Canter Bridge

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Andrea Bocelli possesses one of the great romantic personae of our musical generation. His voice is, with apologies to many more capable observers, not that of an operatic tenor.

This is hardly a slight. The fact is, opera needs Andrea Bocelli, for he introduces many listeners who would never countenance opera to the phenomenon of the Big Voice. In fact, many mistake albums like this for ‘classical’ or ‘opera’ music, something they are not.

So what is Romanza then?

It is a beautiful, lush, Mediterranean celebration of life and song in the romantic tradition. Its orchestration is both ebullient and large, showcasing not just Bocelli the voice but also Bocelli the blind artisan who seems to endear audiences to himself with almost effortless ease.

In my opinion, Bocelli’s voice is made for the kinds of duets that occur sporadically in Romanza, especially those where he stands over against that kind of raspy Italian voice that is characterized on the female side by Gerardina Trovato (track 2) and on the male side by the Eros-Ramazotti-sounding John Miles (track 14, Miserer). The fluidity of Bocelli’s voice and his mastery of the popular format perfectly complement this kind of artistic companion.

Still, people have voted with their wallets in favor of Bocelli’s collaboration with smoother voices like Giorgia’s (track 8, Vivo Per Lei) and of course Sarah Brightman (Track 16, Time to Say Goodbye).

The potency of Bocelli’s formula is evident in the success in this album – largely sung in Italian – among English-speaking audiences worldwide who don’t read a word of Italian. It is precisely the ‘Romanza’ of it all that comes across and convinces.

This 1996 production must be considered a triumph. Some listeners will wonder about the world inherited by voices like Bocelli’s and treat themselves to a taste of opera. Others will find their souls lifted sufficiently by Bocelli, Trovato, Giorga, Miles, Brightman, and Cia.

Both win.