Review: Vincerò! - Piotr Beczala, Tenor (Pentatone, 2020)

Image: Johannes Ifkovits

In recent interviews (most recently in the Gramophone Magazine), tenor Piotr Beczala, discussed how cautiously he has managed his career and instrument. His first success came as a “lyric” tenor, working in the opera houses of Linz (1992) and Zurich (1996). His first opera recording, singing Belmonte in Mozart’s “Die Entführung aus dem Serail” (Oehms Classics, 2002) garnered considerable critical acclaim. That success led to several offers to perform all types of roles, but he turned down all roles for which he felt not yet ready. The wisdom of this conscientious approach is quickly evident in this new recital, featuring arias from important roles in the repertory of the “Verismo” style, “The raw, emotionally- charged musical depiction of common folk,” as the informative booklet explains.

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Beczala’s voice is absolutely in its prime, with a beguiling warmth and smoothness across the vocal spectrum. Even in his highest range there is no hint of strain or technical difficulties. Years of operatic and concert experience furnish Beczala with a profound ability to distill the emotional essence of this music. For example, listen to the change in timbre and articulation between the two Tosca arias: “Recondita armonia” is almost giddy, Beczala utilizing a brighter color and more varied articulation as he joyfully sings of his love for Tosca. There is no doubt that Cavaradossi is hopelessly in love, and seemingly without a care in the world. How different is “E lucevan le stele,” Beczala’s using a darker timbre, that is somehow less warm, wholly capturing Cavaradossi’s despair as he awaits execution.

The three “Adriana Lecouvreur” selections play to Beczala’s ability to fully convey the character’s thoughts and feelings. Sung with melting lyricism and gorgeous tone, one experiences the heartfelt pride and patriotism of “La dolcissima effigie,” which builds to a fulsome climax at 1’17” (track 3). “L’anima ho stanca” follows, in which The Orquestra de la Comunitat Valenciana, led by Marco Boemi, offers Beczala complete freedom as he spins phrases with expansive rubato. “Il russo Mèncikoff,” with the addition of chorus, proves especially thrilling.

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Leoncavallo’s “Vesti la giubba” from Pagliacci is particularly thought-provoking. One could argue that this aria is the quintessential example of “verismo” writing, and as such, it often receives an over-the-top, maudlin performance. Beczala’s rendition may, for some, seem understated, yet by rejecting the more common histrionic approach, this performance seemed more emotionally genuine and truthful. And Beczala’s “Nessun dorma” need not fear comparison with the classic performances of Pavarotti (or Domingo and Carreras for that matter); his account is again refreshingly honest and compellingly communicative. By not “hamming it up,” Beczala allows the music to speak more directly, making his performance deeply moving.

Pentatone’s recording is typically excellent, both in regular and surround sound. The engineers have created a completely natural and convincing balance between the voices and orchestra. The Orquestra de la Comunitat Valenciana plays with accuracy, passion and beauty, though their sound is less fulsome than we would hear from the Berlin or La Scala orchestras. Nevertheless, they and Marco Boemi are sensitive and engaged accompanists. The tracks featuring chorus, as well as Evgeniya Khomutova’s short contribution in Mascagni’s “Mamma, quel vin” (track7), bring added variety to a genuinely expressive and impressive recital. I came away from it keen to hear Beczala assume these roles on stage and on record.

Pentatone’s supplementary materials are first-rate, with erudite notes that contextualize the arias within the larger composition, as well as within the verismo opera repertory. One could complain about the short playing time of 52 minutes, but that would be more important if the music making on offer was less special. In this instance it is very much about quality over quantity – warmly recommended.