As we approach the coming year, and reflect on the challenges of the past one, here is a message to lift our spirits from Alidoro ( who embodies Ferretti’s words and Rossini’s music). The text is often overlooked because the music is so sublime and perhaps also because translations are inadequate. This should give us all hope, whether or not we are the “fanciulla” Alidoro adresses. ( click to view)
Là del ciel nell’arcano profondo,
Del poter sull’altissimo trono
Veglia nume signore del mondo
Al cui piè basso mormora il tuono.
Tutto sa tutto vede e non lascia
Nell’ambascia perir la bontà .
Fra la cenere, il pianto, l’affanno
Ei ti vede o fanciulla innocente,
No, no, no, no, non temer.
Si è cambiata la scena :
La tua pena cangiando già va.
Un crescente mormorio
Non ti sembra d’ascoltar.
Ah sta lieta : il cocchio mio
Su cui voli a trionfar!
Tu mi guardi, ti confondi.
Ehi, ragazza, non rispondi?
Sconcertata è la tua testa
E rimbalza qua e là
Come nave in gran tempesta
Che di sotto in su sen va.
Ma già il nembo e terminato
Scintillò serenità .
Often the last window on an advent calendar is quite special. Here we offer you “orchestra” seats for one of the most moving Rossini performances that New York has experienced in recent times. It serves as a reminder that often the best Rossini performances are those that try to get as close to the composer as possible. Big stars, sets, costumes, nor concepts are not needed for works like these.
Thank you to the team at Teatro Nuovo ( in particular Jakob Lehmann )whose commitment to Bel Canto in general and Rossini in particular is a promising light along the path to the next Rossini revival.
We are so lucky to have her sing for us no matter where she is!
William Tell is a long opera some say. And there are parts that are often cut. The following trio, near the end is not only sublime, but helps clarify the drama. Cutting it seems like amputation.
Paganini and Rossini had some interesting “intersections” not the least the premire of Matilde di Shabran. However Paganini’s violin works on themes by Rossini probably did more to make Rossini known than any other contribution. Here is the legendary David Oistrakh playing the Moses Fantasy .
Luxury casting and conducting made for a memorable performance!
The only thing a Rossini opera requires to be a box-office success is singing like this. Thankfully Sam Ramey’s Maometto has been captured ( on film that is).
An opera that has neither history nor legend on its side can still serve to give us psychological insight into characters of the past. Particularly when given an authentic Rossini interpretation as Lella Cuberli does here.