Singing opera requires a large number of talents, one of which is the ability to change character and emotion rather quickly, sometimes by changing the color of one's voice. This album by Zoran Todorovich shows a number of different sides to this tenor, some of which are more successful than others. In the initial works on the album, one hears a tenor that is strong and full, dark, lirico-spinto in character: he is quite the power tenor. However, this can tend to get in the way of the music; that is, there is much power, ...
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Singing opera requires a large number of talents, one of which is the ability to change character and emotion rather quickly, sometimes by changing the color of one's voice. This album by Zoran Todorovich shows a number of different sides to this tenor, some of which are more successful than others. In the initial works on the album, one hears a tenor that is strong and full, dark, lirico-spinto in character: he is quite the power tenor. However, this can tend to get in the way of the music; that is, there is much power, but not a lot of shaping of the lines, not enough speaking of them. "Se quel...Celeste Aida," "O figli...Ah, la paterna mano," and "La mia letizia infondere" all fall into this category. He has excellent technique, but it tends to run rather like a stream of sound. These arias are darker in character, and perhaps not as well suited to his voice, nor as engaging for the listener. However, the set from Otello reveals a completely different side to the artist. One hears a beautiful,...
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