{"id":6235,"date":"2012-09-18T08:22:03","date_gmt":"2012-09-18T12:22:03","guid":{"rendered":"https:\/\/www.ludwig-van.com\/?p=6235"},"modified":"2012-09-18T08:22:03","modified_gmt":"2012-09-18T12:22:03","slug":"cd-reviews-joseph-calleja-misses-mark-nicola-benedetti-hits-bulls-eye-in-film-tribute-albums","status":"publish","type":"post","link":"https:\/\/www.ludwig-van.com\/toronto\/2012\/09\/18\/cd-reviews-joseph-calleja-misses-mark-nicola-benedetti-hits-bulls-eye-in-film-tribute-albums\/","title":{"rendered":"CD Reviews: Joseph Calleja misses mark, Nicola Benedetti hits bulls-eye in film-tribute albums"},"content":{"rendered":"
\"\"<\/a>
Violinist Nicola Benedetti’s new Silver Violin<\/em> album is a guilty pleasure.<\/figcaption><\/figure>\n

Two big fall releases from Decca use big younger stars — tenor Joseph Calleja and violinist Nicola Benedetti — to bridge the gap betwen art music and more popular forms made famous by Hollywood films. Only one finds the magic sweet spot that makes for compelling listening.<\/p>\n

For all the details on each album, click on the artist’s name.<\/p>\n

\"\"<\/a>JOSEPH CALLEJA<\/a>
\nBe My Love, A Tribute to Mario Lanza (Decca)<\/em><\/p>\n

Make no mistake, Malta’s Joseph Calleja is a fine tenor. But in putting out an album in tribute to Mario Lanza, he begs comparisons that don’t necessarily work in his favour.<\/p>\n

Philadelphian Mario Lanza (1921-1959) was the Judy Garland of classical tenors. He was technically (and personally) flawed, but when he opened his mouth on the silver screen, it was as if he was offering his soul up on a gilded platter.<\/p>\n

He also happened to have one of those once-a-generation full, golden voices that wouldn’t quit.<\/p>\n

Lanza, whose albums spent a lot of time at the top of the sales charts in the early 1950s, had a popular touch, mixing favourite opera arias with art song, Broadway and pop with unselfconscious ease.<\/p>\n

Anyone wanting to re-trace this musical path has to tread carefully yet boldly. It’s something Calleja fails to do, even with the fine support of the BBC Concert Orchestra and accomplished popera conductor Steven Mercurio.<\/p>\n

Unlike the often reckless singing of old, Calleja is careful to stick to what the composer wrote. He has a completely different voice from Lanza’s; it’s more like Luciano Pavarotti’s — thinner, more lyrical, yet wielded with good technique.<\/p>\n

But that’s not what makes for a magnetic performance.<\/p>\n

Calleja is too controlled, too much in possession of his soul as he sings “The loveliest night of the year,” or Rossini’s “La danza” or Paolo Tosti’s Marechiare<\/em>. Even the old warhorse “Nessun Dorma” from Turandot<\/em> could use an extra dash of plain-old abandon.<\/p>\n

If you want to sample the hits of Midcentury Modern America, there is nothing wrong with Calleja’s 16-track tasting menu, but with Lanza’s recordings widely available, you should realise this is more pale imitation than the real thing.<\/p>\n

To illustrate what I mean, here is Joseph Calleja in concert at the Roman theatre of the Chor\u00e9gies d’Orange festival in July, singing “Vesti la giubba” from I Pagliacci<\/em>, followed by Mario Lanza singing the aria in his last film, For the First Time<\/em>:<\/p>\n