Conductor Carlo Rizzi could take the life out of any tenor recital, no matter who the tenor–Caruso could lose his bite, Pavarotti his hanky. This is the most lackluster leadership I’ve heard in years, although after the perennially mediocre Rizzi’s recent Traviata with Netrebko and Villazon (DG), which has fire and life (if not subtlety), a transformation was possible. But no luck. Just listen to the four-square, rubato-free reading of “Una furtiva lagrima”. Think it’s a foolproof aria as long as the tenor doesn’t begin screaming or bleeding? Think again–here it’s duller than dirt. And while Calleja, good as he is, never will surpass Björling in the lilting, high-flying “Au Mont Ida” from La Belle Helene, the tenor is wonderful here, but the aria does not move–it has no “swing”, no inflection. Almost every aria falls flat except the dreamy ones wherein no rhythmic urgency or brains are needed from the conductor.
Calleja, on the other hand, continues the fine impression he made with his first recital a year ago (type Q7698 in Search Reviews). He continues to sing each selection with just the right touch, refusing to overstate either text or music, and his obedience to dynamics is remarkable. His pianissimo singing is natural-sounding and easy, he has a messa di voce that should be applauded, top notes are free, and his lightish sound, with warm vibrato, is handsome and unusual. He blends beautifully and gracefully with Anna Netrebko in the duet from Sonnambula, a notably difficult piece of work (trills and high-Cs, not to mention absolute purity of line are required), and he sings Nadir’s aria from The Pearl Fishers probably better than anyone since Kraus, and with more color. But sadly, with “La mia letizia infondere” from I Lombardi, you notice the problem immediately–Rizzi–as it’s sung with absolutely no bounce, no support. Calleja is all alone out there. And considering the impediment, he deserves even more credit. Should you own this? Yes–but warn your friends about Rizzi.
