After Salvatore Licitra’s last-minute stand-in for an ailing Pavarotti at the Met’s gala Tosca and his much praised performance on Sony’s live-from-La Scala Trovatore, there were high expectations for the tenor’s solo album debut. However, whatever won Licitra such glowing notices on stage seems not to have made it into the studio. Yes, there is the much heralded Italianate quality of his voice, with a mid-range timbre that resembles that of Pavarotti’s (probably what induced the New Yorker magazine to dub him the “Tenor of Tomorrow”), and he’s got a rich sounding lower register. But, as with most of today’s tenors he lacks “squillo” in his top range–you know, those bright, ringing tones (common in tenors of yesteryear) that send chills up your spine. Also, he displays little of that polished, ardently expressive quality that initiates excited response from listeners. Thus, Licitra’s “Nessun dorma” interests where Pavarotti’s hypnotizes; his “Celeste Aida” is impressive where Jon Vickers’ is commanding; and his “Addio fiorito asil” (Madama Butterfly) suggests regret where Richard Tucker’s communicates anguished remorse.
Actually, Licitra’s best track is an extended selection from Un Ballo in Maschera (beginning with “Forse la soglia attinse”), where his rich yet brightly pointed sound remains focused pretty much throughout. It’s also the only track where Sony’s engineers keep Licitra’s voice from being swallowed up by the orchestra. Otherwise we get a Karajan-like wash of sound from Carlo Rizzi and the London Symphony, while Licitra seems placed well back of it all in what sounds to be an empty gymnasium, thereby imparting an annoyingly hollow echo to his contributions. This is just another example of the recording’s seemingly rushed production, making me wonder if everyone involved was truly ready for this undertaking, and if the “Tenor of Tomorrow” shouldn’t have waited another day–or week–or year.
