“In the portrait offered by baritone Marco Caria, the wicked Paolo Albiani is a demonic figure, made all the more dangerous by the charming way in which he resonates evil. In the opera's Prologue, Caria interprets the Allegro moderato “L'atra magion vedete?.. de’ Fieschi è l'empio ostello” with an almost reptilian cunning, and carries out his seditious intrigues with steadfast intonation and steady intensity.
In the Act II duet with Fiesco, he voices “Me stesso ho maledetto!” with great vigor.In this Paul there is no repentance or remorse as he is led to his deserved execution-if not that of a man who failed to accomplish all the evil he would have liked.
Caria's name is absolutely to be remembered.”.Original:
“As portrayed by baritone Marco Caria, the wicked Paolo Albiani is a demonic fellow made all the more dangerous by how attractive he makes evil sound. In the opera's Prologue, he voices the Allegro moderato ‘L'atra magion vedete?.. de’ Fieschi è l'empio ostello’ with reptilian slyness, and he conducts his seditious affairs with solid intonation and unrelenting intensity. In the Act Two duet with Fiesco, he voices ‘Me stesso ho maledetto!’ vigorously. There are no regrets or remorse in this Paolo as he is led to his well-deserved execution except for those of a man who has not accomplished as much mischief as he might have done. Caria's, too, is a name to remember.”.
“One of the two important baritone roles-that of Paolo-is played with great vocal strength by Marco Caria, a young Italian who is attracting much attention in Vienna and beyond. The beauty of his timbre and the solidity of his voice enable him to render the many nuances of the character in an extremely convincing way. This is particularly evident when he has to face the Doge's questions and then curse himself at the end of the Council scene (CD2, track 4).”.
Original:
“One of two important designated baritone roles-the role of Paolo are strongly sung Marco Caria, a young Italian, is making waves in Vienna and elsewhere. His tonal beauty and vocal heft enables him to portray the many facets of his role in a very satisfying manner. This is particularly the case as he has stood up to the Doge's questions and then curses himself at the conclusion of the Council Chamber scene (CD2, tr.4).”.
CD REVIEW: Giuseppe Verdi - SIMON BOCCANEGRA (D. Hvorostovsky, B. Frittoli, I. Abdrazakov, S. Secco, K. Smoriginas, M. Caria; Delos DE 3457).
Director: Constantine Orbelian