Andrea Bocelli in Concert at Barclays Center In the popular board game Don't Say It! players draw cards asking them to describe a given term without using the four words most commonly associated with it. If there were such a card for Andrea Bocelli the taboo words would be tenor, superstar, blind and - to judge from the chorus of fan comments on YouTube and Amazon - angelic. That would leave the words pop and classical up for grabs. Neither is quite apt in describing the musical genre inhabited by Mr. Bocelli, who initially rose to fame on the pop charts of his native Italy but has since recorded complete operas in a bid to gain credibility as a classical singer. On Wednesday evening at the Barclays Center in Brooklyn, he presented extensive selections from Gounod's "Roméo et Juliette" (which he recently recorded for Decca) alongside operetta arias, Christmas carols, Neapolitan songs and his best-selling ballads. Mr. Bocelli filled the 13,200 seats available, and his devoted fans responded most warmly to the lighter fare of the second half of the program. He has an evident attachment to the repertory of Neapolitan songs, which call for a natural-sounding voice that is at the same time sufficiently trained to sustain long phrases and power out high notes. His megahits "Con Te Partir" and "The Prayer" are an outgrowth of that tradition, as are, in a way, all the highly melodic and fully orchestrated Italian pop ballads of the last four decades. Mr. Bocelli's ventures into the classical repertory show the limits of his vocal technique. His voice is rough-edged except within a relatively narrow window in his high register, where it produces a bright and pleasing tone. He arrives at his top notes with the singing equivalent of the overhead jerk in weight lifting, where the visible effort is in the heave. Once up there, he can hold high notes for a prodigious length of time. To paper over the difficulties, Mr. Bocelli relies on a sound engineer who adds subtle layers of reverberation and much less subtle levels of amplification. At the beginning of "Amazing Grace," which Mr. Bocelli sang with feeling and generous phrasing, the opening a cappella lines were haloed with a gentle echo. As the orchestra and, eventually, chorus joined in, Mr. Bocelli's microphone was gradually cranked up, allowing his voice to soar through the arena like that of a latter-day technologically crafty angel.