When you have flu and, watching this clip, seriously think the Cavaradossi is Willem Dafoe, then discover it’s Michael Fabiano 😩 Thanks for the upload 🥳
Here’s what OPERAWIRE has to say about FABIANO’s performance on opening night- A Place Among the Greats! Michael Fabiano as Cavaradossi. One word: SUPERNATURAL. Anyone who’s heard him knows the sheer power of his voice. At the closing of “Mario! Mario! Mario!”, with all eyes focused on Kurzak, Fabiano came out of nowhere from stage right with a stupendous, forte high B flat on the “Ah!” of “Ah! M’avvinci ne’tuoilacci.” Fabiano possesses an instrument handed down from the greats. It’s thrilling, it’s brilliant, and he stands among the most esteemed tenors of our time. That’s why we love to see him in action. However, the same awe-inspiring B flat destroyed any chance of hearing Kurzak, not because she’s not powerful enough for the role, but because Fabiano can overpower almost anyone on stage. As the evening progressed, adjustments were made and the Fabiano/Kurzak pairing was more balanced. Fabiano’s entrance was fiery, confident, and in charge. His Cavaradossi got in people’s faces. He was not a timid painter; he was a painter with an attitude, unless with Tosca. Her coquettish playfulness held threats, which he took seriously. Tenors face an early test in “Tosca.” They need to come out ready to sing “Recondita armonia” with its high tessitura, high A’s, and a big B flat towards the end, which Fabiano sat on. Was he grandstanding in doing so? Perhaps, but let’s put his bravura Act one in context. Fabiano is a North Jersey guy, so singing at the Met is a homecoming of sorts. Of course, he’s going to put on a barnburner performance for the home crowd. But also, this was a rainy Tuesday evening performance, with empty seats. Things felt weighed down, not just subdued, but heavy. Fabiano changed that. The electricity he brought flowed into the audience and got the blood pumping. His singing was a delight for the ears and caviar for the musical mind. This is what audiences come to hear, and Fabiano delivered it in spades. Likewise, with “Vittoria! Vittoria!” “E lucevan le stelle” is to Cavaradossi as “Vissi d’Arte” is to Tosca. It’s the big tenor moment the audience waits for all evening. Fabiano showed his versatility, both with his acting and his singing. Gone were the trumpet blast notes of the happy and in-love painter. The piece is gut-wrenching and one of the most beautiful tenor arias. Fabiano took it slow, letting the audience take in his lovely legato lines. When singing the words “… forme disciogliea dai veli,” Fabiano used his head voice to sing the high notes-the top note being a high A. It was a surprise and going falsetto gave the impression of shying away from the topmost notes. Whatever the reason for the head voice, he sang a full-throated high A a few bars later, and, again, he sat on the note, and it felt right, not showy. Passion filled each note.
And here’s excerpts from the NEW YORK TIMES REVIEW of Opening Night “Michael FABIANO’s Cavaradossi, handsome, propulsive…voice consistently gorgeous…stage presence kinetic…high notes rang out with confidence and muscularity…” capped by a dome of sound. Fabiano’s full-throttle style in “Recondita armonia” revealed the heart of a revolutionary rather than an artist; …and his desperately clinging to Tosca before his execution was rending.”
Mi dispiace, concordo con Andreas e Nikolinka, Un bravo professionista deve saper gestire un piano e fare le mezze voci. Non si fa un falsettone così all improvviso..questo fa capire che purtroppo non sa fare un piano.. La voce nelle note centrali è tanta ,ma in posizione arretrata, colore gutturale. Le voci grandi e facili ,spesso lavorano sull istinto e ben poco sull ordine tecnico. E x questo durano pochi anni.. Ricordiamoci del breve tempo di una simile voce :,José Cura..😢
It’s very odd. The New York Times, Operawire and elsewhere all over Facebook and Instagram, people are raving about the performance, and this aria in particular. I can only assume that you’ve no musical taste or that there’s some pathological or personal need to trash an otherwise gorgeous piece of music. I was in the house and can attest to how beautiful and extraordinary this performance was. So, whatever it is with you and Opera Fairy and the other guy other who’s bashing this, I say this- a box of QTIPS are on the way special delivery.
@@pryan5183 You are unlikely to be old enough to know what great opera singing sounds like. Tastes have been corrupted in the precipitous decline of Western artistic culture. If you like it, fine; looked at historically it’s unpleasant sound riddled with technical problems.
I was waiting for something exciting but when he did that sudden, near falsetto trick at 2:50, I was taken aback. Is it that he really has no control to be able to pull that off? It's so odd
sorry I do not get the hype - its loud and showy = not a thought or feeling behind the notes - its an unpleasant sound " full of sound and fury signifying nothing "
Perfection. Just beautiful. May you have a long and gratifying career.
When you have flu and, watching this clip, seriously think the Cavaradossi is Willem Dafoe, then discover it’s Michael Fabiano 😩 Thanks for the upload 🥳
Thank you for these posts!!!! Priceless capture.
Here’s what OPERAWIRE has to say about FABIANO’s performance on opening night-
A Place Among the Greats!
