Yesterday was a kind of a nitty gritty day: coloratura learning is a lonely task, its just your butt at that piano, playing harmonies and learning scales. Unlike some of the thru composed music of later decades, hearing your coloratura passages in your head and understanding the scale is super important, but it goes hand in hand with singing those scales and intricate patterns over and over; and then when you really know it (even before) it needs to have emotion or meaning behind it.
I had a inward “gulp” moment (like oh my gosh what did I get myself into) a few days ago when I saw this amazing video of Marilyn Horne singing
“In si barbara” in a concert in Versailles, dated 1985. Its a filn shot as if it were a concert being viewed by Rossini himself, a fabulous fantasy costumed production, check it out:
So I searched on youtube with the words “In si barbara” and Rossini, and this is the only thing that came up. No excerpts of this being done as a solo piece, concert piece, etc… from what I have seen, this is probably the version by which this aria can really be measured; she is hands down amazing; this clip my friends is definitely awe inspiring.
I started yesterday vocalizing the cavatina of this piece super slowly, as well as tackling the bridge section (a pre cabaletta with triplet figures), which happens before the real fireworks begin. The cabaletta has a male chorus like so many of these Rossini rondeaus, where there is sword waving, egging on and general great fun. The scales are not overly hard, but doing them at great speed could be difficult. I’m not there yet with it. Since I want to sing it as a concert piece this fall, I discovered that the old Max Spicker Alto and Soprano aria book (edited by Pattelsons in NYC in the 1980’s, and which seems to be out of print) conveniently has this very same rondeau with the male chorus written out and ready for a solo concert with the pianist! I photocopied it today…
I will be checking out Jennifer Laramore’s recorded version of this aria this week without fail and see what she does, her ornamentation choices as well as tempos. For now I’m plugging away at this aria slowly but surely. Today (day #6), I did not sit at the piano, but I did review and look at the score during a long subway ride to Brooklyn; I’ve gone thru and can hear in my head the first act, including the recitatives (minus the quintet). I will now chip away at the second act, as I come into my second week of the Semiramide challenge 2017. I still have the second act duet with the soprano to contend with. I already have a coaching set up on August 9th and August 11th.
Found this neat “deco” orientalist painting of our favorite sultry and “evil like” sex kitten. If I was to update this opera to the present, it would have to be to one of those 1980’s night time soap operas, like Falcon Crest or Dynasty. Joan Collins would of made a fabulous Queen Semiramide in my opinion…