Tag Archives: In si barbara

Semiramide Challenge Days #7 #8 #9 and a love letter to American Rossini soprano Lella Cuberli

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Semiramide Challenge Days #7 #8 #9 and a love letter to American Rossini soprano Lella Cuberli

LelaCuberli_Semiramide

American soprano and Rossini interpreter extraordinaire Lella Cuberli as Semiramide

 

I must confess I did not crack the score on days #7 and #8. Today on day #9, I continued to work on the second act aria for Arsace “In si barbara”, and can now sing thru it although not all sections at high speed. In terms of cadenzas for the repeats, I let the ornaments “come” organically. As I start learning the runs and notes and become familiar with the emotions of the character, my brain automatically generates the ornaments; already some of the flourishes have started to  come out by themselves, although I’m not currently writing them down. I read over the runs that are in the Ricci book that are indicated for “In si barbara” by the mezzo Marchisio sister, but they seem dated and or old fashioned, and are not attractive to me.

In general the tessitura is low, the same as my speaking voice almost; its a true “contraltina” aria.  In Rossini’s time it would of been perhaps a quarter of tone lower due to the diapason levels of the time.

I am now listening to the French mezzo soprano Martine Dupuy and Texan born soprano Lella Cuberli’s  second act duet “Ebben, ferisci” that is on YouTube dated 1990 (Paris). Dupuy is higher voiced mezzo, more mellow, perhaps not as incisive or as “macho” as Marilyn Horne, although I love her musicality and expression;  the cavatina section of the duet I must say is extremely musical and in sync; the trills and mesa di voces they do together are astonishingly beautiful.

My plan for the rest of the week is for me to review what I have learned up until now, and finally start vocalizing “Ebben, feresci”; its a beast of a duet and is theatrically at a fevered pitch, as the gloves come off when they arrive at the knowledge of the Oedipal situation, as well as the fact that Semiramide helped kill her husband (Arsace’s father).  The duet reads like some sort of controlled but divinely sounding hysteria, which comes off energy wise as feeling of riding tightly reined in wild  horses…

Cuberli_albumcover

So few years back I bought on a lark a solo CD of Rossini arias with orchestra of Lella Cuberli. I loved it so much that the CD jacket promptly fell apart. I couldn’t get enough of it, especially her Matilde di Shabran rondeau . This CD is now worth almost $80 on Amazon! it doesn’t seem to be available. Here is the clip from said disc on YouTube:

Ms. Cuberli is one of my all time favorite Rossini interpreters; it is astonishing that there is no commercial disc that documents her portrayal of Semiramide. We are lucky though to have numerous live performances that her fans have posted on YouTube for us to enjoy and learn from.  I bought on Ebay practically new LP of her Tancredi, which come to think of it, I will take out tomorrow and give it a listen.

 

 

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