Professional Documents
Culture Documents
Vicenzo Bellini Documental
Vicenzo Bellini Documental
2013
by
James
Loving
Thompson
An
essay
submitted
in
partial
fulfillment
of
the
requirements
for
the
Doctor
of
Musical
Arts
degree
in
the
Graduate
College
of
The
University
of
Iowa
May
2013
Essay
Supervisor:
Professor
John
Muriello
Copyright
by
JAMES
LOVING
THOMPSON
2013
All
Rights
Reserved
Graduate
College
The
University
of
Iowa
Iowa
City,
Iowa
CERTIFICATE
OF
APPROVAL
D.M.A.
ESSAY
This
is
to
certify
that
the
D.M.A.
essay
of
James
Loving
Thompson
has
been
approved
by
the
Examining
Committee
for
the
essay
requirement
for
the
Doctor
of
Musical
Arts
degree
at
the
May
2013
graduation.
Essay
Committee:
John
Muriello,
Essay
Supervisor
Susan
Sondrol-Jones
Rachel
Joselson
Maurita
Mead
Robert
Bork
For
Maria
ii
ACKNOWLEDGEMENTS
I
would
like
to
offer
my
most
sincere
gratitude
to
my
committee:
Dr.
John
Muriello,
Dr.
Rachel
Joselson,
Dr.
Maurita
Murphy
Mead,
Professor
Susan
Sondrol-Jones,
and
Dr.
Robert
Bork.
Your
commitment
to
this
project
is
very
much
appreciated.
A special thank you goes out to Shari Rhoads, who shares my affection for Bellinis
music
and
with
whom
I
shared
valuable
experiences
both
related
and
unrelated
to
this
topic.
Additionally,
I
would
like
to
thank
Professor
Arne
Seim,
who
was
integral
in
helping
me
to
translate
the
aria
from
Zaira.
To Dr. Jonathan Thull: All I can say is thank you for everything. Over a decade ago, I
started
this
journey
as
your
voice
student,
now
I
am
glad
to
call
you
friend.
I
would
not
be
writing
these
words
without
Dr.
Simon
Estes.
I
simply
cannot
express
my
gratitude
for
all
you
have
done
for
Maria
and
me.
To all my family, especially my mom and dad, thank you for all your support. I
would
also
like
to
thank
Grandma
Thompson,
who
was
instrumental
in
fostering
my
love
of
music.
The one who deserves the most thanks is my beautiful wife, Maria. You amaze me in
every
way.
You
have
been
by
my
side
for
the
entire
journey,
and
this
is
something
for
which
I
am
truly
grateful.
I
love
you
so
much.
iii
TABLE
OF
CONTENTS
LIST
OF
TABLES........................................................................................................................................................vi
LIST
OF
MUSICAL
EXAMPLES...........................................................................................................................vii
INTRODUCTION
........................................................................................................................................................1
CHAPTER
1
A
BRIEF
OUTLINE
OF
A
BRIEF
LIFE.......................................................4
CHAPTER
2
INFORMATION
ON
USING
BELLINIS
SONGS
AS
STEPPING-STONES
TO
HIS
ARIAS
FOR
TENOR......................................11
Bel
canto,
defined.....................................................................................................................................11
Tenore
di
grazia........................................................................................................................................12
Compositional
Elements
of
Style.......................................................................................................15
CHAPTER
3
ADELSON
E
SALVINI
OH!
QUANTE
AMARE
LAGRIME
EVIDENCE
OF
SELF-BORROWING:
MAKING
THE
CONNECTION
BETWEEN
OH!
QUANTE
AMARE
LAGRIME
AND
PER
TE
DI
VANE
LAGRIME
FROM
IL
PIRATA........................................................19
CHAPTER
4
MA,
RENDI
PUR
CONTENTO
AND
ALLUDIR
DEL
PADRE
AFFLITTO
FROM
BIANCA
E
FERNANDO......................................26
CHAPTER
5
QUANDO
VERR
QUEL
D
TO
TU
VEDRAI
LA
SVENTURATA
AND
VAGA
LUNA,
CHE
INARGENTI
TO
NEL
FUROR
DELLE
TEMPESTE
FROM
IL
PIRATA...................................................................................................................................................................32
Career
Firsts...............................................................................................................................................32
Coloratura
and
its
use
in
Bellinis
music........................................................................................33
Nel
furor
delle
tempeste....................................................................................................................37
CHAPTER
6
VANNE,
O
ROSA
FORTUNATA
AND
SERBATO,
A
QUESTO
ACCIARO
FROM
I
CAPULETTI
E
I
MONTECCHI
AND
PER
CHI
MAI,
PER
CHI
PUGNASTI
FROM
ZAIRA........................................................................................................................................................................42
Zaira...............................................................................................................................................................52
CHAPTER
7
BELLA
NICE,
CHE
DAMORE
AND
AH!
PERCH
NON
POSSO
ODIARTI
FROM
LA
SONNAMBULA...............................................................................................................................59
CHAPTER
8
SOGNO
DINFANZIA
AND
MECO
ALLALTAR
DI
VENERE
FROM
NORMA........................................................................................64
iv
CHAPTER
9
LA
RICORDANZA
AND
PER
PIET
BELLIDOL
MIO
TO
A
TE,
O
CARA
FROM
I
PURITANI....71
CHAPTER
10
THE
FREQUENCY
AND
THE
FREEDOM
OF
THE
IMPLEMENTATION
OF
RUBATO,
SUPPORTED
BY
ANALYSES
OF
AVAILABLE
RECORDINGS..79
CONCLUSION..91
BIBLIOGRAPHY.....94
LIST
OF
TABLES
Table
1.
Tessitura
Matrix
for
Ah!
Perche
non
posso
ordiarti.........................................................69
Table
2.
Tessitura
matrix
for
mm.
34-43
of
Bella
Nice,
che
damore..........................................71
Table
3.
Recording
analysis
of
Malinconia,
ninfa
gentile..................................................................88
Table
4.
Recording
analysis
of
Vanne,
o
rosa
fortunata....................................................................89
Table
5.
Recording
analysis
of
Bella
Nice,
che
damore....................................................................90
Table
6.
Recording
analysis
of
Per
pieta,
bel
idol
mio.......................................................................91
Table
7.
Recording
analysis
of
Ma,
rendi
pur
contento.....................................................................91
Table
8.
Recording
analysis
of
Quando
verra
quel
di.........................................................................92
Table
9.
Recording
analysis
of
Dolente
immagine
di
Fille
mia......................................................92
Table
10.
Recording
analysis
of
Vaga
luna,
che
inargenti................................................................93
Table
11.
Recording
analysis
of
La
ricordanza.....................................................................................95
Table
12.
Recording
analysis
of
Sogno
dinfanzia................................................................................96
Table
13.
Recording
analysis
of
Torna,
vezzosa
Fillide.....................................................................96
vi
LIST
OF
MUSICAL
EXAMPLES
Example
1.
Bellini:
Oh!
Quante
amare
lagrime
(Adelson
e
Salvini)
mm.
1-12.....29
Example
2.
Bellini:
Per
te
di
vane
lagrime
(Il
Pirata)
mm.
1-12...30
Example
3.
Bellini:
La
ricordanza
mm.
67-69...31
Example
4.
Bellini:
Ma,
rendi
pur
contento
mm.
5-7....35
Example
5.
Bellini:
Alludir
del
padre
afflitto
(Bianca
e
Fernando)
mm.
7-11.....35
Example
6.
Bellini:
Ma,
rendi
pur
contento
m.
21...36
Example
7.
Bellini:
Alludir
del
padre
afllitto
(Bianca
e
Fernando)
m.
15....37
Example
8.
Bellini:
Alludir
del
padre
afllitto
(Bianca
e
Fernando)
m.
30........37
Example
9.
Bellini:
Ma,
rendi
pur
contento
m.
24...39
Example
10.
Bellini
Alludir
del
padre
afflitto
(Bianca
e
Fernando)
m.
14................................39
Example
11.
Bellini:
Quando
verr
quel
dm.
25..................................................................................42
Example
12.
Bellini:
Tu
vedrai
la
sventurata
(Il
Pirata)
m.
19.......................................................42
Example
13.
Bellini:
Quando
verr
quel
d
m.
7...................................................................................45
Example
14.
Bellini:
Tu
vedrai
la
sventurata
(Il
Pirata)
mm.
78-79...........................................45
Example
15.
Bellini:
Nel
furor
delle
tempeste
(Il
Pirata)
mm.
40-41...........................................46
Example
16.
Bellini:
Quando
verr
quel
d
m.
22.................................................................................46
Example
17.
Bellini:
Vaga
luna,
che
inargenti
mm.
19-21................................................................48
Example
18.
Bellini:
Nel
furor
delle
tempese
(Il
Pirata)
mm.
43-50...........................................49
Example
19.
Bellini:
Vanne,
o
rosa
fortunata
mm.
1-10....................................................................51
Example
20.
Bellini:
serbato,
a
questo
acciaro
(I
Capuleti
e
i
Montecchi)
mm.
1-4...........52
vii
viii
Example
43.
Bellini:
Vanne,
o
rosa
fortunata
mm.
1-5......................................................................89
Example
44.
Bellini:
Dolente
immagine,
di
Fille
mia
m.
36............................................................93
Example
45.
Bellini:
Vaga
luna,
che
inargenti
m.
33...........................................................................94
Example
46.
Bellini:
La
ricordanza
m.
15................................................................................................95
ix
1
INTRODUCTION
Elio
Battaglia,
editor
of
the
Bellini
song
collection
Canzoni
per
Voce
e
Pianoforte
(Ricordi,
2004),
states
in
the
preface
When
studied
and
thoroughly
explored
in
close
collaboration
with
ones
teacher,
they
[the
songs]
provide
the
student
with
a
valid
preliminary
background
for
understanding
Bellinis
operas
This
song
collection
also
features
a
forward
from
Dietrich
Fischer-Dieskau,
in
which
he
endorses
Battaglias
statement.1
Soo
Yeon
Kim,
in
her
1992
doctoral
dissertation,
The
Chamber
Songs
of
Rossini,
Bellini,
and
Donizetti,
writes,
Singing
and
learning
these
songs
can
also
be
excellent
preparation
for
the
study
and
performance
of
Bellini
operatic
roles.2
There
is
clearly
agreement
that
Bellinis
songs
provide
the
singer
an
introduction
to
his
operatic
arias.
There
are,
however,
no
extensive
comparisons
of
Bellinis
songs
and
arias
that
substantiate
these
claims.
Outlining
the
elements
that
support
these
assertions
is
the
task
of
this
doctoral
essay.
Prefacing
each
song
in
the
Canzone
per
Voce
e
Pianoforte
is
commentary
from
Battaglia,
in
which
he
outlines
aspects
of
each
piece
that
warrant
particular
attention.
These
include,
but
are
not
limited
to,
technically
challenging
melodic
material,
difficult
intervallic
leaps,
vocal
ornamentation,
and
text
declamation.
This
essay
will
use
Battaglias
1
Bellini,
Vincenzo.
Canzoni
per
Voce
e
Pianoforte.
Milano:
Ricordi,
2004.
2
Kim,
Soo
Yeon.
The
Chamber
Songs
of
Rossini,
Bellini,
and
Donizetti.
(DMA
thesis,
2
Kim,
Soo
Yeon.
The
Chamber
Songs
of
Rossini,
Bellini,
and
Donizetti.
(DMA
thesis,
University
of
Illinois
at
Urbana-Champaign,
1992),
p.
65.
2
art
song
commentary
as
a
starting
point
for
the
study
of
Bellinis
operatic
arias
for
the
tenor
voice.
The
methodology
for
this
essay
is
to
pair
selected
Bellinian
operatic
tenor
arias
with
at
least
one
of
the
composers
art
songs,
and,
using
Battaglias
commentary
as
a
guide,
explore
the
reasons
why
these
songs
cultivate
proficiency
in
a
particular
aria.
Battaglias
commentary
addresses
text,
pedagogical
recommendations,
and
occasionally,
both
of
these.
As
such,
the
reader
will
note
that
throughout
this
essay,
sometimes
the
best
possible
pedagogical
connection
between
song
and
aria
is
made
by
textual
comparison.
Sometimes,
pedagogical
connections
are
made
through
exploration
of
vocal
technique.
Further
still,
both
text
and
vocal
technique
are
referenced.
By
means
of
thoughtful
score
study
and
analyses,
I
made
these
decisions
based
on
the
most
direct
and
applicable
similarities
between
song
and
aria.
While
relatively
few
in
number,
Bellinis
Romaze
da
camera
provide
an
insightful
glimpse
to
his
arias
for
tenor.
A
significant
reason
for
this
is
that
Bellini
composed
many
of
the
art
songs
simultaneously
with
his
operas,
and
so
compositional
elements
of
style
between
the
genres
are
shared.
Additionally,
Bellini
was
intentional
in
his
song
composition
in
that
the
songs
were
often
composed
as
sketches
for
his
arias.
Therefore,
these
songs
should
be
regarded
as
serious
pedagogical
resources.3
An
added
benefit
of
this
essay
is
that
to
date,
there
is
no
literature
that
specifically
addresses
the
art
songs
in
detail.
There
are
24
Bellinian
art
songs
that
are
readily
available
for
study
and
performance.
Of
these,
only
the
songs
that
feature
male
text
were
selected
for
further
comparison
to
the
arias.
The
rationale
for
this
is
centered
in
the
attempt
to
show
the
3
Bellini,
Vincenzo.
Canzoni
per
Voce
e
Pianoforte.
(Milano:
Ricordi,
2004),
p.
10.
3
closest
possible
connections
between
art
song
and
tenor
aria.
These
remaining
male
songs
underwent
supplemental
analyses,
and
the
songs
that
displayed
the
closest
similarities
to
the
operatic
arias
were
ultimately
selected
for
use
in
this
essay.
The
final
song
selections
and
their
corresponding
arias
were
made
at
my
discretion.
The
reader
should
note
that
there
are
numerous
methods
by
which
the
songs
and
the
arias
can
be
compared,
and
these
subsequent
pages
highlight
a
finite
number
of
possible
methods.
It
is
my
hope
that
this
essay
facilitates
additional
interest
in
this
subject,
thereby
encouraging
the
reader
to
likewise
draw
additional
pedagogical
connections
that
can
assist
in
the
teaching
and
performance
of
these
pieces.
Moreover,
the
performance
concepts
that
are
outlined
in
this
document
occur
in
situations
in
addition
to
the
specific
cited
examples.
As
a
result,
the
reader
is
encouraged
to
apply
the
ideas
and
concepts
of
the
featured
material
to
all
of
Bellinis
art
songs
and
arias.
4
CHAPTER
1:
A
BRIEF
OUTLINE
OF
A
BRIEF
LIFE
Vincenzo
Bellini
was
born
in
Catania
on
the
island
of
Sicily
in
1801.
He
was
the
first
of
seven
children
born
to
Rosario
Bellini
(17761840)
and
Agata
Ferlito
(17791842).
The
Bellini
family
had
strong
musical
roots,
as
his
grandfather,
Vincenzo
Tobia
Bellini
(1744
1829)
was
a
student
at
the
Conservatorio
di
S
Onofrio
a
Capuana
in
Naples
and
later
maintained
a
successful
career
as
an
accomplished
organist,
composer,
and
teacher
of
music.
Rosario
Bellini
was
a
maestro
di
cappella
and
music
educator.
It
was
reported,
however,
that
his
career
did
not
reach
the
level
of
success
and
popularity
as
that
of
his
father,
Vincenzo
Tobia.4
Much of the information available about Vincenzo Bellinis youth is found at the
Under the tutelage of his grandfather Vincenzo Tobia, Bellini wrote his first
composition
at
six
years
old,
and
became
a
formal
student
of
composition
at
age
seven.
