Marcello Giordani - Tenor Arias

Marcello Giordani - Tenor Arias

Marcello Giordani - Tenor Arias
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CD Details

Performer: Giovanni Guagliardo
Composer: Gioachino Rossini
Composer: Gaetano Donizetti
Composer: Vincenzo Bellini
Composer: Giovanni Pacini
Composer: Georges Bizet
Composer: Giuseppe Verdi
Composer: Pietro Mascagni
Conductor: Steven Mercurio
Performer: Maria Arghiracopulos
Orchestra: Cantania Philharmonic Orchestra of the Bellini Theatre
Performer: Marcello Giordani
Edition: Music CD
CD Release Date: 2003-11-18
Music Label: Naxos
Soundtracks:
  1. Asile Hereditaire
  2. Ah! Mes Amis, Quel Jour De Fete!
  3. Un Ange, Une Femme Inconnue
  4. Nel Furor Delle Tempeste
  5. Per Te Di Vane Lagrime
  6. Torna, Vezzosa Fillide (Chamber Aria)
  7. Son Giunto!
  8. La Fleur Que Tu M'avais Jetee
  9. La Mia Letizia Infondere
  10. Quando Le Sere Al Placido
  11. Ah, Si, Ben Mio, Coll'essere
  12. Di Quella Pira L'orrendo Foco
  13. Mamma, Quel Vino E Generoso

Music reviews of Marcello Giordani - Tenor Arias

Music Review: Very well sung
Rating: 4 Stars

This CD is well presented and the sound quality is OK. I say that because it still sounds like it was recorded from a distance, giving the impressions of not fully being there. The orchestra is led well, and the clarity of the various parts is perfectly balanced, as are the tempi chosen for the various selections. Giordani is a wonderful tenor (and I have to say, for NAXOS label, that is something, for as a rule, I really don't enjoy many of the tenors they select for various projects, though a few really fine ones do turn up from time to time), and like so many have stated, so underrated. His production is not perfect, and there are times his held higher notes wobble more than have a finely handled vibrato. However, that is not problematic to enjoying the music. I find it sad that the selections were edited, by that I mean, in the aria and scene from Rossini's William Tell we only get the cabaletta with chorus once. I love that piece and I think the repeat is very exciting. He manages the High C's so wonderfully that a repeat (so we hear all 9 high C's written) would have been simply wonderful. I was also impressed with how he handled the terribly difficult aria from Bellini's I Pirata, which was written for the great Rubini (who also created the horribly high and difficult tenor role of Arturo in I Puritani, going to a top F, of course, he sang NONE Of those notes from the chest as we hear them here, all were sung in a falsetto) and sung the high D's masterfully. I stress he SANG them because often they are so pushed out by other tenors they are a strain to even listen to.

I never found Giordani straining for anything, but I did find that there were times he seemed to be feeling the music one way, and the conductor felt it differently. There were times I really felt he wanted to "pause" on a note, to draw out a phrase (and in each case I felt this he would have been completely correct to do such a thing), but the conductor was more intent on moving ahead. Those moments gave the impression he was rushed beyond his resources.

Giordani NEVER forces his sound, which is refreshing to hear, but it has presence, it has that something that does command attention. That is why I am so mystified with why we have heard so little, or nearly nothing of him. His voice is extremely pleasing. The balance between his well-developed lower tones and the blend from them to his highest tones is very excellent. His voice doesn't "drop off" as many tenors do when they are approaching the lowest notes in this music. So many tenors have wonderful top notes but virtually no bottom ones. Giordani, on the other hand, has a well developed lower range that carries well, is almost baritonal, but not really, never throaty or husky like some dramatic tenors, and never weak and wimpy like other very strong top note tenors. His voice blends perfectly from one register to the other. There is complete balance in his voice. He uses volume in a very musical way knowing just went to diminish a tone and when to let it pour forth in all its splendor. He is not stuck on simply singing super loudly all the time, or whisper singing to sound delicate and sweet. His musicality is tremendous. He also has sung a long time, and the voice is not as fresh as perhaps it was near the beginning (but it is NOT in decline).

I rated this recording only a 4 because of the basic sound quality. I really hate recordings where I have to turn up the volume to get the real "feel" of the music. Sometimes with NAXOS one is forced to play their recordings at a much higher volume to feel part of the music, to feel the "presence" of the sound. I really don't like that. I should be able to hear that even at a very low level of sound. One could with the old recordings back in the days of Decca and Curshaw engineering things, in many of the older recordings for the 60's. The energy of the performance came through loud and clear. It doesn't in this recording, and it is not the fault of the singer or the orchestra or the skills of the conductor. It is fully the skills of the technicians.
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Description of Marcello Giordani - Tenor Arias

"Marcello Giordani sang like a god." (The New York Times) The Sicilian born tenor, Marcello Giordani, has garnered many accolades for his performances, which include Tosca, Un ballo in maschera, Eugene Onegin, La Damnation de Faust, La favorita, La bohčme, Lucrezia Borgia and Verdi?s Requiem. Emerging as one of the leading Romantic tenors of the present day, Marcello Giordani is in demand at the world?s major opera houses including the Metropolitan Opera, Covent Garden, La Scala, Vienna, Zurich and Verona.

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