By NanZ
Mohegan Sun Casino Hotel in
Connecticut is a modest version of Mandalay Bay…Vegas less
the pomp, the rich and the outrageous. The arena has the
typical multi-tiered setup around an oval floor, and though
it is sizable, it felt oddly cozy. My family and I sat polar
opposite the stage in the balcony. The incline was too steep
for my comfort, but once the festivity commenced, the drop
was forgotten. This was a night to hold onto, a show that
ran almost as smoothly as do Bocelli’s transitions, with
only one momentary screech from an otherwise perfect sound
system and a light show that did not distract from or
interfere with the tone of the concert. There was a
professional air about the performers, but nothing was
stolen from Bocelli’s legendary ability to communicate with
his audience. Terms were intimate and Bocelli was in his
finest form, with no outward signs of nervousness, moving
about and using his hands more than usual, seemingly pleased
throughout the evening with his performance, as well he
should have been. He forewent a tie and was dressed
neck-to-toe in black, looking svelte, Italian and devilishly
handsome. We were treated to live feed of the performers on
the big screen rather than any canned Andrea and romantic
scenes of Tuscany. My favorite moments were the off-center
shots in which the violin could be seen playing as he sang.
Arranged in overlay, I thought this would make for an
ethereal "Sentimento" video.
"Sentimento" fare provided some
truly rapturous minutes. Bocelli opened with the wonderful
mood piece, "Aranjuez," which set the tone for a deeply
moving concert. Other works performed from his new CD were
"Plaisir d’amore," "Occhi di fata," and "Vorrei Morire,"
which was my favorite. Though not duets by strict definition
(neither voice with voice nor instrument/instrument), in
other respects, they were…Andrea and the solo violinist,
Lidia Baich, in the physical sense (and she was quite a
physical presence)…Andrea and the strings, in the aural
sense…Andrea and the heartstrings, in the deepest sense. No
soprano could serve as intimate a partner to Bocelli as does
the violin…sad, sweet, haunting, playing upon emotions,
making one acutely aware of outer stillness and inner pain.
Boohoo. For this kind of music, Bocelli was created. It was
obvious that he thought of these pieces in the collaborative
sense, and I suspect herein lies the reason for this more
exclusive Bocelli showcase. May he go through the entire
orchestra in like fashion, instrument to instrument. I could
have listened endlessly, but I left the concert sated,
satisfied with each and every selection and not once
grumbling over too little Bocelli.
"Sentimento" aside, my favorites of
the evening were "E lucevan le stelle," which was one of the
most beautiful renditions Bocelli has given any aria…stunning…"Core
‘ngrato," a song that made me want to be Caterina so he
would sob miserably over my loss, and as was the case with
last tour, "My Way," which went further still beyond
expectation. He fills every nook and cranny with feeling,
with an obvious understanding of the lyrics, seemingly
connecting it to his life, and disturbingly connecting it to
the listener. This should be recorded, though he may want to
review the lyrics as written first.
Every other piece of Bocelli’s in
the proper program was wonderful: "Because," which amuses me
because he fits in the lyrics by the skin of his teeth and
pleases me doubly because it is a sentimental favorite of
the singer’s, "O sole mio," "Marechiare," and "Panis
Angelicus," one of the familiar numbers that brought home
the improvement Bocelli has made in the short span of his
career, start to present, and tour to tour. The man does not
rest on his laurels.
The soprano Maria L. Borsi has some
splendid vocal qualities and is extremely animated when she
sings. I was mostly taken by how pretty her voice is, above
and beyond her accomplishment. In sharp contrast to Bocelli,
you could often hear her breaths, but nonetheless, I was
enthralled by passages and impressed with all her arias.
When paired with Bocelli in "O soave fanciulla," their
voices melded perfectly, and though comparatively as
beautiful as "Gia nella notte densa," I more particularly
enjoyed this latter lengthy duet. On this unusual night of
varied musical forms, it was only toward the end of "Gia
nella" that I realized how open was my craving for something
operatically more substantial. With this, that hunger was
fed.
Encores of the evening were "My
Way," in which Andrea played piano, "The Prayer," and
Melodramma," with Andrea on the flute, all of which were
sung beyond earthly investment, and last but not least, "Con
te partirò," which loosely translates
to "time to Count The Profits." This is the signal
that the fat lady has sung and you may as well begin
fighting your way out of the building. Ms. Borsi joined in
on the climax, ending a special concert on a perfect note,
the finest close of a Bocelli concert I have had the
pleasure to attend.
Steven Mercurio conducted the
affair, and as always, his was a dramatic and playful stage
presence, giving Bocelli kudos and cues, prompting the crowd
to clap along with "Brindisi," ably taking the helm. At one
point, he came traipsing across the stage as if he were
exhausted, playing upon the absurdity of all the entrances
and exits of the four star players, himself included. I
believe he conducted four orchestral pieces, including his
original "Mercurial Overture," and was enthusiastically
received by the audience.
The night was a hairsbreadth away
from perfection, the spoiler the audience’s responsibility
to bear, a strong mix of men and women, many of whom
reverted to the annoying practice of screaming and clapping
over the tail of Bocelli’s songs. With ample time available
between pieces to honor the man, it confuses me as to why
people would cheat themselves of a single note. If ever
there were a performer who merits a close ear, it is this
perfectionist. I pray this was one night’s deviation and not
a resurgence of a trend best abandoned. Still, of all the
concerts I have attended (and I know I always say this),
this was the night of nights.