During
his
youth,
Bellinis
compositions,
mostly
sacred,
were
often
performed
locally.
Although
Bellini
was
not
regarded
as
a
literary
scholar
or
an
accomplished
academic,
it
is
4
Mary
Ann
Smart,
Bellini,
Vincenzo.
Grove
Music
Online,
www.oxfordmusiconline.com,
accessed
28
July,
2011.
5
Ibid.
5
reported
that
he
received
an
intense
and
liberal
education,
which
included
classic
and
modern
languages,
Italian
literature,
and
philosophy.
6
In 1819, Bellini earned a scholarship to attend the Real Collegio di Musica in Naples.
He
studied
traditional
curriculum
for
several
years
with
Giovanni
Furno
and
Giacomo
Tritt.
In
1822,
Niccol
Zingarelli
began
teaching
Bellini
harmony,
counterpoint,
and
methods
of
composing
solfeggi.
Hundreds
of
these
wordless
exercises
were
completed,
and
may
have
had
an
impact
on
his
mature
melodic
compositional
style,
but
sadly
none
of
them
survive
today.
Bellinis
keen
ability
for
crafting
melodic
material
was
cultivated
by
Girolamo
Crescentini,
with
whom
he
studied
the
theoretical
aspects
of
singing.7
straightforward
texts
and
simple
melodies.
The
conservatory
rejected
the
modern
compositions
of
local
contemporaries
like
Rossini,
whose
works
were
being
performed
in
Neapolitan
theaters
at
the
time.
Bellini
accepted
and
practiced
the
conservative
Neapolitan
style,
and
impressed
the
faculty
at
the
conservatory.
Bellini
remained
interested
in
Rossinis
work,
however,
and
regularly
attended
Neapolitan
performances
of
Rossinis
works.8
Upon graduation in 1825, Bellini was awarded the opportunity to present an opera
for
the
schools
teatrino.
The
work
that
emerged
was
Adelson
e
Salvini,
presented
by
students
of
the
conservatory.
The
original,
all
male
cast
also
presented
the
three
female
roles,
which
include
a
soprano
and
two
mezzo-sopranos.
The
work
gained
enough
6
Ibid.
7
Ibid.
8
Ibid.
6
popularity
that
it
was
performed
on
successive
Sundays,
though
it
is
not
clear
how
many.
Bellini
himself
was
pleased
enough
with
the
opera
that
he
gave
it
several
revisions
in
subsequent
years,
although
it
never
received
a
professional
performance
until
1992.9
May 1826 saw the success of Bianca e Fernando at the Teatro San Carlos in Naples.
The
opera
had
to
be
given
under
the
name
of
Bianca
e
Gernando
due
to
the
death
of
King
Ferdinand
I
of
Naples.
Like
Adelson
e
Salvini,
Bianca
e
Fernando
underwent
revisions
in
subsequent
years.
The success of Bellinis first two operas led to a commission from La Scala in Milan,
the
result
of
which
was
Il
Pirata.
This
opera
marked
the
first
opera
that
included
collaboration
with
Felice
Romani,
the
resident
librettist
at
La
Scala,
and
Giovanni
Rubini,
one
of
the
most
acclaimed
tenors
of
the
day.
The
operas
that
featured
both
Romani
and
Rubini
were
unquestionably
Bellinis
most
popular
and
so
they
remain
today.
Following on the heels of Il Pirata, Bellinis next opera, La straniera, was a success at
La
Scala.
He
followed
this
success
with
the
May
1829
failure
of
Zaira
at
the
Teatro
Ducale
in
Parma.
Zaira
was
the
inaugural
performance
at
the
Teatro
Ducale.
Bellini
was
not
the
theaters
first
choice
of
composer,
and
knowledge
of
this
may
have
contributed
to
his
lack
of
interest
in
the
project.10
Also
contributing
to
his
lack
of
interest
was
the
fact
that
Bellini
had
recently
triumphed
at
the
more
prestigious
La
Scala,
and
so
his
attention
was
fixed
upon
securing
commissions
from
more
prominent
organizations.11
1829
also
witnessed
9
Willier,
Stephen
Ace,
Vincenzo
Bellini:
A
Guide
to
Research(Florence,
KY:
Routledge,
2009),
2.
10
Maguire,
Simon
and
Forbes,
Elizabeth.
Zaira.
Grove
Music
Online,
www.oxfordmusiconline.com,
accessed
3
September,
2012.
11
Ibid.
7
the
publication
of
Sei
ariette
by
the
Milanese
publisher
Ricordi.
Sei
ariette
is
the
largest
collected
set
of
art
songs
that
the
composer
ever
produced.
Bellini rebounded from the failure of Zaira with the success of I Capuleti e i
Montecchi
at
La
Fenice
in
Venice,
the
libretto
of
which
had
already
been
set
to
Nicolai
Vaccais
1825
opera
Giulietta
e
Romeo.12
With
the
exception
of
Zaira,
the
three
operas
of
1829-1830
were
well-received,
and
established
Bellini
as
one
of
the
premier
Italian
composers
of
the
time.
In March 1831, La sonnambula saw the return of Giovanni Rubini. The opera
achieved
positive
reception
at
the
Teatro
Carcano
in
Milan.
Late
December
of
1831
was
the
premier
of
Norma,
which
by
Bellinis
own
admission
was
a
Fiasco,
fiasco,
solenne
fiasco!13
The
inauspicious
debut
of
the
opera
was
due
in
part
to
the
progressive
formal
structure
of
the
Act
I
finale.
The
act
ends
with
a
trio
instead
of
a
larger
and
more
complex
ensemble,
which
was
conventional
of
the
era.14
Norma
has
since
become
one
of
Bellinis
most
beloved
operas,
proving
that
the
unpopular
debut
of
the
opera
was
not
a
true
indication
of
the
worth
of
the
opera
as
a
whole.
Rather,
this
is
a
testament
to
Bellinis
innovative
aesthetics,
which
were
recognized
after
his
death.
March 1833 was the debut and failure of Beatrice di Tenda, performed at Venices La
Fenice
opera
house.
The
piece
was
behind
schedule
in
its
premier,
reinforcing
Bellinis
reputation
of
being
a
slow
worker.
Romani
must
shoulder
some
blame
for
the
seemingly
12
Julian
Budden.
Vaccai,
Nicolai.
Grove
Music
Online,
www.oxfordmusiconline.com,
accessed
12
March,
2012.
13
Ibid,
3.
14
Maguire,
Simon
and
Forbes,
Elizabeth.
Norma.
Grove
Music
Online,
www.oxfordmusiconline.com,
accessed
3
September,
2012.
8
lethargic
pace
of
Bellinis
compositional
output.
Romani
was
late
in
getting
the
libretto
to
Bellini,
which
was
not
unusual
because
the
librettist
worked
through
numerous
drafts
and
revisions
of
his
libretti.15
Composer
and
librettist
blamed
one
another
for
the
tardy
debut
and
failure
of
Beatrice
di
Tenda,
which
ultimately
ended
in
the
splitting
of
their
partnership.
In April 1833, Bellini left Italy and headed to London, first stopping in Paris, in
hopes
of
securing
a
commission
from
the
Paris
Opra.
The
ensuing
meeting
between
Bellini
and
representatives
from
the
Opra
was
the
first
in
a
series
of
unsuccessful
negotiations
that
occurred
between
1833
and
Bellinis
death
in
1835.
Among
other
factors,
Bellini
demanded
a
fee
equal
to
Rossinis
current
earnings.
It
seems
that
Bellinis
demands
were
cost
prohibitive,
as
a
settlement
was
never
reached.
In
August
1833,
Bellini
left
London
and
returned
to
Paris
after
having
conducted
Il
Pirata,
Norma,
and
I
Capuleti
e
i
Montecchi
to
moderate
success
at
the
Kings
Theater.16
In
Paris,
Bellini
received
a
commission
from
the
Thtre-Italien.
New
beginnings
in
Paris
and
the
new
commission
prompted
Bellini
to
begin
work
on
I
Puritani.
This
time,
Bellini
had
a
new
librettist
in
Italian
expatriate
Count
Carlo
Pepoli,
but
had
the
faithful
services
of
Rubini.
Work
on
I
Puritani
commenced
in
1834
and
the
opera
was
heard
for
the
first
time
in
January
1835,
and
was
a
sensation.17
In August of 1835 Bellini relapsed with a bout of amoebic dysentery that had
plagued
him
in
1830.
No
doubt
suffering,
Bellini
composed
his
final
art
song,
Le
souvenir
15
Smart,
Mary
Ann.
In
Praise
of
Convention:
Formula
and
Experiment
in
Bellinis
Self-
Borrowings.
Journal
of
the
American
Musicological
Society
100/1
(Spring
2000):
25-68.
16
Willier,
Stephen
Ace,
Vincenzo
Bellini:
A
Guide
to
Research(Florence,
KY:
Routledge,
2009),
5.
17
Ibid,
6.
9
prsent
celeste,
on
August
16,
1835.18
Bellini
used
an
anonymous
French
text
for
his
final
vocal
composition,
in
an
attempt
to
embrace
the
French
culture
and
learn
the
language.
Alas,
his
skills
with
French
reportedly
left
much
to
be
desired.
The
melodic
and
harmonic
content
is
characteristically
Italianate,
and
quintessentially
Bellini.
Upon
examination
of
the
text
setting,
however,
one
realizes
Bellinis
deficiencies
of
the
French
language.
For
example,
words
such
as
et
(and)
occur
on
strong
beats,
when
they
are
arguably
best
suited
for
weak
beat
pick-up
notes.
In
the
final
line
of
text,
which
reads
aprs
tous
ceux
qu'on
a
perdu
(after
all
those
we
have
lost),
Bellini
chooses
to
set
the
top
note
(A4)
on
a
relatively
less
significant
word
a
(have).
Perhaps
it
would
have
been
more
suitable
to
set
the
word
perdu
(lost)
on
the
top
note,
as
this
word
combined
with
the
climactic
moment
would
offer
an
abundance
of
dramatic
opportunities
to
enhance
performance.
Moreover,
in
singing
a
word
with
the
significance
of
perdu,
the
tenor
would
have
the
opportunity
to
experiment
with
varying
vocal
colors.
The
final
vocal
composition
is
only
25
measures
of
music
and
four
lines
of
text;
the
brevity
of
his
life
matched
by
the
brevity
of
the
final
piece.
Bellini died on September 23, 1835 in Puteaux, a city just outside of Paris, France.
10
Paris,
where
they
remained
for
41
years,
until
French
and
Italian
officials
negotiated
Bellinis
return
to
the
Cathedral
in
Catania.
20
Today, Bellinis childhood home is the site of a museum that is devoted to upholding
the
composers
legacy.
Many
important
relics
from
Bellinis
life
are
now
housed
there,
including
keyboards
and
original
manuscripts
of
his
works.
Also
in
Catania
is
the
Teatro
Massimo
Bellini,
which
stages
Bellinian
operas
as
well
as
operas
from
other
composers
and
genres.
20
Ibid,
6.
11
CHAPTER
2
INFORMATION
ON
USING
BELLINIS
SONGS
AS
STEPPING-STONES
TO
HIS
ARIAS
FOR
TENOR
smooth
melodic
material
in
his
arias.
When
translated
to
English,
the
term
bel
canto
means
beautiful
singing.
Throughout
this
document,
the
term
bel
canto
will
be
used
to
explain
a
vocal
technique,
a
musical
style,
and
a
genre
of
music
that
was
born
out
of
early
nineteenth-
century
Italy.
As
bel
canto
relates
specifically
to
the
delivery
of
Bellinis
vocal
music,
the
term
is
perhaps
best
defined
by
James
Stark,
author
of
Bel
Canto:
A
History
of
Vocal
Pedagogy.
Stark
explains
that
bel
canto
vocal
production
is
the
interaction
of
the
glottis,
the
vocal
tract,
and
the
respiratory
system.21
These
elements
combine
in
such
a
way
that
the
singer
is
able
to
produce
evenness
of
register,
flexibility
of
pitch
and
intensity,
and
pleasing
vibrato.
Moreover,
these
interactions
allow
the
singer
to
develop
versatility
with
various
techniques
and
styles,
including
legato,
portamento,
dynamic
variance,
floridity,
vocal
ornamentation,
and
glottal
articulation.22
These
attributes
of
vocal
composition
are
prevalent
in
both
the
art
songs
and
arias.
Bellini
epitomizes
bel
canto,
which
requires
the
singer
to
produce
perfect
legato
throughout
the
whole
of
the
range.
In
addition,
bel
canto
singers
must
produce
a
top
21
Stark,
James.
Bel
Canto:
A
History
of
Vocal
Pedagogy
(Toronto:
University
of
Toronto
Press,
2003),
section
7.
22
Ibid,
section
7.
12
register
that
is
focused
and
resonant.
Finally,
they
must
have
a
flexible
and
agile
voice.23
Mastering
the
bel
canto
aspects
of
vocal
performance
ensures
versatility
in
the
voice
and
will
ensure
that
the
singer
is
prepared
to
study
vocal
repertoire
from
not
only
the
bel
canto
period,
but
also
repertoire
from
other
genres,
styles,
and
languages.24
Tenore
di
grazia
The
components
of
Bellinis
art
songs
and
arias
require
the
tenor
to
fuse
vocal
lyricism
and
agility
into
a
hybrid
tenor,
typically
classified
as
the
tenore
di
grazia.
The
term
tenore
di
grazia
is
used
to
describe
a
tenor
whose
voice
is
graceful,
elegant,
agile,
and
warm,
and
yet
is
simultaneously
virile
and
resonant.25
The
term
tenore
di
grazia
(synonymous
with
tenore
leggiero)
is
a
specific
fach
most
closely
associated
with
the
bel
canto
genre.
The
term
was
coined
retrospectively
circa
1860,
when
vocal
compositions
of
the
day
demanded
increasingly
dramatic
voices.26
The
repertoire
of
the
tenore
di
grazia
consists
of
melodic
material
rich
in
coloratura
passages
and
vocal
ornamentations.
As
a
result,
vocal
grace
and
flexibility
are
required
of
him
more
than
any
other
type
of
tenor.27
These
vocal
traits
are
a
necessity
for
the
ideal
23
Owen
Jander
and
Ellen
T.
Harris,
Bel
Canto,
in
Grove
Music
Online,
www.oxfordmusiconline.com,
accessed
12
March,
2012.
24
Franzone,
Margaret
Smith,
The
Revival
of
Bel
Canto
and
its
Relevance
to
Contemporary
Teaching
and
Performance,
(Ph.D
diss.,
Columbia
University,
1969),
2.
25
Miller,
Richard.
Training
Tenor
Voices.
(New
York:
Schirmer,
1993),
9;
106.
26
Ibid,
87.
27
Ibid,
9.
13
Bellinian
tenor,
as
much
of
the
repertoire
consists
of
material
that
requires
agility
and
flexibility
of
onsets.
The
lyric
tenor
and
the
tenore
di
grazia
are
related
voice
classifications
in
that
both
of
the
fachs
must
produce
evenness
of
tone
and
melodic
line.28
There
are,
however,
several
key
differences
between
the
two
fachs:
l.
The
tenore
di
grazia
possesses
a
lighter
instrument
than
the
lyric
tenor.29
2.
The
passaggi
points
for
the
tenore
di
grazia
are
between
E4
and
A4
and
the
passaggi
points
for
the
lyric
tenor
are
D4
and
G4.30
This
supports
the
assertion
that
the
lyric
tenor
possesses
a
heavier
voice
than
does
the
tenore
di
grazia.
3.
