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Singing opera requires a large number of talents, one of which is the ability to change character and emotion rather quickly, sometimes by changing the color of one's voice. This album by Zoran Todorovich shows a number of different sides to this tenor, some of which are more successful than others. In the initial works on the album, one hears a tenor that is strong and full, dark, lirico-spinto in character: he is quite the power tenor. However, this can tend to get in the way of the music; that is, there is much power, but not a lot of shaping of the lines, not enough speaking of them. "Se quel…Celeste Aida," "O figli…Ah, la paterna mano," and "La mia letizia infondere" all fall into this category. He has excellent technique, but it tends to run rather like a stream of sound. These arias are darker in character, and perhaps not as well suited to his voice, nor as engaging for the listener. However, the set from Otello reveals a completely different side to the artist. One hears a beautiful, sweet, expressive voice that is sensitive. Throughout the Verdi set, even when Todorovich's voice is dark, one undoubtedly feels his sense of joy and confidence in singing. The best pieces on the album, however, are the ones by Puccini. His Pinkerton is extremely expressive, as is his Des Grieux. There is a wonderful heartfelt richness with echoes of Pavarotti in "Donna non vidi mai," and incredible passion in "Ah, Manon" that move the listener. Certainly, the Italian language suits Todorovich very well. At times, he can tend to push for power, such as in "Hai ben ragione," and his high notes can become spread and slightly lacking in vibrato. When this does not happen, one hears a wonderfully tender tenor, such as in the Lohengrin arias. Though his German is not as strong as his Italian, these pieces sound very sweet and tender in his voice. The question of repertoire is often an ongoing one for many artists, and sometimes the answers are not black and white. Some of Todorovich's choices do not demonstrate his best abilities, but others most certainly do.
© TiVo
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Aida, Act I (Giuseppe Verdi)
Giuseppe Verdi, Composer - Zagreb Philharmonic Orchestra, Orchestra - Zoran Todorovich, Artist, MainArtist - Ivan Repusic, Conductor
(C) 2011 Oehms Classics (P) 2011 Oehms Classics
MacBeth, Act IV (Giuseppe Verdi)
Giuseppe Verdi, Composer - Zagreb Philharmonic Orchestra, Orchestra - Zoran Todorovich, Artist, MainArtist - Ivan Repusic, Conductor
(C) 2011 Oehms Classics (P) 2011 Oehms Classics
I Lombardi alla prima crociata, Act II (Giuseppe Verdi)
Giuseppe Verdi, Composer - Zagreb Philharmonic Orchestra, Orchestra - Zoran Todorovich, Artist, MainArtist - Ivan Repusic, Conductor
(C) 2011 Oehms Classics (P) 2011 Oehms Classics
La forza del destino, Act III (Giuseppe Verdi)
Giuseppe Verdi, Composer - Zagreb Philharmonic Orchestra, Orchestra - Zoran Todorovich, Artist, MainArtist - Ivan Repusic, Conductor
(C) 2011 Oehms Classics (P) 2011 Oehms Classics
Otello, Act I (Giuseppe Verdi)
Giuseppe Verdi, Composer - Zagreb Philharmonic Orchestra, Orchestra - Zoran Todorovich, Artist, MainArtist - Ivan Repusic, Conductor - Valentina Fijacko, Artist
(C) 2011 Oehms Classics (P) 2011 Oehms Classics
Otello, Act III (Giuseppe Verdi)
Giuseppe Verdi, Composer - Zagreb Philharmonic Orchestra, Orchestra - Zoran Todorovich, Artist, MainArtist - Ivan Repusic, Conductor - Valentina Fijacko, Artist
(C) 2011 Oehms Classics (P) 2011 Oehms Classics
Madama Butterfly, Act III (Giacomo Puccini)
Giacomo Puccini, Composer - Zagreb Philharmonic Orchestra, Orchestra - Zoran Todorovich, Artist, MainArtist - Ivan Repusic, Conductor
(C) 2011 Oehms Classics (P) 2011 Oehms Classics
Manon Lescaut, Act I (Giacomo Puccini)
