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Roberto Alagna

Created in France of Sicilian parents, Roberto Alagna studied music in Paris. He obtained notoriety by earning first prize within the 1988 Luciano Pavarotti Competition and quickly produced his stage debut as Alfredo in La Traviata using the Glyndebourne Touring Opera Business, quickly to be accompanied by debuts in Montpellier, Monte Carlo, as well as the Teatro alla Scala in Milan (also in La Traviata). His Teatro alla Scala debut arrived in the invitation of Riccardo Muti inside a fabled creation with Tiziana Fabbricini that was telecast. In 1990 he sang Rodolfo in Puccini’s La Bohème — a job that has been one of is own most popular; it had been also the part of his Covent Backyard Opera debut in 1992 and his Metropolitan Opera debut in 1996. Another part which was extremely important through the early section of his profession was the name part in Gounod’s Romeo et Juliette, which he offers sung with great achievement in Paris, London, and NY. This role became much more very important to his personal existence, as he fulfilled his second wife, Angela Gheorghiu, while these were carrying out this opera collectively. His 1st wife had passed away after a extended illness, which fresh love brought a restored warmth and enthusiasm to his shows. Their shows of L’elisir d’amore, La Bohème, and Werther are significantly admired, and collectively the two have grown to be among opera’s few real double sights. Alagna may introduce acrobatic techniques into productions of L’Elisir d’amore which few additional tenors would attempt. His looks in 1996 in the Theatre-Chatelet Paris and Covent Backyard Opera, London, mainly because Don Carlo in the initial French edition of Verdi’s opera provides helped provide the French model back again to the fore. Various other operas that have demonstrated effective for Alagna are Rigoletto, Macbeth, Lucia di Lammermoor, Roberto Devereux, L’amico Fritz, Carmen, and La Rondine. Alagna is really a self-taught tenor who discovered his build by hearing recordings to get ideas and discover those that work with him. He generally mentions two of his predecessors when asked whose recordings had been most influential; they are Beniamino Gigli and Nicolai Gedda. He feels his tone of voice is similar to Gedda’s in its lighting and timber. His recordings of La Bohème on Decca and Romeo et Juliette on EMI screen some attempts on the vocal refinements which characterized Gedda’s performing. Alagna’s determination to stage beyond the typical score is shown in the usage of an alternative edition of “Una furtiva lágrima” in his London documenting of L’Elisir d’amore, utilizing the brand-new critical model of La Bohème within the Decca documenting with Chailly, in addition to performing the initial French edition of Don Carlo. His tone of voice is an extremely great lyric tenor using a shiny and ringing higher register, however when it is place under great pressure it will turn harsh. Using the assumption on stage and on documenting of Verdi’s Don Carlo and both Werther and Manon of Massenet, Alagna transferred into even more dramatic assignments, and in his recordings of the first 2000s he transferred easily throughout the heart from the operatic repertory.

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