Review: Verdi – Arias – Ludovic Tézier (2021) (2021)

This new recital by French baritone Ludovic Tézier reveals a singer in his absolute prime. After winning a prize at Operalia, The World Opera Competition in 1998, he debuted with the Lucerne Opera, soon after joining Opéra National de Lyon to perform the title role in Mozart’s Don Giovanni and the Count in Le Nozze di Figaro. His appearances at the world’s major opera houses have received consistent acclaim, and he has developed a wide-ranging repertoire (and discography), including works by Bellini, Tchaikovsky, Mozart, Donizetti, Brahms, Orff, and of course, Verdi. Somewhat surprisingly, this appears to be his first solo album. It has certainly been worth the wait.

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Tézier is in magnificent voice. At full cry, his power and richly burnished color cuts through the loudest orchestral passages. His legato phrasing is wonderfully supple, and his breath control is seemingly limitless. There is enviable evenness of tone across all registers. More impressive still is how he varies his tone to capture the changing moods and meanings of the text. Listening with the text in hand, one sense how carefully Tézier has considered each word and sentiment. Diction is always clear, allowing him to communicate and characterize each character.

“Morir! Tremenda cosa!” from La Forza del Destino is a remarkable opening to the program. In 8 minutes, Verdi’s Don Carlo moves through a wide range of emotions, Tézier fully inhabiting each one. We sense his initial confusion and pain, and his change to rage and revenge as he learns Alvaro’s real identity.

Indeed, is it Tézier’s fully realized characterizations, his ability to get us to emphasize with each of these characters, that makes this album such a success. In lesser hands, “Vanne, la tua meta gia vedo” from Otello can be a two-dimensional evil stock character. But Tézier’s Iago has some emotional ambiguities that make his drive to destroy Othello more complex, and more compelling.

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The Bologna orchestra and their conductor Frédéric Chaslin provide sensitive and inspired accompaniments. They follow Tézier’s every subtle change of inflection and rhythm, freeing him to offer expressive interpretations. Moreover, they ensure each accompaniment reflects and enhances Tézier’s performance. The many wind solos are played with great beauty and abundant personality. Sample the opening of “O de ver’anni miei” from Ernani (track 3), which conjures the anxious atmosphere of the ensuing duet (with Paolo Antognetti an impressive Riccardo).

Sony’s ancillary materials are first class, with a disarmingly humble interview with the singer, and full texts and translations in French, German, and English. Bravo to Sony and the performers too, for producing a recording that, at 82 minutes, is bursting with so many fabulous performances. The recording, made in January 2020 in Bologna, is excellent. The sound has transparency and warmth, with space to allow even the loudest passages plenty of room to blossom. We can only hope that the success of this album will mean more solo recitals by this singer in the future – enthusiastically recommended.