Rolando Villazon/ Gabrieli Players Royal Festival Hall London

Hes come by throat surgery and survived From Pop Star to Opera Star (though the jury is still out as to that acted the larger threat) so on the aspect of it an all-Handel programme (strategically scored equally to his majority new album, of course) competence have seemed similar to a essential approach of nursing Rolando Villazon behind to full outspoken health: copiousness of fast relocating coloratura to keep the healing chords supple, easily inflected legatos, and usually the soft-grained duration instruments of the superb Gabrieli Players underneath Paul McCreesh to surf.

So all the some-more obscure because these primarily alto arias were not reversed in to keys in that he could sing them?

It could be, of course, that Villazon was on purpose avoiding highlight on the tip plot of his voice: the couple of tip records he encountered were merely grazed in the march of his embellishments but often we were resolutely in the center and reduce range with approach as well most phrases simply descending off the bottom finish of what was probable for him. The opening Grimoaldo aria from Rodelinda presented the right away informed timbre, invitingly dusky, easily inflected, with that particular cover over the total range. The specially superb energetic gradations were remarkable in the opening Accompagnato and his strident attraction to the tie in between difference and receptive to advice was positively apparent. But as he mused on how the shepherd finds satisfaction in inlet whilst monarchs find nothing in the purple and bullion was I alone in detecting a little huskiness in the outspoken production?

It could simply have been the annoy of those heartless phrases next the stave. The cadenzas of his initial Serse aria Piu che penso alle fiamme del core plunged to a low blubber that was unsuitable for even a lovesick protagonist; the second was a mess with initial Villazon and afterwards McCreesh dropping the ball. By the time we arrived at the one indeed tenorial purpose of the dusk Bajazet in Tamerlano Villazon was relying extremely some-more on content than singing.

It was a service to listen to a little free tip register in the figure of his soprano guest Lucy Crowe. She done most of the artistic suffering of those keening chromatics in Cleopatras Se pieta and she was deliciously faulty in the spirited Da tempeste adding some-more musical decoration than competence have seemed possible. Sadly, the star effort was for the time being consigned to the shade of his soprano.

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