October 16, 2022 would have been Dmitri Hvorostovsky’s sixtieth birthday. Delos is pleased to see the many tributes for “Dima” being published from across the globe. We were especially thrilled to see the Opera News tribute and playlist dedicated to Dmitri’s “Enduring Beauty”. If you haven’t seen it, you can find the full playlist on operanews.com. Below are some of the Delos releases, and Steven Jude Tietjen‘s highlights from each:
“Hvorostovsky’s first of many recordings for the Delos label features Neapolitan favorites such as “O sole mio” and “Marechiare.” In the show-stopping “Core ’ngrato,” “Torna a Surriento” and “Dicitencello vuie,” Hvorostovsky lets loose with full-throated italianità and just the right amount of schmaltz, but he lightens and sweetens his voice for delicate, sensual performances of “A vucchella” and “Parlami d’amore, Mariù.”
“At the time of this recording’s release, Hvorostovsky was associated with Verdi’s more lyric roles, especially Rodrigo, Germont and Count di Luna. On this album, Hvorostovsky dives head-first into the big Verdian roles, beginning with a snarling and menacing performance of Iago’s aria and continuing with the first glimpses of his Rigoletto. But the most interesting entries are arias from several of Verdi’s earlier operas, such as Nabucco, I Masnadieri and Stiffelio. In two arias from I Masnadieri, Hvorostovsky’s portrayal of Francesco’s anger and defiance is searing, and he shapes Verdi’s long lines with effortless finesse and control.
“This album of Russian rarities and baritone standards recorded in Hvorostovsky’s prime gives a near-complete portrait of his dramatic and artistic range. The Russian selections include a psychologically penetrating performance of Boris’s Act II monologue from the original 1869 version of Mussorgsky’s Boris Godunov and a biting yet sumptuously sung rendition of the ironic toast from Rubinstein’s Neron. The rest of the album focuses on essential baritone hits, many from roles Hvorostovsky never sang onstage.…
“Recorded in October 2015, this album begins with the extended opening scene from Prokofiev’s War and Peace, with Hvorostovsky cutting a dashing vocal portrait of the disillusioned Prince Andrei as he falls in love with Natasha (Asmik Grigorian). …Celebrated for his performances as the chivalrous Prince Yeletsky, here Hvorostovsky sings Count Tomsky’s two arias from The Queen of Spades, with menace and deep, almost bass-like resonance. But the jewel of the album is the final scene from Rubinstein’s Demon, featuring Grigorian as Princess Tamar. The depth and vocal charisma of Hvorostovsky’s baritone perfectly embody the complex title role. …
“Hvorostovky’s final complete opera recording, this Rigoletto is the premature artistic culmination of a career cut short. If he lacks some of the vocal heft expected from the traditional, Italianate Verdi baritone, Hvorostovsky more than compensates with this passionate, nuanced portrayal of Verdi’s court jester. He’s biting and bitter in his interactions with the courtiers and the Duke, gentle and soft with Gilda, and desperate and devastated in the final act.
See the full list of recordings, performances, and more on operanews.com