Opera star makes audience feel lucky
Baritone Hvorostovsky shows at E.J. Thomas why he's on fast track
By Elaine Guregian
Beacon Journal music critic
Dec. 05, 2002

Everyone in the audience at E.J. Thomas Hall knew they were hearing something special Wednesday night.

In fact, one woman in the front row was absolutely sure. As the baritone Dmitri Hvorostovsky and pianist Yelena Kurdina began walking offstage at the end of the first half of their Tuesday Musical recital, she reached up and got the singer to sign her program.

By the end of the program, Hvorostovsky (pronounced Voro-STOV-ski) had the crowd completely in his hand, for all the right reasons.

Hvorostovsky has a gorgeous tone that maintains the same quality throughout his range, with no sign of forcing even at the top. His intonation is dead-on. His diction is so clean that it was actually easy to follow along the Russian text printed with an English translation.

But the most stunning thing about Hvorostovsky -- which isn't so obvious on his recordings -- is his phrasing. Words, phrases, sentences flowed with a legato quality that was truly extraordinary. Every note got full value, and a little more, given this ultra-smooth stitching together of tones.

Hvorostovsky is a quickly rising opera star who was featured on the March 2002 cover of Opera News. He is also a smart musician who knows how to pace himself for the very different exposure of a solo recital.

For his first Akron appearance, Hvorostovsky sang Tchaikovsky songs on the opening half of the program and Rachmaninoff songs for the second half. These melodic, often brooding, settings of Russian poetry were an ideal foil for his talents. When the Siberian-born singer began the first Rachmaninoff song, In the Silence of the Night, Op. 4, No. 3, the operatic sweep of it was thrilling after the understatement of the recital's first half.

Yelena Kurdina, the pianist for Wednesday's recital, is an opera coach and assistant conductor at the Metropolitan Opera, where she and Hvorostovsky met. Kurdina's attentive, well-judged playing allowed the singer to be shown in the best light.

Hvorostovsky's first encore was an extended aria from Rachmaninoff's opera Aleko. He followed with Dicitencello Vuje and Core 'ngrato, two songs from his Passione di Napoli recording of Neopolitan songs.

Hvorostovsky has a flair for traditional songs as well as classical writing, and it was revealing to hear this other side of his talents.

Hvorostovsky is just 40, although his head of silver-white hair might suggest otherwise. He's on a fast track, with upcoming engagements at the Metropolitan Opera and Lyric Opera of Chicago, among other prestigious venues. Sensibly, he's watching his step as to what repertoire he takes on.

Although it took a few minutes for him to settle in Wednesday, his voice soon opened to show a well-cared-for instrument. Like the woman in the front row, I feel lucky to have heard him.