The
timbre
of
the
tenore
di
grazia
is
distinguished
by
morbidezza
(sweetness),
while
the
timbre
of
the
lyric
tenor
is
warm,
exciting,
and
vital.31
4.
Because
of
his
increased
vocal
weight
and
dramatic
qualities,
the
lyric
tenor
performs
standard
operatic
literature,
including
Tamino,
(Die
Zauberflte),
Alfredo
(La
Traviata),
and
Rodolfo
(La
Bohme),
while
the
tenore
di
grazia
typically
sings
lighter
Mozart,
Donizetti,
Rossini,
and
Bellini
roles.32
As
previously
mentioned,
the
tenore
di
grazia
has
repertoire
that
is
rich
in
coloratura,
while
the
lyric
tenors
repertoire
has
comparatively
little.
28
J.B.
Steane,
Lyric
Tenor,
in
Grove
Music
Online,
www.oxfordmusiconline.com,
accessed
15
July,
2011.
29
Ibid.
30
Miller,
Richard.
Training
Tenor
Voices.
(New
York:
Schirmer,
1993),
11.
31
Ibid,
10-11.
32
Ibid,
10-11.
14
The
emergence
of
the
tenore
di
grazia
happened
out
of
necessity.
Mozarts
domination
of
late
eighteenth-century
Italian
opera
saw
his
tenors
as
either
distinctly
secondary,
as
in
the
case
of
Don
Ottavio
(Don
Giovanni),
or
comic
characters
(Basilio;
Le
nozze
di
Figaro).33
Bellinis
tenors
are
the
romantic
leading
characters,
and
a
voice
of
substantial
size,
resonance,
and
warmth
is
needed
for
these
roles.
In
addition,
operatic
orchestration
became
denser
during
the
bel
canto
era,
and
the
tenor
needed
to
be
able
to
contend
with
it.
Still,
the
tenor
could
not
sacrifice
agility
and
flexibility.
As
a
result,
the
tenore
di
grazia
became
a
necessary
voice
quality
for
Bellinis
tenors.
Bellinis
favorite
and
most
loyal
tenor
was
Giovanni
Battista
Rubini.
Rubini
created
the
tenor
role
in
four
of
Bellinis
ten
mature
operas.
For
this
reason,
we
understand
Rubinis
voice
to
embody
Bellinis
desired
qualities
of
a
bel
canto
tenor.
His
voice
was
no
doubt
agile
and
flexible
we
know
this
to
be
true
due
to
the
nature
of
each
composition.
Rubini
also
possessed
an
upper
range
extension
unsurpassed
by
any
tenor
of
the
day,
the
evidence
of
which
is
ascertained
by
the
top
F5
from
I
Puritani.
His
voice
was
described
as
beautiful
and
romantic,
but
the
true
testament
to
his
artistry
is
his
reported
expressivity
in
phrasing.34
Bellinis
operatic
tenors
are
described
as
the
impulsive,
strong-willed
characters
that
we
now
associate
with
Verdi
tenors.35
Apart
from
Bellinis
tenors,
the
typical
operatic
33
Fallows,
David,
et
al.
Tenor,
in
Grove
Music
Online,
www.oxfordmusiconline.com,
accessed
9
September,
2012.
34
B.
Brewer:
Rubini,
the
King
of
Tenors,
Opera,
(1979),
3269
35 Greenspan, Charlotte Joyce, The Operas of Vincenzo Bellini, (Ph.D diss., University of
15
tenor
character
of
the
era
was
gentle
and
sensitive.36
Because
of
the
dramatic
dispositions
of
Bellinis
operatic
tenors,
the
Bellinian
tenor
must
possess
the
ability
to
heighten
the
vocal
intensity
in
order
to
convey
the
drama.37.
This
lyric
quality
of
the
tenore
di
grazia
allows
the
singer
to
convey
the
dramatic
intensities.
Additionally,
the
characteristic
of
vocal
flexibility
allows
for
the
singer
to
negotiate
the
coloratura
and
ornamentations
that
are
found
in
both
the
art
songs
and
arias.
One of the most distinguishing features of Bellinian vocal music is the quality of his
melodic material. Bellini was a master at composing melodies. Richard Wagner noted this
36
Ibid,
31.
37
Ibid,
31.
16
feature
of
Bellinis
music,
and
published
periodical
articles
that
commented
on
Bellinis
knack
for
crafting
universally
pleasing
melodies.38
Bellini did not transfer his art song melodies directly to his tenor arias. There are
other
similarities
between
the
arias
and
art
songs
in
addition
to
the
melodic
content.
The
structures
of
the
two
vocal
genres
also
share
common
bonds.
Bellini
composed
his
tenor
arias
using
a
variety
of
formal
structures.
Among
his
most
basic
is
the
strophic
form,
as
is
used
in
Nel
furor
delle
tempeste
from
Il
Pirata.
Bellini
employs
strophic
structure
in
both
his
art
songs
and
his
arias.
Perhaps
the
most
famous
example
of
a
Bellinian
strophic
art
song
is
Vaga
luna,
che
inargenti.
In
the
case
of
other
arias
such
as
serbato,
a
questo
acciaro
from
I
Capuleti
e
I
Montecchi,
Bellini
uses
the
standard
ternary
form,
which
aligns
structurally
to
numerous
art
songs,
including
Ma,
rendi
pur
contento.
Moreover,
Bellini
composed
both
art
songs
and
arias
that
included
multiple
developmental
sections,
as
is
the
case
with
the
art
song
Torna,
vezzosa
Fillide
and
the
aria
Meco
all'altar
di
Venere
from
Norma.
It is reasonable to conclude that Bellini used specific formal structures to satisfy the
dramatic
intentions
of
a
piece
or
an
aria.
Each
form
poses
challenges
for
the
singer,
which
range
from
varying
vocal
timbre
to
convey
the
text
of
each
strophe,
to
possessing
the
ability
to
negotiate
several
layers
of
dramatic
intent,
as
is
the
case
with
pieces
that
contain
multiple
sections
of
development.
Understanding
the
relationship
between
formal
structure
and
the
manner
of
vocal
delivery
is
an
integral
component
of
a
proficient
performance.
38
Wagner,
Richard.
Wagner
on
Bellini.
The
Musical
Times
and
Singing
Class
Circular.
Vol.
27,
No.
516
(Feb.
1,
1886),
pp.
66-68
17
A tenor who uses Bellinis art songs as a means of training his voice to undertake the
operatic
repertoire
will
develop
all
of
the
stylistic
and
dramatic
tools
necessary
for
optimal
performance,
but
one
major
difference
between
the
two
vocal
genres
lies
in
the
aspect
of
vocal
range.
Bellinis
arias
for
tenor
require
the
singer
to
sustain
a
high
tessitura
and
to
ascend
to
the
extreme
upper
range
of
the
voice
classification.
Many
of
the
arias
reach
C5;
A
te,
o
cara
from
I
Puritani
reaches
C5,
Nel
furor
delle
tempeste
and
Per
te
di
Vane
lagrime,
both
from
Il
Pirata,
each
climb
to
D5,
and
Oh!
Quante
amare
lagrime
from
Adelson
e
Salvini
ascends
to
E5.
Credeasi,
misera
from
I
Puritani,
which
is
not
an
extractable
aria
and
therefore
lies
outside
of
the
spectrum
of
this
document,
is
nonetheless
notable
as
it
demands
the
note
F5.
While still vocally demanding, the art song repertory reaches a maximum upper
pitch
of
B4,
found
in
the
art
song
La
ricordanza.
Several
other
art
songs
ascend
to
A4.
It
is
still
possible,
using
the
art
songs,
to
develop
the
technical
strategy
needed
to
reach
upper
range
notes
of
the
arias,
as
the
technique
required
to
achieve
A4
and
beyond
is
largely
the
same.
access
the
upper
range,
and
so
there
is
extreme
value
in
its
study.
For
the
tenore
di
grazia,
the
zona
di
passaggio,
or
the
midway
region
between
the
chest
(voce
di
petto)
and
the
head
voice
(voce
di
testa),
lies
between
E4
and
A4.39
Therefore,
the
A4
is
the
pitch
that
is
responsible
for
the
transition
out
of
the
passaggio,
which
puts
the
B4
as
fully
within
the
spectrum
of
upper
range
vocal
production.
As
such,
the
method
used
to
access
B4,
found
in
La
ricordanza,
is
largely
the
same
method
of
production
used
to
access
all
of
the
notes
39
Miller,
Richard,
Training
Tenor
Voices
(New
York:
Schirmer,
1993),
9.
18
beyond
this
pitch.
These
are
pitches
that
the
Bellinian
operatic
tenor
will
encounter
with
frequency.
Security of the top register is of course a vital necessity for any tenor, but equally
necessary
for
the
Bellinian
tenor
is
the
ability
to
negotiate
the
coloratura.
Several
of
the
art
songs
include
coloratura,
but
do
not
require
the
tenor
to
sustain
this
technique
for
the
duration
that
the
arias
require.
Agility
and
flexibility
of
vocal
production
are
some
of
the
necessary
elements
associated
with
Bellinian
and
other
bel
canto
repertoire.
Perfecting
the
shorter
coloratura
passages
from
the
art
songs
will
allow
the
tenor
to
translate
the
technique
directly
to
the
arias.
This,
and
all
previously
mentioned
criteria
make
the
art
songs
perfect
pedagogical
tools
for
the
preparation
of
the
arias.
19
CHAPTER
3
ADELSON
E
SALVINI
OH!
QUANTE
AMARE
LAGRIME
EVIDENCE
OF
SELF-BORROWING:
MAKING
THE
CONNECTION
BETWEEN
OH!
QUANTE
AMARE
LAGRIME
AND
PER
TE
DI
VANE
LAGRIME
FROM
IL
PIRATA
The
majority
of
this
document
will
work
chronologically
from
the
earliest
operatic
composition
to
the
last,
and
will
insert
the
art
songs
that
correspond
to
the
arias.
To
begin,
however,
this
format
must
be
altered,
as
the
tenor
aria
from
the
first
opera
that
Bellini
composed
shares
striking
similarities
to
one
of
the
arias
from
his
third
opera.
As
a
result,
the
two
arias
must
be
grouped
together
in
order
to
show
the
pedagogical
connections
between
the
art
songs
and
what
can
be
considered
essentially
the
same
aria.
The aria Oh! Quante amare lagrime, a student work from Adelson e Salvini, was
relocated
to
the
cabaletta
found
in
the
form
of
Per
te
di
Vane
lagrime
from
Il
Pirata.40
It
is
not
certain
exactly
why
Bellini
decided
to
recycle
the
aria,
however
it
can
be
presumed
that
Bellini
approached
Romani
and
insisted
that
the
melodic
material
and
supporting
orchestration
be
used
in
Il
Pirata.
As
a
result,
the
libretto
needed
to
be
altered,
and
a
new
version
of
the
aria
was
composed.41
Bellini transposed the aria, setting it in C major for Adelson e Salvini and in B major
for
Il
Pirata.
Bellini
retains
the
contour
of
the
melodic
line
in
each
aria,
notating
the
beginning
(measures
1-5)
of
each
aria
as
scalar
passages
that
ascend
to
scale
degree
five
( 5
40
Smart,
Mary
Ann.
In
Praise
of
Convention:
Formula
and
Experiment
in
Bellinis
Self-
Borrowings.
Journal
of
the
American
Musicological
Society
100/1
(Spring
2000):
38.
41
Ibid,
38.
20
).
He
then
adds
non-diatonic
passing
tones
that
anticipate
the
movement
to 6 .
At
this
moment,
the
progression
moves
back
to
the
tonic
chord.
He
does
delay
the
arrival
to
tonic
by
way
of
a
half-step
ascent
from
the
non-chord
tone
2 ,
found
integrated
within
the
tonic
chord.
Once
the
tonic
chord
is
sounded,
the
melody
moves
from
2
to
3 ,
solidifying
the
progression
to
the
tonic
chord,
thereby
completing
the
phrase.
Bellini
slightly
altered
the
orchestration
in
that
Adelson
e
Salvini
uses
stacked
chords
while
Il
Pirata
uses
a
rocking
motion,
oscillating
through
the
chord
tones.
In
spite
of
this,
the
same
IV/iiiiV7I
harmonic
progression
is
employed
in
order
to
complete
the
opening
phrase.
21
Example
1.
Bellini:
Oh!
Quante
amare
lagrime
(Adelson
e
Salvini)
mm.
1-12
22
Example
2.
Bellini:
Per
te
di
vane
lagrime
(Il
Pirata)
mm.
1-12
23
In
terms
of
range,
Oh!
Quante
amare
lagrime
ascends
to
E5
while
Per
te
di
vane
lagrime
due
to
its
lower
key,
tops
out
at
D5.
For
the
reason
of
gaining
access
the
top
register,
a
tenor
with
professional
aptitude
should
study
the
art
song
La
ricordanza,
which,
as
previously
mentioned,
contains
the
top
note
B4.
For
the
tenore
di
grazia,
the
B4
begins
the
upper
portion
of
the
range,
and
so
all
notes
found
beyond
B4
will
be
produced
using
the
same
technical
strategy.
Bellini
gave
specific
instructions
on
how
to
produce
the
B4
in
La
ricordanza,
calling
for
diminuendo
from
mm.
67-68
(example
3).
Battaglia
expands
this
direction,
as
his
edition
and
commentary
calls
for
the
preceding
A4
to
initially
be
produced
using
smortzato,
or
with
immediate
decay
of
sound,
then
should
bloom
to
a
full
voice
B4
on
beat
two
of
measure
69.42
This
strategy
suggests
a
lighter
quality
of
production
for
the
B,
which
is
free
of
excess
weight.
This
same
method
must
be
used
to
secure
the
D5
or
E5,
as
carrying
excess
weight
to
that
part
of
the
range
will
result
in
not
achieving
the
note.
4
& b4
<
t'e
rain
quel - l'or
42
Bellini,
Vincenzo,
ed
Battaglia,
Elio.
Canzoni
per
Voce
e
Pianoforte.
(Milano:
Ricordi,
6
2004),
p.
95.
&b
ra
3
3
3
3
3
4
& b 4 b
? 4
#
b4
#
3
24
Managing the demanding tessitura is likewise a difficult task for La ricordanza and
both
of
the
corresponding
arias.
Heading
Battaglias
advice
in
producing
passaggi
notes
with
smortzato
technique
results
in
conserving
the
voice,
and
allows
the
tenor
to
gradually
bloom
into
the
fully
produced
B4
found
in
measure
69
of
the
art
song.
Vocal
conservation
is
also
needed
for
the
arias,
as
the
challenging
tessitura
is
compounded
by
the
prevalence
of
high-pitched
notes.
Ones
ability
to
implement
smortzato,
thereby
conserving
the
voice,
will
be
greatly
aided
by
his
ability
to
exercise
breath
control.
Breathing
technique
in
preparation
for
the
arias
can
be
practiced
and
perfected
using
La
ricordanza,
as
producing
B4
requires
solid
technical
breath
control.
In
order
to
achieve
smortzato,
one
must
employ
the
same
attention
to
breath
management
as
if
producing
messa
di
voce.
Battaglia
equates
these
two
terms
in
his
La
ricordanza
commentary.43
Vocologist
Dr.
Ingo
Titze
contends
that
messa
di
voce
develops
coordination
of
the
respiratory
system.44
From
a
technical
perspective,
equating
messa
di
voce
and
smortzato
translates
to
the
latter
technique
also
aiding
in
respiratory
coordination.
One
result
of
this
respiratory
coordination,
as
explained
by
Dr.
Diane
Pulte,
is
smooth
register
blending.45
The
ability
to
smoothly
blend
the
registers
will
allow
the
tenor
to
move
out
of
the
passaggio
and
achieve
the
top
notes
of
La
ricoranza
and
its
corresponding
arias.
