
* Rigoletto (La donna è mobile, nice, but listen to the unpublished record by Ibos, incredible cadenza),
* Carmen (la fleur, his limit act 1 and 2),
* Don Pasquale (Povero Ernesto! … Cercherò lontana terra ..E se fia che ad altro oggetto, very well done),
* Mârouf (A travers le désert, a role for him, but it has been done better by Thill and de Trévi for example),
* Martha (M'appari, nice, but not a Caruso rendition),
* Lucia di Lammermmor (Tombe degl'avi miei.. Fra poco a me ricovero, Ok by today's standard, but the role was created by Duprez, a great Arnold, Alagna could not be called the tenor of la maledizione judging by his complete output here),
* Werther (Toute mon âme… pourquoi me réveiller, a nice bland rendition à la Krauss),
* Mefistofele (Ogni mortal … giunto sul passo estremo, nice),
* Roméo et Juliette (C'est là … Salut! Tombeau, Alagna makes illusion here thanks to the microphone, Alagna's voice (like Krauss) is too light for the role, the role used to be sung by tenors such as Luccioni, O'Sullivan, Alvarez, Fontaine, Affre, Scaremberg , etc),
* La Boheme (Che gelida, listen to Lugo to see Alagna's shortcomings).

Thanks to the miracle of electronics Alagna makes a CD that will appeal to the lovers of small tenor voices. He is a light lyrical tenor and should stick to that, no Roméo Rodolfo, Don Carlo, etc.. His partner in crime is Richard Armstrong.


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