VOIX DES ARTS,LA SCUOLA DE GELOSI,A.Salieri, Deutsche Harmonia Mundi, SONY MUSIC

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…”Taking no prisoners in his good-natured but uncompromising siege on the Count’s music, tenor Emanuele D’Aguanno gives unexpected depth and importance to a character who could all too easily be played as an arrogant, dim-witted fop. A noted master of bel canto, D’Aguanno traces the elegant line of the Conte’s Act One cavatina, ‘A me par che il mondo sia di ragazze d’ogni sorte,’ with natural grace. In the terzetto with the Contessa and il Tenente, the tenor’s voicing of ‘Eh via, saggia Penelope, non siate sì feroce’ emits a charge of satirical electricity: one can almost see the Conte rolling his eyes in bemused annoyance. In the aria ‘Chi può vedere oppresso un idolo d’amor,’ D’Aguanno’s technical prowess is put to use with astonishing fluidity. Here, too, in music through which otherwise capable singers might stammer, D’Aguanno’s bel canto training yields a performance of wondrous confidence. This alone heightens the nobility of the singer’s portrayal of the Conte. Joining with his Contessa in the Act Two duettino, this Conte delivers ‘Quel visino è da ritratto’ with the futile virility of a wasp trapped in honey. The aria ‘Più sereni quegli occhi volgete’ is sung with unapologetic romanticism, D’Aguanno again making magic with his negotiation of the vocal line. D’Aguanno is an expressive, communicative singer who deserves greater global recognition, and his performance on this recording is a compelling exhibition of his abilities…”

by Joseph Newsome

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