Here, in his third solo-recital CD, Rolando Villazon continues to impress; in fact, he gets better and better. Most tenors paint in broad strokes–the listener recalls the visceral reaction to a solid, high B-flat, or the ability of a big voice to effect a smooth diminuendo. But Villazon, with plenty of those tricks up his sleeve as well, is a rarity–a subtle, intelligent tenor. Even when approaching a chestnut like “Amor ti vieta” Villazon manages something special: he gives the aria’s final note a slight crescendo and diminuendo within the space of a second or two, and it adds a surge of passion that all the yelping in the world can’t compare with. Similarly, there is a berserk smile in his voice at the start of Hoffmann’s “Kleinzach” ballad that becomes all the more memorable when he enters the darker, central passage of the narrative. “Recondita armonia” begins almost as a reverie; Turiddu’s Farewell has an honest aura of desperation.
There is spontaneity in his singing, and he brings vivid personality to each character he portrays. The Ernani aria is little-known; it was added at Rossini’s request for a revival in Parma in 1844 for tenor Nicola Ivanoff. The cabaletta is particularly strenuous–an ideal showcase for a spinto tenor, rather than the lyric Villazon clearly is–but with his darkish tone and strong rhythmic sense it is impossible to fault his performance. The final B-flat in the “Flower Song” is not sung piano, but neither is it belted, and Villazon manages the messa di voce on “Je t’aime” with a gentle grace.
His German is very clear but obviously newly learned and Mediterranean-tinged; however, his singing of the two Flotow arias could not be sweeter or more right-on. Lensky’s aria, in passable Russian, brings to mind Fritz Wunderlich’s rendition more than Gedda’s or Shicoff’s; he certainly could be in worse company. And the aria from Bizet’s The Pearl Fishers is simply ravishing: he takes the opening phrases in one long, dolcissimo breath, sings with a dreamy legato, and switches up to the high-Bs in an impeccable falsetto/voix mixte, as soft as a dove. Michel Plasson’s accompanients are more than sympathetic–they’re a good partnership with a great tenor. Talking too much about this recital is like giving away secrets; go out and buy it. [2/20/2006]
