parterre box

69 comments

• Lizzy says:

  As long as we’re encouraging unpopular opinions: I have always found it strange that this blog (which I like) devotes so much attention to Villazon and others but hardly has mentioned Calleja at all.

  on April 23, 2009 at 12:09 PM
• squirrel says:

  La Cieca: i didn’t mean to say that this was your fault, and you were the unintended victim of lampoon in my post> I agree, opinions should be shared. Some folks make it hard, though!!

  on April 23, 2009 at 12:13 PM
• almavivante says:

  Thank you again, Aristotle, for more clips. In particular, the “Adina, credimi” was sublime. When I heard Calleja’s Duke last week, it was the first time I’d heard him in the house, and I was delighted to discover that he’s no CD creation. (Though I wish they’d let him repeat the cabaletta to “Parmi veder”–once was NOT enough!) To whomever asked about his wife, Tatiana Lisnic, I heard her Norina opposite JDF at Covent Garden. She’s not bad at all, but the voice was nothing special, certainly nothing like her husband’s.

  on April 23, 2009 at 1:00 PM
• leboyfriend says:

  I fully expect to be deluged with abuse for saying this but Calleja reminds me very much of a young Bjoerling. Anyone else had a similar feeling?

  on April 23, 2009 at 1:11 PM
• Cocky Kurwenal says:

  Rinaldo, thank you for your report of his dramatic skills – that is heartening news. I am next hearing him in Traviata in June or July, and I’m looking forward to it all the more now.

  on April 23, 2009 at 1:30 PM
• Cocky Kurwenal says:

  #54 – yes, that was more or less the first thing that popped into my head when I heard his Macduff at the Royal Opera. I’m not sure Calleja’s voice will fill out to give him as many repertoire possibilities as Bjorling ultimately had, but I certainly thought he had many similar qualities.

  on April 23, 2009 at 1:32 PM
• Alessandro says:

  Thanks for the wonderful excepts. Calleja is indeed the real thing, a fantastic tenor with a unique sound. How I would love to listen to this complete MET elisir.

  I heard Calleja live several times in Vienna in roles like Alfredo, Roberto Devereux and Tebaldo. I also heard his Nemorino there and he is ideal for the role. It is really exciting to witness how he improves from one year to the next. He has a great technique and his diminuendi are one of a kind. What a voice this guy has!

  It seems that this elisir was his last appearance at the MET for quite some time. I noticed he is not booked there for the next season.

  He next will sing Alfredo to Netrebko’s Violetta in May in Vienna. And I have a ticket!!!

  on April 23, 2009 at 1:45 PM
• kashania says:

  Nine years ago, a 22-year old Calleja sang Rodolfo in Toronto. He was a nobody then but many (including me) heard similarities to Pavarotti. His alt notes weren’t fully developed yet but everything else was beautiful. It wasn’t until years later when he released a recording that I realised that he was that same guy. I hear shades of Pavarotti, Kraus and Bjoerling in the voice.

  on April 23, 2009 at 3:23 PM
• Tim says:

  #54: I agree entirely and would extend the comparison not only to his voice but to things like singing repetoire that fits his voice and placing his primary focus on singing rather than stage behavior. Jussi pretty much walked out on stage, made sure he knew where his wife Annalisa was in the audience, and stood there and sang. But if you listen to his live recordings he is the essential sicilian Turridu, the hopelessly romantic Romeo or Rodolpho, or perhaps one of the greatest swashbuckling Manricos ever recorded. So keep on doing what you are doing Joseph and leave the “acting” to Rolandino.
  As to the bleating may I refer the nay sayers to two gentlemen who were not too bad: Alessandro Bonci and Fernando deLucia.
  Lastly my deep thanks to Aristotle for sharing the excerpt with us.

  Tim

  on April 23, 2009 at 4:13 PM
• dexter says:

  The bleat/ vibrato issue is interesting, not least because I think we all have our own tolerances. But singers with a pronounced vibrato (not a wobble) on record often seem less vibrant live – it’s as though the vibrancy settles as part of the voice, rather than the main part. I think it’s that with calleja, for me it was with Popp and Lorengar, and from reports, it was the same with the fabulous, but very vibrant Supervia.

  on April 23, 2009 at 5:36 PM