- AB
at Carnegie
-
- Walking into
Carnegie Hall for the first time is to experience one of the unique
places in the United States that evokes a feeling of awed reverence
reserved for sites steeped in historic legend. Pyotr Ilyich
Tchaikovsky conducted at its opening in 1891, followed by a
succession of the most illustrious performers in every musical field—from
Caruso to Pavarotti, Rachmaninoff to Van Cliburn, Heifitz to Perlman,
Casals to Yo-Yo Ma. With his three concerts in this venerable venue,
Andrea has now stepped into that realm of those consecrated into the
echelon of the great musical artists who have left their imprint
there. What a privilege it has been to share with Andrea this
remarkable landmark in his career.
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- The
Hall
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- The roman brick
building of dark reddish hue is gracefully arched in the Italian
Renaissance style; within, it is all ivory and gold, richly mellow,
with the fluid curve of the side tiers repeated by the gold-gilt
oval tracing around the recessed dome of the ceiling. The hallways
are lined with framed memorabilia marking musical history and signed
by the luminaries who have made it. Its perfect acoustics are
world-renowned, and it seats 2,804.
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- The fans had
gathered from numerous states west to east and from around the world—England,
Austria, Italy, Spain, California, Oregon, Colorado, Texas,
Louisiana, Ohio, New York, New Jersey, Pennsylvania, Connecticut,
Maryland, Virginia, Georgia, Tennessee, North Carolina, and Florida,
to mention just those that I was aware of.
- It was impossible
not to notice that many among the diverse crowd of young and old
engaged in an intensely rigorous activity of photo snapping of
themselves, as if there was more than the usual desire associated
with such an event to preserve the importance of the moment. Among
the notorieties drawn to our internationally beloved tenor, I
recognized Eugene Kohn, Chelsea Clinton, Zarin Mehta (president and
executive director of the New York Philharmonic, and brother of
Zubin), and the parents of tennis great Roger Federer. Not to
mention the little tot who brought a delighted smile to Andrea’s
face when he (or she) gave an audible infant-sized wail at the
conclusion of his first aria of the evening, “Pieta’ Signore.”
Clearly a budding fan!
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- The
Presence
-
- For better or for
worse, our vantage point for all three concerts was front row at
Andrea’s elegantly patent-leather-clad feet. This perspective
certainly had its limitations. For example, we perhaps did not
experience the fullest range of the fabled acoustics of this
venerable space. (Nevertheless, intermission checks with other fans
situated throughout the hall confirmed that Andrea was easily heard
in diverse locations, high and low.) But the privilege of observing
and hearing Andrea for these historic concerts from an intimate
proximity only shared by the first violinist and Maestro Asher Fisch
at his side was an extraordinary gift, long to be treasured.
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- Impeccably
attired, handsomely tanned, trimly fit—his presence simply took
your breath away. So happy were his audiences just to see him, that
his mere entry onstage each night was instantly greeted with
affectionate and enthusiastic applause of significant duration and
volume—culminating on the final night with an opening response
generally reserved to signify a level of appreciation earned only at
the halfway point of most average concerts.
-
- From the front
row, smack in front of and directly below Andrea, it was difficult
through the course of three performances to ignore the restless
energy exhibited by this man who seems to find stillness an
impossibility. Physically, it seemed to me Andrea was more animated
for these concerts than he has ever been. He frequently used his
body to underscore a dramatic phrase. Occasionally, he turned
slightly to his left or right to address the full audience. Not
one-fisted but two-fisted rhythmic pumping at his side and the
characteristic surreptitious hand conducting were again amply
evident. Finally, how can I describe a newly developed, somewhat
acrobatic body motion that was observed in the course of these
concerts? It was a kind of tenorial two-way tug—a subtle, fluidly
executed torso twist nearly simultaneously to the right and then
immediately to the left that seemed quite useful to assist Andrea in
producing a few of the more complex vocal trills and top notes in
his repertoire. It was quite amazing, and definitely charming, to
watch his deft execution of this new athletic achievement.
-
- Finally, at one
point in Friday’s performance, I was astonished by a spontaneous
gesture that would be well within the normal expressive repertoire
of most performers but was, for Andrea, a groundbreaking event that
would have prompted an unbidden, audible “Whoa!!” from my mouth
had I been anywhere but the
hallowed Carnegie Hall. In a moment in the aria when he was clearly
emotionally carried away, Andrea lifted his arms from his sides and
widely opened both hands to emphasize a phrase—a startlingly
uncharacteristic operatic “sell” from our tenor that was quite
endearing!
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- The
New York Philharmonic
-
- Having the
prestigious New York Philharmonic as your accompaniment is an honor
in itself. This orchestra is considered to be among the finest, if
not the finest, in the
world. Asher Fisch conducted with animated vigor and graced us with
outstanding orchestral interludes. The two Bach works in the
program’s first half—the cascades of melodic, rich strings of
the “Passacaglia” and the ever-so-gentle “Sheep May Safely
Graze”—allowed a welcome respite from the earlier blustery,
rain-drenched day and the incessant nerve-jangling din of the
traffic in the city that most of us had endured between concerts.
