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Killer crit of the week

‘The Mexican tenor Arturo Chacon-Cruz — think Villazon lite — thus joins the select band of singers who bare their bottoms to divert attention from music that exposes their tops.’

Hugh Canning, Sunday Times

Oh, wait a minute, what’s this?

‘Presumably, he exposes his bottom (as he sets off to rape Gilda) to disguise shortcomings at the top of his tenor.’

John Allison, Sunday Telegraph

Separated at birth, were they?


Could we name any other members of the band?

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  1. Theodore McGuiver says:

    I’ll provide a link with piccies. It’s in French, too, so you can all enjoy the ooh là là aspect of it:

  2. John Balaam says:

    The same gag – more or less – appears in John Allison’s review in today’s Sunday Telegraph “Seven” magazine.

    Wonder if he’ll ever do Rusalka ?

  3. itrinkkeinwein says:

    Hugh Canning and John Allison both know that the nudity is not the singer’s choice. So their twin comment is unfair.

  4. Theodore McGuiver says:

    ‘Presumably, he exposes his bottom (as he sets off to rape Gilda) to disguise shortcomings at the top of his tenor.’

    Cracks everywhere, then?

  5. robcat2075 says:

    I hope those are just very wrinkled body stockings in Verdi’s “Un Ballo In Maschera”.

  6. Classic example of a reviewer carried away with their own style and not really thinking about what they are saying. I watched the Rigoletto broadcast on Arte last night (it’s available online for free for the next month or so for whoever is interested) – It’s not the most polished vocal production, and maybe its lacking in support but it is for the moment a fresh bright voice and in this performance he hit every note, so I don’t even think what the reviewer is saying is accurate. I have no comment on his bum.

  7. Hugh Canning says:

    Confession time. No we weren’t separated at birth but we were sitting in adjacent seats and John reminded of my a not dissimilar line in a review of Lesley Garrett’s similarly bare-bottomed Adele in an ENO Fledermaus years ago. We are old friends so I didn’t occur to me that he would nick my line. Anyhoo, imitation is the sincerest form of flattery, so I won’t hold it against him! As for DS’s comment, well, yes, Artur Chacón-Cruz may have hit every note, but the one at the end of Possente amor – after which he discarded his kit – sounded very strained indeed in the theatre. So I think it’s perfectly fair to say that the music exposes his top. But this will teach me a lesson for recycling old jokes. Good to know you read us both so carefully, Norman!


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