Phillips 434 102-2PH (68 minutes)

Note: This review was originally published in Donizetti Society Newsletter 65, May 1995.

Beware!!! If you think that great virtuoso singing is the sole province of sopranos and contraltos, this record is not for you. You will play it once, out of duty, and then let it gather dust. On the other hand, if you enjoy exciting singing, no matter what the voice-then this CD may well become one of your great favorites.

Listening to Chris Merritt at his best is a thrilling experience. His range is phenomenal, extending from a bass F sharp all the way to the high D. He has a wonderful capacity for embodying the heroic qualities of the Poliuto and Caterina Cornaro pieces, and Pirro's rage in Ermione.

The choice of selections is nearly perfect. Donizetti first. The excerpts from Poliuto and Caterina Cornaro are highly unusual, and extremely well sung. While both operas have been recorded (the first commercially, the other only on pirate labels), the first part of the Poliuto aria is almost invariably omitted (Martinucci on the Nuova Era recording is an exception; but, good as he is, he is no Merritt). On the other hand, the Duca D'Alba (not even by Donizetti) and Don Sebastiano titles have been recorded occasionally by others, and are probably not heroic enough to be perfectly suited to Merritt's unique abilities. The Rossini selections are the most interesting of all. The pieces from Otello, Elisabetta and the cantata have not been previously available on CD as sung by Merritt. The Ermione, however, is sung by him on the private label recording of the opera with Blake, Caballé, and Horne. Both versions are genuine "tours de force".

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