This is a calling card for the young Albanian 
                  tenor Saimir Pirgu. The notes are rather coy on the location 
                  and date of recording but I’ve made a stab at 2004 from a comment 
                  made by Pirgu in the booklet; the recording was made “a long 
                  time ago” when he was twenty-three which, given that he’s now 
                  only twenty-six, is doubtless an Albanian joke. Pirgu has won 
                  some prestigious awards – the Schipa and Caruso competitions 
                  - and has already worked with Claudio Abbado and at the Vienna 
                  State. The disc seems faithfully to reflect his current repertoire 
                  – Mozart, Donizetti, some Verdi, and aria antiche to 
                  leaven the mix. At only forty-six minutes he’s not over-stretched 
                  himself but has clearly confined the programme to arias with 
                  which he feels comfortable. 
                
His Pergolesi is 
                  a touch throaty, and he takes one or two audible gulps thus 
                  rather compromising the legato but the head voice is certainly 
                  well formed. I wondered whether he’d listened to Schipa before 
                  essaying Bononcini. His vibrato can be a touch intrusive though, 
                  and in Il mio tesoro he has a tendency to bark going 
                  high – and the runs are not quite there. But this is certainly 
                  an attractive voice, a lyric tenor of sweetness and ardour. 
                  Clearly directors have marked him down for Mozart but in Un'aura 
                  amorosa, whilst proving promising, he’s guilty of changing 
                  colour too insistently; perhaps we can blame his youth for the 
                  lack of relaxation in the voice. He’s simply trying too hard. 
                   Una furtiva lagrima shows the fine quality of the voice 
                  again, though it also discloses a lack of natural rubato and 
                  a technical frailty; his soft singing is touching but the voice 
                  tends to lose body – this happens in the Massenet as well, though 
                  to a lesser extent. Fortunately there’s a touch of metal in 
                  the lyric voice in his Verdi, which gives it presence.
                
Big things seem 
                  to have been predicted for Pirgu and by now he may have refined 
                  his technique still further, adding stagecraft to deepen his 
                  interpretations. This is a transitional indicator, if I can 
                  put it that way, a voice at the beginning of a career. 
                  
                  Jonathan Woolf