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Juan Diego Flórez in concert:  Works by Bellini, Rossini, Pérez Soriano, Barrera Saavedra and  Donizetti. Orquesta Sinfónica de Navarra. Conductor: Christopher Franklin. Auditorio El Baluarte de Pamplona. 21.11.2008 (JMI)


Between the performances of Mathilde di Shabran at  Covent Garden and I  Puritani in Bologna at the beginning of  next year, Juan Diego Flórez has also managed a tour of concerts that  began onNovember 18 in Valencia and which will take him to Paris, Central Europe and Italy, via this stop in Pamplona.

This concert in Pamplona celebrated the fifth anniversary of the inauguration of the  El Baluarte Auditorium, and the audience was invited at the intermission to free wine  and tapas. That’s a good combination for anybody, good wine  and good singing.

Juan Diego Flórez is without a doubt deservedly the most famous tenor on  the current scene – which is a very strange case in the history of music or at least during the last 150 years. That a light tenor, even the greatest Rossini tenor, from all those singing the popular operatic repertoire can have such popularity is worth of noting. It is unquestionable that he is a very great singer, probably the greatest today, but still it is not so easy to square his popularity and his natural repertoire.

Having said this, his personal rapport with audiences is remarkable. Juan Diego Flórez not only sang wonderfully, but he also had the audience at his feet, not only with his singing, but also with his friendly personality and his capacity for communication, important for any abilities for any artist and specially in the concert activity.  The way he explained to the public that his interpretation of the aria from La Cenerentola did not turn  out too well or his  amusing way of discussing  with the audience what his next encore should be, are just examples of his capacity to put the audience totally in his favour.

He began the concert with Tebaldo’s  Aria from Bellini’s Capuleti. Then came Narciso’s aria from Il Turco in Italia “Tu seconda il mio disegno”, which was a gift for any opera buff, since usually Narciso is not sung by any of the leading tenors. He finished the first half of the concert with the aria “Sí, ritrovarla io giuro” from La Cenerentola, where there was a problem with the orchestral playing  at the finish. Florez decided to sing it again, ending it the second time completely brilliantly and  bringing the house down.

In the second half he started with two zarzuela songs: “Suena Guitarrico mío”, probably too demanding on  the middle of the voice, and an outstanding “Adios a Granada”. The end of the official concert changed gear into French opera with the aria “Spirto Gentil” (or better in this case  “Ange si pur” ) sung so beautifully that it , reminded me of Alfredo Kraus. The concert finished with Rossini’s Guillaume Tell and Arnolde’s aria “Asile hereditaire”, full of style and brilliance, followed by the cabaletta “Amis, amis”, which is in my opinion too heroic for his voice.

He offered three encores. First a very personal version of “Una Furtiva lagrima” which was received in triumph. Back again to Fench opera with “Ah, leve toi, Soleil” from Goundo’s Romeo et Juliette, and then finishing  with “La donna è mobile”, after explaining that he had cancelled Rigoletto in Madrid. He sang this popular aria brilliantly too, with a high B that lasted an eternity and made the audience to stand up as if pushed by springs.

He was accompanied by Christopher Franklin, who left a most positive impression, at least on me. He played  several Rossini overtures, where he showed a perfect understanding of the music and  also a very good    Pas de Six (Guillaume Tell). The Orchestra de Navarrra showed once again that they are more comfortable and familiar with the  stage than when they are in the pit.

José M. Irurzun


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