Great Tenor Arias

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Editorial Reviews

Barnes & Noble - EJ Johnson
Juan Diego Flórez is currently unrivalled in the early-Romantic lyric tenor repertoire -- his first two solo CDs, one devoted to Rossini arias and the other to music by Donizetti and Bellini, proved that beyond doubt. On his third disc, Great Tenor Arias, Flórez extends his embrace forward in time to Verdi and Puccini and back to Gluck and Cimarosa, while remaining grounded in the bel canto of Rossini and Donizetti. It's a natural enough progression for the Peruvian tenore di grazia -- a vocal type that readily takes in Verdi's Duke from Rigoletto and Puccini's Rinuccio from Gianni Schicchi, as well as being ideally suited to 18th-century roles like Gluck's Orphée. Flórez...
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Editorial Reviews

Barnes & Noble - EJ Johnson
Juan Diego Flórez is currently unrivalled in the early-Romantic lyric tenor repertoire -- his first two solo CDs, one devoted to Rossini arias and the other to music by Donizetti and Bellini, proved that beyond doubt. On his third disc, Great Tenor Arias, Flórez extends his embrace forward in time to Verdi and Puccini and back to Gluck and Cimarosa, while remaining grounded in the bel canto of Rossini and Donizetti. It's a natural enough progression for the Peruvian tenore di grazia -- a vocal type that readily takes in Verdi's Duke from Rigoletto and Puccini's Rinuccio from Gianni Schicchi, as well as being ideally suited to 18th-century roles like Gluck's Orphée. Flórez is fully up to these new demands, offering a sparkling "La donna è mobile" and a suave "J'ai perdu mon Euridice," as well as a jaunty Gianni Schicchi excerpt, and he remains just as compelling on his home turf. In Rossini's "La speranza più soave" from Semiramide, for instance, the lovely, flowing legato of the cavatina gives way to impressive displays of agility in the cabaletta -- all in a day's work for Flórez. He has some surprises in store, too, with the charming example from Cimarosa's Il matrimonio segreto, a sensuous aria from Halévy's La Juive, and a lyrical extract from Verdi's early failure, Un giorno di regno. At its best, the tenor's bright, tightly focused voice gleams like polished steel, and while the disc may not display quite same the superabundance of stunningly effortless top notes that marked his earlier releases, Flórez's latest shows an artist in full command, reaching out for new challenges, and triumphing anew.
All Music Guide - Allen Schrott
On his third aria collection for Decca, Juan Diego Flórez continues to stretch his repertory beyond the Rossini roles that established his solo career. But he never strays far, wisely sticking to roles that suit his light, gracious sound, and which make the most of his exhilarating top notes without requiring dramatic heft. Flórez is a truly special singer, one of the best put together young tenors around, and Great Tenor Arias shows him off to great effect. Despite the album's title, very few of the selections included are from the usual Tenors hit parade; only Verdi's "La donna è mobile" from "Rigoletto" will be familiar to the casual listener. Coincidentally, that aria is the only real misfire on the album -- which is not to say Flórez sings it badly; rather, his tone is just too likable, too boyishly friendly, to capture the spirit of one of opera's most notorious bad guys. But almost every other selection on the album is spot on vocally, musically, and in character. Hearing Flórez tear into the florid coloratura of Rossini's "Semiramide" can't help but bring a smile to your face. His "J'ai perdu mon Euridice" from the less-often heard French version of Gluck's "Orphée et Euridice" shows him tackling a difficult "haute-contre" tessitura with no trouble. And his "Firenze è come un albero fiorito" from Puccini's "Gianni Schicchi" probably the only Puccini role Flórez is likely to sing has the perfect blend of youthful enthusiasm and vocal thrust. In general, this collection shows that Flórez has a more colorful palette at his disposal than many light tenors. His high notes have ring and a visceral "tug," and he can sing softly without sacrificing energy or intensity. Carlo Rizzi and the Orchestra Sinfonica e Coro di Milano Giuseppe Verdi are deluxe partners for Flórez. Great Tenor Arias is a highly enjoyable listen, and an impressive step in this young singer's career.
Time Out New York - Marion Lignana Rosenberg
Heaven keep Juan Diego Flórez smart and healthy, because right now he is singing with the kind of mastery not heard since Callas's glory days -- indeed as well as anyone who has recorded the early Romantic repertoire, in which he specializes.... He dazzles in Donizetti rarities, makes a seductive case for arias from Cimarosa's Il matrimonio segreto and Verdi's ill-fated comedy Un giorno di regno, and serves up a nimble "La donna è mobile."

