Ferruccio Furlanetto at the recital, San Diego Symphony, conductor - Emanuele Andrizzi, 2016.

FERRUCCIO FURLANETTO IN CONCERT IN SAN DIEGO

On March 5, 2016 Ferruccio Furlanetto gave his first solo concert in the U.S.A. - at the Jacobs Music Center – Copley Symphony Hall in San Diego. Furlanetto returned with a program that featured selections from his most popular San Diego Opera appearances with full orchestra conducted by Maestro Emanuele Andrizzi.

Furlanetto opened the program with Don Basilio’s La Calunnia from Rossini’s Il Barbiere di Siviglia. After that he performaned two arias from Mozart’s Don Giovanni: Leporello’s Catalogue aria “Finch’ han dal vino” of Don Giovanni.

He sand two death scenes – of Don Quichotte and Boris Godunov.

His interpretation of the greatest musical hits - “Ol’ Man River” from Kern and Hammerstein’s Showboat, and “Some Enchanted Evening” and “This Nearly was Mine” from Rodgers and Hammerstein’s South Pacific put the hall down.

After that he sang “I am He Whom You Called” from rarely performed Anton Rubinstein’s The Demon and Méphistophélès aria Vous qui faites l’endormie from Gounod’s Faust. King Phillip’s aria, Ella giammai m’amò, from Verdi’s Don Carlo was closing the program.

And for the encore – “Mentre gonfiarsi l'anima parea” from Verdi’s Attila. The public reacted passionately to all pieces and concert was interrupted with ovations and bravos. The stellar reviews had followed.

Ferruccio Furlanetto donated his performance fee for the concert to the San Diego Opera company.

In the Press

“Saturday’s recital showed that he’s still in excellent form as a singer, actor and vocal interpreter.

… Furlanetto, dressed in all black with a collarless shirt and jacket, roared, wept, laughed and repeatedly died as he effortlessly sang his way through his career’s greatest hits. Though he didn’t speak during the two-hour recital, his relaxed demeanor, smiles to the crowd and his decision to remain onstage between many of his songs (rather than the obligatory exit after each piece) showed how happy he was to be home among his San Diego friends once again.

… Furlanetto remains at the peak of his performing powers.”

Furlanetto Shows Mastery in San Diego Concert

“Consistently praised by critics, Furlanetto carried the heavy, difficult program with unflagging confidence, astonishing consistency in his range from highest to lowest notes, and a stage presence that remains as imposing as ever. The packed audience at the Jacobs Music Center at Copley Symphony Hall confirmed Furlanetto’s local fandom with their unqualified enthusiastic response, both to his appearance and to his passionate renderings of his chosen repertoire: a veritable feast of operatic favorites, coupled with a few unexpected treats.”

“Again convincing the audience of his characterization, Furlanetto sang the powerful Death of Boris with vividly colored resounding tones that culminated in a moving pianissimo …

Again assuming the role of the devil, Furlanetto sang Mephistopheles’ serenade: “Vous qui faites l’endormie” (“You who pretend to sleep”) from Gounod’s Faust. A polished, urbane denizen of Hell, he created sarcasm with innuendo and magnificent vocal colors.

As King Philip, Furlanetto varied the use of his expressive voice. Sometimes he emitted powerful ringing tones but as the end, when he sings that his young wife never loved him, he spun the finest of sad pianissimos.”

The luxurious ache of great singing

Furlanetto always presented a living, breathing person. His mannerisms made the audience love him even more because he wasn’t pretending to be something — he just was.

The acting ability of Furlanetto is almost ideal for opera. He uses big sweeping gestures but they always feel natural and they are always effective. One patron remarked that Furlanetto can make you feel as though he has died even though he’s standing right in front of us.

This Nearly was Mine was everything I hoped it would be. The luxurious subdued ache of Furlanetto’s voice in the final verse, “Now, now I’m alone, still dreaming of paradise,” contained the entire character of Emile de Becque in a single phrase.