LATEST NEWS

"Don Quichotte" at the Easter Festival

Ferruccio Furlanetto performed his famous Don Quichotte under the lead of Valery Gergiev with Mariinsky orchestra, soloists and chorus of the Academy of Young Singers at the Easter Festival in Moscow with the great success, standing ovation and stellar reviews. Moscow had to wait for the “legendary Don Quichotte of our time” (Culture TV): two years ago he was scheduled to sing in Massenet’s opera, but cancelled due to illness. But “this opera looses half of it’s attraction without Furlanetto”, - as Valery Gergiev pointed during press-conference. And at this time Ferruccio Furlanetto indeed rewarded all expectations.

“The concert performance of “Don Qiochotte” with the famous Italian bass Ferruccio Furlanetto in the title part can’t passed unnoticed. Written in it’s time especially for Chalyapin this part became “difficult to crack nut” for the basses, because demands not only vocal show, but pure breed of the voice, noble artistry, ability to turn declamation into the hymn for the beauty of human soul. And this is the most difficult in the art. This is a miracle which was shown by Ferruccio Furlanetto to Moscow public”, - wrote Irina Muravieva the central Rossijskaya Gazeta.

Sergey Hodnev in Commersant added: “…Ferruccio Furlanetto did even more for the dramatic truth and adequacy of what was going on stage…. It was expected because Don Quichotte is one of the gems in his crown, and all nuances of the vocal and acting he is overcoming with ease… His Knight is natural, noble without any pose and masterfully done…”.

The performance was live webcast by Para Classics and available to view on their site. Requires free registration.

Watch the video of the whole concert

 

"Boris Godunov" returned to Vienna

Ferruccio Furlanetto’s current season is very much dominated by his performances in “Boris Godunov”. Recognized today as one of the leading interpreters of the title role in Mussorgsky’s opera, he sang Boris with great success at the Lyric Opera of Chicago in November, making his company debut, at the Teatro Massimo di Palermo and at the Vienna Staatsoper (all four performances were completely sold out weeks ago before the premiere).

Quite unique that Ferruccio Furlanetto not only sang Boris on the three different stages in different productions, but also performed in the two different versions of the opera: first “ur-Boris” in Chicago and Vienna and second big 1872 version (in Lamm edition) in Palermo.

All performances received the highest critical acclaim, most recently in Austria. “All the ways of a vigorous power, of sorrow, despair and crazyness are carried along in Ferruccio Furlanetto’s thrilling interpretation of the title role ,“ – wrote "Der Standard". The correspondent of "The Krone" was impressed when he heard Ferruccio Furlanetto as Boris in 2007 and points that the singer interpretation was “strengthen by the time as well as expressive vocal power and his way of representation”. “The king of the basses Ferruccio Furlanetto sang again the role of Tsar Boris with gigantic voice power and great theatrical sensitivity in the Death scene,” – wrote E.Hirchmann in the „Österreich”. And public of the Vienna Staatsoper as well greeted the Kammersänger and Honorary Member of the “House at the Ring” with the ovations which lasted for more then 20 minutes after the performance.

Read all the Press

 

 

 

"Prima della Prima" about Boris Godunov from Palermo

Watch the program “Prima della Prima” which was broadcasted on Rai3 on April 24. The program is entirely devoted to the recent March successful performances of “Boris Godunov” in Teatro Massimo of Palermo. Ferruccio Furlanetto in the title role, the highlights with him as well as his long interview in Italian is filemed in this program. In the interview he told that Boris Godunov” is the work where “you can’t stop learning and improving”, he also told about complications connected with putting to life this historical character.

The telecameras driven by the televisional director Christian Angeli are following the work of interpreters, renowned director, set designer and costume designer Hugo de Ana, the conductor George Pehlivanian. The television document shows birth of this performance to the very moment of premiere.

Watch the program at the RAI 3 site

 

Great Boris Godunov in Palermo: Press Report

The performances of "Boris Godunov" in Teatro Massimo (Palermo) became a great success of Ferruccio Furlanetto in the title role.

