The Debut Salvatore Licitra
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- Release Date: 07/02/2002
- Sales Rank: 75,776
- Label: SONY
- UPC: 696998992320
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The Debut
About this Artist
Editorial Reviews
The title of Salvatore Licitra's first solo album, The Debut, recalls the Italian tenor's sensational entry into opera's big league. His planned first appearance with the Metropolitan Opera was still two years away when he got a call that tenors dream of, to fill in for an ailing Luciano Pavarotti -- at the legend's farewell performance, no less. The stakes were high and Licitra triumphed: "A genuine find," crooned The New York Times. He sang Cavaradossi in Puccini's Tosca, and, appropriately, his album begins with that character's showpiece aria, "E lucevan le stelle." Listening to it, the first thing you'll notice is that Licitra's voice is several shades darker than his famous countryman's, especially in the mid-range. He's more of a Domingo-like lirico-spinto than a pure lyric like Pavarotti. Yet his high notes are bright and powerful, and he can draw long, legato lines with true style. The album continues with arias from Puccini's Turandot, La Fanciulla del West, Manon Lescaut, and Madama Butterfly -- mostly tried-and-true favorites like "Nessun dorma" -- before turning to Verdi for the second half of the program. Though Licitra's Puccini is quite fine, with Verdi he seems more in his element, his rich, potent voice well suited to the composer's ruggedly dramatic music. His "Di quella pira" from Trovatore, for instance, joined by a full chorus, is a rousing conclusion to the album. (He takes the high C at the end, unlike on his recording of the complete opera with Riccardo Muti.) And he's also solid in the gentler moments; the tricky pianissimo high B-flat at the end of "Celeste Aïda," for example, is pulled off admirably. Arias from La Forza del Destino, Simon Boccanegra, Un Ballo in Mascera, and Macbeth fill out the Verdi selections. Together, they demonstrate that Licitra is undeniably a talent to watch. But is he the Next Big Thing, the long-anticipated "fourth tenor"? We'll have to wait and see. Meanwhile, the opera world is watching -- and listening to -- this promising newcomer. EJ Johnson, Barnes & Noble
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