Roy, Alejandro - Tenor

 

...Alejandro Roy in full force in a role made to measure for his thunderous voice and that does not ask him for refinements below the mezzoforte. His wide fiato allowed him to continuously string together the phrases of La dolcissima effigie, knowing how to drop the accents on the key notes. Bravo as could not be his story of "Il russo Ménchikof" and the final scene of him with the expiring Adriana is really moving.

 

Maurizio, this time it fell to the superb Asturian tenor Alejandro Roy, who is weighed down by all kinds of absurd precautions regarding a voice of those that make an impact from its appearance, filling every nook and cranny of the room, but who is usually attributes a limited capacity for expression. They are vain prejudices, like those that other magnificent representatives of his string, of similar means, had to endure in their day, the historic Mario del Monaco or Franco Corelli (to whose timbre Roy himself refers so many times), for example.

 

...we must appreciate the high level of the double vocal expressiveness of spinto lyrical tenor and in other moments heroic of Alejandro Roy, as could be perceived in the famous arias La dolcissima effigie of the first act and L'anima ho stanca of the second, respectively.

 

 

 

The tenor, Alejandro Roy, a "spinto" or "lyrical-spinto" with a dark, masculine timbre, safe and vibrant emission, sharp in the fulcrum, equal registers, is a solid artist... refined and neat phraser, somewhat limited in colors and nuances, but honest to the letter, who does not shy away from any commitment. He already marked a high point in his exit aria

 

Alejandro Roy demonstrated his well-known qualities, an avenging character who transmutes from a bandit with the excellent aria Come rugiada al cespite to the Duke of Segorbe and Don Juan de Aragón, the sacrificed protagonist throughout the work. He even had very nuanced duets, especially with Elvira, more powerful with Don Carlo and felt with Silva.

 

 

…excellent Alejandro Roy in his task thanks to a raw material of suitable metal and extraordinary projection, managing to characterize a dominant, cocky and hypocritical Paco.

…Alejandro Roy, with his powerful and vibrant emission, in a Maurizio of many carats.

Like Don Alvaro, it cannot be denied that Alejandro Roy has an instrument that tends to tenor spinto -and how many of that class are there now?- with a penetrating, incisive and warm sound and sharp squillante: more than enough weapons to win the favor of the public. To his credit: he doesn't spare a single treble, and they all appear brilliant and very sure... the singing is fierce, and the kind of instrument that is not often heard in a theater today: that's how the public knew how to recognize it, who broke into ovations after his scene in the third act without letting the orchestra finish.

https://www.operaworld.es/canto-por-arrobas-en-la-forza-del-destino-de-a-coruna/  

 

His Don Alvaro contributed his well-known vocal qualities that translated into a very impulsive and intense character, ideal for such a challenging role. His dark and powerful sound was overwhelming on La vita è inferno all'infelice, exhibiting wide, ringing highs on Pietà del mio penar!

 

 

Alejandro Roy left the audience impressed from the first moment, with the vocal cannon shot with which he released A ventitre ore. The voice of this tenor is surprising for its forcefulness and its vocal color, an authentic tenore di forza that combines the power of sound (impressive, fills and even saturates the room) and his dramatic verve with the emotional force of his singing. It is not an exaggerated or outrageous song, but fully involved in the expression of these extreme affections suffered by both Canio and Turiddu. His ability to move, picking up his voice, was revealed in Vesti la giubba, sung in a heartrending way; just like in a Sperai, tanto il delirio, moving and intimate after a Non, Pagliaccio non son! overwhelming by the violence of it. The character of Turiddu doesn't demand so much drama, but Roy slipped into that doubtful peasant perfectly, with a brilliant duet with Santuzza and an emotional farewell from his mother.

 

The tenor Alejandro Roy would assume the roles of Canio and Turiddu...Roy was indisputable in singing, with a generous emission thanks to solid means that support him to easily rise to high notes with naturalness and mastery of phrasing.

 

 

Alejandro Roy has a powerful and well-sounding voice and a great command of the instrument, devoting himself totally to the role of Canio, both vocally with treble notes full of strength -and not only in terms of dynamics, as well as acting. He did a great version of Vesti la giubba, which raised a loud ovation from the public at the Colón. He adequately showcased his character's toxic relationship with Nedda by conveniently punctuating phrases like "I have the right to behave like any other man" or "The man claims his rights."

 

…The tenor Alejandro Roy also plays with these assets, a singer with a fierce emission and vigorous vocal means that bring him closer to shades of spinto and who explodes everywhere in a role that provides him with situations for it, exhibiting a volume and a projection with which shows that he has no problem facing the orchestra…

 

 

Alejandro Roy, was, however, the star of the night, with his powerful voice, his baritone timbre, which sometimes goes too low at the beginning of the work, and with incredible treble at all times. As I said before, this is a heldentenor role, a challenge from which Roy emerges victorious, with that heroic sound, a delicious performance in the duet with Marianela in the first act and very dramatic in the remaining acts, especially when he regains his sight and in the duet with Florentina.

 

...a bold, heroic Alejandro Roy as the ungrateful Pablo, who turns out to be the bad guy in the movie. A villain who ends up becoming fond of the singer's total dedication, bringing forth a great collection of impossible high notes, with a full voice and a squilling timbre.

 

…while the Asturian tenor Alejandro Roy creditably met demands of amplitude and range, in a part full of difficulties. In their solos – better styled monologues than arias, considering their formal freedom – they skilfully quarried all the necessary intensity, from Marianela’s tensions after learning of the possibility of a cure of her beloved’s blindness, to the exalted brilliance of the moment where Pablo discovers the light, at the beginning of Act 3. One of the most memorable moments was their duet at the end of Act 1, with its Tristanesque accents.

 

 

Extraordinary the performance of the debutante Alejandro Roy as Calaf, with a genuine tenor voice 'spinto' of heroic baritonal timbre and stentorian treble reminded the great voices of the golden age… 

 

 

…Next to her, a "iradiddio" of tenor with a burnished, almost baritone stamp, which however in the acute area, where it was legitimate to expect some defaillance due to the great generosity in the centers and in the low, exploded in very easy, brilliant and very powerful treble, such as to excite a public that is not exactly inclined to consensus. For Alejandro Roy I could risk comparisons that are certainly too demanding: for a long time, I haven't felt such a virile and powerful color in a tenor voice, such easy and accurate phrasing; every word was understood and every feeling of the character was very well read…

 

…The best of the evening was the tenor Alejandro Roy (Dick Johnson / Ramerrez) sure in the ringing and the beautiful clear and powerful timbre. Excellent and very applauded his air of the last act, the famous Ch 'ella mi creda, but it has also imposed itself in the duets with the protagonist and with the principal baritone…

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