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Arrivederci / Vittorio Grigolo

Grigolo,Vittorio
Release Date: 09/20/2011 
Label:  Sony   Catalog #: 791134   Spars Code: DDD 
Composer:  Giuseppe VerdiGiacomo PucciniFriedrich von FlotowFrancesco Cilèa,   ... 
Performer:  Vittorio Grigolo
Conductor:  Pier Giorgio Morandi
Orchestra/Ensemble:  Parma Teatro Regio Orchestra
Number of Discs: 1 
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Notes and Editorial Reviews



ARRIVEDERCI Vittorio Grigolo (ten); Pier Giorgio Morandi, cond; Teatro Regio, Parma O & Ch SONY 88697911342 (68:14 Text and Translation)


Arias from: DONIZETTI Il Duca D’Alba. VERDI Rigoletto. La Traviata. MOZART Così fan tutte. PUCCINI Read more class="ARIAL12bi">Tosca. FLOTOW Martha. CILEA L’Arlesiana. GIORDANO Fedora. Songs by ROSSINI, DE CURTIS, LEONCAVALLO, CANNIO, D’ANNIBALE, DI LAZZARO, CARDILLO, D’ANZI, RASCEL, DALLA


If Vittorio Grigolo’s first recital disc served notice that an important new Italian tenor had arrived, this second disc confirms that notice triumphantly. If he continues to husband his resources wisely, Grigolo can set the standard for lyric tenor singing for quite some time. There is a warmth and a richness of timbre to his voice that is lacking in most of the other tenors who have developed major international careers, and his musical imagination, in terms of dynamic shading and phrasing, is in a different league from most of his colleagues. The voice is solid from bottom to top, with a brilliantly ringing, solid high B at the conclusion of Torna a Surriento proving that point on this disc.


But it is the delicate, soft singing (the end of the Duca d’Alba aria, for instance, or much of the L’Arlesiana aria) that takes the breath away (ours, not Grigolo’s). In addition, he intelligently uses all of the dynamic levels between pianissimo and fortissimo , so there is real variety of expression in his singing. It is this latter quality that makes Grigolo stand out. An imaginative use of the middle dynamic ranges is not something we encounter that often, particularly in tenors. Some can float a lovely piano and belt out a climax and then sing everything else at an unvaried mezzo-forte . Grigolo constantly varies the dynamics—never fussily, always with sensitivity.


If one is looking for something to complain about, it might be that the voice seems to operate in a relatively narrow range of color, having a kind of sad tint to the sound that is probably not appropriate for La donna è mobile , for example. But this is a very minor complaint indeed. Throughout this disc, one hears beautiful singing, sensitive to nuance and to dramatic setting, and never empty note-spinning.


Some may react negatively to the mixed bag of programming—half operatic arias, half Italian songs. I wonder if the same people would complain about a reissue of Di Stefano, Gigli, or Bergonzi recordings with the same mixture. The breadth of repertoire here reflects a wide range of music meant to be sung by voices just like Grigolo’s. A legitimate complaint might be made about Lucio Dalla’s melodramatic song Caruso , much of it written in a kind of parlando and purporting to imagine the final hours of Caruso’s life, with the great tenor speaking to some young woman. It is, to be honest, somewhat icky. The recorded balance favors the tenor perhaps just a bit more than is realistic, and Pier Giorgio Morandi’s conducting could use a bit more drive and intensity. Sony deserves credit for giving us texts and translations, something we can no longer take for granted on vocal recitals.


If you love the tenor voice, ignore the nits that I picked and add this really wonderful disc to your collection. Grigolo is clearly a singer who sings because he loves it, because he must sing—that is apparent in every song and aria here. This is not someone singing because that’s his profession or his career. This is singing from the soul, but backed by the vocal equipment and technique to support it fully. I look forward to many years of pleasure from this artist.


FANFARE: Henry Fogel


--------

This is not an opera program, nor is it a classical vocal recital or typical mix of traditional songs and arias, although this new recording from tenor Vittorio Grigolo has elements of all three. Rather, it is a celebration of the true Italian singer, Italian music, and whatever innate spirit and style embodied in both makes them inseparable and unique. And if you’ve any doubt that Grigolo is the real thing, “The Italian tenor” as claimed on his debut recording, skip for the moment the superbly sung disc-opening opera arias (Rigoletto, Tosca, Martha, La?traviata, Così) and listen to “Non ti scordar di me” and “O paese d’ ’o sole.” Here is the passion, the joy, the truth of a master singer connecting with his listeners – and what a voice!

Grigolo has been said by some to be the heir of Pavarotti – fine. But Grigolo’s voice has purity and innate beauty along with the passion; a ringing, golden top; a centered, solidly secure placement across his range; and none of the spread, forced, hard-edged upper- register tone of his predecessor. Grigolo is young and talented, with natural gifts and a devotion to his art that bodes well for his future. He seems to understand that this is a long-term proposition; that there is a difference between selling your talent and building a career; that to be a great singer, to sustain a career, to make music that is memorable and meaningful across years of performances and all manner of audiences takes time and care and patience, that a deep respect for the craft of singing is at least as important as an appreciation for one’s natural ability. Grigolo is not immune from a little over-the-top indulgence (Enrico Cannio’s “O surdata ‘nnammurato”), but you won’t mind because at the same time you will be savoring the memory of his meltingly affecting “Un’ aura amorosa” (Cosi) and powerful “Recondita armonia” (Tosca) and “È la solita storia” (L’arlesiana). The sound, recorded in Parma’s Auditorium Niccoló Paganini and London’s Wathen Hall, is ideal; the orchestral playing and direction is spot on.

