This is how we saw him in his recital three years ago, also at the Pérez Galdós, whose final he extended with six encores, good proof that another of his virtues is generosity. Nobody has forgotten that apotheosis nor will they forget that of now. A bit disconcerting, the program, almost entirely dedicated to Italian music of the 19th and 20th centuries, began with four groups of songs very different from each other but always with attractive potential. Simple and classicist, the four by Stefano Donaudy, the six by Respighi more dramatic and imaginative, with such famous titles as Lagrime, which leads them, Stornellatrice, and Nebbie; the transitional style of the four Wolf-Ferrari Rispetti 0p.11 is well captured; and spectacularly sentimental the three Neapolitan women of Tosti.
After this lyrical ensemble, luminous in Beczala’s voice, came the opera arias. Among them, two by Verdi, masterfully interpreted: Di tu se fedele, by Un ballo in maschera and Quando le sere al placido, by Luisa Miller. Two faces of the Verdian genius in the secret of the tenorile song, which Beczala understands perfectly as symbols of departure from the bel canto limitations and a renovating gesture of the European scene of Romanticism.
Using his expressive powers to the full, with an impeccable purity of style, the tenor raised the temperature of the room in fervent “bravos”, which continued to grow with the Recondita harmony, of Puccini’s Tosca, much more passionate than usual without leaving a millimeter of the text.
The culmination of the operatic part was in Pour quoi me reveiller, by Massenet’s Werther, one of Beczala’s three tips: that memorable moment in which the interpreter moves us to wonder if it is possible to sing better. Not the only star moment of the evening, but the culminating one for those present, given to the artist without conditions. Piotr Beczala is, in short, a perfect tenor, with a translucent style, honesty without gimmicky tricks in the manifestation of his privileges and generous of his gift. Throughout the concert, Sarah Tysman, professor at the Berlin University of the Arts, accompanied him on the piano very competently.
In addition to this gift, the FAT is to be thanked for the special conditions to ACO members, who keep the city’s Opera alive against the odds, tides and viruses. Hopefully they will get an artist like this Polish tenor, universal and at the peak of his career in the big theaters, for one of their productions. A single function with reduced capacity has left many fellow citizens out.