In
43
Ibid,
95.
44
Titze,
Ingo.
More
on
the
Messa
di
Voce.
The
Journal
of
Singing,
Vol.
52,
March
1996.
45
Pulte,
Diane.
The
Messa
di
Voce
and
its
Effectiveness
as
a
Training
Exercise
for
the
Young
Singer.
(D.M.A.
diss.,
The
Ohio
State
University,
2005),
13.
25
addition,
smooth
register
transitions
will
aid
in
negotiation
of
the
demanding
tessitura.
Overall,
control
over
the
respiratory
process
will
increase
the
tenors
ability
to
manage
the
range
and
tessitura,
which
will
in
turn
increase
proficiency
in
La
ricordanza,
as
well
as
in
Oh!
Quante
amare
lagrime
and
Per
te
di
vane
lagrime.
26
CHAPTER
4
MA
RENDI
PUR
CONTENTO
TO
ALLUDIR
DEL
PADRE
AFFLITO
FROM
BIANCA
E
FERNANDO
43
The opera Bianca e Fernando, Bellinis second, debuted successfully in May 1826 at the
44
44
The
that
3 and
the
aria
share
are
found
in
the
6 the
art
song
most
noticeable
similarities
accompaniment and are exemplified in examples 4 and 5. Both the art song and the aria
68
44 3
98
are
set
in
triple
meter,
with
the
art
song
in and
the
aria
in 4 .
The
aria
could
have
just
as
98
easily
b
een
c
omposed
i
n
68 to
be
grouped
using
a
three
12
,
as
Bellini
called
8for
each
beat
1829, and uses the text from Act I, scene VI, of Metastasios drama Impermestra (1744).46
The art song Ma, rendi pur contento (But please do make glad) was written in
eighth-note arpeggio figure, which he further elaborated by adding triplets over each
12
8
98
12
8
grouping.
This
rhythmic
idea
is
already
implied
6 signature.
in
the time
46
Ibid,
72.
98
12
8
27
Example
4.
Bellini:
Ma,
rendi
pur
contento
mm.
5-7
b b9
b
& b8
J
b
& b bb98
j
j j
? bb b98
b J J J
j j
j
Ma
del
la mia bel - la
Example 5b. bBellini: Alludir del padre afflitto (Bianca e Fernando) mm. 7-11
&b b
bbb
b
b&
3
{{
b
& b 43
Al
l'u - dir
&b 4
? b?
3 b
b 4 b bb
b
& b n
3
J
16 flit
&
bb bb- to
bb&
?b
b
b
& b bb
? bb
bb
le
ca - te
af -
3
#
del
3
pa - dre
3
n
J
ne e la
sven - tu
ra,
28
The
idea
of
triple
or
compound
triple
meter
is
significant
to
the
bel
canto
style
of
composition.
In
fact,
as
the
bel
canto
style
began
to
evolve,
the
art
songs
and
arias
were
often
set
using
this
rhythmic
structure.47
The
reason
for
this
is
due
to
the
desired
length
of
the
musical
phrases.
Employing
the
triplet
rhythm
gave
the
desired
effect
of
phrasal
length,
fluidity,
and
smoothness.
To
achieve
this
desired
vocal
smoothness
in
Bellinian
9
found
in
m.
21
& 4
3
&b 4
? b3
b4
3
b
& b bb 98
vi
? b b9
bb8 J
U
n
bbbb 43
bbbb 98
J
J
bbbb 43
j
bbbb 98
bbbb 8 J J J
i - o
vi
3
bbbb 4
U
(New
York:
47
Grout,
Donald
Jay,
A
History
of
Western
Music.
3 Norton
and
Company,
n W.W.
b
3
& 4
1960),
288.
col - pa
de
48
Bellini,
Vincenzo,
ed
Battaglia,
Elio.
Canzoni
per
Voce
e
Pianoforte.
(Milano:
Ricordi,
2004),
p.
72.
j U
va,
b b9
& b b 8
3
that
also
use
the
acciaccatura
ornament
3(examples
37
and
8).
b
j
& b 43 n
U
? b 3 j j
b4
29
b3 j
&b 4
{
9
sto
3
b
& b 43
? bb 43
3
12
11
(Bianca
e
Fernando)
m.
30
Example
8.
Bellini:
Alludir
& bdel
padre
afllitto
{
{
b3
b
& b4
&b
j
cor
? bb 3
&bb 4
3
3 3
? b3
b4
21
3
3
b 3
b
&
{
{
b
j
bbbb 43 bbbb 98
& bb bb 98
&b
-
va,
vi
i - o
vi
?aria,
b b9
Comparing
the
art
song
and
the
bbb bthe
9 notes
leading
in
and
out
of
tbhe
ba3cciaccatura
b b 4 b b 8
have
different
rhythmical
values.
However,
much
can
still
be
gleaned
with
regard
to
? b b9
bbb 43 bbbb 98 J J
b
8
b
b
J
J
successfully
negotiating
this
ornament.
The
acciaccatura
is
to
be
Jproduced
slightly
before
&b b 8
the ensuing note, so as to not take away from its metric value. The tenor must be mindful
U
for
3 short
a
duration
of
the
rhythmic
value
of
the
acciaccatura,
ab s
holding
it
too
or
too
n long
3
& 4
col - pa
b 3 j U
j
b
& 4 n
de
30
results
in
altering
the
rhythmic
significance.
The
tenor
should
perfect
this
rhythmic
idea
in
the
context
of
the
art
song,
and
upon
mastery,
should
move
to
the
aria.
The second moment that Battaglia highlights is m. 24, when the melodic line makes
the
leap
of
a
minor
6th
from
C4A4
(example
9).
He
instructs
the
singer
that
[the
leap]
should
be
sung
directly
on
the
breathand
support
the
breath
from
beneath
so
that
the
voice
can
press
the
note
of
arrival
by
imagining
the
note
of
departure
to
be
itself
rather
high.49
What
Battaglia
is
stating
is
that
in
order
to
successfully
make
this
leap,
the
singer
must
make
and
maintain
the
downward
connection
into
the
breath
while
simultaneously
ascending
to
the
A.
In
addition,
in
order
to
feel
as
though
the
leap
is
not
as
large
as
it
is,
the
singer
will
do
well
to
feel
as
though
the
C4
is
higher
in
pitch.
Some
singers
may
interpret
this
feeling
as
staying
on
top
of
the
pitch
or
as
producing
the
pitch
with
the
feeling
of
A
already
in
place.
This technical strategy can likewise be applied to the octave leap from C4C5 found
in
Alludir
del
padre
afflitto
(example
10).
The
fact
that
both
leaps
begin
from
C4
is
significant
in
using
Ma,
rendi
pur
contento
as
a
pedagogical
resource
for
the
preparation
of
Alludir
del
padre
afflitto.
Admittedly,
the
difference
between
the
A
in
the
art
song
and
C
in
the
aria
is
relatively
large,
yet
the
tenor
will
do
well
to
heed
the
advice
of
Battaglia.
His
advice
regarding
breath
connection
and
feeling
the
C4
as
higher
will
allow
the
singer
to
make
the
ascent
to
the
A.
Likewise,
the
same
technique
applies
when
attempting
to
ascend
through
the
seconda
passaggio
to
the
C5
of
the
aria.
Gaining
confidence
and
control
over
the
technique
through
the
study
of
Ma,
rendi
pur
contento
will
translate
seamlessly
to
the
aria
Alludir
del
padre
afflitto.
& 4
cor
b
3
& 4
3
3
3pur
contento
m.
24
Example
9.
Bellini:
Ma, rendi
?
3
2
b4
U
3
3 3
b
b
9
nnnn
&b b 8
{
{
vi
va, ch'io
b
&b bb 9bb 98 j
& b b 8 vi - va,
i - o
j
? bb bb98 b9
&bb b J8 J
31
## 12
8
U
n
## 12
8
bbnbb 43
n nn
bbbb 98
n
bnbbnbn 43
# 12 j
bbbb 98 # 8
vi
?# b b 9
b b 3
9
b12b8 RJ J J J
b b 4 bbbb 8 J J J
#
& 8
23
{
{
U
## 12
3
& b8b 3 j n
& 4
?## 12 col
J
pa
de
8 J
b3 j U
j
b
& 4 n
U
? b 3 j j
b4
32
CHAPTER
5:
QUANDO
VERR QUEL
D TO
TU
VEDRAI
LA
SVENTURATA
AND
VAGA
LUNA,
CHE
INARGENTI
TO
NEL
FUROR
DELLE
TEMPESTE
FROM
IL
PIRATA
Career
Firsts
On
October
27,
1827
the
audience
at
Teatro
alla
Scala
in
Milan
was
witness
to
three
firsts
in
the
career
of
Vincenzo
Bellini.
The
date
marked
the
debut
of
Bellinis
latest
opera,
Il
Pirata.
Additionally,
Il
Pirata
was
the
first
Bellinian
opera
sung
by
the
acclaimed
Italian
tenor,
Giovanni
Rubini,
who
went
on
to
debut
several
other
Bellinian
operas,
including
La
sonnambula
and
I
Puritani
(Note
that
Rubini
debuted
Bianca
e
Gernando
in
1826.
However
he
did
not
debut
the
final
revision
which
was
debuted
in
1828
in
the
form
of
Bianca
e
Fernando).
Finally,
the
opera
was
the
first
Bellinian
opera
set
to
a
text
by
Felice
Romani,
with
whom,
practically
stated,
Bellini
shared
a
lifelong
devotion
and
partnership.50
Il
Pirata
shows
the
beginnings
of
Bellinis
mature
compositional
style.
However,
it
was
with
the
collaboration
of
Romani
and
Rubini
that
Bellini
began
to
find
his
mature
compositional
style.
This
is
evidenced
by
his
more
frequent
use
of
vocal
ornamentation
and
coloratura,
the
likes
of
which
were
already
seen
from
Rossini.
50
Simon
Maguire
and
Elizabeth
Forbes.
Il
Pirata,
in
Grove
Music
Online,
www.oxfordmusiconline.com,
accessed
13
March,
2012.
33
Coloratura
and
its
use
in
Bellinis
music
Coloratura,
defined
as
a
rapid
passage,
run,
trill
or
similar
virtuoso-like
material,51
is
a
hallmark
trait
of
the
bel
canto
style.
As
such,
negotiating
these
difficult
passages
is
a
central
priority
for
bel
canto
tenors.
In
Tu
vedrai
la
sventurata
there
are
several
moments
that
the
tenor
must
deliver
clear,
smooth,
and
articulate
coloratura
(examples
11
and
13).
As
the
examples
indicate,
vocal
agility
is
manifested
in
a
variety
of
ways.
A
rapid
melodic
passage
is
found
in
m.
25
of
Quando
verr
quel
d.
As
such,
this
art
song
can
be
used
to
train
the
tenor
for
the
aria.
The
advantage
of
using
this
art
song
is
due
in
part
that
in
this
excerpt,
the
tenor
is
not
required
to
ascend
into
the
seconda
passaggio.
which
would
compound
the
difficulty
of
the
technique.
Still,
the
basic
concepts
of
breath
control
and
vocal
agility
are
tested
in
the
art
song,
but
are
done
so
within
the
context
of
a
comparatively
easy
melodic
line.
Example
12
from
Il
Pirata
shows
a
leap
up
to
G4,
which
the
tenor
must
hold
at
his
discretion,
before
descending
through
the
passaggio.
The
challenge
of
this
passage
is
to
ascend
to
the
G4
without
carrying
weight
in
the
voice,
so
that
the
subsequent
sixteenth
note
material
can
be
sung
with
fluidity.
In
addition,
the
tenor
must
gauge
the
expenditure
of
air
when
holding
the
G4
so
that
he
retains
enough
air
to
negotiate
the
descending
line.
This
obviously
requires
solid
breath
management
and
skillful
artistry.
51
Apel,
Wili.
The
Harvard
Dictionary
of
Music
(Cambridge:
Harvard
Press,
2000),
185
b
& b bb 68 b
? b b 6 b
bb8
34
U
U
b
& b bb nJ
b b bj
& b b
b b
&b b
di?
Ah,
? b b
bb J
ri -
bb
& b b J
? b b J
bb
ve
der
po
Another
example
of
Bellinis
use
of
coloratura
is
found
in
measure
seven
of
Quando
verr
quel
d.
This
excerpt
shows
the
tenor
ascending
near
(or
at,
depending
on
the
individual
voice)
the
seconda
passaggio
and
descending
back
through
it,
only
to
ascend
again.
Battaglia
specifically
mentions
the
vocal
technique
required
to
deliver
measure
seven.
He
instructs
the
singer
to
Release
the
breath
pressure
on
the
E
immediately
after
its
emission
so
that
the
F
that
begins
the
run
can
be
attacked
from
the
glottis.52
Battaglia
52
Bellini,
Vincenzo,
ed
Battaglia,
Elio.
Canzoni
per
Voce
e
Pianoforte.
(Milano:
Ricordi,
2004),
p.
32.
35
elaborates
that
the
adequate
release
of
breath
pressure
which
begins
this
florid
passage
will
allow
the
remaining
vocal
material
to
glide
along
the
palate
in
tempo,
meaning
that
each
note
of
the
rapid
scalar
passage
is
produced
with
rhythmic
accuracy.53
Heading
Battaglias
advice
by
efficiently
releasing
the
breath
pressure
will
likewise
allow
the
tenor
to
glide
through
the
coloratura
passage
of
example
13.
A
similar
passage
is
found
in
measures
78-79
of
Tu
vedrai
la
sventurata
(example
14).
In
this
passage,
the
tenor
is
required
to
sustain
the
coloratura
for
two
measures.
The
melodic
line
takes
the
tenor
in
and
out
of
the
seconda
passaggio
several
times,
adding
to
the
difficulty
of
the
aria
and
mandating
resolute
technical
control.
The
art
song
excerpt
(Example
13)
may
initially
appear
to
be
more
difficult
than
the
Il
Pirata
excerpt
because
the
tenor
is
required
to
sing
thirty-second
notes,
whereas
in
the
aria,
he
must
only
deliver
sixteenth
notes.
However,
a
closer
examination
will
note
that
the
tempo
marking
of
the
art
song
is
Andante
sostenuto
(at
a
sustained
walking
pace),
whereas
this
excerpt
from
the
aria
is
marked
at
Allegro
(fast).
In
actuality,
then,
the
tenor
must
deliver
the
aria
at
a
faster
tempo.
Increasing
the
speed
of
delivery
can
cause
problems
relating
to
articulation
and
clarity
of
the
vocal
line,
therefore
the
art
song
is
a
good
starting
point
for
perfection
of
the
technique.
These excerpts call to attention the issue of tempi. It is a general rule that in the
realm
of
art
song,
a
singer
should
deliver
coloratura
or
florid
passages
at
a
tempo
that
is
manageable
for
them.
That
is
to
say
they
should
take
a
tempo
that
will
allow
them
to
articulate
each
note
in
a
manner
that
is
in
line
with
the
stylistic
aspects
of
the
piece.
For
bel
53
Ibid,
32.
36
canto
repertoire,
this
means
that
the
singer
has
the
task
of
striking
a
balance
between
lyricism
and
clarity.
Because
of
this,
one
ascertains
that
the
singer
has
an
adequate
amount
of
liberty
in
dictating
the
tempo,
thereby
ensuring
that
they
are
able
to
deliver
the
vocal
line
in
a
manner
that
is
stylistically
appropriate.
Lack
of
accompaniment
translates
to
allowing
the
tenor
to
take
a
tempo
with
which
he
is
comfortable,
so
that
he
is
able
to
adequately
negotiate
these
passages.
