Not every opera superstar, admired by everyone from cognoscenti to ordinary pop fans, would, in late career, plunge into new vocal territory and virtually unknown repertoire. But that is what José Carreras has done with his admirable release Malinconia d'amore. From the cover you might conclude that this was another in a long series of semi-pop Carreras releases (especially if you get one with an "Original Member of the Three Tenors" sticker). There are indeed popular songs here, but they are mostly forgotten ones. ...
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Not every opera superstar, admired by everyone from cognoscenti to ordinary pop fans, would, in late career, plunge into new vocal territory and virtually unknown repertoire. But that is what José Carreras has done with his admirable release Malinconia d'amore. From the cover you might conclude that this was another in a long series of semi-pop Carreras releases (especially if you get one with an "Original Member of the Three Tenors" sticker). There are indeed popular songs here, but they are mostly forgotten ones. Malinconia d'amore attempts to re-create the ambiance of an old-time vocal recital that blended art songs and arias with lighter contemporary material. Carreras in his notes places himself in a tradition of singers, running from Giuseppe di Stefano back to Caruso, who have favored such programs; he includes songs, all on the theme of romantic disillusionment, from Tchaikovsky (the two French mélodies of Op. 65, which are gems), Albéniz, Enrico Toselli, Luigi Denza, Pasquale Mario Costa, and...
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