RAUL MELO – FORMER LOCAL TENOR PRESENTS WONDERFUL RECITAL
Tony Villecco
Tenor Raul Melo offered an extremely attractive and diverse program of songs and arias
at Binghamton University’s Anderson Center October 9th. As part of the annual Homecoming/Alumni
weekend at BU, Melo, a former TCO Resident Artist who received training here, has gone on
to have an international career on the worlds operatic stages.
Melo has a big voice, make no mistake. His tone is burnished and dark often sounding more like
a baritone. But when the music propels him into his upper register, it is a silvery, clean and lovely top,
though not as rich as the middle voice. There were a few moments where the voice had a sense of
tightness or holding, but this dissipated as the evening proceeded. His timbre is nonetheless, unique.
Opening with two Scarlatti songs he then offered ‘Air de Faust’ from ‘La damnation de Faust’ by
Hector Berlioz. An incredibly rich and seductive aria, Melo took full advantage of the composer’s intent
to display both passion and introspection. It made one wish that this underperformed opera could
make its way back into the regular repertoire of regional houses more often. Then again, how many
tenors do we have today who can sing this demanding music?
Clearly, one of the most memorable set of songs was the ‘Petrarch Sonnets’ by Franz Liszt.
One may think of Liszt as composer for piano only but he has written an impressive canon of vocal
literature. Melo had ample opportunity to ply his vocal and interpretive skills with these rich, melodious
and oftentimes, dramatic musical lines. Occasionally Melo’s top seemed ‘covered’ which hindered the
tenor’s vocal freedom. This was, I should point out, only on occasion and did not take away from the
overall marvelous singing of these songs.
One must note his most excellent accompanist, Michael Recchiuti. Clearly Liszt wrote these
with not only the voice in mind and they were as much a showpiece for the pianist. Recchiuti
was technically phenomenal. Audiences sometimes are oblivious to the work and skill it takes to have
this good of a vocal accompanist; one who has to not only anticipate the singer’s every phrase, but to
practically breathe with them as well. Melo has found an amazing partner.
Gisela Hernandez was a Twentieth Century composer of whom I was not familiar. That changed
last night. While there belies the notion that ‘modern’ music is often dissonant or monotonous, (sorry
everyone, but I personally think of Philip Glass), Hernandez offered melodious and lively songs, instantly
likable. Here, Melo was much more exposed vocally but these pieces were a showcase for his upper
register. In addition, she has written some titillating arpeggios for the pianist who played them with a
flourish.
Melo closed the program with four songs by Joaquin Turina (delightful I may add) and of course,
two of the meatier Verdi arias which were probably what the audience had been waiting for. Mr. Melo
is indeed a talented and moving artist. The one frustrating thing was such a lack of attendance. Perhaps
due to other commitments or lack of publicity, the concert theater was embarrassingly empty. For such
a talent one would have hoped for a larger turnout, though they were extremely generous in
their admiration for this wonderful concert.
