Good voice
The Tenor from Peru is one of the best tenors in the world at this time;I feel that the selection of arias, could have been a lot better.I do recommend that when you see the name Juan Diego Flores, you pay a lot of attention.

By now, a known quantity
After flirting with other repertoire and recording a crossover disc or two, the reigning Rossini tenor Juan Diego Florez returns to what he does best on this album: the florid, high-lying music of early nineteenth-century bel canto opera. The concept here is to evoke comparison with Giovanni Rubini, the tenor for whom this music was written, and it's hard to believe that Florez' predecessor was more facile or could negotiate the numerous coloratura runs with greater accuracy and ease. Florez doesn't actually go as high as Rubini was reputed to have done (high F)--he touches one E-flat above high C, but otherwise reaches "only" high D. On the other hand, he sings his high notes in full voice, something Rubini would not have done.

For fans who know what Florez is all about and have enjoyed his live performances (and I certainly am one) this album will certainly confirm their high opinion. The tenor's voice seems to have grown in size, and occasionally there is a hint of unsteadiness in sustained notes--perhaps fatigue due to his frantic international career? As I have noted before, with vocal gifts of such magnitude it seems almost churlish to wish occasionally for more differentiation of character or vocal color, since all of the music is so much of a piece. Did contemporary audiences demand the vocal acting abilities of a Callas from Rubini? My guess is not. Let's wish Florez a long career and continued vocal health--he's certainly become an indispensable fixture on the international operatic scene.

FOOTNOTE: As is the case so often with the bel canto composers, a listener can amuse him/herself by identifying music in the more obscure operas that was later re-used to greater fame. There's a big chunk of "Norma" in one of the tracks, for example.

Amazing technique!!!
Florez is astounding in his agility. He is also a very sound musician. It is fair to say that he is in a class by himself in this repertory. All of this must be balanced by the effects of prolonged listening. After hearing a few selections, it is my feeling that this is not a beautiful voice. The sound becomes very "white" and nasal and this can be taken in small doses.
To be fair, others may enjoy this sound and my criticism may well be very personal. For those whose primary enjoyment in singing comes through agility and limitless high notes...very high notes, this will deliver.

voice of the century
Juan Diego Florez has a beautiful "silver ping" to his voice. He seems to be effortless in his handling of the coloratura passages.

Florez is Florez - brilliance that latched on itself.
JDF is better than ever technically in this album. The tracks are difficult stuff, and he even sings that huge trunk of 'William Tell' arias that hitherto only Pavarotti dared to assume.
It is now pretty settled that Florez is a class on his own - his Rossini, Donizetti, even Bellini, significantly surpassed Ernesto Palacio.
Even so, he remains pretty much 'himself' in whatever he undertakes. That is fine if you consider all the pros that this wonderful tenor possesses - brilliant technique, unusally good voice, and even over-whelmingly stellar stage presence. He virtually has them all. What remains for the ever craving audience is a big 'break' from all his good usual self.
An artist of top calibre never ceases to excel himself. With his virtually flawless singing, the only thing perhaps that JDF would want to conquer is his characterisation. Probably he would need to get a break from all his former 'beautiful' self - in tone, in portrayal, in looks, in virtually every sense, in order to develop a totally soulful, dynamic and multi-faceted performance style.