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Thread: Vittorio Grigolo, is he any good?

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    Senior Member Almaviva's Avatar
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    Default Vittorio Grigolo, is he any good?

    New rising star young Italian tenor Vittorio Grigolo is getting lots of press. Apparently and according to reviews, his new CD with Italian arias is good, but studio recording doesn't prove everything. I haven't ever seen him on stage. Opinions?

    "J'ai dit qu'il ne suffisait pas d'entendre la musique, mais qu'il fallait encore la voir" (Stravinsky)

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    Moderator mamascarlatti's Avatar
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    He seems to do ardent very well - acting, voice colour (judging from the CD and his performance in Rigoletto on film).

    Haven't actually seen him live of course.
    Natalie

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    I think he's good.

    His last CD was a kind of classical crossover thing and he had a hit with "You are my miracle", a duet recorded with Katherine Jenkins and then in another version with Nicole Scherzinger from Pussycat Dolls - I was into classical crossover when this came out so I liked him then too, but then after I drifted more and more into opera I thought he was selling himself short.. and then I realised that he'd been doing nothing but stage work since that CD came out.(He befriended me on facebook and he keeps posting info and photos on his profile from the productions he's in)

    I have the Italian tenor CD and it is really good, I'm pleased he didn't go with the "usual" arias like La donna e mobile just to play it safe. My favourites are Torna ai felici di' and Si de' Corsari il fulmine. I will say his really high notes are not as strong as Juan Diego Florez' but he does sing with a lot of expression.
    ****Karen Patricia****
    http://www.karen-patricia.com

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    Junior Member vlmt's Avatar
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    I agree with karenpat, he does sing with a lot of expression, and he is able to connect emotionally with his audiences, even me behind a computer screen and watching him on Youtube.

    I have to to say he is good, but not the best. My vote still goes to Andrea Bocellii, I prefer his deeper and more anchored tone quality.

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    He's pretty awful when trying to sing opera (although not quite the strangled cat the Boccelism is). He should stick to the pop stuff he does better.

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    Senior Member Almaviva's Avatar
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    Quote Originally Posted by vlmt View Post
    I agree with karenpat, he does sing with a lot of expression, and he is able to connect emotionally with his audiences, even me behind a computer screen and watching him on Youtube.

    I have to to say he is good, but not the best. My vote still goes to Andrea Bocellii, I prefer his deeper and more anchored tone quality.
    I don't like Bocelli at all. He's not really an opera singer. He would be completely unable to take on a full opera on stage, and not because he's blind, I'm talking vocally.

    Apparently this Grigolo guy does perform full operas on stage and has done it several times, it's different.
    "J'ai dit qu'il ne suffisait pas d'entendre la musique, mais qu'il fallait encore la voir" (Stravinsky)

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    Senior Member sospiro's Avatar
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    Only ever seen him in the Rigoletto a Mantova opera film but I think he's good.

    [YT]http://www.youtube.com/watch?v=QB5nkDaljMs&feature=related[/YT]
    Ann

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    Senior Member Almaviva's Avatar
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    Someone just sent me a review of his Met performance in La Bohème, looks pretty impressive, I'll reproduce it here:

