In My Heart - 17th and 18th Italian Songs

Editorial Reviews
Amazon.com
Those who prefer 17th- and 18th-century music performed in a "historically correct" manner may balk, but these "old songs and arias" ("arie antiche") are beautifully presented and sung. It's not that Ramón Vargas approaches them in a verismo style or that he overexclaims them. Rather, he sings with ardor, generous portamento, and a Romantic, cushioned voice filled with vibrato and expression. At the same time, Vargas embellishes the vocal line in very much the style popular and proper 200 and 300 years ago, and these embellishments are attractive and in excellent taste. But the voice is the thing, and it's gorgeous and beautifully used. The opening, earliest song (for instance) is sung sweetly and softly from start to finish--it's hard to recall the last time one heard such sustained elegant, gentle vocalism from a major tenor. Vargas never overstates his case, and by refusing to do so, sells us these brief, lovely items one at a time. Another winner from this unique tenor. --Robert Levine

Tracks:

Amarilla, mia bella
Vittoria, mio core!
O cessate di piagarmi
Gil sole dal Gange
Toglietemi la vita ancor
Pur dicesti, o bocca bella
Sebben, crudele
Come raggio di sol
Per la gloria d'adorarvi
Il mio bel foco; Quella fiamma
Teco, si, vengo anch'io
Nina
O del mio dolce ardor
Nel cor piu non mi sento
Plaisir d'amour
Caro mio ben

Amazon.com

Those who prefer 17th- and 18th-century music performed in a "historically correct" manner may balk, but these "old songs and arias" ("arie antiche") are beautifully presented and sung. It's not that Ramón Vargas approaches them in a verismo style or that he overexclaims them. Rather, he sings with ardor, generous portamento, and a Romantic, cushioned voice filled with vibrato and expression. At the same time, Vargas embellishes the vocal line in very much the style popular and proper 200 and 300 years ago, and these embellishments are attractive and in excellent taste. But the voice is the thing, and it's gorgeous and beautifully used. The opening, earliest song (for instance) is sung sweetly and softly from start to finish--it's hard to recall the last time one heard such sustained elegant, gentle vocalism from a major tenor. Vargas never overstates his case, and by refusing to do so, sells us these brief, lovely items one at a time. Another winner from this unique tenor. --Robert Levine

Customer Reviews:

misguiding.......2007-04-09

Those who love Mr Vargas' singing will probably be satisfied.
His voice is beautiful and this repertoire is most apt to show it to advantage. His technique is good (some problems with pianos), his agility commendable.

Those instead looking for an adequate rendering of old arias will find this compilation lacking: he chose (as declared in the booklet) to ignore philologicas and stylistical issues, singing them beautifully but also romantically, as late Donizetti or early Verdi. Problem is that this, to educated ears, sounds incredibly wrong, nearly inaudible.

A pity: with more attention to style this could have been a useful compilation for singing students too. Such as it is, it is only good for Mr Vargas' fans.

He missed the point.......2005-11-12

I am sorry I bought this album. I did not listen to the sound bytes first...my bad! Vargas croons his way through music that has been orchestated out of all recognition. It sounds syrupy and sentimental, not intensely emotional. The Carissimi is a joke! The Scarlatti is painful to hear. There are too many fine performances of 17th & 18th century music out there for this to pass muster. For example, if you want to hear Bononcini as he should be sung, listen to Martin Oro or Gerard Lesne. My recommendation is a most emphatic "NO".

A (perhaps too) romantic approach to some old favorites.......2003-11-27

Ramon Vargas is probably the most elegant and classy tenor singing today. If I may be forgiven an ethnic cliche, the Mexican singer's voice reminds me of dulce del leche ice cream - rich, sweet, and smooth as caramel. Having sung both on stage and on records a wide operatic repertory ranging from bel canto to French works to Puccini and Verdi, Vargas now turns his efforts to this album of arie antiche entitled (rather unimaginatively, I think) `Nel Mio Cuore' - In My Heart. Nearly all lovers of classical vocal music are familiar with the songs represented on this disc; many singers have recorded them and just about everybody who has ever had a voice lesson has studied at least some of them. The defining feature of these songs - which is why they are used by voice students - is that while it is easy to learn the basics of singing them, it takes true expertise to handle all their technical challenges and to bring out all their nuances. If some misguided performance practice decisions make the CD a less than total success, Vargas' vocal beauty, excellent technique and total commitment make this a mostly very enjoyable listen.

