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New Zealand-born Jonathan Lemalu has everything (even a law degree, acquired before the discovery of his extraordinary musical talent). His voice is absolutely even over a huge range. Its velvety warmth enfolds ear and heart, and he can change its color, inflection, and expression in an instant. His breath control is incredible and lets him spin endless legato phrases. The program, ranging from Mozart to Wagner and encompassing four languages, which Lemalu handles with equal mastery, displays his versatility as well as his uncanny ability to establish and portray different characters. Indeed, he "hogs" all the bass parts of some operas. In The Marriage of Figaro he impersonates Figaro, Count Almaviva, and Bartolo, each in a different voice, from bright and airy to dark and vengeful. In The Barber of Seville, Bartolo and Basilio are grand fun, with wonderful tongue-work. Falstaff's disquisition about "Honor" is even more fun. Papageno sings in half-voice, as if to himself. There are two Mephistopheles: Gounod's seductive serenader and Boito's vicious, menacing nay-sayer. Gremin from Tchaikovsky's Eugene Onegin radiates serene love; the monologue from The Flying Dutchman is a stirring, moving finale, to which the excellent orchestra contributes a terrifying storm. The only flaws are a certain fussiness in Leporello's aria, and the inexplicable inaudibility of the glockenspiel in The Magic Flute. --Edith Eisler
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