Kaludi Kaludov |

Kaludi Kaludov

I got acquainted with the work of tenor Kaludi Kaludov for the first time on the recording of Puccini’s opera Manon Lescaut.

Today I would like to dedicate a few lines to this wonderful singer, who successfully performs on many European stages. The fame of Kaludov, in my opinion, does not quite correspond to the quality of the voice of this artist. It’s a pity! For his voice has a number of undoubted advantages, no less than those of many more “promoted” tenor colleagues. This is common in the modern world of the opera “business”. On all “corners” you can hear the names of Alanya or Kura, enthusiasm about Galuzin or Larin. But for some reason, few people discuss, for example, the qualities of such bright tenors as William Matteuzzi or Robert Gambill (one can name a number of other names).

Kaludov’s voice successfully combines ice and fire, technicality and scale, and sufficient power does not obscure the light silver tint of the timbre. The singer’s manner of sound production is focused and at the same time not dry.

Having made his debut in Sofia in 1978, he later performed on the world’s leading stages, including Vienna, Milan, Berlin, Chicago and others. Alvaro in The Force of Destiny, Don Carlos, Radamès, De Grieux, Cavaradossi, Pinkerton, etc.), although his repertoire is much wider (he sang in Eugene Onegin, and in Boris Godunov, and in ” Flying Dutchman). In 1997 I managed to hear him at the Savonlinna Festival as Turiddu. One could (by analogy with Manon Lescaut) assume that this was his role, but reality exceeded expectations. The artist, who was in excellent shape, sang with inspiration, with the necessary measure of expression, which is so necessary in this part, so that the tragedy does not turn into a farce.

It’s been about ten years since I first heard the recording of “Manon Lescaut” with Kaludov and Gauci. But until now, the memory keeps the irresistible impression that it made on me.

E. Tsodokov