As Vargas says in his brief comments, he wants to sing this music in a more 'romantic', (i.e. unrestrained and overtly emotional) manner than many other performers do, to bring a 21st century sensibility to mostly 17th and 18th century music. Vargas as a child was a soloist in the choir of the Basilica Guadalupe of Mexico City, and it was standard procedure there to sing sacred music from this and earlier periods that way. While this approach to the actual singing works very well, I am not entirely happy with the decision to use a small 'salon' orchestra instead of the usual piano or harpsichord, and I suspect many will agree with me on this. I don't object to orchestral arrangements on principle - the arrangements of the arie antiche recorded by Richard Tucker on the superb CD 'The Soul of Italy' work very well, particularly the delightful 'Gia sole del Gange'. On this disc, however, few of the arrangements (by Sascha Goetzel and Joseph Turrin) really enhance the music or make it more interesting, and sometimes they just get in the way. Perhaps in an actual salon or concert setting, this wouldn't be as big a problem. In general, the best arrangements are the most quiet and unobtrusive ones, such as 'Nina' or 'Plaisir d'amour', allowing Vargas to sing softly and tenderly instead of just ardently. The major exception to this is actually the best track on the disc, `Sebben crudele', where the music helps Vargas' anguish and pain reach appropriately operatic proportions. Gluck's `O del mio dolce ardor', an actual opera selection often sung with orchestra, also responds well to this treatment. For most of the other selections, however, it might be helpful to play individual selections or a few at a time instead of the entire album at once, and I wouldn't advise playing it at much more than medium volume.

The good news, though, is that Vargas sings this music with real passion, warmth, and style. The arrangements may require him to sing the music more loudly than many singers do but he never forces or shouts - his heart may be on his sleeve, but is sincere and never vulgar. He pays close attention to the meaning of the words and is musically sensitive and expressive. His Italian diction is excellent, although his French could be a bit crisper. His long experience with bel canto operas makes runs and articulated grace notes easy for him, and he inserts some lovely decorations. The musicians, led by pianist Katherine Chu, do an excellent job with what they are given, and Vargas should actually have been credited as their conductor. I note particularly the beautiful wind playing in 'Teco, si, vengo anch'io'.

In addition to Vargas' comments, there are also notes on the music and full texts and translations. However, I thought the tone of the notes was just a bit too defensive of the more 'modern' approach. All the musicians are listed by name, a nice touch.

The sheer beauty of Vargas' voice, his enthusiasm and his sincerity should set aside most objections to the performance decisions made here. However, I would definitely recommend a more 'traditional' piano-or-harpsichord-accompanied set of this music alongside this if you don't already have one. Cecilia Bartoli's 'Se Tu M'Ami' is essential, and I would also suggest that if you are interested in hearing the music sung by a tenor, you should listen to Alfredo Kraus, especially since many opera lovers consider Vargas to be an heir to this late great Spaniard. Also, Vargas' 'Canzoni' album, from a live concert in Mexico City, shows how wonderful his voice sounds with piano in Italian and Mexican songs - including 'Gia sole del gange' sung in much the same way it is here. It's at super-budget price, too. Still, `Nel Mio Cuore' will give admirers of this lovely tenor the opportunity to wallow in a wonderful voice and experience the heart of an artist.

Adequate.......2003-05-20

Lovely music, but somehow I find it not very involving. Listen to it some, if possible and see if it really is what you are looking for.

Highly Recommended.......2003-03-10

Every beginning classical singer works on these arias that Vargas chose for this album, so naturally, they are often heard and almost always abused. Vargas makes them music again. Absolutely stunning work. He is the real thing - voice, brains and musicality. This combination is sadly lacking in many of todays top operatic stars.

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