On his third aria collection for Decca, Juan Diego Flórez continues to stretch his repertory beyond the Rossini roles that established his solo career. But he never strays far, wisely sticking to roles that suit his light, gracious sound, and which make the most of his exhilarating top notes without requiring dramatic heft. Flórez is a truly special singer, one of the best put together young tenors around, and Great Tenor Arias shows him off to great effect.
Despite the album's title, very few of the selections included are from the usual Tenors hit parade; only Verdi's "La donna è mobile" from Rigoletto will be familiar to the casual listener. Coincidentally, that aria is the only real misfire on the album -- which is not to say Flórez sings it badly; rather, his tone is just too likable, too boyishly friendly, to capture the spirit of one of opera's most notorious bad guys. But almost every other selection on the album is spot on vocally, musically, and in character. Hearing Flórez tear into the florid coloratura of Rossini's Semiramide can't help but bring a smile to your face. His "J'ai perdu mon Euridice" from the less-often heard French version of Gluck's Orphée et Euridice shows him tackling a difficult "haute-contre" tessitura with no trouble. And his "Firenze è come un albero fiorito" from Puccini's Gianni Schicchi (probably the only Puccini role Flórez is likely to sing) has the perfect blend of youthful enthusiasm and vocal thrust. In general, this collection shows that Flórez has a more colorful palette at his disposal than many light tenors. His high notes have ring and a visceral "tug," and he can sing softly without sacrificing energy or intensity. Carlo Rizzi and the Orchestra Sinfonica e Coro di Milano Giuseppe Verdi are deluxe partners for Flórez. Great Tenor Arias is a highly enjoyable listen, and an impressive step in this young singer's career.
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