The overture to Bellini’s Norma
was smashing, the musicians at their precise best. One passage
midway through achieved an ethereal luminescence that was
transcendent. The bewitching string section again strongly conveyed
the wistful melancholy of the Intermezzo from Puccini’s Manon
Lescaut and the poignant undercurrent and final redemptive grace
of the tragic heroine.
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- Maestro Fisch was
generously attentive to our tenor and vigilant in his effort to
coordinate the orchestra with Andrea’s nuanced vocal efforts.
Consistently through the evenings, he was immediately responsive to
Andrea’s hand outstretched for a quick co-celebration of each
successful offering. Only once, when the conductor was momentarily
distracted, did the tenor’s extended hand remain in midair…unmet.
I admit to a slightly shocked disappointment at the negligence. But
sunny Andrea, undaunted, insistently reached into the air a second
time—and, of course, the looked-for collegial support was then
quickly and heartily returned.
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- The
Program
-
- Power
is a tricky word and encompasses a nuanced range of meaning from
brute force to subtly irresistible influence. Critics who are
content with a cleverly superficial analysis of a performance might
be inclined to judge what they perceive as a lack of bombastic vocal
punch as a detriment. Their loss. Andrea’s is an undeniable vocal
power that communicates an emotional intensity directly to his
listeners. With a pleasing blend of sacred, Elizabethan, baroque,
operatic, and bel canto arias and classically elegant canzone,
or songs, we were treated to a program that gave Andrea the
opportunity to exhibit the strengths of vocal technique and
impressive range, beautifully forged with and sustained by his inner
strengths of faith, heart, and cultural pride that he has so often
expressed.
-
- Drawn from the
canon of compositions traditionally suited to a classical recital of
this type, the arias in the program highlighted Andrea’s
inimitable ability to melt the hearts of his listeners with the
emotional power and straightforward, captivating beauty of his voice.
The pieces, progressively spanning three centuries of predominately
Italian musical history, were offered in sets of three and
interspersed with the orchestral offerings, which gave a nice
overall rhythm and balance to the program.
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- Stradella
(misattributed), “Pieta’ Signore” This
sacred aria was a firm
beginning for Andrea. There was a confident force in the strongly
placed opening notes—you could feel them soar easily out into the
space of the hall. Andrea’s interpretation of the emotional tug of
the words of this aria, charged with pleading, was subtly dramatic
and commanding. Particularly striking were the seamlessly smooth and
darkly rich lowest notes of “dal tuo rigor” that close the last
two stanzas.
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- Handel,
“Frondi tenere…Ombra mai fu” Some
melodies are deceptive in their simplicity. Andrea translates the
fluid beauty of this aria so well, with impressive control.
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- Bach,
“Lodate Dio” A
triumphant mood launches this hymn of praise to God that is
based on a Bach cantata. The lively orchestral accompaniment
highlighted by the trumpets’ clarion notes was infectious. Andrea
responded to the liveliness of the pace and the orchestra’s
precise fullness, transmitting his honest tone of a firm believer to
the text.
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- Caccini
(misattributed), “Ave Maria” Halfway
through this piece, I realized, or actually re-realized, that
there are only two words repeated throughout. Yet, the overall
impression is far from repetitious as you become lost in the vocal
artistry Andrea weaves—transfixed by the pure instrumental quality
of his voice.
-
- You might
question why anyone would sing three “Ave Maria’s” in
succession. But once he has completed the trio, you realize that
hearing them together reinforces the distinct beauty and power of
each individually and you gain an appreciation of the artistic
variety possible in the interpretation of a single subject.
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- Schubert,
“Ave Maria” Although
Andrea often favors the Italian version of this well-loved hymn, for
this recital he offered it in perfectly enunciated Latin. Schubert
has given us the honest simplicity of a tenderly touching melody
that, incredibly, seems new at each hearing. Andrea’s often
expressed reverent devotion for the mother of God confirms and
reinforces the honest melody he offers. His faith-filled rendition
never fails to gently touch the heart.
-
- J.
S. Bach–Gounod, “Ave Maria” The
presentation of this last paean to Mary was stunningly effective and
unique in its presentation. As the solo violin rendition of this
timeless melody quietly began, Andrea turned to the first violinist
and stood in profile, basking, for a meditative moment, in the
tranquil beauty of the work. When Andrea then followed with his
vocal equivalent, it was as if we were hearing another
finely tuned instrument directed by a masterful skill. There was a
slight reluctance to shatter the sacred moment that followed the
lovely purity of his final note. It felt like we had been given a
musical benediction. But the applause quickly flooded out and
brought the first half of the concert to a triumphant close.
-
- Intermission
-
- Verdi,
“Oh! fede negar potessi…Quando le sere al placido,” from Luisa Miller After
the intermission, the gentle tranquility of the concert’s first
half momentarily gave way to the drama of the operatic world with
the typically forceful power of this Verdian aria. Andrea
masterfully registered the disillusioned anger and heartbreak of the
betrayed lover. It was an immediate thrill to see and hear him now
assume this operatic dynamic in a commanding way!
