Reading
the booklet blurb one might be tempted to think this Beijing
bass was a stalwart principal at New York’s Metropolitan
Opera House, one of the world’s big four. Yes, he has sung
there since the 1991 season and has appeared as Count Walther
in Luisa Miller, Oroveso in Norma and Raimondi in Lucia.
What the booklet does not say is whether he was the principal
bass carded for the relative runs or got a sing as a lucky
cover. My records indicate his roles at that house are
more secondo or comprimario. I record these facts for clarity
not to nit-pick. Ho Jiang Tian appears in principal roles
at provincial Italian opera houses and elsewhere in Europe
and America. This diverse selection of bass arias reflects
something of both his stage experience in these theatres
and also his studies with eminent teachers.
The
first six tracks include some of Verdi’s all-time great
writing for the basso cantante voice. Despite what it says
in the track-listings for the Nabucco aria (tr. 1), it
does in fact commence with the brief orchestral introduction
followed by Zaccaria singing the standard opening phrases Vieni,
o Levita, not with the start of the second verse. These
opening phrases at once reveal Ho Jiang Tian as having
a rock-steady sonorous bass voice with a good range of
colour and clear diction. His range of vocal expression
and characterisation is more limited. He fails to plumb
the depths of the King’s despair in Ella giammai m’amo that
starts act 4 of the Italian version of Don Carlos and
normally referred to as Don Carlo (tr.6). Tian does
essay Roger’s rarely heard Grace mon Dieu from Jérusalem,
his role début in Genoa, and Procida’s patriotic aria from
act 3 of Les Vêpres Siciliennes, both in
the original French (trs. 2 and 3). He conveys the contrasting
emotions well, and again with good diction, although in
rather Italianate French as do many other highly eminent
singers. He selects Fiesco’s Il lacerato spirito from Simon
Boccanegra (tr. 5) and Count Rodolpho’s aria from Bellini’s La
Sonnambula (tr. 9) in tribute to his teaching by Carlo
Bergonzi and Gino Bechi. Even if these renditions do not
delve into the emotional depths of the words and situations
being conveyed, as one would hope to encounter in a staged
portrayal, Tian’s strong and steady voiced singing, and
clear enunciation, would be a welcome experience in the
theatre.
Ho
Jiang Tian does not shirk a shot at the Russian language
and makes a good fist of it with enjoyable musical results
in Gremin’s aria from Eugene Onegin (tr. 7). His La
calunnia is relished (tr. 8) whilst Mephistopheles’ serenade is
sung with brio (tr. 10). These represent his debut roles
in Florence and Buenos Aires respectively. Don Diegue’s Il
a fait noblement is a rarity per se let alone
in a recital collection such as this. Tian sang the role
in a nationally televised production from the Washington
National Opera. Placido Domingo, no less, sang the son
he laments with some feeling. No date is given for that
televised production, but I suggest it would be worthwhile
keeping an eye open for any DVD issue derived from it.
Ho Jiang Tian looks a big man physically. If his histrionic
skills match his vocal sonority and steadiness then seeing
him in a staged production with such distinguished colleagues
has potential for much pleasure.
The
accompanying booklet gives all the words with English translation.
The biographical essay on Tian’s upbringing and experiences
in Cultural Revolution China are interesting but only allow
a guess at the singer’s age. If time is on his side, Ho
Jiang Tian could become a stalwart in the basso cantante
fach at some of the best addresses. In the meantime, the
diversity of repertoire on this 2004 recording makes it
an excellent introduction to a singer from a nation and
region that is both rapidly learning to love European opera
and also providing singers who are making an impact on
western stages. This singer and this collection are well
worth hearing.
Robert J Farr
see also review
by Göran Forsling
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Hao Jiang
Tian (bass) 
