The vocal illusions of tenor Freddie de Tommaso in Peralada | Entertainment | The USA Print

The vocal illusions of tenor Freddie de Tommaso in Peralada

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 lyrical first part of Easter, he highlighted the ingemisco from Verdi’s Requiem, where he showed a solar color, with 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 tessitura suffered and lost expression and seclusion as in the Ave Maria of Schubert or the panis angelicus from Frank.

In addition to his outstanding singing facility, he showed that he can also regulate his instrument, as in an exciting Lament of Federico of l’Artesiana de Cilea, who closed the first part. Here she confirmed that he is a fully operatic voice far from the sacred style where he does not show faculties.

The second part began overwhelmingly with Puccini, De Tomasso comes from singing la boheme at La Scala in Milan. excess in the song sun and lovewith the che icy manina he abused power and forgot to add nuances and phrases, transforming the aria into a vast display of vocal means.

The excess of tenorial power cost him a scare in prohibited music of Gastaldon, which meant that from then on, he took care and was more concerned with details of style and half voices as in Fe-nesta che lucive of Bellini or I don’t love piu de Tosti.

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Maybe that’s why he didn’t sing Mamma, the wine is generous of the Rustican Cavalry of Mascagni at the end and changed it for a oh my sole where he again demonstrated power.

The standing audience got just one more encore, the Neapolitan Core’ngrateful, 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, debut mainstream from Orlinski, precious giudita by Alessandro Scarlatti with kilometer 0 artists and the debut of Serena Sáenz 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.