Heaven keep Juan Diego Flórez smart and healthy, because right now he is singing with the kind of mastery not heard since Callas's glory days -- indeed as well as anyone who has recorded the early Romantic repertoire, in which he specializes.... He dazzles in Donizetti rarities, makes a seductive case for arias from Cimarosa's Il matrimonio segreto and Verdi's ill-fated comedy Un giorno di regno, and serves up a nimble "La donna è mobile."
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Product Details

  • Release Date: 9/14/2004
  • Label: Decca
  • UPC: 028947555025
  • Catalog Number: 000313602
  • Sales rank: 51,040

Tracks

Disc 1
  1. 1 Orphée et Eurydice (French version), opera in 3 acts, Wq. 41: Act 3, Scene 1. J'ai perdu mon Euridice - Christoph Willibald Gluck & Raniero de Calzabigi (4:37)
    Composed byChristoph Willibald Gluck
    Conducted byCarlo Rizzi
    Performed byCarlo Rizzi, Giuseppe Verdi Symphony Orchestra of Milan, Juan Diego Flórez
  2. 2 Un Giorno di regno, opera (Il finto Stanislao): Act 2, Scene 2. Pietoso al lungo pianto alfin m'ar - Giuseppe Verdi & Andrew Cornall (6:32)
    Composed byGiuseppe Verdi
    Conducted byCarlo Rizzi
    Performed byRomano Gandolfi, Carlo Rizzi, Giuseppe Verdi Symphony Orchestra of Milan, Giuseppe Verdi Symphony Chorus of Milan, Juan Diego Flórez
  3. 3 Semiramide, opera: Act 2, Scene 5. La speranza più soave già quest'al - Gioachino Rossini & Andrew Cornall (7:42)
    Composed byGioachino Rossini
    Conducted byCarlo Rizzi
    Performed byRomano Gandolfi, Carlo Rizzi, Giuseppe Verdi Symphony Orchestra of Milan, Giuseppe Verdi Symphony Chorus of Milan, Juan Diego Flórez
  4. 4 La fille du régiment, opera: Act 1, Scene 3. Eccomi finalmente...Feste? Pompe? - Gaetano Donizetti & Jean-François Bayard (6:30)
    Composed byGaetano Donizetti
    Conducted byCarlo Rizzi
    Performed byCarlo Rizzi, Giuseppe Verdi Symphony Orchestra of Milan, Juan Diego Flórez
  5. 5 La Juive, opera: Act 1. Scene 5. Serenade. Loin de son amie vivre s - Jacques-François Fromental Halévy & Andrew Cornall (5:00)
    Composed byJacques-François Fromental Halévy
    Conducted byCarlo Rizzi
    Performed byCarlo Rizzi, Giuseppe Verdi Symphony Orchestra of Milan, Juan Diego Flórez
  6. 6 L'italiana in Algeri (The Italian Girl in Algiers), opera: Act 1. Scene 3. Languir per una bella - Gioachino Rossini & Angelo Anelli (7:42)
    Composed byGioachino Rossini
    Conducted byCarlo Rizzi
    Performed byCarlo Rizzi, Giuseppe Verdi Symphony Orchestra of Milan, Juan Diego Flórez
  7. 7 Rigoletto, opera: Act 3, Scene 1. La donna è mobile - Giuseppe Verdi & Andrew Cornall (2:25)
    Composed byGiuseppe Verdi
    Conducted byCarlo Rizzi
    Performed byCarlo Rizzi, Giuseppe Verdi Symphony Orchestra of Milan, Juan Diego Flórez
  8. 8 Il Matrimonio Segreto, opera: Act 2. Pria che spunti in ciel l'aurora - Domenico Cimarosa & Giovanni Bertati (6:45)
    Composed byDomenico Cimarosa
    Conducted byCarlo Rizzi
    Performed byCarlo Rizzi, Giuseppe Verdi Symphony Orchestra of Milan, Juan Diego Flórez
  9. 9 Lucrezia Borgia, opera: Act 2. Scene and Romance. Com'è soave quest'ora di - Gaetano Donizetti & Andrew Cornall (7:43)
    Composed byGaetano Donizetti
    Conducted byCarlo Rizzi
    Performed byCarlo Rizzi, Giuseppe Verdi Symphony Orchestra of Milan, Juan Diego Flórez
  10. 10 Gianni Schicchi, opera: Avete torto!...Firenze è come un albero fiorito - Giacomo Puccini & Andrew Cornall (3:21)
    Composed byGiacomo Puccini
    Conducted byCarlo Rizzi
    Performed byRomano Gandolfi, Carlo Rizzi, Giuseppe Verdi Symphony Orchestra of Milan, Giuseppe Verdi Symphony Chorus of Milan, Juan Diego Flórez
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Album Credits

Performance Credits
Juan Diego Flórez Primary Artist
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