    The Met Makes Way for New Bohèmians
    By ANTHONY TOMMASINI
    Saturday was a night of multiple debuts at the Metropolitan Opera when Franco Zeffirelli’s popular production of Puccini’s “Bohème” returned to the repertory. Three of the main characters, as well as the conductor, Roberto Rizzi Brignoli, were all appearing for the first time. But the focus of attention was on the fast-rising Italian tenor Vittorio Grigolo, making his Met debut as Rodolfo.
    Handsome, energetic, exuding charisma and blessed with a vibrant voice, Mr. Grigolo was an appealing and impassioned Rodolfo, and a big hit with the audience. For his solo curtain call at the end, he bounded onstage, arms thrust wide, to bask in the ovation, pounding his chest to demonstrate his heartfelt thanks.
    At 33 Mr. Grigolo would seem poised for continued success. Still, I had reservations about his voice, which has a bright cast and a narrow, sometimes tight, vibrato that will not be to all tastes. Mr. Grigolo has said in recent interviews that his ventures into boy bands and pop, which made him a sensation in Europe, are over, and that his work now is completely centered on opera. The technical shakiness that characterized his otherwise alluring performance as Gennaro in the Washington National Opera’s production of Donizetti’s “Lucrezia Borgia” in 2008 (starring Renée Fleming) is gone. Mr. Grigolo came across on Saturday as a singer who knows what he is doing. What we heard is what we are likely to get.
    There are certainly special qualities to his artistry. He started a little nervously, understandably, given all the talk of his being the successor to Pavarotti, which cannot help him. But once he warmed up, the natural ardor and the rich texture in his voice came through. His is essentially a lyric tenor, able to shape Puccini’s phrases with tenderness and lovely colorings.
    Still, his voice opens up excitingly with a ping and power that carried easily on this night, including a C at the climax of “Che gelida manina.” He has said of himself that expressing passion and romance come easily, but he must be careful not to lose control and focus. He mostly found that balance on Saturday. Yet the narrow, quick vibrato in his tone can have a somewhat piercing quality for those who want more warmth in an Italian tenor.
    With his youthful looks and physical agility, Mr. Grigolo is a natural onstage, though he seemed overeager on Saturday. This was a restless and fidgety Rodolfo. Still, it is good to have such a giving and talented tenor. There were encouraging moments when Mr. Grigolo showed that he could temper his vocal passion with eloquence and nobility.
    The Italian baritone Fabio Capitanucci, making his debut as Marcello, has a robust, warm voice and impressive Italianate lyricism. The American soprano Takesha Meshé Kizart, also making her Met debut, was wonderful as the coquettish and willful Musetta. I would like to hear her in a role that takes greater advantage of the richness of her sound. The hardy young American baritone Edward Parks, as Schaunard, and the solid Chinese bass-baritone Shenyang, as Colline, completed the quartet of wise-cracking Bohemian friends.
    The Latvian soprano Maija Kovalevska, an exceptionally moving Liù in “Turandot” at the Met last season, brought her lustrous voice and affecting intensity to Mimi. Now and then in softer phrases, her sound turned pale, and her pitch faltered. Still, she inhabited the role and won your heart.
    Mr. Rizzi Brignoli, a regular at La Scala and other houses in Europe, proved himself a stylish Puccini conductor, able to give singers leeway and bend the tempos to the lyrical demands of the score while still maintaining the overall shape and flow.
    “La Bohème” runs at the Metropolitan Opera through Feb. 25; (212) 362-6000, metopera.org.
    Last edited by Almaviva; Nov-12-2010 at 19:30.
    "J'ai dit qu'il ne suffisait pas d'entendre la musique, mais qu'il fallait encore la voir" (Stravinsky)

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    Senior Member Almaviva's Avatar
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    Oops the post came out twice so I edited to delete the identical content of the second one. This site should have a "delete post" function.
    "J'ai dit qu'il ne suffisait pas d'entendre la musique, mais qu'il fallait encore la voir" (Stravinsky)

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    Moderator mamascarlatti's Avatar
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    "He has said of himself that expressing passion and romance come easily, but he must be careful not to lose control and focus."

    This is my problem with him - he tends to overdo the emotions and it gets exhausting to listen to. If he could tone himself down a bit once in a while I'd like him better.
    I think fundamentally he could be very good.
    Natalie

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    Senior Member sospiro's Avatar
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    Quote Originally Posted by mamascarlatti View Post
    "He has said of himself that expressing passion and romance come easily, but he must be careful not to lose control and focus."

    This is my problem with him - he tends to overdo the emotions and it gets exhausting to listen to. If he could tone himself down a bit once in a while I'd like him better.
    I think fundamentally he could be very good.
    I expect he'll calm down as he matures. He reminds me of my puppy when he first encountered a bitch on heat, jumping up & down & knowing he should be doing something but not sure what.
    Ann

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    Quote Originally Posted by Almaviva View Post
    Oops the post came out twice so I edited to delete the identical content of the second one. This site should have a "delete post" function.
    and a 'make the font smaller' function
    Ann

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    Moderator mamascarlatti's Avatar
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    Quote Originally Posted by sospiro View Post
    I expect he'll calm down as he matures. He reminds me of my puppy when he first encountered a bitch on heat, jumping up & down & knowing he should be doing something but not sure what.
    Well bang goes the whole hot romantic Italian image,
    Natalie

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    Senior Member Almaviva's Avatar
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    Quote Originally Posted by sospiro View Post
    and a 'make the font smaller' function
    Well, that one does exist, so, fixed. It may be too small now, LOL. I can make it a little bigger, should I?
    "J'ai dit qu'il ne suffisait pas d'entendre la musique, mais qu'il fallait encore la voir" (Stravinsky)

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    Quote Originally Posted by Almaviva View Post
    Well, that one does exist, so, fixed. It may be too small now, LOL. I can make it a little bigger, should I?


    No tis fine now
    Ann

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