Famed Spanish tenor José Carreras last appeared at Carnegie Hall in 1996, whereas his last operatic engagement at the Metropolitan Opera dates further back in time to a 1987 production of Bizet's Carmen. Certainly this contributed to the palpable atmosphere of frenzied expectation in the packed house on Friday night, although probably most of the spectators could have never predicted the outcome of the evening.

Indeed, to the surprise and joy of many, Mr. Carreras sang a truly wonderful recital that showed many of the gifts and qualities that have made him one of the finest artists to have ever graced the operatic stage. While his singing was at times careful and measured at the beginning, as often occurs in a recital, it grew considerably more confident and passionate by the selection of three exquisite Tosti songs. The program was rather short, but consisted of a well- chosen repertoire that fits the tenor's voice like a glove by limiting its exposure to taxing tessituras and upper register notes. While Carreras' tone may not be "squillante" anymore, his passionate singing and the customary beautiful phrasing were in great evidence throughout the program, which alternated between melancholic melodies and some bright, coloratura songs such as Scarlatti's eloquently rendered "Gia il sole dal gange". As Mr. Carreras gained confidence and he felt secure enough in his chest voice, he courageously attacked some higher notes, as in Denza's splendid "Si tu m'aimais".

After the intermission, Mr. Carreras concentrated on the Spanish repertoire with songs by composers such as Granados, Guastavino, Tata Nacho and Toldra. Here, his commitment and passion were evident in every single musical phrase, made noble by the use of an exquisite legato and a sincere pathos that underlined the songs' deep dramatic undertones. And while he failed to sustain and cover some pianissimo passages, Carreras' voice especially blossomed in "Tengo nostalgia de ti" and "Maig", which left his head voice to a sizeable exposure. But more was in store for the excited audience. Carreras gave an effortless, full-voiced rendition of Leoncavallo's demanding "Serenade Napolitaine" and reached the climax of his performance with the program's last selection, Puccini's "Mentia l'avviso", a profoundly dramatic piece that Carreras sang in a stentorian, incisive manner.

Amidst shouts reminiscent of his golden days at the La Scala Opera House in Milan and requests for encores and probably moved by the public's response, Mr. Carreras came back on stage again and again, singing six encores of beautiful Italian and Spanish songs. Particularly impressive were "A vucchella", sung in a slower tempo and thus transformed into a retrospective reflection of a lover's longing for a kiss, and Tosti's beautiful "Malinconia d'amore", which again showed the power and energy of the golden Carreras.

It was an evening to treasure, and an occasion for a moving tribute to a rare artist that like few others in his field has touched and moved millions by making of his singing and art a reason to fight and overcome life's tragedies.