Giorgio Croci

Giorgio Croci's performances feature some notable pieces that resonate with audiences. One standout is “Salut! Demeure chaste et pure” from *Faust*, which showcases the emotional depth of the narrative. Another engaging track is “Mein lieber Schwan” from *Lohengrin*, known for its lyrical beauty.

His repertoire also includes “Adieu, mignon!” from *Mignon*, along with “Nymphes attentives” from *Polyeucte*. Other popular works like “La Spagnola,” “In fernem Land, unnahbar euren Schritten,” and “Mes amis, écoutez l'histoire” add variety to his performances. Each piece contributes to a diverse listening experience, reflecting a range of themes and styles.

Giorgio Croci's latest work includes the album "Roberto Alagna: 60," set to release in 2024, showcasing a collection of vocal performances that reflect significant moments in classical and opera music. The album features various interpretations that resonate with traditional themes and techniques.

In addition to the album, Croci has released several singles this year. "Drigo: Les Millions d'Arlequin: Sérénade" captures a playful spirit, while "Moniuszko, Halka: 'Szumią jodły na gór szczycie' (Jontek)" offers a glimpse into the emotional depth of Polish opera. Another notable release is "Verdi: Simon Boccanegra: 'O inferno!... Sento avvampar nell'anima' (Gabriele)," which explores intense feelings through its dramatic phrasing. Lastly, "Brodszky: Be My Love" adds a romantic touch, highlighting the timeless appeal of love songs. These recent works demonstrate Croci's ongoing engagement with the classical and operatic landscape.

Giorgio Croci's collaborations with Roberto Alagna and the Morphing Chamber Orchestra stand out in his recent repertoire. In “Le Postillon de Lonjumeau, Act I: 'Mes amis, écoutez l'histoire'”, Croci showcases a blend of vocal strength and orchestral support, creating an engaging rendition. The partnership continues with “La Spagnola (Arr. for Tenor and Orchestra by Christoph Ehrenfellner)”, where the arrangement highlights the interplay between tenor and orchestral textures.

Another notable collaboration is in “Eugene Onegin, Op. 24, TH. 5, Act II Scene 2: 'Kuda, kuda, kuda vi udalilis' (Lenski)”. Here, the emotive quality of the piece is enhanced by Croci's interpretation alongside Alagna and the orchestra. These collaborations reflect a thoughtful merging of voices and orchestration, appealing to both classical and opera audiences.

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