As one can gather from some of the titles of the operas represented in this collection, this CD is part of Chandos’ ongoing “Opera in English” series. The selection contains a few chestnuts (the Toreador Song, the “Te Deum” from Tosca, Iago’s “Credo” and “La ci darem la mano”) but covers some lesser-known (or practically unknown) territory as well. None of this would matter, of course, if the singer had little to offer, but we are finally getting a close-up of the Canadian baritone Gerald Finley, heretofore represented on discs and DVDs in music by Duparc, Adams, Ives, and Handel, among others. Hearing standard repertoire sung by a “new” voice gives audiences a stronger footing, and as it turns out, Finley stands up superbly to comparison.
He is a thinking-man’s baritone, à la Simon Keenlyside (rather than the all-voice baritone Robert Merrill-type); he has clearly thought about these characters and who they are. This, by the way, is not meant to denigrate his voice; it is a rich, full, true baritone, with plenty of ring and depth, and he is in utter control of it. Just listen to Oppenheimer’s aria from Doctor Atomic, “Batter my heart”, with its high tessitura, with Finley in complete control and turning the aria into an urgent outpouring, a plea for faith. Contrast it with the “Toreador Song”, for once sounding easy at both ends, perfectly enunciated and with great self assurance.
Iago’s “Credo” sounds superb in English as Finley sings it–un-exaggerated but nasty as hell (and the same might be said for Scarpia’s Te Deum, though Finley’s voice lacks a bit of weight for the part). Again, in utter contrast, we have Hans Sachs’ final monologue–modest but proud, filled with goodness and optimism. The Tannhäuser excerpts are mellow, introspective, and pious, not to mention sung with a melting legato. We come off a liquid “La ci darem la mano” (with the lovely Lucy Crowe) and bang into an exuberant drinking/battle song from Mark-Anthony’s The Silver Tassie. The accompaniments throughout are less enthusiastic than the singing, but they are good enough.
If the purpose of this CD was to prove Finley’s versatility, showcase his natural gifts, and alert the public to a great singer with a great voice, it worked brilliantly. And his subtle, slow diminuendo on the long-breathed final, upward line of “Some enchanted evening” that ends the CD will send you right back to the beginning. Bravo!
