First, Sony gave us “THE Italian Tenor”, Vittorio Grigolo; now Decca brings us “The Maltese Tenor”. We first heard Joseph Calleja on disc in 2004 (type Q7698 in Search Reviews), following which Classicstoday.com opera critic Bob Levine praised him as a “polished artist” and “a class act”. Seven years later, the 33-year-old Calleja shows the evidence of a voice that’s been carefully nurtured and allowed to develop a natural maturity–there’s absolutely no strain or tension in this voice, nor is there a habit (exhibited by far too many young singers these days) of pushing or forcing his instrument beyond its physical or technical limit. Throughout, he impresses with his powerful dramatic utterances and sublime soft singing, with his delicately shaped points of phrasing and his clear diction. He knows his voice, he cares for it, and he knows what he should be singing and how he wants to sing it.
As I listened to Calleja I frequently thought of Björling, not because these two voices sound exactly alike, but because of the similar and very special sweetness in the tone, and in the clear, inescapable, underlying vulnerability, the sincerity of emotion, especially in the tragic, most passionate arias. He makes us not just relish the beauty of the sound, but he makes us believe everything he sings is his true experience. And after all, isn’t that what it’s all about?
Calleja’s “E lucevan le stelle” may not penetrate the heart quite as deeply as does Björling’s, but Cavaradossi’s profound sadness is just as real. “Salut! demeure chaste et pure” is as affectingly sung–passionate, yet always sensitive to the emotional context–and that high-C, with its perfectly controlled diminuendo…well, all I can say is that you just have to hear it. His “O soave fanciulla” again perfectly captures the temper of the scene–and it helps that he is ideally partnered by Aleksandra Kurzak (so many performances of this scene on tenor recital discs are ruined by ill-chosen sopranos), and thankfully, Calleja properly takes the (lower) written note at the end, allowing Kurzak the high-C. Lovely.
And speaking of excellent partnering, Marco Armiliato and L’Orchestre de la Suisse Romande offer first-rate support–dynamic, fully-engaged (no routine studio gig, this!), with rich, vibrant, well-balanced orchestral sound. Whether he’s called the Maltese tenor, “il primo tenore”, or just by his real name, Joseph Calleja’s presence on disc and on stage ensures continued pleasure for opera lovers, and particularly for those who truly appreciate the beauty of the tenor voice. Essential! [11/14/2011]
