ALAGNA BRINGS GLOWING TONE AND ROMANTIC TRUTH TO MASSENET’S “WERTHER” Metropolitan Opera House, New York; January 6, 2004 The title role in Massenet’s “Werther” is a poetic soul who falls in love with an unavailable woman (Charlotte, who promised her mother she would marry Albert) and spends the opera pining away, sometimes lyrically, mostly exclamatorily, invariably beautifully – and always tinged with emotion bordering on hysteria. If his music weren’t so beautiful he’d be unbearable, and playing him with dignity is the dramatic key to the role. In the past thirty-three years (since the current production, now somewhat tatty, by Rudolf Heinrich, was first seen) the Met’s important tenor Werthers (Thomas Hampson sang Massenet’s revised, baritone version of the opera in the ’98 – ’99 season) have been a gloriously Italianate, unidiomatic Franco Corelli, the elegant Alfredo Kraus and Nicolai Gedda, and Placido Domingo at his most passionate. Now, joining their ranks, with many of the finest qualities of each of these tenors, is the French-Sicilian Roberto Alagna, finally coming into his own. Touted as the fourth tenor by his hype-happy record label in the ‘90s, Alagna has been improving yearly, and his Werther is a wonderful creation. (Ironically, his label has just dropped him.) Ardent without being overly emotional, emotional without being sloppy (not a sob or groan mars his performance), poetic without being either pitiful or laughable, he is currently in ringing voice throughout his range, with the top absolutely free and grand and the middle big and well-focused. His enunciation of the text is impeccable and he shades each phrase with carefully planned dynamics. He rightly deserved the praise the audience lavished upon him. Partnering him as Charlotte, the Bulgarian mezzo-soprano Vesselina Kasarova used her voice with ease and class, keeping her poise and distance as Charlotte must until the explosive last act, when she finally acknowledges her own passion. The darkness at the bottom of Kasarova’s voice contrasts well with the upper reach's spicy brightness; she and Alagna sang beautifully together. Soprano Lyubov Petrova sang the role of Sophie, Charlotte’s sister, securely and with gleaming tone, and Christopher Schaldenbrand’s Albert was imposing. The remainder of the cast – in particular, the small children’s chorus - was excellent. Jacques Lacombe led the Met Orchestra with true French grace and style; a bit more push and melodrama in the final act might have been welcome. The orchestra’s horn section, with plenty to do, was impressive. “Werther” will be repeated on Jan. 10th, 15th, 19th and 22nd. Robert Levine