This
is
not
to
say
that
he
is
free
to
be
careless
with
his
vocalism,
for
with
increased
rubato
comes
greater
potential
for
disconnection
among
the
singer,
the
orchestra
(or
piano),
and
the
conductor.
Battaglia
states
that
Quando
verr
quel
d
should
be
delivered
with
attention
to
the
recitation
of
the
text.
That
is
to
say
that
clearly
delivering
and
conveying
the
text
is
the
top
priority
in
performance.
Battaglia
warns
the
singer
not
to
compound
the
challenges
of
the
art
song
with
preoccupation
to
sentimentalism.
The
tenor
should
head
this
advice
when
performing
an
aria
as
well,
as
text
recitation
should
also
be
paramount
for
performances
of
arias.
In
summary,
the
technique
put
forth
should
be
applied
to
any
text,
in
either
art
song
or
aria.
bbb bj
b
&
b b
&b b
? b b
bb J
37
ri -
ve
bb
& b b J
? bb b J
b
der
po
Example
14.
Bellini:
Tu
vedrai
la
sventurata
(Il
Pirata)
mm.
78-79
U
n
n#
4
# # # # bn
&4
mor,
j
& 44
? 44
J
& 12
8
J
R
12
8
12
8
del
j
J
mor,
ta
il dol - cei - stan
te;
<
n dnelle
The
other
aria
found
in
Il
Pirata,
Nel
furor
tempeste,
comes
from
Act
I.
This
12
n n J
&8
aria
features
several
of
the
characteristics
as
Tu
vedrai
la
sventurata,
including
the
?
12
incorporation
of
fast
to
articulation
of
coloratura,
8 passages.
For
reasons
relating
J
fret
12
8
perfecting measure 22 of Quando verr quel d (example 16) will translate well to the
perfection
of
m
10m.
40-41
of
Nel
furor
delle
tempeste
(example
15).
There
are
of
course
& the
passages
of
the
art
song
and
the
aria.
They
include
range,
rhythm
differences
between
&
?
38
of
vocal
line,
and
tempo.
In
the
aria,
the
tenor
must
maintain
a
more
consistent
tempo
due
to
the
increased
involvement
of
the
orchestra.
In
the
art
song,
he
may
take
more
liberty
with
the
tempo,
as
the
accompaniment
is
at
rest
through
the
duration
of
the
coloratura.
Still,
the
contours
of
each
vocal
line
are
comparable.
The
aria
ascends
up
to
the
A4
and
then
back
down,
resting
on
A3,
which
is
also
the
art
songs
final
note
in
example
16.
Not
only
does
the
art
song
prepare
the
tenor
for
negotiating
coloratura,
but
it
also
prepares
him
for
maintaining
resonance
while
singing
in
the
mid-range,
which
is
an
area
of
the
voice
that
is
also
exploited
in
example
15.
Example
15.
Bellini:
Nel
furor
delle
tempeste
(Il
Pirata)
mm.
40-41
j
b 3 b b b
b
&b 4
b
& b 43
nul
20
?
la
io
spe -
b b
10 bb
3
b
b4
b
b
ro...
Example
9 16.
Bellini:
Quando
verr
quel
d
m.
22
b
&b
mi
- a, a
b b6
&b b 8
b
&b
? bb b 68 b
b
20
ni - ma
U
b
J
? bbb b6 b
&b b 8
b
&b
U
U
U
U
bb
&
&b b bb nJ
39
It is worth mentioning that Nel furor delle tempeste is set in strophic form,
featuring
two
sections
of
music
with
little
variation
between
them.
Each
strophe
features
musical
phrases
that
feature
frequent
repetition
of
text.
This
calls
to
light
the
musical
decisions
that
must
be
made
when
a
singer
is
operating
within
these
parameters.
The
answers
to
these
decisions
can
be
summarized
by
considering
that
the
singer
must
be
connected
to
the
text
in
such
a
way
that
natural
musical
variations
will
be
made,
as
text
repetition
will
warrant
variance
of
vocal
colors
and
timbres.
Perhaps the best example of a strophic Bellini art song is Vaga luna, che inargenti.
The
art
song
is
the
last
of
the
Tre
Ariette,
written
in
London
in
1833
and
dedicated
to
Giulietta
Pezzi
of
Milan.54
Battaglia
instructs
the
singer
to
Use
different
expressive
nuances
when
repeating
text.55
For
example,
measure
20
uses
the
word
palpiti
(heartbeats)
twice
in
succession
(example
17).
Battaglia
urges
the
singer
to
vary
the
vocal
color
of
palpiti.
Presumably,
Bellini
had
this
same
intention
in
mind,
as
during
the
second
recitation
of
palpiti,
he
notated
a
fermata
over
the
first
syllable
[pal].
With
this
fermata,
the
singer
is
free
to
linger
on
the
pitch
and
syllable
in
such
a
way
that
he
is
able
to
convey
the
dramatic
intention
of
the
entire
line
of
poetry,
not
solely
the
word
or
syllable
to
which
the
fermata
is
attached.
54
Bellini,
Vincenzo,
ed.
Battaglia,
Elio.
Canzoni
per
voce
e
pianoforte.
(Milano:
Ricordi,
2004),
75.
55
Ibid,
75.
40
Example
17.
Bellini:
Vaga
luna,
che
inargenti
m.
19-21
19
mo
ra
22
moi-nstruction
ra con - ta_i pal - clian
- ti_e_ibso
ed
ato
leiinclude
che m'in- nathe
- mor-epeated
ra con -ta_i pal
- pi - ti_e_i
so - in
Nel
Battaglias
e
-espir
xtended
text
found
furor,
delle
tempeste.
Example
18
shows
measures
43-50
of
the
aria,
in
which
the
text,
Io
amo
e
peno
(I
love
and
I
suffer),
is
repeated
several
times.
Using
Battaglias
advice,
the
tenor
must
vary
the
delivery
of
each
repetition
of
text,
and
strive
to
find
a
new
dramatic
nuance
with
each
word.
Bellini
helps
the
tenor
in
this
endeavor,
as
he
calls
for
a
25
rallentando
in
both
the
voice
and
orchestration.
This
slowing
of
tempo
will
help
the
tenor
spir, te_ihe
text
so
- spir,
e_i the
a
somorous
- spir. anguish
that
he
must
feel.
to
properly
declaim
and
convey
This
is
one
of
any
number
of
examples
of
text
repetition
that
are
found
in
Nel
furor
dolce
delle
tempeste
and
other
arias.
Using
Vaga
luna,
che
inargenti
to
learn
to
emote
the
nuances
of
text
declamation
and
strophic
variance
will
prepare
the
singer
to
do
so
within
the
context
of
the
arias.
41
Example
18.
Bellini:
Nel
furor
delle
tempese
(Il
Pirata)
mm.
43-50
b3
&b 4
a - mo
b b
j
io
mo e
pe
b
J
J
no
io
mo, io
j
j
b3
b b
& b 4
b
rall.
col
canto
b
b
? b3 J
J
b4
b
b
&b
nb
n
b
& b bn
? b n
b n
b
n
mo e
pe
no.
b n
42
CHAPTER
6:
VANNE,
O
ROSA
FORTUNATA
AND
SERBATO,
A
QUESTO
ACCIARO
FROM
I
CAPULETTI
E
I
MONTECCHI
AND
PER
CHI
MAI,
PER
CHI
PUGNASTI
FROM
ZAIRA
The libretto was penned by Felice Romani, who took his inspiration from various Italian
&
17
&
21
&
25
&
29
&
56
1830
at
Venices
Teatro
43
43
44
44
68
68
&
13
&
Renaissance
3 sources,
rather
than
directly
from
the
Shakespeare
play.
The
opera
debuted
in
&
4
4
The
art
song
that
most
closely
4resembles
serbato,
a
questo
acciaro
is
Vanne,
o
rosa
fortunata
(example
19).
The
rhythmic
figure
of
the
accompaniment
features
4 a
68
4
6
rocking eighth-note pattern set in 8 time. The division of the rhythmic structure,
98implies
a
slow
8 .
3
two-beat-per-measure
pulse
rather
than
the
indicated
& however,
4
9
Similarly,
motion
that
is
a
stylistic
trademark
of
9
the
aria
b9egins
with
the
rocking
8
8
9
8 4
12
& Bellinis
8
12
12
12
12
than
the
indicated8 ,
but
in
choosing 8 ,
Bellini
is
able
to
add
the
perception
rather
8 of
length
68
98
& 56
12
8
&
to each beat and measure. This trait is common in Bellinian and other bel canto repertoire,
&
13
17
&
21
25
4
4
98
12
43
Regardless if operating within the realm of 8 or 8 , the pulse of each piece should
be felt as if a grouping of three eighth-notes creates one large beat rather than three
9
8
smaller
beats.
When
felt
in
this
manner,
the
pieces,
from
a
rhythmic
perspective,
function
almost
identically.
Proceeding
with
this
rhythmic
pulse
in
mind
will
also
facilitate
the
12
singers ability to sing with legato phrasing, as the fluidity that this technique creates
adheres to the inherent fluidity of the Italian language. Battaglia references this in his
Vanne, o rosa fortunata commentary. He states that the art song must be sung in a
legato-declamatory
style,
meaning
that
the
singer
should
perform
the
piece
with
extreme
Example
19.
Bellini:
Vanne,
o
rosa
fortunata
mm.
1-10
#6
& 8
#
& 68
j
J j j
# J n
? #6
J
n
J J j
8
J
Vanne, o
ro - sa for - tu -
j
J
&
J
J
J
J
na - ta, A
po - sar di Ni - cein pet - to
Ed o - gnun sa - ra
co - stret - to La tua
<
#
&
#
j
j
j
? # j j j
J
J
44
Example
20.
Bellini:
serbato,
a
questo
acciaro
(I
Capuleti
e
i
Montecchi)
mm.
1-4
12
&8
{{
12
&8
& 12
8
& 128 R
? 12
8
? 128
&
&
ba - ta
e ser -ba - taa que-stoac - cia
ba - ta
e ser -ba - taa que-stoac - cia< - ro
<
ser
j
j
j
j
E
ser
j j
j
j
ro
j j
del tuo
del tuo
&
&
j
j
j
j
?
? j j j j j jj j j j j j
77
& the
style,
rhythm,
and
texture
of
accompaniment
are
significant
factors
in
&
Generally,
{{
determining the mood of a particular piece. With respect to examples 19 and 20, consider
&
if a singer operated
realm
of
an
& that
would
feeling
the
eighth
notes
in
groups
that
combine
to
form
larger
eighth
note
pulse
rather
than
beats. Likely, the vocal lines would have a sense of disconnection from note to note,
45
Vanne,
o
rosa
fortunata
is
the
second
of
the
Sei
Ariette.
When
Bellini
arrived
in
Milan
in
1827,
he
befriended
the
composer
Francesco
Pollini
and
his
wife
Marianna.57
The
Pollinis
became
surrogate
parents
to
the
young
Bellini.
58
Prompted
by
the
affection
he
felt
for
her,
Bellini
composed
and
dedicated
the
Sei
Ariette
to
Marianna
(Bellini
dedicated
the
opera
La
sonnambula
to
Francesco
in
1831).
It
is
plausible
that
Bellini
was
using
this
arietta
as
a
sketch
for
a
later
work.
Sections
of
this
piece
resurfaced
years
later
in
the
final
duet
between
Norma
and
Pollione
in
Bellinis
masterpiece
Norma.
Sections
also
appear
in
the
trio
that
concludes
the
first
act.
59
It
is
with
Vanne,
o
rosa
fortunata
that
the
topic
of
canto
declamato
must
be
addressed.
Simply
stated,
this
declamatory
style
of
writing
for
which
Bellini
is
revered
merges
syllabic
and
florid
vocal
composition.60
The
objective
of
this
compositional
style
was
to
merge
syllabification
and
floridity
in
such
a
way
that
every
word
was
set
using
the
ideal
pitch
and
note
value,
so
that
through
the
music,
the
text
could
be
adequately
conveyed.
The
implementation
of
canto
declamato
was,
at
the
time,
controversial.
Composing
in
a
style
motivated
by
canto
declamato
permitted,
if
not
facilitated,
a
complete
57
Bellini,
Vincenzo,
ed.
Battaglia,
Elio.
Canzoni
per
voce
e
pianoforte.
(Milano:
Ricordi,
2004),
45.
58
Mary
Ann
Smart,
Bellini,
Vincenzo.
Grove
Music
Online,
www.oxfordmusiconline.com,
accessed
28
July,
2011.
59
Bellini,
Vincenzo,
ed.
Battaglia,
Elio.
Canzoni
per
voce
e
pianoforte.
(Milano:
Ricordi,
2004),
52.
60
Mary
Ann
Smart,
Bellini,
Vincenzo.
Grove
Music
Online,
www.oxfordmusiconline.com,
accessed
28
July,
2011.
46
restructuring
of
previously
held
operatic
forms.
In
short,
moments
that
had
been
structurally
reserved
for
recitative
now
became
open
to
the
inclusion
of
arioso.61
It
is
with
Vanne,
o
rosa
fortunata
that
Bellini
uses
the
Italian
word
dire
(to
say)
to
describe
the
method
of
delivering
the
text.
This
term
is
interpreted
not
simply
as
speaking
the
text,
but
as
a
form
of
vocal
technique
that
emphasizes
simplicity
of
vocal
production.62
The
notion
that
Bellini
supported
equal,
if
not
more
emphasis
for
text
declamation
as
for
melodic
content
is
interesting,
considering
that
the
perception
is
that
with
bel
canto
music,
the
text
is
predominately
subservient
to
the
melodic
line
and
to
the
voice.
With
regard
to
Vanne,
o
rosa
fortunata,
Battaglias
performance
instructions
are
specific
and
relate
almost
exclusively
to
text
declamation.
He
calls
particular
attention
to
the
word
costretto
(forced),
directing
the
singer
to
give
adequate
articulation
to
the
[str].63
Indeed,
giving
due
articulation
to
this
consonant
cluster
adds
to
the
dramatic
intention
of
the
word,
and
sets
the
singer
in
line
with
Bellinis
intentions
of
canto
declamato
(example
21).
As
Battaglia
writes,
An
emphatic
enunciation
of
the
consonants
will
also
facilitate
the
diaphragms
support
of
the
voice
and
will
bring
out
the
sound
of
the
word.64
61
Ibid.
62
Bellini,
Vincenzo,
ed.
Battaglia,
Elio.
Canzoni
per
voce
e
pianoforte.
(Milano:
Ricordi,
2004),
52.
63
Ibid.
64
Ibid.
47
Example
21.
Bellini:
Vanne,
o
rosa
fortunata
mm.
8-9
J
J
J
#6
& 8
ognun sa - ra
co - stret - to la
#6
& 8
j
?# 6
8
J
J
10
&
tua
&
measure, the word appears on beat two and has an accent mark associated with it. This
?#
weak
beat
accent
occurs
unexpectedly.
The
tension
of
the
weak
beat
accent
is
compounded
due
to
Bellinis
notation
of
a
co7
chord.
This
chord
is
non-diatonic
to
G
major
and
therefore
unanticipated.
Moreover,
t#he
voicing
of
the
co7
indicates
&
prepared by the previous harmony. The bass note leap from G3 to C4 (augmented
?#
&
48
Bella
rosa,
destinata
ad
entrambi
un'ugual
sorte:
l
trovar
dobbiam
la
morte,
tu
d'invidia
ed
io
d'amor.
10
In
delivering
the
final
line
of
text,
Battaglia
directs
the
singer
to
stress
the
word
tu
as
the
accent
mark
suggests.
