(Though there’s only a difference of a half tone between this note and the one he sang earlier in the performance, this high up in the tenor register such small differences in pitch are as significant as hundredths of a second in the 100-meter dash.)Īlso strong, though rather in the background, was baritone Levente Molnár as the scheming Dr. Camarena did not choose to repeat the aria-as he did two seasons ago during performances of La Cenerentola-he gave his fans a further treat at the end of the second act when he took a long, brilliant high D, a note very few tenors attempt. Camarena’s bravura high D-flat, the audience roared its approval, shouting not only the fairly standard praise “bravo!” but the more rarely heard “bis,” or “encore.” How long has it been, for example, since we last heard singing that so deftly combined virtuosity and tonal beauty as Javier Camarena’s in Donizetti’s Don Pasquale March 4? The Mexican tenor’s performance of the long, difficult aria “Povero Ernesto!” spun out like unspooled silk. Though admittedly the current season experienced in real time feels like a mixed bag, there are times here and there-such as last week, actually-that feel very golden indeed.
That’s why we need to be cautious about dismissing what goes on at the Met today.
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