Gabriele Nani presents here a selection inspired by the evolution of “belcanto,” an Italian term that defines the style and technique of virtuoso singing, the human voice perceived as a musical instrument. The strictly technical rigours still central to Rossini contrast sharply with demands for the voice to be increasingly tense, robust, dramatic and heart-rending, as required by Bellini, Donizetti and Verdi, up to the realists, Puccini and Leoncavallo, where the voice is used to pure expressive effect, with the technical aspect taking second place. “Gabriele Noni is a Figaro with a beautiful baritone voice, sufficiently braggart and likable and imposes his exuberant personality and talkativeness.” (L’Opera)