Michael Fabiano as Cavaradossi. One word: SUPERNATURAL. Anyone who’s heard him knows the sheer power of his voice. At the closing of “Mario! Mario! Mario!”, with all eyes focused on Kurzak, Fabiano came out of nowhere from stage right with a stupendous, forte high B flat on the “Ah!” of “Ah! M’avvinci ne’tuoilacci.” Fabiano possesses an instrument handed down from the greats. It’s thrilling, it’s brilliant, and he stands among the most esteemed tenors of our time. That’s why we love to see him in action. However, the same awe-inspiring B flat destroyed any chance of hearing Kurzak, not because she’s not powerful enough for the role, but because Fabiano can overpower almost anyone on stage. As the evening progressed, adjustments were made and the Fabiano/Kurzak pairing was more balanced.
Fabiano’s entrance was fiery, confident, and in charge. His Cavaradossi got in people’s faces. He was not a timid painter; he was a painter with an attitude, unless with Tosca. Her coquettish playfulness held threats, which he took seriously.
Tenors face an early test in “Tosca.” They need to come out ready to sing “Recondita armonia” with its high tessitura, high A’s, and a big B flat towards the end, which Fabiano sat on. Was he grandstanding in doing so? Perhaps, but let’s put his bravura Act one in context. Fabiano is a North Jersey guy, so singing at the Met is a homecoming of sorts. Of course, he’s going to put on a barnburner performance for the home crowd. But also, this was a rainy Tuesday evening performance, with empty seats. Things felt weighed down, not just subdued, but heavy. Fabiano changed that. The electricity he brought flowed into the audience and got the blood pumping. His singing was a delight for the ears and caviar for the musical mind. This is what audiences come to hear, and Fabiano delivered it in spades. Likewise, with “Vittoria! Vittoria!”
“E lucevan le stelle” is to Cavaradossi as “Vissi d’Arte” is to Tosca. It’s the big tenor moment the audience waits for all evening. Fabiano showed his versatility, both with his acting and his singing. Gone were the trumpet blast notes of the happy and in-love painter. The piece is gut-wrenching and one of the most beautiful tenor arias. Fabiano took it slow, letting the audience take in his lovely legato lines. When singing the words “… forme disciogliea dai veli,” Fabiano used his head voice to sing the high notes-the top note being a high A. It was a surprise and going falsetto gave the impression of shying away from the topmost notes. Whatever the reason for the head voice, he sang a full-throated high A a few bars later, and, again, he sat on the note, and it felt right, not showy. Passion filled each note.
Have you heard Franco Corelli?
And here’s excerpts from the NEW YORK TIMES REVIEW of Opening Night
“Michael FABIANO’s Cavaradossi, handsome, propulsive…voice consistently gorgeous…stage presence kinetic…high notes rang out with confidence and muscularity…”
capped by a dome of sound. Fabiano’s full-throttle style in “Recondita armonia” revealed the heart of a revolutionary rather than an artist; …and his desperately clinging to Tosca before his execution was rending.”
Mi dispiace, concordo con Andreas e Nikolinka,
Un bravo professionista deve saper gestire un piano e fare le mezze voci. Non si fa un falsettone così all improvviso..questo fa capire che purtroppo non sa fare un piano..
La voce nelle note centrali è tanta ,ma in posizione arretrata, colore gutturale.
Le voci grandi e facili ,spesso lavorano sull istinto e ben poco sull ordine tecnico. E x questo durano pochi anni..
Ricordiamoci del breve tempo di una simile voce :,José Cura..😢
Stunning voice and interpretation 😮🎶🎶🙌
Brillo pad where the vocal cords should be.
🤣👍exactly )
It’s very odd. The New York Times, Operawire and elsewhere all over Facebook and Instagram, people are raving about the performance, and this aria in particular. I can only assume that you’ve no musical taste or that there’s some pathological or personal need to trash an otherwise gorgeous piece of music.
I was in the house and can attest to how beautiful and extraordinary this performance was.
So, whatever it is with you and Opera Fairy and the other guy other who’s bashing this, I say this- a box of QTIPS are on the way special delivery.
@@pryan5183 You are unlikely to be old enough to know what great opera singing sounds like. Tastes have been corrupted in the precipitous decline of Western artistic culture. If you like it, fine; looked at historically it’s unpleasant sound riddled with technical problems.
@@ransomcoates546pryan5183 thinks that Bocelli is great.
2:47 -- Falsetto
One of the worst of all time. Pre college vocal technique. Shot line. No drama. Fake drama better to say. What opera has become...
I absolutely agree ,,,,, there s zero quality here ,,,,,, vocal or artistic
О, наконец, реальный отзыв. Я с вами согласна - фальшивая игра + фальцет... ))
Awful. Fake piano and what an inappropriate portamento at the end of the aria.
I was waiting for something exciting but when he did that sudden, near falsetto trick at 2:50, I was taken aback. Is it that he really has no control to be able to pull that off? It's so odd
it's here ugly singing ,,,,
@@smurf902 берег силы и голос для финальной ноты )))))
sorry I do not get the hype - its loud and showy = not a thought or feeling behind the notes - its an unpleasant sound " full of sound and fury signifying nothing "
agreed ,,,,, and it's also pushed ,,,,,,,, it's an ugly sound and pushed