They are a rarity in the operatic profession, which is subject to so many imponderables, it was once said in a review of Donizetti's "Elisir d'amore" at the Vienna State Opera, "but when they occur, they have an even stronger effect: those overwhelming moments that, as it were, become burn brainstem. When Juan Diego Flórez sings 'Una furtiva lagrima', then this is such a moment - and at the same time it can be seen as proof that an act of the highest artistic sovereignty can turn into pure emotional effect. The Nemorino normal case – that is”, it was read further, “roughly the one where a tenor knows how to pour his heart's troubles into tones more from the beguiling timbre or, more rarely, sounds less insinuating, but about a better one technical tools available. Juan Diego Flórez, on the other hand, combines both – and more: virtuosity and expression are mutually dependent, become one in his singing. The aria, performed da capo after a few minutes of jubilation and then savored even more emotionally, again became a lesson in bel canto that felt and fulfilled.” Juan Diego Flórez in Esterházy Palace – there is almost anything possible as a singer, from the Schubert song to Jacques Offenbach, von Rossini to Puccini and Massenet, not forgetting the popular South American hits on which he accompanies himself on the guitar: a festival of vocal art everywhere.