Tagged early in his career as "the fourth tenor," Alagna has managed to survive the media blitz and become his own tenor instead. A native of France, his voice is beautifully suited to the French repertoire as well as to traditional Italian lyric/lyric- spinto roles, where he adds subtlety and nuances some of the bigger voices don't have. An intelligent and sensitive singer, Alagna's voice records exceptionally well - and he records a lot.  Highly recommended are his French albums and operas... this one has expected recital arias, plus work from Zandonai, Catalani, and Wolf-Ferrari.

The great classic arias, from the tenor's tenor. Björling is the one singer named most often by today's tenors as the one whose recordings they turn to first when learning a new role. Björling's voice had the perfect blend of sweetness and ringing power. And you'll hear that in selections ranging from Il mio tesoro and the Duke of Mantua all the way to Aida and Trovatore. There are some gems inbetween, too - Amor ti vieta, Che gelida manina, Nessun dorma, and Des Grieux' arias from both Manon and Manon Lescaut.

Named "The Tenor of the Century" at the very beginning of the 20th century, that title remains his and his alone. Caruso and the recording industry burst on the scene at about the same time, and though we can only get a glimpse of what the voice must have been like, other singers who performed with him and audiences who heard him could barely find the words to describe the experience. It is magical to me that we can hear his voice across nine decades and experience, at least in part, the thrill that this quintessentially modern tenor gives, even now.

Conductor Herbert Von Karajan called it "a voice of thunder and lightning, fire and blood." And if you say "tenor" to anyone who ever heard him sing, in person or on record, you'll get back the response: "Franco Corelli." Tall, dark & handsome with a voice like a passionate trumpet -  arias here from Norma, Andrea Chènier (one of his greatest roles), Cavalleria, Trovatore, Aida, Gli Ugonotti (he's one of only a few who could actually sing it: the next tenor to have a great success, 25 years later, would be Richard Leech) ... and of course, Nessun dorma.

Plácido Domingo does so many things - and does them well -  that it's difficult to know where to start with one recommended album. It may be that what he does best of all comes from deep in his soul, inside his cultural heart. Turning to Spanish music, then, featured on several Domingo albums, this collection of songs by Augustín Lara and Maria Teresa Lara is one of the most exciting. Granada (magnificently done) is the best known, but all of the songs have that same kind of urgent rhythm, sung with intensity and commitment. You can't possibly be disappointed.

The operas may not be familiar, though the composers are - Donizetti, Rossini, Meyerebeer. And Bruce Ford may not be a household name, though he should be - he performs many of these composers' more exotic pieces both on stage and on record. And he does it superbly. This collection is a perfect example with arias and ensembles from seven operas, all from early- to mid-19th century. Ford's voice handles the coloratura demands without sacrificing the tenor-ness of the characters - beauty, sensitivity, strength.

This is a wonderful collection, showcasing some of the best of this classy tenor's repertoire. He was also one of the best at acting with his voice, really conveying the character he was playing with the dramatic or comic qualities in his voice. Beverly Sills says he was her favorite Des Grieux... unfortunately Ah! fuyez isn't here, but there are splendid arias, all recorded live, ranging from Faust (Gounod and Berlioz) to Les Troyens, Lakmé and Carmen, Roméo, Lensky's Aria, plus 9 Russian songs (also live). A favorite.

JERRY HADLEY
In The Real World

Jerry Hadley's wide ranging  knowledge of music and theatre is well documented. Along with a whole lot of opera, Hadley is first and foremost a communicator. He sings everything from Viennese operetta to American vaudeville and Broadway, but he excels with songs that have an undercurrent - think Kern, Porter, Bernstein, Sondheim.  This is a magical album: he lets the music and words work on you in songs representing the darker side of love lost... I Don't Remember Christmas is stinging; My Foolish Heart, gorgeous in its simplicity.

This 2-CD set is a great starting point to experience the emotional impact of Mario Lanza's voice. His amazing popular appeal was forged through the release of popular songs; here they are, most recorded long before the voice was destroyed: Be My Love, Because You're Mine, Granada, O sole mio, Come prima; several from The Student Prince; 7 opera arias too. And don't forget Lanza on film -The Great Caruso inspired Pavarotti, Domingo, Carreras, Leech, Larin, Alagna - whole generations of singers, and not just tenors.

A Russian-born tenor with an Italianate sensibility, his true lirico spinto voice brings sensitivity to the more dramatic fare he often sings. Larin grew up listening to Mario Lanza's records, which explains some of it. Onstage, he's passionately thoughtful, noble, subtle - genuine in both his acting and singing. My favorites of his many recordings might be the French songs - but of the Russian collections, the 4 Songs and Dances of Death by Mussorgsky make this one the best: intensely emotional, they simply take my breath away every time I hear them.

Arias from the romantic Italian repertoire and Neopolitan songs make up this excellent recording. Standout arias are È lucevan le stelle, "Lamento di Federico," and Che gelida manina. But the real delight is in the songs. Unless you've attended his "Tribute to Mario Lanza" concerts, it's not often that we get to hear Richard Leech in recital - so the sensitivity and versatility here seem rather like a "discovery." All are lovely, but Aprile, Mattinata, 'O sole mio and (best of all) Torna a Surriento, are knockouts.

LUCIANO PAVAROTTI
Donizetti Arias

This is a compilation from previous albums, and it brings home the understanding of why Luciano Pavarotti is ... well, Pavarotti. The best here are from the early collaborations with conductor Richard Bonynge: L'Elisir d'Amore, the two arias from Lucia, and Spirito Gentil from La Favorita... and most especially the showcase arias (with all those high C's) from La Fille du Régiment. Pavarotti justly earned his fame when the voice was bright and free and glorious and the personality warm and embracing. Here, you'll find out why.

The handsome, personable Mexican tenor with the supremely beautiful voice has a wonderfully musical approach to his roles. This recording includes the lyric repertoire from the beginning of his career: the Donizettis (Fra poco, Spirito gentil, Una furtiva), French tragedians Roméo, Des Grieux and Werther, Rigoletto (a splendid Parmi veder le lagrime) and, of course, Rodolfo. All are presented with a touching simplicty and genuineness. One of the most evenly produced voices on the stage - or in the recording studio - today.

For many of us, Fritz Wunderlich is arguably first runner up to "The Tenor of the Century" with a voice of incredible warmth and sweetness. Tragically, his life ended at 36, just as he was reaching his vocal prime. This collection of 3 CDs gives a huge variety of selections and arias (nearly all sung in German) from opera, operetta, and popular song. If you've never heard Che gelida manina sung in anything but Italian, it takes some getting used to as Wie Eiskalt Ist Dies Handchen...! but well worth it. This is a voice you could willingly listen to all night long.

"Golden Age" tenors in  classic Italian and French repertoire - it's not billed as an album of "show-off" arias, but then, none of them are exactly easy to sing! Each singer's personal characteristics come through - it's perhaps because of the rarity of a great tenor voice that makes each sound so very unique. Alva, Corelli, Pavarotti, Bergonzi, Björling, Gedda, Gigli, Di Stefano, Wunderlich, Tagliavini, and Tucker. Whose is the most beautiful voice? or the most exciting?  You can try to choose.

Once again, classics of the Italian and French repertoire (plus Melchior in Die Walküre), taken from the early days of recording. If you're interested in styles of performing and want to understand some of what's expected from the tenor voice, then this is perfect. Tamagno (from Otello, no less), Bonci, Slezak, Gigli, Schipa, Caruso, Pertile, and Thill will show you that, then or now, communication is what it's about... you may just be convinced that the "Golden Age" of opera has never ended!