# Vittorio Grigolo, is he any good?



## Almaviva (Aug 13, 2010)

New rising star young Italian tenor Vittorio Grigolo is getting lots of press. Apparently and according to reviews, his new CD with Italian arias is good, but studio recording doesn't prove everything. I haven't ever seen him on stage. Opinions?


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## mamascarlatti (Sep 23, 2009)

He seems to do ardent very well - acting, voice colour (judging from the CD and his performance in Rigoletto on film).

Haven't actually seen him live of course.


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## karenpat (Jan 16, 2009)

I think he's good. 

His last CD was a kind of classical crossover thing and he had a hit with "You are my miracle", a duet recorded with Katherine Jenkins and then in another version with Nicole Scherzinger from Pussycat Dolls - I was into classical crossover when this came out so I liked him then too, but then after I drifted more and more into opera I thought he was selling himself short.. and then I realised that he'd been doing nothing but stage work since that CD came out.(He befriended me on facebook and he keeps posting info and photos on his profile from the productions he's in)

I have the Italian tenor CD and it is really good, I'm pleased he didn't go with the "usual" arias like La donna e mobile just to play it safe. My favourites are Torna ai felici di' and Si de' Corsari il fulmine.  I will say his really high notes are not as strong as Juan Diego Florez' but he does sing with a lot of expression.


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## vlmt (Nov 8, 2010)

I agree with karenpat, he does sing with a lot of expression, and he is able to connect emotionally with his audiences, even me behind a computer screen and watching him on Youtube.

I have to to say he is good, but not the best. My vote still goes to Andrea Bocellii, I prefer his deeper and more anchored tone quality.


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## Delicious Manager (Jul 16, 2008)

He's pretty awful when trying to sing opera (although not quite the strangled cat the Boccelism is). He should stick to the pop stuff he does better.


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## Almaviva (Aug 13, 2010)

vlmt said:


> I agree with karenpat, he does sing with a lot of expression, and he is able to connect emotionally with his audiences, even me behind a computer screen and watching him on Youtube.
> 
> I have to to say he is good, but not the best. My vote still goes to Andrea Bocellii, I prefer his deeper and more anchored tone quality.


I don't like Bocelli at all. He's not really an opera singer. He would be completely unable to take on a full opera on stage, and not because he's blind, I'm talking vocally.

Apparently this Grigolo guy does perform full operas on stage and has done it several times, it's different.


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## sospiro (Apr 3, 2010)

Only ever seen him in the Rigoletto a Mantova opera film but I think he's good.


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## Almaviva (Aug 13, 2010)

Someone just sent me a review of his Met performance in La Bohème, looks pretty impressive, I'll reproduce it here:

*The Met Makes Way for New Bohèmians* 
*By **ANTHONY TOMMASINI* 
Saturday was a night of multiple debuts at the Metropolitan Opera when Franco Zeffirelli's popular production of Puccini's "Bohème" returned to the repertory. Three of the main characters, as well as the conductor, Roberto Rizzi Brignoli, were all appearing for the first time. But the focus of attention was on the fast-rising Italian tenor Vittorio Grigolo, making his Met debut as Rodolfo. 
Handsome, energetic, exuding charisma and blessed with a vibrant voice, Mr. Grigolo was an appealing and impassioned Rodolfo, and a big hit with the audience. For his solo curtain call at the end, he bounded onstage, arms thrust wide, to bask in the ovation, pounding his chest to demonstrate his heartfelt thanks. 
At 33 Mr. Grigolo would seem poised for continued success. Still, I had reservations about his voice, which has a bright cast and a narrow, sometimes tight, vibrato that will not be to all tastes. Mr. Grigolo has said in recent interviews that his ventures into boy bands and pop, which made him a sensation in Europe, are over, and that his work now is completely centered on opera. The technical shakiness that characterized his otherwise alluring performance as Gennaro in the Washington National Opera's production of Donizetti's "Lucrezia Borgia" in 2008 (starring Renée Fleming) is gone. Mr. Grigolo came across on Saturday as a singer who knows what he is doing. What we heard is what we are likely to get. 
There are certainly special qualities to his artistry. He started a little nervously, understandably, given all the talk of his being the successor to Pavarotti, which cannot help him. But once he warmed up, the natural ardor and the rich texture in his voice came through. His is essentially a lyric tenor, able to shape Puccini's phrases with tenderness and lovely colorings. 
Still, his voice opens up excitingly with a ping and power that carried easily on this night, including a C at the climax of "Che gelida manina." He has said of himself that expressing passion and romance come easily, but he must be careful not to lose control and focus. He mostly found that balance on Saturday. Yet the narrow, quick vibrato in his tone can have a somewhat piercing quality for those who want more warmth in an Italian tenor. 
With his youthful looks and physical agility, Mr. Grigolo is a natural onstage, though he seemed overeager on Saturday. This was a restless and fidgety Rodolfo. Still, it is good to have such a giving and talented tenor. There were encouraging moments when Mr. Grigolo showed that he could temper his vocal passion with eloquence and nobility. 
The Italian baritone Fabio Capitanucci, making his debut as Marcello, has a robust, warm voice and impressive Italianate lyricism. The American soprano Takesha Meshé Kizart, also making her Met debut, was wonderful as the coquettish and willful Musetta. I would like to hear her in a role that takes greater advantage of the richness of her sound. The hardy young American baritone Edward Parks, as Schaunard, and the solid Chinese bass-baritone Shenyang, as Colline, completed the quartet of wise-cracking Bohemian friends. 
The Latvian soprano Maija Kovalevska, an exceptionally moving Liù in "Turandot" at the Met last season, brought her lustrous voice and affecting intensity to Mimi. Now and then in softer phrases, her sound turned pale, and her pitch faltered. Still, she inhabited the role and won your heart. 
Mr. Rizzi Brignoli, a regular at La Scala and other houses in Europe, proved himself a stylish Puccini conductor, able to give singers leeway and bend the tempos to the lyrical demands of the score while still maintaining the overall shape and flow. 
"La Bohème" runs at the Metropolitan Opera through Feb. 25; (212) 362-6000, metopera.org.


