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Artists Management Zurich

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News

02.10.2014

Javier Camarena: Debut at Wigmore Hall (Rosenblatt Series)

«Brave, passionate and very talented. This was London’s first impression of the stratospheric tenor Javier Camarena, in one of the delicious Rosenblatt recitals in the Wigmore Hall. Those who knew about him expected him to be the big star that shone at the Met in La Cenerentola and is currently delighting Zurich with Die Entführung, and he didn’t deceive us. Each piece was received with a long round of applause, many bravos and standing ovations, that led to three grateful encores. Camarena showed his mastering of Mozart’s coloratura to open the concert, but it was when he first hit the top C in Bellini’s È serbato when we all opened wide ears, eyes and mouth. The belcanto agility and high tessitura is perfect for him, and he delighted us with his acclaimed Ramiro and Gounod’s Romeo. All this was but the preparation for the perfect, mind-blowing, staccato top Cs in Donizetti’s Pour mon âme I don’t think I’ll hear something like that again in my lifetime. His voice is brassy and warm at the top, which he reaches with an insulting easiness and without fear, just as a slackliner; and a big voice, much bigger than we’re used to for this repertoire.»

Luis Masutier, 25.09.2014

«Fortunately this proved not to be the final item as, after much audience prompting, Camarena admitted to some encores. Firstly Leoncavallo’s “La Danza”: here in the lightning tongue twister lyrics and the joyous ascent to the repeated top notes Camarena again reminded me of the great Pavarotti following it with a suitably tear drenched “Core n’grato”. Camarena finally brought the audience to its feet with a window rattling “Nessun dorma” ... this was a fit introduction to London of one of opera’s most promising young tenors. I look forward to seeing him return very soon in complete roles.»

Sebastian Petit, http://operabritanniauk.wordpress.com, 26.09.2014

«Camarena sang all items from memory, and throughout he displayed a finesse which went far beyond simple loveliness of tone. He was clearly not content just to display the beauty of his voice, but brought a fine intelligence to phrasing and light and shade. At its most powerful, the voice was wonderfully vibrant and at times certainly raised the roof but he never forced or pushed. He was finely supported by the piano playing of Enrico Maria Cacciari. The audience reaction was stupendous and Camarena and Cacciari gave us three encores, Rossini's La Danza, Core n'grato by Salvatore Cardillo (1874--1947) and Nessun dorma from Puccini's Turandot. After a debut like this I certainly look forward to hearing Camarena again in the UK soon!»

Robert Hugill, 26.09.2014