Tosca at the Metropolitan Opera
Anthony Tommasini - New York Times
«Mr. Eyvazov is a husky-bodied man with a voice to match. He sings with burly sound touched with a metallic glint. His big top notes have stinging power.»
Anthony Tommasini — New York Times
«…His is a darker sound, a tenor of considerably more weight, than usually heard in this role, but he commanded it well, showing a ringing, clear top and vitality in his singing.»
Eric C. Simpson- New York Classical Review
«This a tenor with a large instrument who is built for this repertoire («Tosca, G. Puccini). More importantly, he’s a very intelligent singer with a stable sense of rhythmic precision and nuanced phrasing.
On opening night Eyvazov had some chilling moments like his “E Lucevan le stelle,” during which he immersed himself in the subtleties of Puccini’s lines. Often a vehicle for tenors to blast their sounds with wild abandon, Eyvazov chose a more delicate and introspective approach. He began the aria with piano singing stretching each moment as if it was truly the last, the low notes sounding full and comfortable. As the aria grew in intensity, so did his voice in peaks and valleys, building and falling in a sobbing manner. It wasn’t a massive passionate display and instead of laying his heart bare for all to see, he pulled you into a more internalized pain and suffering. When he threw off the final “La vita” at the close of the aria with accented abandon, it felt earned; he had been building up all the emotion inside, creating tension for release, and finally let it all out to cathartic effect.
Also beautiful was his “O Dolci mani,” where he sang delicately throughout, his voice remaining more subtle in its singing; it felt like an intimate moment for the two of them, and was also consistent with his characterization of Cavaradossi in his preceding “E luce van le stelle.”
His “Recondita Armonia” was quite the opposite. Here Eyvazov began with brighter colors and impassioned tenderness bringing the aria to a climatic B Flat. It wasn’t necessarily as varied or richly psychological as “E Lucevan le stelle” or “O Dolci mani,” but as far as declarations of impassioned love go, it was pretty potent.
Eyvazov was also particularly strong during his heroic “Vittoria, Vittoria” singing the moment with intensity and vigor and holding the notes with power. His ensuing lines were equally as powerful ending it in parlando phrases because he has the weight in his lower register as support. This is often a trouble area for more lyric tenors taking on the role, their voices drowned out by the orchestra, forcing them to push out the low notes without much support. But Eyvazov managed it quite well.
In his duets with Netrebko, Eyvazov sung with tenderness and legato phrases that blended well with her soaring voice. His phrase “Quale occhio al mondo” in Act one started off with a warm mezzo forte tone rising to the soaring forte. It was passion at its fullest and it would only continue throughout the evening.»
Francisco Salazar — Opera Wire