Notes and Editorial Reviews
"In this fantastic CD one hears the acoustic proof which places him along side the world's greatest singing stars since the end of World War II. He sings highlights and rarities from the Italian and French repertories, e. g. Faust in exemplary fashion, both in diction and style."
- Piotr Kaminski, Radio France Internationale
"His advancement into the lyric-dramatic realm has been documented by the recent appearance of a solo CD entitled "Salut!" which contains Italian and French arias ... a sample coffer of Beczala's potential, and a preview of future possibilities with many treats, but also with rarities for example from Bazin's "Maître Pathelin" or from Maillart's "Les Dragons de Villars". Due to his warm, full timbre, which reminds one somewhat of Sandor Konya, his secure, flexible top notes, as well as his linguistic ability, Beczala is convincing in both repertories."
- Gerhard Persché,
Opernwelt May, 2008
"Now he has presented his first solo album entitled insinuatingly "Salut!" (which of course contains the aria "Salut! demure chaste et pure" from Gounod's "Faust"). Appearance-wise the album stands marked in contrast to the current trend: On the cover, rather than striking a pose which would suggest a marketing build-up, Beczala, dressed in a jeans jacket and T-shirt, smiles shyly into the camera. However "down to earth" the singer may be outwardly and when talking about his career, he does lift off to soaring heights, and that not only on the CD: Most of the arias are from roles in which one dare not be stingy with top notes, for example Werther, Edgardo ("Lucia di Lammermoor"), the Duke (Rigoletto), Faust, Riccardo ("Un ballo in maschera"), Roméo and Hoffmann, all of which Beczala has already sung on stage or will soon sing. In addition one finds rarities such as Leoncavallo's "La Bohème", "Les Dragons de Villars" by Maillart or "Iris" by Mascagni. In spite of the constant alternation between Italian and French repertory, the general impression remains the same. Based on a solid middle range, Beczala unfolds a brilliant, eminently sweet tenor voice. However, as the voice ascends, it disposes of great thrust and muscular tension, which allow the singer to sustain the notes ostentatiously and thus appeal to the sensitivity of the audience. This is precisely what constitutes the fascination of a tenor voice. That Beczala sings with power does by no means imply that he can not differentiate. The recitative preceding Edgardo's aria or the aria from "Faust" demonstrate his ability to create a build-up."
Das Opernglas MaY 2008