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- Bellini,
“Ninfa gentile” As
his smile indicated, Andrea took delight in listening to the
uniquely playful, occasionally almost jazzy, arrangement of the
orchestral introduction for this piece by Bellini. This taste of bel
canto revealed yet another aspect of Andrea’s versatility—a tour
de force of vocal agility.
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- Donaudy,
“Vaghissima sembianza” From the
moment I first heard this hauntingly romantic melody from Andrea at
the Statue of Liberty concert, I was in love with it. I could
disappear into this song—Andrea too seems to lose himself to its
spell. You can see his whole body inhabiting the notes that he spins
out. All that is best
in his openly emotional, gentle heart pours out in this lilting,
old-fashioned gift of a song.
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- Giordani,
“Caro mio ben” By
this point in the evening, the audience seemed firmly in the palm of
our tenor’s hand. But if there was any shadow of a doubt, “Caro
mio ben” (“My dear beloved”) confirmed the emotional bond that
he had forged throughout the evening. Andrea translates the simple
feeling of this aria in a way that is charged with quiet intensity.
We succumbed to the achingly sweet coaxing of his incomparable
pianissimos. Every night, there was a collective, audible sigh when
the last skillfully fragile note floated away, and the evening’s
applause increased another notch in its intensity.
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- Tosti,
“Serenata” Because
it suits his voice to a T, this delightful song has been included in
Andrea’s repertoire from the earliest years of his career. He
soared and played with the jaunty tune, and the ease of his highest
notes is always thrilling. His sheer pleasure in the exuberant
melody brings an irresistible smile.
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- Mascagni,
“Serenata” Hearing
this for the first time, you realize the force and skill that Andrea
admires so ardently in the work of his fellow Tuscan, Mascagni.
There is an aching melancholy in this melody that haunts your memory
long after hearing it. The yearning in Andrea’s voice is
palpable—and, oh, how indescribably sweet to hear his voice caress
the phrase “ti voglio bene”
(“I love you”) as he does in this enchanting aria.
-
- The
Encores
- As always, the
audience hates to let Andrea go. There were enthusiastic standing
ovations each night at concert’s end. Then he returned to the
stage each night for two encores.
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- Caccini,
“Amarilli mia bella” The
complex Elizabethan elegance of this song challenges the vocal
agility of a singer—Andrea more than meets the challenge. The
phrases “velvet soft” and “spun gold” come to mind. Quietly,
but emphatically, he conveys the smoldering yearning embodied in the
melodic line with a finely embroidered tracery of shimmering vocal
threads.
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- Verdi,
“La donna e’ mobile” When
the familiar emphatic notes of this operatic standard from Verdi’s
Rigoletto rang out from the Philharmonic, the audience roared with
spontaneous delight. Each night, rising to the occasion and
energized by the response, Andrea took the bit in his teeth and
happily offered a solidly commanding rendition, punctuated with his
rhythmic fist and a new toe-tapping accompaniment for added emphasis.
As he stood onstage, composed and elegant, and the cabaletta flowed
with a seemingly effortless bravura flourish from his rounded mouth,
the thought came easily to mind—he was born to do this.
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- Concluding
applause again echoed throughout the hall. In response, Andrea
radiated a grateful smile, personally applauded the capable
accompaniment of his colleagues, and acknowledged the sustained
audible affection washing over him with a series of deep bows. Then,
before we had time to think, he was leaving the stage, but not
without a final grateful and heartily shouted “Thank you” in
farewell, accompanied by the signature Bocelli good-bye wave above
his head.
-
- In
the End
-
- There is a
worldwide, deep-seated, and growing affection displayed for Andrea
Bocelli. It was amply evident in New York City this week. Its
intensity may seem puzzling to some—but to any of us who have come
to know him in any number of ways, it is inevitable…and it is a
gift.
-
- I found something
that Mr. Andrew Carnegie, the great hall’s namesake, once said:
- “As
I grow older, I pay less attention to what men say. I just watch
what they do.” What Andrea did
was to sell out Mr. Carnegie’s legendary hall for three nights
running, and then sing his heart out. Beautifully simple, and simply
beautiful. I think Andrew Carnegie would have approved.
-
- Grazie
dal cuore, caro nostro ben…
-
- Cami McNamee
- September, 2009
To all Maestro Bocelli fans & Renate, I was very fortunate to be
present Tuesday September 8 for this magnificient evening with Andrea
& The New York Philharmonic!! BRAVO, BRAVO to Andrea!! His voice was
so beautiful as was his most handsome face and humble persona. The three
arrangements of "Ave Maria" brought tears of joy and sheer
happiness to me and those around me! Then "Serenata" by Tosti
was straight from God! The audience would not let Andrea leave, with
standing ovations and four encores the hours of sheer heaven ended! God
has truly blessed all of us with this man and his voice! It was a night
to remember forever. I pray I may have this privilage again... hopefully
@ "Teatro del Silenzio" next July! GRAZIE MILLE ANDREA
by Patrizia from Ohio, USA
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