Giacomo Puccini, Composer - Zagreb Philharmonic Orchestra, Orchestra - Zoran Todorovich, Artist, MainArtist - Ivan Repusic, Conductor
(C) 2011 Oehms Classics (P) 2011 Oehms Classics
Manon Lescaut, Act II (Giacomo Puccini)
Giacomo Puccini, Composer - Zagreb Philharmonic Orchestra, Orchestra - Zoran Todorovich, Artist, MainArtist - Ivan Repusic, Conductor
(C) 2011 Oehms Classics (P) 2011 Oehms Classics
Il Tabarro (Giacomo Puccini)
Giacomo Puccini, Composer - Zagreb Philharmonic Orchestra, Orchestra - Zoran Todorovich, Artist, MainArtist - Ivan Repusic, Conductor
(C) 2011 Oehms Classics (P) 2011 Oehms Classics
La fanciulla del West, Act II (Giacomo Puccini)
Giacomo Puccini, Composer - Zagreb Philharmonic Orchestra, Orchestra - Zoran Todorovich, Artist, MainArtist - Ivan Repusic, Conductor
(C) 2011 Oehms Classics (P) 2011 Oehms Classics
La fanciulla del West, Act III (Giacomo Puccini)
Giacomo Puccini, Composer - Zagreb Philharmonic Orchestra, Orchestra - Zoran Todorovich, Artist, MainArtist - Ivan Repusic, Conductor
(C) 2011 Oehms Classics (P) 2011 Oehms Classics
Lohengrin, Act III (Richard Wagner)
Richard Wagner, Composer - Zagreb Philharmonic Orchestra, Orchestra - Zoran Todorovich, Artist, MainArtist - Ivan Repusic, Conductor
(C) 2011 Oehms Classics (P) 2011 Oehms Classics
Zagreb Philharmonic Orchestra, Orchestra - Zoran Todorovich, Artist, MainArtist - Ivan Repusic, Conductor
(C) 2011 Oehms Classics (P) 2011 Oehms Classics
Album review
Singing opera requires a large number of talents, one of which is the ability to change character and emotion rather quickly, sometimes by changing the color of one's voice. This album by Zoran Todorovich shows a number of different sides to this tenor, some of which are more successful than others. In the initial works on the album, one hears a tenor that is strong and full, dark, lirico-spinto in character: he is quite the power tenor. However, this can tend to get in the way of the music; that is, there is much power, but not a lot of shaping of the lines, not enough speaking of them. "Se quel…Celeste Aida," "O figli…Ah, la paterna mano," and "La mia letizia infondere" all fall into this category. He has excellent technique, but it tends to run rather like a stream of sound. These arias are darker in character, and perhaps not as well suited to his voice, nor as engaging for the listener. However, the set from Otello reveals a completely different side to the artist. One hears a beautiful, sweet, expressive voice that is sensitive. Throughout the Verdi set, even when Todorovich's voice is dark, one undoubtedly feels his sense of joy and confidence in singing. The best pieces on the album, however, are the ones by Puccini. His Pinkerton is extremely expressive, as is his Des Grieux. There is a wonderful heartfelt richness with echoes of Pavarotti in "Donna non vidi mai," and incredible passion in "Ah, Manon" that move the listener. Certainly, the Italian language suits Todorovich very well. At times, he can tend to push for power, such as in "Hai ben ragione," and his high notes can become spread and slightly lacking in vibrato. When this does not happen, one hears a wonderfully tender tenor, such as in the Lohengrin arias. Though his German is not as strong as his Italian, these pieces sound very sweet and tender in his voice. The question of repertoire is often an ongoing one for many artists, and sometimes the answers are not black and white. Some of Todorovich's choices do not demonstrate his best abilities, but others most certainly do.
© TiVo
About the album
- 1 disc(s) - 14 track(s)
- Total length: 00:57:10
- 1 Digital booklet
- Main artists: Zoran Todorovich Zagreb Philharmonic Orchestra Valentina Fijacko Ivan Repušić
- Composer: Various Composers
- Label: Oehms Classics
- Genre: Classical Opera
(C) 2011 Oehms Classics (P) 2011 Oehms Classics
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