Festive closing of the first edition of the Castell de Peralada Easter Festival with the hopeful debut of Freddie de Tomasso. The expectation of appreciating the Italian-British tenor, with his spectacular voice, encouraged the public despite the fact that stylistically he still has some way to mature.
With a first part of lyrical Easter, Verdi's Ingemisco del Requiem stood out, where it showed a solar color, well-projected treble and generous emission.
Despite its timbre beauty and brilliance, de Tommaso abused the upper register and its placement. The rest of the range suffered and lost expression and seclusion as in Schubert's Ave Maria or Franck's Panis angelicus.
In addition to his outstanding singing facility, he showed that he can also regulate his instrument, as in an exciting Lamento di Federico de l'Artesiana de Cilea, which closed the first part. Here he confirmed that he is a fully operatic voice far from the sacred style where he does not show faculties.
The second part began overwhelming with Puccini, de Tomasso comes from singing La Bohème at La Scala in Milan. Left over in the song Sole e amore, with Che gelida manina he abused his power and forgot to add nuances and phrases, transforming the aria into a vast display of vocal media.
The excessive power of the tenor cost him a scare in Gastaldon's Musica proibita, which meant that from then on, he paid more attention to details of style and half voices, like in Bellini's Fe-nesta che lucive or Non t'amo. Tosti's piu.
Perhaps for this reason he did not sing Mamma quel vino è generous by Mascagni's Cavallería Rusticana at the end and replaced it with an O sole mío where he once again demonstrated power.
The standing audience got just one more encore, the Neapolitan Core'ngrato, for a tenor who created vocal illusions thanks to potentially first-rate means. The accompaniment by the pianist Audrey Saint-Gil was correct.
Promising general computation of this first Easter Festival in Peralada. Solid commitment to the baroque, Orlinski's mainstream debut, Alessandro Scarlatti's beautiful Giuditta with artists kilometer 0 and Serena Sáenz's debut with Vespres d'Arnadí and an unforgettable Sabata. The Oficio de tinieblas by Tomás Luis de Victoria with the fantastic Cantoria was hypnotic, a nocturnal date that ended at midnight. A proposal that comes to establish itself as a new unavoidable musical tradition for this nascent Peralada Easter Festival, where there will always be the illusion of discovering new voices and some tenor voices.