In
measure
the
singer
to
depict
instructs
6
& 8
sorrow
with
the
vocal
turn,
by
way
of
a
subtle
forte-piano
on
the
vowel
[i]
found
in
the
word
io
(I).65
ognun sa - ra
co - stret - to la
tua
#6
& 8
j
? # 6 j
8
J
J
T
# j j
&
J
mor, tu
# j
& b
#
?#
J
d'in - vi -diaed
i-o
d'a
J
J
&
The
mission,
then,
is
to
practice
these
moments
of
canto
declamato
with
the
context
19
of Vanne, o rosa fortunata and translate them to similar moments in serbato, a questo
&
acciaro.
Further,
the
ultimate
mission
is
to
recognize
moments
of
canto
declamato
in
all
of
49
serbato a questo acciaro is an aria that is about passion, vengeance, love, and
hatred.
These
adjectives
permeate
the
score,
making
the
task
of
detecting
moments
of
canto
declamato
accessible.
In
this
aria,
Tebaldo
has
learned
that
Giulietta
will
marry
him
as
a
vendetta
to
punish
Romeo
for
the
murder
of
Capulets
son.
Key words, with which the tenor can experiment colors and timbres that enhance
the
text,
include
sangue
(blood),
vendetta
(vengeance),
ciel
(heaven),
and
dolce
istante
(sweet
moment).
The
first
of
these
moments
occurs
between
measures
five
and
six
(example
23),
with
the
text
del
tuo
sangue
la
vendetta
(your
blood
vengeance).
Immediately,
there
is
repetition
of
text
with
the
word
sangue.
The
tenor
must
vary
the
delivery
of
this
text
in
such
a
way
that
the
word
becomes
more
impassioned
upon
the
second
declamation,
due
to
the
fact
that
the
line
progresses
toward
an
even
more
powerful
word
in
vendetta.
Upon
arrival
at
vendetta,
the
tenor
must
decide
how
to
vocalize
the
thirty-second
notes.
He
may
choose
to
sing
them
in
a
manner
that
adds
slight
pulses
to
each
pitch,
or
he
may
choose
to
sing
them
more
lyrically.
In
either
case,
he
must
use
the
repeated
consonant
[t:t]
[vndt:ta]
to
depict
the
connotation
of
the
word.
50
Example
23.
Bellini:
serbato
a
questo
acciaro
(I
Capuleti
e
i
Montecchi)
mm.
5-6
& 12
8
san -
12
& 8
j j
? 12
&
gue la
ven - det
ta:
j j j
(example 24) with the word ciel (heaven). At this point the tenor has several options,
which are augmented by Bellinis choice of pitch, and his use of fermata. For the tenore di
The next opportunity to sufficiently declaim the text occurs at measure nine
&
grazia,
the
F4
is
a
note
that
occurs
below
the
seconda
passaggio66
and
so
it
is
likely
that
the
tenor
will
be
comfortable
to
experiment
with
different
colors
and
timbres
that
13
&
choose
to
start
and
end
this
pitch
all
on
one
voluminous
dynamic.
Further
still,
he
may
choose
to
start
softly
and
crescendo.
He
messa
may
even
choose
to
implement
di
voce.
Depending on his dramatic intentions, all of these options are acceptable. Arguably, the
&
?
best
decision
is
to
produce
this
with
one
voluminous
dynamic.
The
rationale
for
this
decision
lies
in
the
dramatic
intention
of
the
text.
In
this
aria,
the
tenor
Tebaldo
is
declaring
vengeance
on
Romeo,
and
that
all
heaven
knows
his
loyalty
to
Giulietta.
It
makes
sense
to
deliver
this
line
with
dramatic
intention
relative
to
the
text.
66
Miller,
Richard,
Training
Tenor
Voices
(New
York:
Schirmer,
1993),
9.
51
Example
24.
Bellini:
serbato
a
questo
acciaro
(I
Capuleti
e
i
Montecchi)
m.
9
12
&8
J J
ta
lia,
il ciel,
il ciel
lo
j
& 12
8
J
n
n j
? 12
has
the
opportunity
to
be
creative
with
text declamation is during the phrase dolce istante (example 25). Bellini sets the word
mnoment
[stan]
of
istante.
by
adding
tenor
to
further
embellish
# #over
& 44 this
sweet
# a#
fermata
mor,vocal
embellishments,
a Bellini
follows
this
by
adding
tmor,
he
tempi
of
which
del
are
at
the
discretion
15
j
These
4 &
j the
cadence,
of
the
tenor
and
conductor.
prolong
but
enhance
embellishments
the
text.
& 4
? 44
J&
& 12
8
J
R
<
nn n
12
&8
n J
? 12
8
10
&
fret
ta
te;
12
8
12
8
12
8
52
Bellini
cared
deeply
about
the
text;
so
much
so
that
he
pioneered
this
canto
declamato
in
an
effort
to
unite
the
music
and
the
text.
Among
Bellinis
contemporaries,
namely
Franz
Schubert,
the
belief
that
the
text
and
music
should
work
congruently
was
not
new.
However
within
the
realm
of
bel
canto
it
seemed
to
be
revolutionary.
This
is
due
to
the
perception
that
in
Italian
bel
canto
literature,
the
text
is
subservient
to
the
music
and
to
the
voice.
Using
Bellini
to
learn
and
perfect
the
art
of
text
declamation
is
a
necessary
endeavor
for
all
singers.
The
primary
reason
for
this
is
that
Bellinis
music
is
more
accessible
than
the
music
of
his
Italian,
German,
and
French
contemporaries.
This
is
particularly
true
of
Bellinis
art
songs.
His
melodies
are
highly
accessible
one
might
even
say
predictable
and
the
supporting
harmonies
and
harmonic
progressions
share
this
same
characteristic.
These
traits
are
the
manifestation
of
the
conservative
education
he
received
from
the
Real
Collegio
di
Musica,
in
which
the
progressive
music
of
composers
such
as
Rossini
was
excluded
from
the
curriculum.
His
manner
of
setting
texts
is
logical
yet
thoughtful
no
doubt
crafted
in
this
manner
in
order
to
facilitate
proper
text
declamation.
The
accessible
nature
of
Bellinis
music
means
that
the
principles
learned
from
the
study
of
his
art
songs
can
be
applied
to
art
songs
and
arias
from
a
variety
of
styles,
periods,
genres,
and
composers.
For
this
reason,
there
is
great
value
in
the
study
of
Bellini
and
canto
declamato.
Zaira
One
must
perfect
the
principles
of
canto
declamato
by
studying
any
aria
from
Bellinis
repertory.
With
the
aria
Per
chi
mai,
per
chi
pugnasti
from
Bellinis
1829
Zaira,
53
however,
the
tenor
can
make
direct
translations
to
the
principles
previously
discussed
with
serbato
a
questo
acciaro.
Musically,
Per
chi
mai,
per
chi
pugnasti
is
strikingly
similar
to
serbato
a
questo
acciaro
rather,
the
latter
shares
striking
similarities
with
the
former,
as
Zaira
was
actually
composed
before
I
Capuletti
e
i
Montecchi.
Despite
the
failure
of
Zaira
(the
operas
storyline
concerns
interreligious
marriage,
and
at
the
time
this
was
an
unpopular
topic),
Bellini
undoubtedly
believed
that
much
of
this
work
had
potential.
He
reworked
much
of
Zaira,
including
the
tenor
aria,
for
I
Capuleti
e
i
Montecchi.
Therefore,
many
of
the
same
concepts
detailed
with
serbato
a
questo
acciaro
can
be
translated
directly
to
Per
chi
mai,
per
chi
pugnasti.
Specifically
relating
to
text
declamation,
there
are
several
words
that
warrant
emphasis,
a
few
of
which
include
insulter
(insult),
soffrir
(tolerate),
and
vilt
(cowardice).
Just
as
certain
text
warrants
attention
in
the
aria
from
I
Capuletti
e
i
Montecchi,
these
words
must
be
delivered
in
such
a
way
that
their
meanings
are
adequately
highlighted.
The
tenor
must
be
sure
to
put
stress
on
the
final
syllables
of
insulter
and
vilt,
as
this
is
mandated
by
the
accent
marks.
In
addition,
the
tenor
must
use
the
double
consonant
[ff]
in
the
word
soffrir
to
convey
the
meaning
of
this
word,
relative
to
the
context
of
this
aria.
Typically
the
word
soffrir
is
translated
as
suffer,
but
in
this
context,
it
should
be
translated
as
tolerate.
In
short,
the
double
consonant
should
be
sounded
in
such
a
way
that
it
conveys
the
sense
of
enduring
intolerance,
and
not
suffering.
Finally,
as
these
and
other
bits
of
text
are
repeated,
the
tenor
must
find
a
different
vocal
color
or
nuance
with
each
repeated
recitation
of
the
text.
54
In
Act
I,
Corasmino,
the
Grand
Vizier,
sings
the
aria.
He
emphatically
opposes
the
marriage
of
the
Christian
slave
girl
Zaira
and
the
Sultan
Orosmane.
In
this
aria,
Corasmino
is
voicing
his
displeasure
over
the
sacrilegious
union.
While
set
with
librettist
Felice
Romanis
somewhat
antiquated
Italian,
the
translation
is
as
follows:
For
whom,
for
whom
did
you
fight,
O
my
leader,
O
Saladin!
Of
the
Empire
that
you
founded
Be
this
the
evil
fate?
That
a
degenerate
and
blind
child
insult
your
throne?
Oh!
Inspire
him
with
your
example
and
do
not
tolerate
his
cowardice!
The
opera
was
never
published
in
its
entirety
and
so
has
fallen
into
relative
obscurity.
Previously,
only
the
duet
Io
trover
nellAsia
and
the
trio
Cari
oggetti
in
seno
a
voi
have
ever
been
available
for
study.
A
major
reason
to
include
the
aria
in
this
document
is
due
to
the
fact
that
to
date,
it
has
never
been
available
in
a
piano/vocal
reduction.
A
manuscript
copy
of
the
entire
opera
is
available
on
the
International
Music
Score
Library
Project
(www.imslp.org)
website,
via
the
Biblioteca
del
Conservatorio
di
musica
S.
Pietro
a
Majella,
Napoli,
and
it
was
used
to
transcribe
this
aria.
The
following
pages
contain
the
Zaira
aria,
transcribed
in
a
piano/vocal
reduction.
This
is
the
first
time
that
the
aria
has
been
made
accessible,
and
in
so
doing,
each
tenor
aria
from
a
completed
Bellinian
opera
is
available
for
study
and
performance.
55
Example
26.
Bellini:
Per
chi
mai,
per
chi
pugnasti
(Zaira)
mm.
1-26
q. = 47
12
& 8
Vincenzo Bellini
Transcribed and edited by James Loving Thompson
Per
q. = 47
chi
ma
i,
per chi
12
&8
? 12
8
&
gna - sti
&
&
- di
&
?
no!
mio
3
-
du - ce,
mio du - ce Sa
Dell'
im - pe
la -
ro,
dell' im - pe - ro che fon
Copyright
2012 Classical Vocal Reprints
www.classicalvocalrep.com
pu -
>
56
Example
26
continued
2
7
&
da -
&
&
sti
sti
T
-
#
J
no?
&
fia
& #
?
b
de -
glio
3 #
in - sul
fia
n
Tra - gli - na - toe
cie-co fi
& #
11
te - r?
57
Example
26
continued
13
&
&
?
15
&
&
?
U
apiacere
la
w
Per
chi
ma
i,
J J
per
chi
pu
. . . . . . . . . . . .
U
J
&
gna - sti. Dell' im - pe
18
U . . . .
su - a vil - t!
&
U
?
3
#
ro
che
fon - da - sti
dell' im - pe - ro che fon
58
Example
26
continued
4
&
21
&
23
& J
frir
la
so -
frir,
3 #
non
su
a, la,
U
&
sof-
w
a piacere
la
su - a vil - t!
59
CHAPTER
7:
BELLA
NICE,
CHE
DAMORE
AND
AH!
PERCH NON
POSSO
ODIARTI
FROM
LA
SONNAMBULA
March
6,
1831
at
Milans
Teatro
Carcano.67
Bellini
did
not
begin
work
on
the
opera
until
January
2
of
that
year,
and
completed
it
in
mid-February.
The
opera
was
a
success,
and
solidified
Bellini
as
one
of
the
most
heralded
Italian
composers
of
the
era.
this
style,
as
was
witnessed
with
I
Capuleti
e
i
Montecchi,
was
to
experiment
with
traditional
aria
forms.
This
feature
is
highlighted
in
the
aria
Ah!
perch
non
posso
odiarti.
Specifically,
Bellini
composed
sections
of
chorus
to
interject
within
the
aria.
While
not
an
unprecedented
convention,
the
juxtaposition
of
chorus
within
an
aria
underlines
Bellinis
desire
to
constantly
progress
the
standard
principles
of
operatic
form
and
structure.
This
pursuit
was
not
done
randomly
or
casually.
Rather,
Bellini
made
these
structural
decisions
with
the
intention
of
creating
realism
and
adding
to
the
dramatic
impact.
Moreover,
Bellini
continued
to
hone
his
canto
declamato
style.
The
recitatives
assumed
stylistic
qualities
of
arioso,
which
allowed
them
to
segue
seamlessly
into
the
true
aria.
The success of the opera was due in part to the star-studded cast, which again
included the acclaimed tenor Giovanni Rubini. Bellini exploited Rubinis abilities, pitching
67
Julian
Budden
et
al,
La
sonnambula.
Grove
Music
Online,
www.oxfordmusiconline.com,
accessed
16
March,
2012.
60
the
music
at
a
high
tessitura.
In
fact,
Bellinis
autographed
score
shows
the
tenor
sections
pitched
a
full
tone
higher.
The
problem
for
contemporary
operatic
tenors
is
that
the
expectation
is
for
them
to
incorporate
chest
voice
production
even
into
the
upper
extremes
of
the
vocal
range.
The
method
of
gaining
access
to
the
upper
register
has
been
outlined
in
this
document,
and
many
tenors,
both
professional
and
amateur,
are
able
to
gain
entry
to
these
notes,
even
when
using
chest
voice
production.
However,
the
major
challenge
as
it
pertains
to
the
aria
Ah!
perch
non
posso
odiarti
and
the
entirety
of
La
sonnambula
is
sustaining
the
high
tessitura.
Tessitura
is
difficult
to
quantify,
but
every
singer,
regardless
of
fach,
understands
its
meaning
and
how
it
affects
voice
classification
and
repertoire
choices.
In
order
to
compare
the
tessituras
of
an
art
song
and
aria,
a
system
of
quantifying
tessitura
was
necessary,
and
so
was
developed
for
this
document.
The
end
result
of
this
endeavor
is
what
I
call
a
tessitura
matrix.
The
tessitura
matrix
ultimately
calculates
the
average
pitch
of
an
art
song
or
aria.
Once
the
average
pitch
is
calculated,
it
can
then
be
hypothetically
inserted
to
replace
the
actual
pitches
of
the
piece.
At
this
point,
the
singer
can
then
evaluate
the
difficulty
he
would
have
in
sustaining
that
single
pitch
throughout
the
duration
of
the
art
song
or
aria.
Below
is
a
tessitura
matrix
for
the
tenor
aria
Ah!
perch
non
posso
odiarti
from
La
Sonnambula.
61
Table
1.
Tessitura
Matrix
for
Ah!
Perche
non
posso
ordiarti
Tessitura)Matrix)
"Ah!))Perche)non)posso)odiarti"
Tenor)Aria)from)La#sonnambula
Pitch
C3
C#/D4
D4
D#/E4
E4
F4
F#/G4
G4
G#/A4
A4
A3/B4
B3
C4
C#/D3
D3
D#/E3
E3
F3
F#/G3
G3
G#/A3
A3
A3/B3
B4
C5
Numeric7Value
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
Frequency
12
21
45
76
78
45
42
12
Composite7Value
72
48
210
495
988
1170
720
102
756
240
44
46
Sum)of)composite)values)=)4891
Total)number)of)melodic)notes)=)347
4891/347))14)=)D
The process of completing a tessitura matrix uses very basic mathematics and
provides
and
empirical
method
of
calculating
tessitura.
