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The Europadisc ReviewRossini - Amici e RivaliCorrado Rovaris, Lawrence Brownlee (tenor), Michael Spyres (tenor), Tara Erraught (mezz... 10.35It takes genius of vocal writing like Rossini to bring off successful duets between two lead-role tenors with such consistency - that and an opera ensemble that boasts the resources to cope with such demands on a regular basis. And that's what the Teatro San Carlo in Naples had during the second half of the 1810s in star singers Andrea Nozzari and Giovanni David, with their contrasting tone colours: David the lighter, more florid and with brilliant top notes, Nozzari (who had started his career as just such a tenore di grazia) more baritonal with a well-developed lower register. The collegial competition that existed between them undoubtedly ... read moreIt takes genius of vocal writing like Rossini to bring off successful duets between two lead-role tenors with such consistency - that and an opera ensemble that boasts the resources to cope with such demands on a regular basis. And that's what the Te... read moreRossini - Amici e RivaliCorrado Rovaris, Lawrence Brownlee (tenor), Michael Spyres (tenor), Tara Erraught (mezzo-soprano), Xabier Anduaga (tenor), I Virtuosi ItalianiIt takes genius of vocal writing like Rossini to bring off successful duets between two lead-role tenors with such consistency - that and an opera ensemble that boasts the resources to cope with such demands on a regular basis. And that's what the Teatro San Carlo in Naples had during the second half of the 1810s in star singers Andrea Nozzari and Giovanni David, with their contrasting tone colours: David the lighter, more florid and with brilliant top notes, Nozzari (who had started his career as just such a tenore di grazia) more baritonal with a well-developed lower register. The collegial competition that existed between them undoubtedly crept into their casting in a series of works as rivals, sometimes overt, at others more covertly but with no less spectacular results.The legacy of music that Rossini composed for David and Nozzari is the starting point for a stunning new disc from two of the finest tenors working in the Italianate repertoire today: Lawrence Brownlee and Michael Spyres, the former a tenore di grazia par excellence, the latter more heroic with baritonal timbre in his lower range. And, as if to prove the point and highlight the contrast from the outset, they open with the great Almaviva-Figaro duet from the opera that immediately preceded Rossini's move to Naples: Il barbiere di Siviglia. It's a bold opera disc that starts (however briefly) with an unaccompanied voice, as the eponymous barber (Spyres) takes us into his confidence with 'All'idea di quel metallo portentoso', but it works brilliantly, and when Brownlee enters not 55 seconds later you know you're in for a treat. The humourous exchanges as Figaro dreams up disguises for the young Count are pure delight, with just enough knowing indulgence for repeated listening, and voices working in perfect (and nicely contrasted) harmony. Spyres shows himself thoroughly adept at the comedic baritone role, while Brownlee's voice has just the lightness and sweetness of tone needed in this repertoire. Their quickfire exchanges are ably supported by stylishly nimble playing from the Virtuosi Italiani under Corrado Rovaris, who are an important factor in the success of the disc as a whole.After this lighthearted start, we launch into more serious dramatic territory, but still with that unmistakably Rossinian featherlight touch that makes these operas, however weighty their subject matter, such a joy to listen to. In the first of two scenes from the exotically themed Ricciardo e Zoraide (1818), Brownlee's Ricciardo is joined by another tenor, the excellent Xabier Anduaga in the minor role of Ernesto, but it is the ease with which Brownlee takes the top D at the end of their duet that really steals the show here. In the second extract, Spyres's King Agorante is duped into friendship by Ricciardo in disguise (both are rivals for Zoraide's affections); in the second half of their duet, Spyres has a chance to demonstrate his own upper register, and the music hops along with delightful (if feigned) amiability.Brownlee and Spyres are joined by mezzo-soprano Tara Erraught for music from La donna del lago, with Brownlee as the heroic Uberto and Spyres as the doomed Rodrigo, and the cabaletta trio with its its corruscating vocal lines in all three parts (one at a time, then all together) is truly spectacular, however regrettably fleeting (in the theatre, this performance would surely meet with demands for an encore). The mood spills over into an excerpt from Elisabetta, regina d'Inghilterra, the violins taking over where the Scott-ian voices left off. Here Brownlee is the villainous Norfolk to Spyres's heroic Earl of Leicester, and it's a constant marvel how such duplicitous dealings can be cloaked in music of such airy grace and beauty.In a more extended extract from oft-derided but musically compelling Otello (1816), Anduaga returns in the much-reduced role of Iago to Sypres's Moor, and the dreamy textures as he worms away at Otello's suspicions are again a moment of unlikely beauty. Brownlee here is Otello's love rival Roderigo, with Erraught as Desdemona vainly trying to placate the two men in music of thrillingly increased agitation: this, like their Donna del lago trio, is a track you'll probably want to encore immediately.The French-texted Le Siège de Corinthe (Paris, 1826) brings a complete change of mood, with Brownlee as the young officer Néoclès, Spyres as the governor Cléomène and Erraught as the latter's daughter, Pamira. This is music of intense emotion, not least Néoclès's tremendously touching 'Céleste providence!', before all three characters join forces to meet their unhappy fate.Finally, a return to Naples and to the world of chivalric camaraderie in Armida (1817) with a heartwarming (and rare) trio of tenors: Spyres as Rinaldo (demonstrating some glorious top notes of his own), with Brownlee and Anduaga as his knightly sidekicks. It's tremendously uplifting, as is the disc as a whole, a sumptuous (and generously-filled) vehicle for two magnificent singers, the one grippingly heroic, the other fabulously honey-toned, in a pairing of utter perfection, with a magnificent supporting cast. An opera disc, in brief, that really cheers the soul.View ProductAbout EuropadiscA family owned company of music aficionados, Europadisc has been supplying customers around the world with recorded classical music since 1963, with a huge range of classical music CDs, DVDs and Blu-ray on offer. Our mission is to provide competitively priced, personal and knowledgeable specialist services on an international scale.Our aim is to offer the widest possible choice of classical recordings and respond speedily and accurately to your requests, to get you the music that you want, when you want it.We are able to supply CDs, DVDs and Blu-ray from UK classical recording companies. An industry leader, we receive advance new recording information which enables us to make you aware of the forthcoming recordings prior to the release date. This enables you to pre-order titles with full knowledge that we will ship them to you as soon as they are released.We will also regularly update you about new release titles along with special offers, reviews and promotions via our newsletter - should you choose to receive it.Our staff have a background in and profound interest in the classical music industry. This means that we can often provide helpful advice should you be unsure as to the existence of particular recordings, or which interpretation you might prefer.Feel free to browse our classical music CDs, DVDs and Blu-ray, either by choosing a specific composer or record label - alternatively, for a tailored service with recommendations from an expert, call us on 0115 982 7500.Europadisc Limited10A Gordon Road, West Bridgford, Nottingham NG2 5LN, UKTel 0115 982 7500Content is Europadisc Limited | Website design Ambrow Limited

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