Gioacchino Rossini’s Il Barbiere di Siviglia, presented in New
York in 1825, was the first opera in Italian to be heard in the city, just nine
years after its Rome world premiere. That November night at the Park Theatre on
Park Row the audience included Lorenzo Da Ponte, the librettist of Le Nozze di Figaro, among other Mozart
operas. Le Nozze was seen this
season in the Met’s “Live in HD” series and was the subject of a recent
OperaPost. Il Barbiere di Siviglia
will be simulcast on November 22. Both operas are based on comedies by the 18th-century
French playwright Pierre Augustin Caron de Beaumarchais. Il Barbiere has rarely been absent from the Met since its very first
season, 1883-84, Le Nozze since
1939-40.
We focus here on Rosina, the
lead female character of Il Barbiere,
and a rare example of a role in the core repertoire that has been attributed to
either the high or low voice. Rossini wrote Rosina for Geltrude
Righetti, the contralto who also created Angelina in his La Cenerentola. But despite the composer’s intentions, throughout
the 19th century and much of the 20th the part has been held
hostage by sopranos who have had few qualms about raising the key of some
passages, singing the higher octave of others, and interpolating high notes
where none were indicated. In
2006-07, for example, coloratura soprano Diana Damrau was the season’s first
Rosina; mezzo Joyce DiDonato took over later and can be seen in the video of
the simulcast. Here they are in the familiar “Una voce poco fà,” They are both terrific.
Whether performed by high
soprano or mezzo soprano, Rosina is a showcase for prodigious dexterity. The
opera’s scenario incudes a singing lesson for which Rossini provided an aria,
“Contro un cor.” It became common practice, however, for sopranos to depart
from the score and substitute pieces that better showed off their virtuosity. In
1883, the “Letter Scene” simply stole the show. One reviewer of the Met’s first
performance gave his notice over to Marcella Sembrich’s mini-concert during
which the Rosina selected the difficult Proch variations and two German songs, all
of which post-date the character’s playlist. In the course of her sixty-four
subsequent Met Rosinas, a record still unbroken, Sembrich sometimes sang Bellini,
sometimes Chopin or Johann Strauss. In the 1920s, Amelita Galli-Curci picked a
bel canto aria, not necessarily by Rossini, and followed it religiously with
“Home Sweet Home,” the latter chosen to privilege the singer’s legendary legato
and creamy timbre. This is Galli-Curci’s 1927 recording of the old standard.
The Met’s first
experiment with a mezzo Rosina, a
single performance by Jennie Tourel in 1945, left reviewers cold. In the new
production of February 1954, the audience at last heard Rossini’s own aria in the “Lesson Scene,”
but it was sung by coloratura Roberta Peters. Two months later Rosina was
restored to her earthier, mezzo self. The rapturously received Victoria de los
Angeles made an irrefutable case for the lower voice. And mezzos Teresa Berganza
and Marilyn Horne ultimately ended the hegemony of the high coloratura. Since
then, mezzos have taken the advantage, two to one. This Saturday’s Rosina will
be mezzo Isabel Leonard.
In point of fact,
male roles dominate Il Barbiere di
Siviglia. Nonetheless, the jocular baritone, the dulcet-toned tenorino, the
scene-stealing basso buffo and basso profondo have often played second banana, served
up with great gobs of shaving soap, to Rosina, high or low. The
production that will be heard and seen this Saturday was new in 2006-07.
Wittily staged by Bartlett Sher, its cast formed a remarkable ensemble for
which bel canto embellishment was a sign of joy rather than an excuse for vocal
calisthenics. The other role that requires extensive embellishment is that of Count
Almaviva. His “Cessa di più resistere,” restored at the Met only in recent
decades, is a long aria that tests the display of fioritura and the legato of cantilena
and crowns the comic climax. Here is how this coming Saturday’s Almaviva,
Lawrence Brownlee, sang it in concert in 2005.
No comments:
Post a Comment
Please enter your comment here: