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Rating: Adam Lopez is undoubtedly not the first to combine light music with opera, yet it is not a widespread phenomenon, all the more so for a cocktail also containing a club base.
Unfortunately, it is not a full-length album, so the lineup consists of only 4 songs, but enough to move the listener. One of the factors that immediately captivates about this record is undoubtedly Adam Lopez's incredible vocal expressiveness, who, endowed with grace and inhuman range, spreads his wings beyond the traditional recital repertoire.
The first track, "Adagio for dreams", is very beautiful; it begins with the opening lines of Delibes' "Aria della campanelle," interpreted in medium voice and falsetto, followed by vocalizations beyond the piano range accompanied by disco percussion, and subsequently by romantic and sentimental Spanish verses that I quote - probably belonging to a less known piece: "Te quiero más que nada, Más que el sol y la luna, Te siento entre mi piel, Sabes a canela y miel, Noche y día pienso en ti, Vuelve a amarme, Vuelve a mì." These are articulated in a chest voice passage. Followed by English verses that accompany the solemn melody sublimely, anticipating the intercalation of sumptuous high notes that could continue indefinitely but cease in consonance with drums and cymbals, only to reemerge and outline an ascending scale, irreproducible by common mortals.
The next song is a worldwide masterpiece, "Nessun dorma", which finds in this EP a romantic and exquisite interpretation, where pronunciation flaws serve as incentives to surrender to the voice's vibrations. What makes it even more beautiful is that it is not sung in a tenor voice; otherwise, the album's title would be different. Additionally, the musical base is stripped down to only tambourines and very few other classical chords, excluding the rhythmic base, becoming a sort of supportive echo.
"Shioah" is original to the singer, revives the disco base, and is composed of few English verses and a soul/sacred melody, predominantly made up of vocalizations that once again inspire dreams, also due to Adam's own choirs. While "Caro mio ben", by Giordani, closes the record and is performed again not in operatic register and with a pop base. However, I doubt that even those who appreciated the "dogmatic" version would be disappointed by this choice, clearly stylistic; also because the clarity of Adam Lopez's vocal qualities enhances the non-soprano notes.
A display of technique that surpasses its own purpose, as the album relates only relatively to opera, much more pertinent to the most refined and romantic disco imaginable.
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