La Repubblica wrote that great Boris of Ferruccio Furlanetto was "rich in timbre and powerful, interpreted with a very modern theatrical sensitiveness". As Sicilia press reports Ferruccio Furlanetto received a true ovation from the public “His performance was perfect, supported by a rare ability to dominate the stage”. "Perfect Furlanetto in the title role, - points Il Sole, - Boris here magnificent hero, absolutely, thanks to the strongly theatrical interpretation of Ferruccio Furlanetto: sweet with two children, ferocious in public, raving when he is alone..."

The Mussorgsky opera returned to Teatro Massimo after 25 years in 1872 Lamm version in the colorful staging of Hugo de Ana.

To the Press, Photo report and Video extracts

"Winterreise" CD in the Austrian Press

The recent release of Schubert’s Winterreise on Prestige Classics Vienna is receiving great response in Austria. It is highly praised in the press and raise growing interest among the public. “When Ferruccio Furlanetto and his pianist Igor Tchetuev play Schubert’s Winterrise, is it a real pleasure for the ears!, - writes Doris Schleider –Höderl in MoMag magazine. - The Italian Bass Star knows like nobody else how to intonate the summit of the art of the lied. One said these songs are frightful and indeed it’s not an easy cycle which we hear here. But all the human nature belongs in those Lieder: disappointed, wasted love are the themes of the cycle. Thank you for that terrific interpretation.”

Renate Wagner in Der Nuer Merker devotes the big feature to Ferruccio Furlanetto’s interpretation of “Winterreise”. Here is few extracts:

“We know and appreciate Ferruccio Furlanetto as the great Italian bass of our time, thankfully, a regular guest at the Vienna State Opera, as King Philip, Guardiano, and Mustapha or Fiesco, only to mention the roles he recently sung there. But also Boris and Gremin. An Italian who sings perfect Russian is not the rule. Indeed the clearness of the the words he brings in Schubert's "Winterreise", is as perfect as for many "natives". But not only the pronunciation is important for the Italian as lieder singer.

Furlanetto has, a beautiful dark and deep bass voice which never sounds “fat”. This is an essential requirement for singing Lieder, otherwise you can not chase all musical refinement ot these songs.

Some artists think that the “Schoene Müllerin” is perhaps even sadder than the "Winterreise", but there is no other songs cycle, with a darker mood then Winterreise... This is one of the roles of the pianist very sensitive and listening to the singer: Igor Tchetuev, with whom Furlanetto already recorded songs by Rachmaninov and Mussorgsky - and who underlines the different colors of the voice according to the mood of the songs. Furlanetto shows that he didn’t only learn notes but that he perfectly knows what he sings!

By the dark and tragic passages the voice sounds dry, hard and cold: The “heisse Traennen” makes one almost breathless. In the "Lindenbaum" he sung in a very contemplative mood, and when he dreams of the bird’s cries, he’s able to make the voice quite light and immediately after to switch abruptly to the gloom of raven.

Just the last Lied is interpreted differently than it’s often usual. Here also the pianist has a big role: it is not an existential study of loneliness, it does not end in nihilism and pessimism, but in a new way of life. And it’s pure intention.

With this recording s Furlanetto belongs without doubt to the great interpreters of the cycle. This CD is a wonderful result which goes far beyond the beautiful voice (which we will never enough say how we esteem it).

 

Der Star des Abends

Ferruccio Furlanetto reprised his signature Fiesco in Vienna Staatsoper on March, 5. He sings in Peter Stain production in Vienna Staatsoper since its premiere in 2002 always with the great success with the public and in the press. The first performance of the March run was also expected triumph, biggest ovation at the curtain call and stellar reviews from the press.

„Ferruccio Furlanetto ‘s voluminous bass voice , with deepest range, as proud and noble Fiesco” – wrote M. Eigl in Kurier

“Ferruccio Furlanetto , the only remaining singer from the previous casts , is always a mighty- impressive ...sings throughout elegantly and without forcing” – pointed Von Wilhelm Sinkovicz in Die Presse.

„Still incredible Ferruccio Furlanetto as Fiesco“ – stated Daniel Ender from Der Standard.

It seems that it is now hard to imagine somebody else in this role at the Staatsoper's stage: Ferruccio Furaletto is the only one from the premier cast and from the opening this season cast in September who returned to the March's run of the opera. This time the cast included some notable newcomers to this popular in Vienna staging: Simon Boccanegra - Dmitry Hvorostovsky, Gabriel Adorno – Francesco Meli, Amelia – Marina Poplavskaya. Paolo Carignani conducted. “Simon Boccanegra” with Ferruccio Furlanetto’s from 2002 was filmed and available on DVD.

