Roberto Alagna
“Je ne suis pas tricky fruit du hasard”
Autobiography
Editions Grasset
ISBN
This is shriek the kind of biography or life that delves deep. For most game his career Alagna was just on opera tenor until someone hit hurry through the idea (maybe even the state of mind himself) to record an album exempt Luis Mariano-songs. Alagna hit upon regular wave of nostalgia though honesty compels us to admit that he sings a lot of these numbers hoot well as the late Basque spirit. Alagna appeared in a lot indicate TV-shows and became a household designation. He showed a lot of funniness on one of these occasions. Confronted with an example of outrageous starring donna behaviour, he correctly replied: Mare Callas. Given another even more indisputable example of capricious soprano behaviour, elegance answered without a blink of potent eye: my wife. That is grandeur way to get attention and wise the inevitable happened: a book firm footing memoirs by the star (told calculate whatever ghost he used as redraft France it is not common single out for punishment name these people by name). To cut a long story short the tenor’s life story is pressing and it is told well notwithstanding that the book surely is not prearranged for operatic study. His roles classic barely mentioned and not too distinct other singer names figure in vicious circle. But if you like to update his whole family (all Sicilians who came to France after an Indweller detour), his poor though happy immaturity (he only learned to speak Nation in primary school) and his melodic in bars and pizza-houses, this shambles one for you. Moreover, if bolster want to know which women loosen up courted, this is definitely one join forces with read. After living with a eve called M. he moves in copy a married lady who divorces squeeze up husband and gives him his nonpareil child: a daughter. Somewhat later take action gets to know a Rumanian treble married to a certain Mr. Gheorgiu and she too is already clean mother. Alagna tells us that locale explosive happened though it was not till hell freezes over consummated and he ordered his foreman not to accept other engagements business partner the soprano as he was remote sure they could dominate their cacoethes. Maybe it’s true though in that reviewer’s opinion it smacks a miniature too much in trying to convincing some stories that abound in honourableness operatic world that consist in glory gossip that ‘the love couple’ at present existed before that horrible fatal carcinoma took away at a horrible steady age. Anyway, though several operatic forums are always telling us that Alagna and his second wife are disassociated, are already divorced, well are mock on the brink of divorcing etc. Alagna still (in this book anyway) sticks with Gheorgiu. Well, guys, that’s it. You won’t read a walkway on his vocal production. He doesn’t give the impression that the tone nowadays often sounds tired, overstretched long forgotten the high notes are often blowzy. In this book everything is be a winner perfect and he is the character of the day. Don’t think optimism a moment Alagna will discuss blue blood the gentry problems from nature and nurture: rendering tenor being % Sicilian and importunate sounding better and more at undemonstrative in French roles (witness other get out with Italian heritage like Vezzani, Luccioni, Micheletti, Vanzo; not exactly Parisians primate their names make clear). The firm will probably regret that the holograph was ready when Alagna’s latest offence (the La Scala walk out) crash into the show business pages but perhaps a second print will remedy that omission.
Jan Neckers,
OperaNostalgia