The
system
begins
with
assigning
a
numeric
value
to
each
pitch
throughout
the
breadth
of
the
tenor
range.
The
tenor
range
spans
roughly
two
octaves,
from
C3
to
C5
(25
half-steps).
With
each
passing
half-step,
the
pitches
increase
in
numeric
value
by
an
integer
of
one
(note
that
if
a
piece
goes
beyond
C5
as
many
Bellinian
pieces
do,
the
matrix
can
extend.
In
this
case,
each
half-step
should
continue
to
increase
by
an
integer
of
one).
The
remainder
of
the
process
involves
several
other
basic
components:
1. Tally
the
number
of
times
that
an
individual
pitch
is
used
in
the
art
song
or
aria.
This
number
is
referred
to
as
a
pitchs
Frequency.
2. Calculate
the
sum
of
the
Frequencies
to
find
the
total
number
of
melodic
notes
that
are
used
in
the
art
song
or
aria.
3. Multiply
the
pitchs
numeric
value
and
its
Frequency.
This
number
is
what
is
referred
to
as
a
pitchs
Composite
Value.
Repeat
this
step
for
each
pitch
that
is
used.
4. Calculate
the
sum
of
the
Composite
Values.
62
5. Divide
the
sum
of
the
Composite
Values
by
the
total
number
of
melodic
pitches.
This
number
will
correspond
with
a
pitch
in
the
matrix,
and
is
the
average
pitch
of
the
art
song
or
aria.
In
the
case
of
Ah!
perch
non
posso
odiarti,
there
are
347
melodic
notes,
with
the
average
pitch
being
D4.
In
theory,
then,
the
tessitura
matrix
equates
singing
the
actual
aria,
with
singing
the
aria
after
having
replaced
each
note
with
the
average
pitch.
While
there
may
be
some
discrepancy
among
tenors
and
pedagogues
regarding
the
difficulty
of
sustaining
the
tessitura,
most
would
presumably
agree
that
singing
the
note
D4
347
times
in
succession
would
cause
at
least
a
moderate
amount
of
fatigue
for
the
tenor.
In
short,
the
aria
Ah!
perch
non
posso
odiarti
is
situated
at
a
relatively
high
tessitura.
In order to train a tenor to meet the challenging demands sustaining the tessitura of
Ah!
perch
non
posso
odiarti,
an
art
song
with
a
similar
or
identical
average
pitch
must
be
used.
In
this
case,
the
art
song
Bella
Nice,
che
damore
is
the
proper
option.
As
the
corresponding
tessitura
matrix
indicates,
the
average
pitch
is
actually
one
half-step
higher
(D4)
than
the
average
pitch
of
Ah!
perch
non
posso
odiarti.
In
spite
of
this
fact,
there
are
comparatively
few
(204)
melodic
pitches
involved
in
Bella
Nice,
che
damore.
The
logic
in
pairing
this
art
song
with
this
aria
is
that
the
tenor
will
experience
a
higher
overall
tessitura
in
the
art
song,
but
will
sustain
that
tessitura
for
a
shorter
duration.
This
will
adequately
train
him
to
sustain
a
slightly
lower
tessitura
over
a
longer
duration,
which
is
a
trait
of
the
aria.
If the tenor does not wish to learn the entire art song in training for the aria, or
wishes to begin to train his stamina gradually, then he may simply isolate the most vocally
63
taxing
measures
of
an
art
song.
In
the
case
of
Bella
Nice,
che
damore,
measures
34-42
contain
an
even
higher
average
pitch,
that
of
E4.
Below
is
the
tessitura
matrix
for
measures
34-42
of
Bella
Nice,
che
damore.
Table
2.
Tessitura
matrix
for
mm.
34-43
of
Bella
Nice,
che
damore
Tessitura)Matrix)
"Bella)Nice,)che)d'amore"mm.)34:42
Song)for)voice)and)piano
Pitch
C3
C#/D3
D3
D#/E3
E3
F3
F#/G3
G3
G#/A3
A3
A/B3
B3
C4
C#/D4
D4
D#/E4
E4
F4
F#/G4
G4
G#/A4
A4
A 3/B4
B4
C5
Numeric7Value
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
Frequency
Composite7
Value
44
26
120
64
108
19
100
Sum)of)composite)values)=)487
Total)number)of)melodic)notes)=)31
487/31))15.7))E4
The tessitura matrix can be used for any art song and any aria, and can be
transposed
in
order
to
be
useful
for
low
voices
as
well.
If
calculating
for
low
voice
singers,
the
numeric
values
1-25
will
remain
the
same,
but
will
correspond
to
the
different
pitches
that
are
used
for
the
bass,
baritone,
or
mezzo-soprano
ranges.
For
example,
the
baritone
matrix
might
range
from
A3-A5,
with
A3
having
a
numeric
value
of
1
and
A5
having
a
numeric
value
of
25.
I developed this matrix with the added intention of aiding in literature selection for
beginning
voice
students.
Using
this
matrix
as
a
tool
for
literature
selection
helps
to
ensure
that
the
literature
being
studied
is
appropriate
for
his
current
ability
level.
Moreover,
it
can
be
used
to
make
pedagogical
connections
between
art
songs
and
arias
across
the
spectrum
of
the
repertory.
64
CHAPTER
8:
SOGNO
DINFANZIA
AND
MECO
ALLALTAR
DI
VENERE
FROM
NORMA
Arguably
the
most
famous
and
revered
opera
composed
by
Bellini
is
Norma.
Admittedly,
the
opera
receives
such
acclaim
due
in
large
part
to
the
title
character,
whose
role
is
tremendously
demanding
for
the
soprano
both
in
terms
of
the
dramatic
and
vocal
requirements.
With
Norma,
Bellini
mastered
the
canto
declamato
style.
As
for
the
principal
tenor,
Pollione,
Bellini
was
again
without
the
services
of
his
faithful
Rubini.
Instead,
the
role
was
created
for
Domenico
Donzelli,
whose
voice
was
described
as
forceful,
dark,
and
low.68
The
entirety
of
the
role
reflects
the
quality
of
Donzellis
voice,
as
it
rarely
ascends
beyond
G4.
This
trait
is
a
departure
from
typical
Bellinian
roles
and
training
a
tenor
to
meet
this
demand
is
a
unique
endeavor.
First
and
foremost,
the
tenor
must
first
possess
a
voice
that
can
be
described
in
a
way
that
is
similar
or
identical
to
what
Donzellis
must
have
been.
To
be
forthright,
the
role
of
Pollione
requires
a
dramatic
tenor
voice.69
It
is
plausible
that
Bellini
created
the
dramatic
vocal
traits
required
of
Pollione
to
pair
with
Normas
dramatic
disposition.
If
so,
Bellini
clearly
understood
the
differences
in
composing
for
the
tenore
di
grazia
and
the
dramatic
tenor.
68
Simon
Maguire
and
Elizabeth
Forbes,
Norma,
Grove
Music
Online,
www.oxfordmusiconline.com,
accessed
7
May,
2012.
69
McGinnis,
Pearl
Yeadon,
and
Willis,
Marith
McGinnis.
The
Opera
Singer's
Career
Guide:
Understanding
the
European
Fach
System.
(Plymouth,
UK:
Scarecrow
Press,
2010),
289.
65
Perhaps
the
most
overt
trait
of
a
dramatic
tenor
voice
is
that
he
must
possess
great
power
in
the
upper
range.
Apart
from
the
timbre
and
tone
quality
of
an
individual
voice,
an
art
song
or
arias
melodic
material
can
be
used
facilitate
repertoire
selection
that
is
suitable
for
the
dramatic
tenor
voice.
All
Bellinian
tenor
roles,
with
the
exception
of
Normas
Pollione,
are
considered
to
be
ideal
for
the
tenore
di
grazia.
The
melodic
aspect
that
is
consistent
with
all
of
the
tenore
di
grazia
arias
is
how
Bellini
approaches
the
notes
G4
and
beyond
(examples
27-32).
Example
27.
Oh!
Quante
amare
lagrime
(Adelson
e
Salvini)
mm.
20-21
4
&4 J
tan - to,
b
a
co - si, fier, co - si
& 44 j j
?4
4
&
&
?
<
## 12
8
j
## 12
8 J
can - to tra
#
&#
?##
## 12
8 R J
do
#
&#
11
fier
&
&
b bb 98
n nn
12
8
12
8
va, ch'io
j
bbbb 98
bbbb 8 J J
nnnn
nnnn
66
12
8
man
12
& 8
2
21
? 12
8
b b9
& b b 8
&
te
il
vi
con - sor
tea dem - pi -
U
n
n n nnnn
j
b b9
& &b 8 n n
#
? b
? b b 9 n
bb8 J
J
J
ra,
il
va,ch'io
con
nnnn
nnn n
## 12
& 8 R J
Example
29.
A
te,
o
cara
(I
Puritani)
mm.
8-9
24
<
## 12
& 8 j
? ## 12
J
8 J
can - to tra
Example 30. Nel furor, delle tempeste (Il Pirata) mm. 68-69
b3
&b 4
mor,
dal
b 3
&b 4
? bb 43
n b
l'a -
mor,
b
&b
b
12
& #8
j U U . . . .
&
Uj
? ## 12 j U
j
67
?
J
J
Example 31. Ah! Perch non posso odiarti (La sonnambla) mm. 22-23
15
&
b
fij
4
& b 4
w
nn
. . . bb 4. j . j. . j. . . . .
& 4
nn
nn
w
Per
chi
v - to,o
ma
i,
per
U J
&
gna - sti. Dell' im - pe
U
&
U
?
chi
pu
J
j
Example
32.
Per
chi
mai,
per
chi
pugnasti
(Zaira)
mm.
18-20
3
#
18
J
J
? b 4 j j j
?
b 4 J J
&
ro
che
fon - da - sti
The
aspect
that
is
consistent
with
each
of
these
(and
other)
examples
is
the
fact
that
the
top
register
is
approached
from
a
note
that
is
within
the
secondo
passaggio.
In
order
to
access
the
top
register,
the
tenore
di
grazia
must
deliver
the
passaggio
notes
with
the
same
method
of
production
that
is
required
for
notes
beyond
the
secondo
passaggio.
Another
way
of
stating
this
is
that
when
the
tenor
is
in
the
secondo
passaggio,
he
is
already
in
the
midst
of
upper
register
production,
and
so
can
easily
make
the
transition
out
of
the
secondo
passaggio
and
into
the
upper
register.
68
In Polliones aria from Norma, the upper register pitches are predominately
approached
from
pitches
that
are
below
the
seconda
passaggio
(example
33).
At
these
moments,
the
tenor
does
not
begin
the
leap
while
within
the
parameters
of
upper
register
production,
and
therefore
he
requires
more
power
and
weight
in
the
voice
in
order
to
make
the
ascent.
Example
33.
Meco
all'altar
di
Venere
(Norma)
m.
7
4
&4
& 44
?4
4
<
<
J
J
3
3
j
j
J
e - raA- dal - gi
& 43
sain
&4
<
glioa - do - rar
j
j
? 3 j # # #
fach
category
for
the
role
of
Pollione,
the
4approach
plays
a
significant
to
the
upper
register
role
in
determining
the
voice
type
best
suited
for
Pollione.
13
&
&
?
j
69
seconda
passaggio.
Moreover,
the
ascents
to
the
G4
are
virtually
identical.
In
the
aria,
the
leap
from
D4
to
G4
is
a
prevalent
interval.
As
example
34
shows,
a
similar
melodic
figure
occurs
in
the
art
song
Sogno
dinfanzia.
The difference between the two examples is that in the art song, the melodic line
first
descends
to
G3
before
making
the
octave
leap
to
G4.
An
initial
analysis
would
indicate
that
the
octave
leap
found
in
the
art
song
seems
to
be
markedly
different
from
that
of
the
44 found
in
the
aria.
perfect
fifth
l&
eap
pedagogically,
J
However,
the
tenor
must
retain
43 the
- raA-odal
gi -fact
sainthat
he
is
actually
descending
to
G3.
In
doing
so,
the
tenor
feeling
of
D4
in
espite
< f
t- he
<
&4
J J
3
3
? 4 j j
4
J
43
43
& 43
3
&4
car
ra
vo
<
glioa - do - rar
? 3 j j #j #j #j
4
13
is a three-strophe
- ti
technique
numerous
times
with
varying
texts
and
vowels.
In
order
to
make
a
direct
&
70
becomes
more
technically
stable,
he
should
sing
the
melodic
material
as
written,
but
should
be
mindful
of
carrying
excessive
weight
in
the
voice
on
the
ascent
from
G3
to
G4.
Developing
confidence
and
reliability
in
this
technique
will
ultimately
allow
the
tenor
to
make
a
seamless
transition
to
all
the
melodic
material
of
Meco
all'altar
di
Venere.
71
CHAPTER
9:
LA
RICORDANZA
AND
PER
PIET,
BEL
IDOL
MIO
TO
A
TE,
O
CARA
FROM
I
PURITANI
In
1833,
Bellini
moved
to
Paris
in
hopes
of
securing
a
commission
from
the
Paris
Opera.
Two
years
of
negotiations
proved
fruitless,
as
he
died
in
1835
having
never
secured
the
commission.
He
did
receive
a
commission
from
the
Thtre
Italien,
which
resulted
in
Bellinis
final
opera,
I
Puritani.
The
opera
debuted
on
January
24,
1835.70
The
opera
features
a
libretto
from
Carlo
Pepoli,
marking
the
first
time
since
Bianca
e
Fernando
that
Bellini
used
a
librettist
other
than
his
faithful
Romani.
The
split
between
composer
and
librettist
occurred
during
the
composition
of
Beatrice
di
Tenda.
Bellini
received
the
commission
for
Beatrice
di
Tenda
from
Venices
La
Fenice
in
May
of
1832,
but
in
October,
Bellini
forced
a
new
subject
on
Romani.
At
this
time,
Romani
was
simultaneously
working
on
five
other
opera
libretti,
creating
tension
in
the
working
relationship
that
he
had
developed
with
Bellini.
Romani
finally
delivered
the
libretto
in
January
of
1833,
but
by
February,
Bellini
acknowledged
that
he
had
yet
to
begin
composing
the
second
act.
Bellini
predicated
a
failure
for
the
March
debut,
which
is
exactly
what
transpired.
Each
artist
blamed
the
other
for
the
failure,
and
the
collaboration
ended.
In
the
years
after
Bellinis
death,
Beatrice
di
Tenda
was
revived
70
Simon
Maguire
et
al.,
I
Puritani,
Grove
Music
Online,
www.oxfordmusiconline.com,
accessed
8
May,
2012.
72
and
gained
momentum.
Presently,
it
is
no
longer
considered
a
failure,
and
is
occasionally
programmed.71
For I Puritani, Bellini had the services of his favorite tenor, Giovanni Rubini. The
4
One
Bellini
art
song
that
prepare
a
tenor
for
A
te,
o
cara
is
La
ricordanza.
Interestingly,
Carlo
Pepoli,
who
was
the
librettist
for
I
Puritani,
also
wrote
the
ricordanza.
This
is
a
significant
connection,
8 as
studying
La
ricordanza
text
for
La
affords
the
tenor
the
only
opportunity
in
the
Bellinian
repertory
to
study
the
text
setting
of
Musically, the most obvious connection is found in the meter and in the rhythmic
12
featuring the three eighth-note groupings, implying the triplet triadic arpeggios with which
68
seem extensive, but an analysis of the rhythmic impulses reveals that the aria and the art
98
12
8
71
Ibid.
had to notate them as triplets. At first comparison, this difference in orchestration may
Bellini is frequently connected (example 36). La ricordanza is set in 4 , but still features
the three eighth-note groupings (example 35). In order to group the eighth notes, Bellini
73
Example
35.