The next performances of “Simon Boccanegra” on March 8, 11 and 13.

About September performances in Vienna

Find out more at the Vienna Staatsoper web-site

 

At the Met's Stage: Press Report

In his two month on the Met stage Ferruccio Furlanetto has succeeded in three operas: “Faust”, “Ernani”, and “Il Barbiere di Seviglia”. The press report of his triumphant performances is yet not complete, because some reviews in monthly editions are still coming and anticipated, but true impressive.

Not surprisingly the main attention and critical acclaim was arisen by Furlanetto’s performance as Silva in Verdi’s ‘Ernani’. He participated in all 6 performances of opera revival in a colorful production of Pier Luigi Samaratini. In the other main parts: Angela Meade, Roberto De Biasio, Dmitri Hvorostovsky, Marcello Giordani sung the title role in later performances; Marco Armiliato conducted.

Recognized today as one of the greatest Verdi’s basses, Ferruccio Furlanetto triumphed in all six performances of opera and received stellar reviews from the press. Anthony Tommasini in ‘New York Times’ praised his great vocal abilities: “Mr. Furlanetto’s strong, dark, textured voice filled Verdi’s lines with burnished sound and arching lyricism.” James Jordan in ‘New York Post’ and Ronald Blum in the Associated press pointed that Furlanetto was the only singer “who achieved an ideal combination of vocal heft and dramatic commitment", “combined voice and acting. … gave dignity and pain to Silva”.

Marion Lignana Rosenberg in ‘The Classical Review’ stated: “Ferruccio Furlanetto, a masterful Silva in seasons past, showed again why he is today’s greatest interpreter of Verdi’s bass roles. His inky, hate-filled tone in the opera’s final scene (Ecco il pegno) chilled the blood, though almost any of his utterances could be singled out for musical and dramatic mastery.”

“Ferruccio Furlanetto, a youthful 62, ennobled the ominous utterances of old Silva with granitic strength, dignified passion and dauntless black-bass tone” – wrote Martin Bernheimer in ‘The Financial Times’.

Read the full report

 

What would it take to hear a recital of Schubert by Ferruccio Furlanetto?

Don’t miss a very interesting article of Fred Plotkin “Ferruccio Furlanetto and Luca Pisaroni: Lessons of Youth and Experience” which was published on the WQXR - America's oldest, largest and most respected classical music radio station. Fred Plotkin is a renowned expert on music; opera, gastronomy and travel (find his nine books on Amazon.com or Abebooks.com). In his 100-th post on the Operavore blog he explores worth of experience on the opera stage and this logically brings him to Ferruccio Furlanetto – legendary singer on the Met’s stage this month.

“That adjective, “legendary,” has of late been attached frequently to the name of Ferruccio Furlanetto, – writes Mr.Plotkin, - He is widely acclaimed as one of the finest singers of our time for his beautiful and distinctive voice, his wonderful phrasing with its sensitivity to language as well as drama, his superb acting skills and the natural ease with which he commands total attention without ever detracting from other singers on the stage. In fact, every artist I know who has worked with Furlanetto says he is the ideal colleague.”

But the article contains not only interesting thoughts, but also provocative questions: Why Ferruccio Furlanetto doesn’t do recitals in America, for instance?

The answer is obvious: “Many artists are confined not by their own lack of talent but the lack of imagination of those who would offer them work. Our concert halls welcome many singers who are not of Furlanetto’s stature to do recitals and yet he has been absent. If there is a programmer wise enough to engage Pisaroni in German, what would it take to hear a recital of Schubert by Ferruccio Furlanetto? Or to see his Boris Godunov or Don Quichotte? Tell me, please, that I am not dreaming the impossible dream!”

Read the whole article and join discussion at wqxr.org

 

Don Quichotte at Teatro Real Madrid

Ferruccio Furlanetto recently performed his favorite role of Don Quichotte at the Teatro Real Madrid with the big success. The concert representation of the opera with the stellar cast (Dulcinee -Anna Catrina Antonacci, Sancho - Eduardo Chama, conductor - Mark Piollet) raised high expectations.