–?David?Vernier, Listen: Life with Classical Music
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Works on This Recording

1.
Rigoletto: La donna è mobile by Giuseppe Verdi
Performer:  Vittorio Grigolo (Tenor)
Conductor:  Pier Giorgio Morandi
Orchestra/Ensemble:  Parma Teatro Regio Orchestra
Period: Romantic 
Written: 1851; Italy 
2.
Tosca: Recondita armonia by Giacomo Puccini
Performer:  Vittorio Grigolo (Tenor)
Conductor:  Pier Giorgio Morandi
Orchestra/Ensemble:  Parma Teatro Regio Orchestra
Period: Romantic 
Written: 1900; Italy 
3.
Martha: Ach, so fromm by Friedrich von Flotow
Performer:  Vittorio Grigolo (Tenor)
Conductor:  Pier Giorgio Morandi
Orchestra/Ensemble:  Parma Teatro Regio Orchestra
Period: Romantic 
Written: 1847; Germany 
4.
L'Arlesiana: E la solita storia...Anch'io vorrei "Lamento" by Francesco Cilèa
Performer:  Vittorio Grigolo (Tenor)
Conductor:  Pier Giorgio Morandi
Orchestra/Ensemble:  Parma Teatro Regio Orchestra
Period: Romantic 
Written: 1897/1937; Italy 
5.
Fedora: Amor ti vieta by Umberto Giordano
Performer:  Vittorio Grigolo (Tenor)
Conductor:  Pier Giorgio Morandi
Orchestra/Ensemble:  Parma Teatro Regio Orchestra
Period: Romantic 
Written: 1898; Italy 
6.
Les soirées musicales: no 8, La danza by Gioachino Rossini
Performer:  Vittorio Grigolo (Tenor)
Conductor:  Pier Giorgio Morandi
Orchestra/Ensemble:  Parma Teatro Regio Orchestra
Period: Romantic 
Written: circa 1830-1835; Italy 
7.
Torna a Surriento by Ernesto De Curtis
Performer:  Vittorio Grigolo (Tenor)
Conductor:  Pier Giorgio Morandi
Orchestra/Ensemble:  Parma Teatro Regio Orchestra
Period: Romantic 
Written: Italy 
8.
Mattinata by Ruggero Leoncavallo
Performer:  Vittorio Grigolo (Tenor)
Conductor:  Pier Giorgio Morandi
Orchestra/Ensemble:  Parma Teatro Regio Orchestra
Period: Romantic 
Written: 1904; Italy 
9.
Ti voglio tanto bene by Ernesto De Curtis
Performer:  Vittorio Grigolo (Tenor)
Conductor:  Pier Giorgio Morandi
Orchestra/Ensemble:  Parma Teatro Regio Orchestra
Period: Romantic 
Written: Italy 
10.
O surdato 'nnammurato by Enrico Cannio
Performer:  Vittorio Grigolo (Tenor)
Conductor:  Pier Giorgio Morandi
Orchestra/Ensemble:  Parma Teatro Regio Orchestra
Period: Romantic 
11.
Non ti scordar di me by Ernesto De Curtis
Performer:  Vittorio Grigolo (Tenor)
Conductor:  Pier Giorgio Morandi
Orchestra/Ensemble:  Parma Teatro Regio Orchestra
Period: Romantic 
Written: Italy 
12.
'O paese d' 'o sole by Vincenzo D'Annibale
Performer:  Vittorio Grigolo (Tenor)
Conductor:  Pier Giorgio Morandi
Orchestra/Ensemble:  Parma Teatro Regio Orchestra
Period: Romantic 
Written: 1925; Italy 
13.
Chitarra Romana by Eldo Di Lazzaro
Performer:  Vittorio Grigolo (Tenor)
Conductor:  Pier Giorgio Morandi
Orchestra/Ensemble:  Parma Teatro Regio Orchestra
Period: 20th Century 
Written: Italy 
14.
Core 'ngrato by Salvatore Cardillo
Performer:  Vittorio Grigolo (Tenor)
Conductor:  Pier Giorgio Morandi
Orchestra/Ensemble:  Parma Teatro Regio Orchestra
Period: Romantic 
Written: 1911; Italy 
15.
Voglio vivere così by Giovanni D'anzi
Performer:  Vittorio Grigolo (Tenor)
Conductor:  Pier Giorgio Morandi
Orchestra/Ensemble:  Parma Teatro Regio Orchestra
Written: Italy 
16.
Arrivederci, Roma by Renato Rascel
Performer:  Vittorio Grigolo (Tenor)
Conductor:  Pier Giorgio Morandi
Orchestra/Ensemble:  Parma Teatro Regio Orchestra
Period: 20th Century 
Written: Italy 
17.
Caruso: Main Theme by Lucio Dalla
Performer:  Vittorio Grigolo (Tenor)
Conductor:  Pier Giorgio Morandi
Orchestra/Ensemble:  Parma Teatro Regio Orchestra
Period: 20th Century 

Featured Sound Samples

Rigoletto (Verdi): "La donna è mobile"
Les soirées musicales (Rossini): No 8: La danza
Mattinata (Leoncavallo)

Customer Reviews

Average Customer Review:  1 Customer Review )
 wonderful November 26, 2011 By Dorothy LAUMANN (Bloomington, MN) See All My Reviews "wonderful" Report Abuse
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