Michael Fabiano Tenore Assoluto

UPDATE;

I have of late begun to reflect on what significant events the year has brought to the art form of Opera. COMMANDOpera is uniquely placed to make definitive and historical pronouncements on those loftiest of positions; Prima Donna Assoluta and Primo Tenore Assoluto. Only one individual can occupy this rarified space as their reputation defines an era itself. Not since Miss Sutherland has retired, nor since Mr. Pararotti passed has their been an artist on the globe today who owns the possibility to assume either title. In the case of Miss Netrebko, while she is a great star, this woman is not a household name. Nor arguably is there a single tenor on the stage today who owns such requisite broad appeal beyond the confined world of operaphiles. With one singular brilliant exception on the horizon……..

This article was originally posted on November 11, 2009, and it seems correct to review as the year draws to a close.

Without question I do expend a great deal of prose at COMMANDOpera on the tenor voice. The reason being is because there is so very much extraordinary young talent in this category out there, one wonders why we only hear the same names paraded around in other venues with an occasional glance to newer artists. I admit, there is wisdom in younger artists taking a long curve to the top. It appears at times however, the premiere theaters run themselves like a figure skating association; you get to the top when its your turn…. regardless of what talent you possess. If the houses or other media won’t introduce these brilliant young artists to you, COMMANDOpera will. So when the day arrives, you will be sufficiently acquainted with who’s who to make informed choices on whom you will spend your opera dollars going to see and hear.

Michael Fabiano is just such a tenor to be reckoned with. I will get raked over the coals for this, but Mr. Fabiano has it in him to define an era. Forget about his immaculately chiseled visage and heroic manner for a minute. Ignore that obvious and distinctive timbre to his voice for a few bars if you can. A voice with superb diction that saturates the mind with emotion…. yes try to ignore this. Appreciate with clarity if you will something else; Mr. Fabiano owns abilities consonant with such of thespians found on Drury Lane today. The subtle changes in Mr. Fabiano’s posture, the way he moves his hands and feet… his expressive face are all rivetting tools directed by his art. 

In this scene from Lucia di Lammermoor, Mr. Fabiano’s very presence alone seems to steal the show as he draws you into the unfolding, unwavering hoplessness which inexorably envelopes him (Edgardo is a down on his luck young noble whose ancient family he is the last of, whose remaing vestiges of wealth are suborned to Lucia’s family, because he was on the wrong side of Scots politics). There is a saying “he is as proud as he is poor”, which ideally reflects Edgardo. Mr Fabiano brings your mind directly into Edgardo’s; his nervous youth in the house of a family who reviles him, his naturally kind and true heart torn asunder, his gentlemanly courage in evidence, are all brought horrifically to life. In all the Edgardo’s I have personally seen, Mr. Fabiano’s Edgardo obliged me to actually understand and see him as though I knew him personally. Dolora Zajick did that for me as Amneris years ago. It is a rare artist who owns such abilities.

Mr. Fabiano interprets a religious work Sanctus from Gounod’s St. Cecelia Mass.

After Miss Callas retired, we came to know what would be referred to as the Sutherland period. I warrent the period post Pavarotti will not be crowned on a man simply for high notes, but rather on an artist who can make us feel. Rest assured there will be further posts on Mr. Fabiano. COMMANDOpera will be watching for all this man cares to do for us.