Salvatore Licitra. "The Debut".

[] Arias by Verdi and Puccini. With Plazas; Montvidas. London Symphony Orchestra, Chorus of the Royal Opera House, Rizzi. Sony Classics SK89923

Salvatore Licitra's Met debut was the stuff publicists' dreams are made on. Replacing an ailing Luciano Pavarotti in what was to be the veteran tenor's swansong performance of Cavaradossi (the scheduled, and extremely good cover, Francisco Casanova, was given the penultimate show but was apparently not thought a sufficiently glamorous replacement for this high-priced gala), Licitra triumphed in the way only an unknown quantity delivering under pressure can. In storybook fashion, he came, saw, conquered and was named successor by the management--and the opera-loving former mayor. The reviews were even good!

In his first aria disc, aptly titled The Debut, Licitra puts on display the gifts that earned him the ovations, which, even if heightened by the crowd's eagerness to discover a new star, were doubtless deserved. The voice is an interesting one, produced in several different ways in its various registers, but with a consistency that speaks of a technical scheme at work. The seams between registers show, and the extreme difference in tonal colors from one part of the range to another creates a certain lack of evenness in production. On the other hand, the unvarying adherence to this approach--dark, baritonal low notes, a bright, wide-open, di Stefano-like middle register, deliberate rounding of the tone through the passaggio, and a "pocket" in which to place high notes--makes for a consistency of its own. Diminuendos are achieved by creating a rounder, more covered vowel and space in the soft palate, which allows for a headier tone. All of this reflects the intelligent work done with his mentor, Carlo Bergonzi. At this time, however, the mechanics remain a bit too audible. And while the open vowels in the middle register benefit diction, they are sometimes exaggerated to a sort of straight tone where one might like more spin in the vibrato.

Licitra offers a good deal of passion, even if this program, composed mostly of chestnuts, leaves little room for surprises. The disc begins anti-chronologically with Puccini. The role of Cavaradossi, with which he probably will be inexorably linked, is represented by both arias. "E lucevan le stelle" is suitably moody--somewhat muscular and tight in its accomplishment of the softer dynamics, but successful at the climax, without the undue tenorial blubbering one sometimes encounters. The inevitable "Nessun dorma" from Turandot plods along until an absolutely thrilling finish, while a more sensitive "Ch'ella mi creda" from La Fanciulla del West features a ravishing intoning of the heroine's name and a stirring arching phrase to the final B-flat. The Manon Lescaut and Madama Butterfly selections, "Donna non vidi mai" and "Addio, fiorito asil," are more supple, the second building again to a big-voiced ending pouring out Pinkerton's regret.

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