overture | L'Ulisse errante

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The genesis of Italian Romantic Opera

The protagonists of romantic operas live love differently than those of the eighteenth-century repertoire. For them love is a complete emotional enrapture. They share this incontrollable passion with a public who generally has a more ordinary life and now, through this new music drama, can experience a total emotional involvement.

February

The Servant turned Mistress | La Serva Padrona

La Serva Padrona, composed on a libretto by Gennaro Antonio Federico in 1733, is an intermezzo divided into two interludes. It was originally designed to be performed between the acts of the opera seria Il prigioniero superbo by Pergolesi himself, staged at the Teatro San Bartolomeo in Naples on the occasion of the birthday of the empress Elisabeth Christine of Brunswick, wife of the emperor Charles VI and mother of the empress Marie Therese of Augsburg. That very same libretto had been used by almost every composer in Naples and therefore was already popular in a number of successful versions. The definition of believable characters and the solid realism of the short story, revolving almost entirely around the characters’ psychology made of the libretto a success. Pergolesi’s genius turned it into a masterpiece.

July

The Diva and Bagnacavallo | Ebe Stignani

When the diva is a mezzo Romantic opera brought at the centre of the stage sopranos, heroines of every love drama composed by Bellini to Donizetti to Puccini passing through Verdi. Mezzo-sopranos in those days played somehow the part of “Cinderella”, before the meeting with the fairy Godmother. Relegated mostly to a secondary role, they were seldom able to share the popularity and admiration granted to the leading sopranos of their time. Ebe Stignani, one of the most beautiful voices of the last century Take for example Ebe Stignani. Not many know her or who she was, yet she was one of the most beautiful voices and of the finest musicians of the last century. Ebe Stignani and Maria Callas Stignani was a main star at the Teatro Alla Scala while Maria Callas was just starting her cooperation with the Milan stage. Those were Callas’ difficult first years at La Scala, where she debuted in 1950 as a replacement to Renata Tebaldi in Aida. There was certainly a pre-established criticism if not hostility and even a lack of interest for Callas’ vocal talents, that kept growing till 1953 when, after a Norma with Stignani, the Greek soprano left Italy to return […]

March

Bellini | Manifesto of Italian romantic opera

Locked in my room, I recite the characters’ parts passionately and study my voice: its inflections, the tempo and pauses, in short the emphasis a man uses when he’s at the mercy of his passions. I then identify the right tempo and melody in order to allow the singers to express those passions by the means of harmony. I put the ideas on paper, try them on the harpsichord. When I feel the same emotion I wanted to express I judge I have succeeded; if I don’t, I look again for inspiration until I feel I’ve achieved my goal”.

Opera | Useful basic definitions of commonly used terms

Opera: a drama created through music Why are people still interested in opera? What is so intriguing…

Tag Archives: overture

The genesis of Italian Romantic Opera

The Servant turned Mistress | La Serva Padrona

The Diva and Bagnacavallo | Ebe Stignani

Bellini | Manifesto of Italian romantic opera

Opera | Useful basic definitions of commonly used terms

L’Ulisse Errante

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