“Madrid will be provided with one of the best basses to get into the skin of the mythical literary personage. Ferruccio Furlanetto, who performed with Placido Domingo in Simon Boccanegra, has already interpreted the role of the Quichotte raising passions in the stalls.” - wrote Il Mundo.

Two concert performances ended with big ovations and great personal success of the singer, who loves the role of Don Quichotte very much and the role itself seems to “love him”.

From the interview: “I like for its humanity, its poetry and the love, but the fact is that also it is written for my voice in the ideal form. It does not produce to me any weariness and that that is demanding, as in the scenes of the windmills or of the bandits.” (Malaga Hoi).

In the review Gonzalo Alonso from La Razon wrote: “Ferruccio Furlanetto deserves special appreciation. Big artist with a notable voice he is able to touch the public and come to its heart up to thrilling it. The scene with bandits and death of Don Quichotte brought tears to the eyes.” Madrid Sabado pointed that “Ferruccio Furlanetto and Anna Cateriana Antonacci were splendid as Don Quichotte and Dulcinee.” And José M. Irurzun from the Seen and Heard International wrote that “Ferruccio Furlanetto gave life to Don Quichotte” … and created an outstanding interpretation of it, especially in the particularly moving final scene.”

 

Golf news

Ferruccio Furlanetto is known not only as a world famous opera singer but also as a passionate golf player. On December 14 he became an official member of The Royal & Ancient Golf Club of St. Andrews, where Golf started 600 years ago.

The Royal & Ancient is a private golf club. The club's origins lie in the creation of the Society of St Andrews Golfers by 22 Noblemen and Gentlemen of the Kingdom of Fife in 1754. In 1834, King William IV conferred his patronage on the Society of St Andrews Golfers, giving them the title of the Royal and Ancient Golf Club. The Royal & Ancient had become a model of stability and the leading authority of the game.

Ferruccio Furlanetto is also a member of Gut Altentann(Salzburg) and a Honorary Member of the Golf Club Lignano. His golf' Handicap is 5.5.

To the golf photos

 

Ferruccio Furlanetto’s performances in a title role of Boris Godunov

left long lasting impression and received stellar reviews and features.

“Furlanetto captures all the complexities of this majestic character. Through tone and dynamics, he deploys a wide range of emotion in a large, rich voice. His tender and wounded side is not recessive as he whispers agony and heart-rending grief and guilt, but rather expresses feelings so unbearable that they must be shushed. A Boris for the ages in the portrayal by Ferruccio Furlanetto, who is heralded even in Russia as a great Czar." Susan Hall ConcertoNet.com

“With a powerful voice and a majestic frame, Furlanetto towers over everyone around him and delivers on the czar's rise and fall with grand eloquence.” Betty Mohr SouthTown Star

And in her feature devoted to Furlanetto’s portrayal of Boris Laura Emerick in Chicago Sun Times wrote: “Boris” has been hailed worldwide, and Chicago’s critics are adding to the sense of coronation that has been bestowed upon him. In the Sun-Times, contributor Wynne Delacoma wrote that Furlanetto’s singing draws listeners with his “all-enveloping warmth and flexibility. He was a supreme ruler.”

On his Chicago Classical Review site, Lawrence A. Johnson noted, “From the time of Chaliapin, the doomed Boris Godunov has been a showcase for the greatest basses of the past century, three of whom — Boris Christoff, Nicolai Ghiaurov and Samel Ramey — have tackled the role in Chicago. Fine as those artists were, it was hard not to think that Furlanetto was providing the most memorable performance of this demanding role that Chicago audiences have ever heard.”

But wait, there’s more: “One can go a long time without experiencing the kind of complete vocal acting that Furlanetto brought to Boris’ death scene, conveying the czar’s filial love, guilt, regret and defiance —in a performance that was beautifully sung, compelling and heartbreaking.”

During this season Ferruccio Furlanetto will reprise the role of Boris Godunov this season in a new Hugo de Ana’s staging of 1872 version of the opera in the Teatro Massimo in Palermo (March 23, 25, 27,29) and in the Vienna Staatsoper in musical revival of 1869 version (Yannis Kokkos staging) on April 20, 23, 27, 30.

