Musical risk-taking pays off for Matteo Guidicelli
WITH A PROVOCATIVE but heartfelt message in the liner notes of his self-titled debut album, Matteo Guidicelli quashes the perception that his relationship with girlfriend Sarah Geronimo is shaky.
You can’t blame their fans for speculating, however—because there are unspoken truths in Tinseltown that are deliberately hidden from the prying eyes of the public.
But, Matteo’s revelatory message for his reticent and tightlipped lady love says it all: “To my Sarah, thank you for the indescribable feeling we share together. Thank you for the inspi- ration—for staying by my side and being completely honest with me. I believe challenges are meant to make people better and wiser!”
It’s this willingness to take chances and his awareness of his vocal limitations that make Matteo’s singing better than tolerable.
To be fair, the former musical theater student has sturdier pipes than other actors who want to sing on the side (Enchong Dee, Paulo Avelino, Aljur Abrenica and even Alden Richards)—who, at one time or another, were “brave” enough to release solo recordings.
Matteo’s light baritone is soothing and radio-friendly, especially when he manages to control its shaky edges—as his uneven cover of Rowena Arrieta’s enduring OPM love song, “Ewan,” demonstrates. Blame the song’s adjusted phrasing and its melody’s quirky ebbs and flows for the single’s unflattering sections.
The 25-year-old actor does better in the repertoire’s more upbeat numbers (Jimmy Antiporda’s “Panaginip Kita,” Jasper Lukban’s rousing “Ipapadama Na Lang”)—or any of the songs that benefit from the “youthening” sizzle of producer-arranger KidWolf’s inventive hooks and riffs, particularly Lukban and Nica del Rosario’s hitbound “Kathang-Isip.”
Matteo’s appealing high register is showcased in his winsome revival of John Denver’s “Annie’s Song.” But, he saves the best for last when he performs the album’s final cut, Ogie Alcasid’s “Sa Kanya,” with the impeccable Regine Velasquez, who teaches an instructive lesson in performing duets with inferior singers.
Instead of amping up the volume of her part in the harmony to demonstrate her superior skill, she judiciously keeps it down to avoid overpowering Matteo’s voice.
—Some people call it technique; we call it generosity!