Big event, obviously. There are things here to chew on, and “the” moment occurs on track 5 of the second disc: the entry of Caronte (grabbing Salvo Vitale). It is for this kind of shock that we listen to and hope for. Listening to this album is to scrutinize the poetic sound sculpture of Leonardo García Alarcón through L’Orfeo. The Argentine, who has directed it a lot since 2017, remains loyal to his team of singers. But his team is not necessarily ours. After having vibrated for theOrfeoby Emiliano Gonzalez Toro, we have no particular affinity for that, slightly tight and nasal, of Valerio Contaldo. Here we have theater, organized by a sensual master of the theater (García Alarcón, even more incredible in the pain and darkness of hell than in the sun), to which excellent singers bow. Gonzalez Toro inherently exudes sensuality and we were captivated by the character’s torments. It was from this core that the rest flowed. Here the core is on the podium. He’s fabulous, but that’s not all.
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