Find out more about Boris Godunov in Chicago Lyric Opera

Read Ferruccio Furlanetto Interview about Boris Godunov

Watch Ferruccio Furlanetto's Roundtable in Italian Cultural center

Listen to Roundtable at Chicago Lyric on the opera web-site

 

The premiere of “Boris Godunov” at the Lyric Opera of Chicago

became a smashing success. Ferruccio Furlanetto in the title part of haunted Russian czar received highest public and critical acclaim. Wynne Delacoma from Chicago Sun-Times reports: “On Monday, Lyric revived its austerely handsome 1994-95 production of the opera, and at its center is Italian bass Ferruccio Furlanetto, a stellar artist making a shockingly late Lyric debut. On opening night, Furlanetto’s Boris was a riveting combination of commanding authority and heart-wrenching despair.”

“Furlanetto was providing the most memorable performance of this demanding role that Chicago audiences have ever heard. The Italian bass has clearly honed the role of the conflicted czar to a fine and nuanced dramatic point. …

From his entrance as a reluctant ascendant to the throne, Furlanetto brought commanding presence and complete authority, vocally and dramatically.

….his voice remains in remarkably strong and flexible estate. In the long narration of Part Two (“I have achieved supreme power”) Furlanetto brought great dramatic force and startling intensity to his long soliloquy. So too he charted Boris’s mental decline with almost clinical detail. One can go a long time without experiencing the kind of complete vocal acting Furlanetto brought to Boris’s death scene — conveying the czar’s filial love, guilt, regret, and defiance — in a performance that was beautifully sung, compelling, and heart-breaking,” – wrote Lawrence A. Johnson in chicagoclassicalreview.com

“Furlanetto has made this touchstone bass role his own. The qualities that make him a superb Verdi singer also make him a superb interpreter of the complex and contradictory anti-hero. He was the first Italian to sing the title role in St. Petersburg, Russia, and his portrayal has also graced the theaters of Milan, Venice and Vienna.

His formidable voice – full, even, effortlessly powerful, blessed with varied colorations -- combined with his skills as a singing actor to convey the czar's torment and downfall with stunning immediacy.

The rolling vocal authority he lavished on the czar's "public" scenes was achieved without bluster, just as the domestic scenes between Boris and his two beloved children, Fyodor (Emily Fons) and Xenia (Emily Birsan), were a triumph of finely sculpted legato phrases.

Such touches as the half-mad ruler's wrapping himself in a giant map of Russia at the end of the Hallucination Scene were bone-chilling. The final scene, in which the dying czar urged his son (and heir-apparent), to guard Russia's borders, seek justice and preserve the faith, also packed great vocal and dramatic punch. …

For Furlanetto's magnificent performance alone, this "Boris Godunov" is well worth catching.” (John von Rhein Chicago Tribune)

"The opera hinges on its title character, embodied and sung majestically by practically-Russian-but-Italian Ferruccio Furlanetto, the first Italian to sing Boris at the Mariinsky Theater in St. Petersburg. We first see him equivocating as the Duma (parliament) calls for him to become the next Czar. Once he finally accepts, his mind continues to be plagued by some unseen dread. The highlights of the opera are his soliloquies, in which he gives greater and greater hints as to his misery. But he never descends into full-blown madness, maintaining regal dignity until the very end." (Chicago Now)

The Mussorgsky’s opera was performed in it’s original 1869 version. The cast: Shuisky - Štefan Margita, Pimen - Andrea Silvestrelli, Varlaam - Raymond Aceto, Conductor - Sir Andrew Davis, Director - Julia Pevzner

Read an Interview

Find out more at Lyric Opera web-site

 

Ferruccio Furlanetto about Boris Godunov

Ferruccio Furlanetto will soon make his debut at the Lyric Opera of Chicago, singing one of his favorite and most renowned roles of Boris Godunov. He performed it in Rome, Milan, Vienna, San-Diego, Florence, and Venice. Furlanetto became the first Italian who sang it at the Mariinsky Theater, St. Petersburg. The 2011–2012 season is beginning under the mark of this great work. In the new and old productions, Ferruccio Furlanetto will sing the title part in Mussorgsky’s opera in Chicago, Vienna, and Palermo. In advance, he gave a big interview to Roger Pines, dramaturge of the Lyric Opera of Chicago. Text is reproduced here by permission of the Lyric Opera.

To the interview

 

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