In an era marked by haste and the need to reach the quickest goals immediately, Alfredo Kraus knew how to install prudence and moderation among his objectives. Intelligence begins with the discovery of his vocal capacity, continues with the choice of the appropriate repertoire and ends with the controlled distribution of his possibilities. The coherence of her professional career is decisive. Out of almost 40 operatic roles, about twenty are enough to cement his legend, all sung in Italian or French and therefore belonging to these repertoires. Youthful personalities, passionate and prone to amorous sentiment, entities that facilitate the best weapons of his singing: elegance, flexibility, fluidity, spontaneity, transparency of sound, subtlety and ease of ascent to the high register, qualities that have remained untouched, with the logical changes brought about by age, throughout his long career.
Kraus impresses us for many reasons, but especially for the characteristic timbre quality, the fantasy of his phrasing, the display of his regulation, the naturalness of his legato and the perfection of his line.
Fernando Fraga
Conductor | Rolf Reuter
Alfredo Kraus, tenor
Principal Orchestra of the Teatro Real
Program
I
Gioachino Rossini (1792-1868)
L’italiana in Algeri: Overture
Gaetano Donizetti (1797-1848)
La fille du régiment: “Ah, mes amis”
Wolfgang Amadeus Mozart (1756-1791)
Don Giovanni: Overture
Friedrich von Flotow (1812-1883)
Martha: “M’apparí” (“Ach, so fromm”)
Giuseppe Verdi (1813-1901)
La forza del destino: Overture
Pablo Sorozábal (1897-1988)
La tabernera del puerto: “No puede ser”
II
Georges Bizet (1838-1875)
Carmen: 3 Preludios
Gaetano Donizetti (1797-1848)
Lucia di Lammermoor: “Tombe degli avi miei”
Daniel-François-Esprit Auber (1782-1871)
Fra Diavolo: Overture
Francesco Cilea (1866-1950)
L'arlesiana: “È la solita storia” (Lamento de Federico)
Gioachino Rossini (1792-1868)
Il barbiere di Siviglia: Overture
Jules Massenet (1842-1912)
Werther: “Pourquoi me réveiller”