They are the “it” couple of

the opera world, two glamorous, compatible stars. She is Anna Netrebko, the Russian soprano; he is Rolando Villazón, the Mexican tenor. They are not a couple in actual life. But opera administrators, record producers, and others have made them a couple onstage, and on disc. Deutsche Grammophon now gives us a CD of opera duets. The publicity materials show the couple frolicking around on what looks like the front lawn of a chateau. Anna is in a party dress; Rolando is in cool casualwear. One photo shows nothing but their legs and bare feet, playing, touching. These photos could come from the happiest, giddiest honeymoon.

But all is not happy or giddy in Villazón World at the moment. Last month, the tenor canceled all dates, for the foreseeable future. And he had some big dates, too: including the Met and Carnegie Hall. Mr. Villazón seems to be suffering from some kind of vocal distress, or fatigue. Those who love singing should hope for his speedy return. The new CD contains eight tracks, giving us a fine assortment of duets. We begin in the Italian repertory, but in Paris. That is, we have the famous Act I duet from Puccini’s “La Bohème.” The performance is rapturous, glorious, and spacious—very, very spacious . Indeed, some tempos are jarringly and annoyingly slow. Whose decision was that? Everybody’s?

The orchestra, incidentally, is the Staatskapelle Dresden, conducted by Nicola Luisotti.

In the “Bohème” duet, Mr. Villazón is both rich and streamlined, as he so often is. His voice is light — or lightish — but far from insubstantial. And as Mimì, Ms. Netrebko is demure, but no violet, if you know what I mean.

So, enough of that schlocky, soupy Puccini — anybody can sing it. (Not really.) How do these two fare in bel canto?

They next sing the extended scene and duet from Part I of Donizetti’s “Lucia di Lammermoor.” I always find Ms. Netrebko a bit cold in bel canto, and the voice a bit dark — also somewhat cushioned, stifled. That sound could use more light, more transparency.

But I quote something that the soprano Diana Damrau said in an interview with me last month: “Your voice is your voice. You can’t go out and buy another one. You do with it what you can.” And Anna Netrebko, certainly, does a lot with hers.

In the Donizetti, Mr. Villazón conveys tremendous, commendable urgency. But he at times strains a bit, and is not in his best voice. Also, he has a couple shaky moments where pitch is concerned. In general, however, he is successful.

And I should also say that he is rather more Latin than Italianate. In this, he resembles his mentor, Plácido Domingo. Indeed, his singing of this music is almost a copy of Mr. Domingo. But I don’t mean that disparagingly at all — Mr. Domingo was no slouch in this role (Edgardo).

A final word on the Donizetti performance: From both singers, some of the coloratura is a little sluggish, and, from both singers, there is an unwanted heaviness. Donizetti’s music has plenty of built-in drama; you don’t have to make it Verdi.

And speaking of Verdi, the next track brings us “Rigoletto” — the scene and duet from Act I. Our two stars sing this music appreciatively, accurately, and excitingly. Who could ask for anything more?

From this Italian rep, they enter the French rep, beginning with “Nuit d’hyménée” from Gounod’s “Roméo et Juliette.” They were both to sing this opera at the Met later this month. But Mr. Villazón had to cancel, as we know. Ms. Netrebko is still in, partnered by Roberto Alagna.

In “Nuit d’hyménée,” Mr. Villazón is again reminiscent of Mr. Domingo (who was an excellent singer of this music — and who will conduct most of the Met’s performances, by the way). Both Mr. Villazón and Ms. Netrebko achieve the quality of tingling anticipation, so important to this duet. Mr. Villazón is now and then a bit mannered; and Ms. Netrebko could summon more vibrancy — more ecstasy — at the climax. But they both fare well.

And then we have a duet from Bizet’s “Pearl Fishers” — no, not that one, the famous duet between tenor and baritone. This is a duet between soprano and tenor, from Act II. Ms. Netrebko and Mr. Villazón sing it stylishly, artfully, and it may be the best cut on the album.

After that, the Act III duet from Massenet’s “Manon,” which positively explodes with emotion. Throughout this duet, the singers are totally operatic, conveying the ardor we want, without undue craziness.

In the last two tracks of their disc, Ms. Netrebko and Mr. Villazón visit each other’s native territory — at least native linguistic territory. First, Mr. Villazón joins the Russian soprano in a duet from Tchaikovsky’s “Iolanta.” And Ms. Netrebko could not sound more natural here — she and the music fit each other like gloves. Mr. Villazón sings along gamely, and glowingly.

Then the two engage in zarzuela, singing a well-known duet from “Luisa Fernanda” by Federico Moreno Torroba. The performance is both touching and distinguished.

You could say the same about this disc as a whole, really. Anna Netrebko, Rolando Villazón, and the publicity behind them are easy to mock. But proof always resides in the pudding. They are admirable singers, and they have a chemistry, no doubt.

By the way, each is an amateur artist — that is, each doodles around with pencil and paper. And Deutsche Grammophon’s publicity materials feature art from both of them. Mr. Villazón is a cartoonist, ebullient; Ms. Netrebko works in a higher-brow realm. One of her drawings is meant to evoke “The Pearl Fishers.” It is a semi-nude, female — hubba hubba.