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## Almaviva (Aug 13, 2010)

Oops the post came out twice so I edited to delete the identical content of the second one. This site should have a "delete post" function.


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## mamascarlatti (Sep 23, 2009)

_"He has said of himself that expressing passion and romance come easily, but he must be careful not to lose control and focus."_

This is my problem with him - he tends to overdo the emotions and it gets exhausting to listen to. If he could tone himself down a bit once in a while I'd like him better.
I think fundamentally he could be very good.


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## sospiro (Apr 3, 2010)

mamascarlatti said:


> _"He has said of himself that expressing passion and romance come easily, but he must be careful not to lose control and focus."_
> 
> This is my problem with him - he tends to overdo the emotions and it gets exhausting to listen to. If he could tone himself down a bit once in a while I'd like him better.
> I think fundamentally he could be very good.


I expect he'll calm down as he matures. He reminds me of my puppy when he first encountered a bitch on heat, jumping up & down & knowing he should be doing something but not sure what.


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## sospiro (Apr 3, 2010)

Almaviva said:


> Oops the post came out twice so I edited to delete the identical content of the second one. This site should have a "delete post" function.


and a 'make the font smaller' function


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## mamascarlatti (Sep 23, 2009)

sospiro said:


> I expect he'll calm down as he matures. He reminds me of my puppy when he first encountered a bitch on heat, jumping up & down & knowing he should be doing something but not sure what.


Well bang goes the whole hot romantic Italian image, :lol:


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## Almaviva (Aug 13, 2010)

sospiro said:


> and a 'make the font smaller' function


Well, that one does exist, so, fixed. It may be too small now, LOL. I can make it a little bigger, should I?


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## sospiro (Apr 3, 2010)

Almaviva said:


> Well, that one does exist, so, fixed. It may be too small now, LOL. I can make it a little bigger, should I?


:lol::lol::lol:

No tis fine now


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## jflatter (Mar 31, 2010)

Almaviva said:


> New rising star young Italian tenor Vittorio Grigolo is getting lots of press. Apparently and according to reviews, his new CD with Italian arias is good, but studio recording doesn't prove everything. I haven't ever seen him on stage. Opinions?


See quote when he played Des Grieux in Manon opposite a certain Ms Netrebko. This review came from Independent.

So, too, Vittorio Grigolo's dashing and thrillingly sung Chevalier Des Grieux, his seductive middle-voice covered to beautiful effect in the many subito shadings in mezza voce. The chemistry between him and Netrebko was, well, steamy in the cassock-ripping Saint-Sulpice scene. I was put in mind of the young Roberto Alagna as Gounod's Romeo. Yes, Grigolo was that good. As house debuts go it was little short of sensational. [/I][/I]


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## Almaviva (Aug 13, 2010)

His Italian Tenor CD will be on sale for $5.99 on Tuesday November 23 between 5PM and 9 PM on Amazon.com. I'm planning to get a copy.


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## Almaviva (Aug 13, 2010)

Almaviva said:


> New rising star young Italian tenor Vittorio Grigolo is getting lots of press. Apparently and according to reviews, his new CD with Italian arias is good, but studio recording doesn't prove everything. I haven't ever seen him on stage. Opinions?


OK, folks, just a reminder, for another hour and a half or so this CD is on sale on Amazon.com for $5.99. I just got mine.


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## sospiro (Apr 3, 2010)

Some interesting comments on Grigolo by opera blogger I Hear Voices



> Before Luciano Pavarotti's death, you would hardly read a positive assessment of his artistry but often a mention to the end of the era of overweight tenors - but once he was not here anymore, everyone quickly remembered the pleasure of hearing an unbelievably spontaneous voice even to the very end of the tenor range and sometimes beyond. It is most curious that some reviewers had decided that Vittorio Grigolo is the new Pavarotti, with the extra advantage that he cuts a Romantic figure on stage. Although the young Italian tenor certainly relishes the leading man routine even when the situation requires a little bit more abandon, he will have to eat far more pasta if he wants to sound remotely close to Pavarotti.
> 
> The 1,000,000-question is: whence the comparison? If I had to say that there is something in common between these voices, it would be: both are Italianate lyric tenors with an immediate, natural sound and unforced projection. I had no problem hearing Grigolo's voice, even when the orchestra was indeed loud. Which is the difference? Before Pavarotti became the world's tenor next door, he had sung some very difficult bel canto roles, including Arturo in Bellini's I Puritani and he even toyed with Mozart's Idomeneo. His liquid, gracious and full-toned singing of these roles inscribed his name in the history of opera.
> 
> While Grigolo works hard for mezza voce, is sensitive to the text and is all-right fervent and impetuous, can anyone seriously imagine him in a Donizetti or a Bellini opera? Considering that he won't be able to sing Radamès or Manrico, this is not a rhetorical question. He certainly has the elements of an important voice, but they are a bit chaotically handled - his voice seems to be placed in many different ways, sometimes in the same phrase; he is amazingly free with tempo (and I don't mean in the I-know-better-than-the-composer, Caballé-like way) and the high register is often too open and unconnected to the rest of the voice. O mio rimorso was all over the place and what he sang before a tense high c was not really what Verdi wrote. But don't mistake me - it has been a while since I've heard a truly pleasing-toned natural Italian tenor who also happens to have some imagination. If a more solid technique had been applied to it, I can only imagine what he would be able to do.


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