Bellini:
La
ricordanza
mm.1-2
2
18
bbbb 98
nnnn
## 12
8
## 12
8
va, ch'io
j
bbbb 98
bbbb 98 J J
nnnn
nnnn
43
44
te,o ca
ra,
j
J J
a- mor
ta
## 12
& 8
43
j
? ## 12
j
8 68
98
44
12
triads. He employs the use of 8 meter, which satisfies Bellinis desire to create a feeling of
able to achieve the long phrasal length because he notes the tempo as Largo.
12
Because of the inherent cadence of 8 , or 4 which has a feel of added length due to
68
The relatively slow rhythmic pulse of these meters causes errors and deficiencies to be
augmented. One example of this is a singers ability to produce legato. The slowness of the
98
12
8
21
## 12
8
## 12
& 8
&
&
74
tempo
mandates
that
the
legato
must
actually
be
produced
with
the
sensation
of
hyper-
legato.
In
order
to
achieve
this,
Battaglia
instructs
the
singer
to
give
due
articulation
the
consonants,
but
to
connect
them
closely
to
each
vowel
in
each
word.72
This
will
allow
the
singer
to
match
the
smoothness
of
the
meter
with
the
smoothness
of
vowel-to-vowel
articulation.
breath
management.
Due
to
the
long
phrasal
length,
the
tenor
must
be
skilled
in
the
command
of
his
breathing.
He
must
make
careful
decisions
regarding
when
to
take
a
breath.
The
difficulty
in
these
decisions
is
due
to
the
fact
that
he
may
be
forced
to
breathe
during
moments
that
are
not
ideal
for
declamation
of
the
text.
18
Examples
37
and
38
show
the
aria
and
the
first
U
phrases
of
each
strophe.
Notice
that
nn n
bbbb 98
n
&
example
37
shows
punctuation
(a
comma)
after
the
word
cara.
As
a
result,
Bellini
b b 9 j
b
nnnn
b 8
&
of
material.
can
use
this
rest
to
breathe
and
prepare
for
the
next
line
## 12
8
va, ch'io
## 12
8
notated a rest to enhance the separation of the first two lines of text. In addition, the tenor
bbbb 98 J J
nnnn
# 12
& # 8
j
J J
#
& # 12
8
j
? ## 12
j
te,o ca
ra,
a- mor
ta
72
Bellini,
Vincenzo,
ed.
Battaglia,
Elio.
Canzoni
per
voce
e
pianoforte.
(Milano:
Ricordi,
2004),
95.
21
## 12
8
75
The
first
two
lines
of
the
second
strophe
begin
with
Al
brillar
di
si
bellora.
Notice
in
example
38
that
there
is
no
punctuation
that
separates
the
first
two
lines
of
texts.
Therefore,
Bellini
did
not
notate
a
rest
or
a
breath
mark
because
he
wanted
the
text
to
flow
continuously
and
uninterrupted.
The
challenge
with
measure
25
is
that
the
most
difficult
singing
is
in
the
second
strophe
(includes
the
C
5),
and
not
breathing
here
and
at
every
possible
moment
can
lead
to
issues
of
stamina.
The
decision
whether
or
not
to
breathe
becomes
more
complicated
when
a
tenor
considers
that
he
was
able
to
breathe
in
the
first
## 12
nn
in
breathing
strophe,
when
&
he
first
R Jthis
music.
By
this
rationale,
he
is
justified
8 encountered
## 12
8
## 12
8
& 8
j
? ## 12
j
8
nn
## 12
8
nn
nn
nn
## 12
& 8
nn
j
J
lar
di si
bel l'or -
ra
J
di si
bel
# 12
& #8
? ## 12
j
j
8 J
10
&
The tenor is also faced with breath decisions in the art song. Example 40 shows two
musical phrases from La ricordanza. Measure six features a comma after the word notte
& by
a
rest.
This
would
indicate
a
moment
where
the
performer
should
take
(night),
followed
?
76
a
breath.
This
measure
corresponds
with
measure
two
of
the
aria.
In
measure
seven
of
the
art
song,
there
is
no
punctuation,
indicating
that
there
is
no
moment
to
breathe,
as
is
the
case
of
measure
25
of
A
te,
o
cara.
However,
the
rest
in
measure
seven
of
La
ricordanza
gives
the
tenor
the
possibility
of
breathing,
in
spite
of
the
fact
that
this
decision
is
not
supported
by
textual
punctuation
(example
39).
This
series
of
breath/no
breath
decisions
are
comparable
to
the
breathing
decisions
the
tenor
faces
in
the
aria.
Like the aria, decisions relating to the respiratory process should be managed based
on
the
individual
needs
of
the
singer.
Both
the
art
song
and
the
aria
are
rather
lengthy
pieces,
which
ascend
to
challenging
parts
of
the
vocal
range.
These
factors
call
to
mind
issues
of
stamina,
and
so
the
performer
should
weigh
these
and
all
other
performance
factors
in
deciding
the
placement
and
frequency
of
breaths.
Example
39.
Bellini:
La
ricordanza
mm.
4-9
& b 44
E - ra
3
3
& b 44 #n
? 4 j
b4
J
&b
&b
?b
j r
la not
te,
e pres - so di
j r
co
J
3
n
3
con quel
3 so - la,
3
3
3
3
3
3
b
#n
j
3
j
j
j
J
J
lei
che so - la cor
77
Another
art
song
that
will
prepare
the
tenor
for
A
te,
o
cara
is
Per
piet,
bell'idol
mio.
Specifically,
there
is
one
passage
that
is
quite
similar
to
a
passage
found
in
the
aria.
Example
40
shows
the
aria,
and
a
scalar
ascent
to
A5.
Example
41
from
the
art
song
shows
a
very
similar
passage,
only
the
top
note
is
one-half
step
lower
than
the
example
from
the
aria.
In
both
cases,
however,
the
challenge
is
negotiating
the
secondo
passaggio.
The
tenor
must
exit
the
secondo
passaggio
in
such
a
way
that
he
has
simultaneously
shifted
into
his
high
register
method
of
production.
Although
this
concept
has
been
previously
outlined,
U
negotiating
the
secondo
passaggio
is
a
major
technical
challenge
for
the
tenor.
He
can
2
b b 9
nn n
b
& b t8hrough
the
study
of
Per
piet,
bell'idol
mn io,
and
transitioning
directly
apply
this
concept
vi
b b 9 j
b
& b 8
? bb b 98
b J
J
J
va, ch'io
## 12
8
nnnn
nnnn
## 128
## 12
& 8 R J
## 12
8
# 12
& # 8 j
?## 12
J
8 J
ten - to, m'e piu ca - ro, m'e piu ca - ro pal -pi - tar
mi
o,
"
!"" % & & & % & &
&
no in
78
)
)
)
)
)
)
)
)
&
, "" & % + & % +
4
&
%+
% +
+ &piet,
% + bell'idol
% + m.
12-15
& %Per
&%+ m
& io
Example
41.
Bellini:
"
&
4
&
&
&
&
&
&
&
& & & ( & & & & & & & " &/ & & & & & &
1 1 1 1
"
& + /) 0 *
& &
! " " (&
12
gra - to
In - fe - li
"
! " " % & & (& % & (& &
)
)
&
&
, ""
" &%+ &% +
ce e sve ntu - ra - to
&
% && %&&
&
)
&
&
&%+ &%+
1
JK1107.04.11 www.jk-klassik.de
)
+ & % +
&
Formally,
the
aria
is
set
in
two
strophes
with
identical
musical
material.
Separating
the
strophes
is
a
quartet
and
chorus
that
features
Arturo
and
the
soprano
Elvira
soaring
over
the
orchestra
and
the
other
voices
in
a
major
third
harmonic
relationship.
Arturo
begins
the
second
strophe
with
a
repeat
of
the
opening
material,
followed
by
a
major
sixth
leap
from
E4
to
C
5
(Example
42).
Example
42.
Bellini:
A
te,
o
cara
(I
Puritani)
m.
27
## 12
nn
J
& 8 R
#
& # 12
8
lar
j
J
di si
## 12
8
nn
nn
## 12
8
## 12
8
nn
nn
nn
to il mio tor
#
& # 12
8
j
?## 12
j
bel l'or -
ra
J
di si
bel
#
& # 12
8
?## 12
j
j
8
79
CHAPTER
10:
THE
FREQUENCY
AND
THE
FREEDOM
OF
MODIFICATIONS
TO
THE
PRINTED
SCORE
SUPPORTED
BY
ANALYSES
OF
AVAILABLE
RECORDINGS
The driving force behind bel canto is the singers ability to deliver the art song or
aria
with
a
universally
pleasing
tone
quality.
However,
text
delivery
is
also
an
important
component
to
bel
canto.
Communication
of
the
text
was
equally,
if
not
more
important
to
Bellini
as
beautiful
singing.
An
evolving
but
accepted
notion
is
that
bel
canto
emphasizes
the
beauty
of
the
voice,
followed
by
other
performance
factors,
including
text
delivery.
Bel
canto,
after
all,
translates
to
beautiful
singing.
What constitutes a beautiful tone quality is relative and contingent upon the
personal
preferences
of
the
individual
listener.
Likewise,
each
individual
singer
strives
to
sing
beautifully
in
a
manner
that
is
consistent
with
his
personal
aesthetics.
Each
singer
knows
his
voice
and
knows
how
to
highlight
the
positive
attributes
while
diminishing
the
negatives.
tempo
that
help
them
to
achieve
their
highest
level
during
performance.
After
careful
analysis
of
the
available
recordings
of
the
Bellinian
art
songs,
it
is
apparent
that
some
generalizations
can
be
made
regarding
the
observation
of
the
indicated
rhythms
and
rests.
On
the
contrary,
interpretations
of
tempi
and
the
addition
of
vocal
ornamentation
seem
to
be
at
the
discretion
of
the
individual
performer.
While
often
different,
the
choices
that
the
individual
singers
made
during
these
performances
were
made
to
accentuate
their
strengths
while
simultaneously
concealing
their
weaknesses.
The
amateur
performer
should
be
encouraged
to
do
the
same,
as
doing
so
will
increase
the
probability
of
a
positive
performance
experience.
Below
are
tables
that
80
are
labeled
with
criteria
that
constitute
adjustments
to
the
printed
score.
The
criteria
include
tempi,
employing
vocal
ornamentation
that
is
not
indicated
in
the
score,
observation
of
rests,
and
taking
liberties
with
regard
to
rhythmic
precision.
As
the
following
tables
indicate,
several
recordings
of
each
piece
were
analyzed
and
are
performed
by
a
variety
of
famous
professional
tenors.
Examining
the
data
will
allow
the
tenor
to
understand
the
variety
of
interpretations
of
each
art
song
and
will
especially
assist
the
young
tenor
in
making
these
critical
performance
decisions.
Table
3.
Recording
analysis
of
Malinconia,
ninfa
gentile
Malinconia,)ninfa)gentile
Singer
Marcello)Giordani
Luciano)Pavarotti
Jos)Carreras
Dennis)O'Neil
Juan)Diego)Florez
Time
1:29
1:29
2:03
1:30
2:04
Added)vocal))ornamentation
No
No
No
No
No
Observation)of)Rests
Instances)of)liberty)with)indicated)rhythm
NoCm.)15,)23,)25,)29,33
NoCm.)13,)17,)21,)25,)29
m.)26,)bt.))3
NoCm.13,)17,)25,)50,)52,)55,)59,)62
NoCm.13,)17,)21,)25,)29,)49
NoCm.13,)17,)21,)25,)33,)49,)53
In
the
first
of
the
Sei
Ariette,
the
tempo
that
Bellini
indicates
is
Allegro
agitato.
As
the
time
column
indicates,
there
is
a
35
second
discrepancy
between
the
fastest
performance
and
the
slowest.
Differences
in
performance
timing
are
a
byproduct
of
interpretation
and
declamation
of
the
text.
It
is
the
interpretation
of
the
listener
as
to
which
of
these
times
is
most
in
accordance
with
the
indicated
tempo,
and
which
tempo
best
serves
the
text.
The
performance
aspects
that
are
consistent
with
each
singer
are
the
fact
that
none
of
them
added
any
vocal
ornamentation,
and
each
of
them
took
liberty
with
the
observation
of
the
rests.
In
the
case
of
the
rests,
the
singers
tended
not
to
observe
the
sixteenth
note
rests.
This
is
especially
true
when
the
rest
followed
a
word
that
was
not
81
accompanied
by
punctuation,
such
as
a
comma.
This
is
a
major
clue
in
how
to
deliver
the
text.
The
singer
seems
to
be
justified
in
negating
a
rest
if
doing
so
enhances
text
delivery
and
produces
a
more
natural
recitation
of
the
text.
Table
4.
Recording
analysis
of
Vanne,
o
rosa
fortunata
Vanne,&o&rosa&fortunata
Singer
Nicolai&Gedda
Luciano&Pavarotti
Dennis&O'Neil
Time
2:14
2:06
2:25
Added&vocal&&ornamentation
No
m.&50
No
Observation&of&Rests
Yes
Yes
Yes
Instances&of&liberty&with&indicated&rhythm
m.&3,&bts&5H6;&
The second of the Sei Ariette is Vanne, o rosa fortunata. There are fewer available
recordings
of
this
piece,
but
one
can
still
glean
much
from
the
analysis.
Largely,
the
tempi
of
each
recording
are
the
same.
Each
tenor
chose
not
to
customize
the
score
for
their
individual
needs,
with
Dennis
ONeil
singing
the
piece
virtually
as
written.
Nicolai
Gedda
sang
a
dotted
rhythm
on
beats
five
and
six
of
measure
four,
however
the
indicated
rhythm
is
notated
as
straight
eighth
notes
(example
43).
Example
43.
Bellini:
Vanne,
o
rosa
fortunata
mm.
1-5
#6
&8
#
& 68 J
#
?#6
8
&
n
J n
J
j
j
j
J
J J
Vanne, o
ro - sa for - tu -
j
J
#
J
J
J
J
J
82
In
Pavarottis
recording,
he
added
a
vocal
turn
to
measure
50.
Bellini
notated
only
one
such
ornament,
which
is
found
in
measure
48.
Singer
Nicolai%Gedda
Luciano%Pavarotti
Lawrence%Brownlee
Dennis%O'Neil
Time
2:53
2:13
2:37
2:49
Added%vocal%%ornamentation
No
No
No
No
Observation%of%Rests
Yes
Yes
NoJm.%32
NoJm.%44
Instances%of%liberty%with%indicated%rhythm
Bella Nice, che damore is arguably the most difficult art song in the Bellinian
repertory
to
which
to
modify
the
printed
score
for
the
purpose
of
tailor
to
ones
needs.
This
is
due
to
the
chordal
accompaniment
that
pulses
a
consistent
quarter
note
tempo.
If
the
singer
deviates
from
this
rhythmic
cadence,
the
piano
and
voice
are
no
longer
in
line,
and
the
piece
loses
the
desired
integrity.
Moreover,
the
melodic
line
is
imbedded
within
the
chords.
As
a
result,
deviation
from
the
melody,
either
harmonically
or
rhythmically,
misaligns
these
components
of
the
art
song.
Particularly
with
Bella
Nice,
che
damore,
Bellini
clearly
intended
for
the
voice
and
piano
to
be
a
unified,
cohesive
unit.
Brownlee and ONeil took liberty with the rests in measures 32 and 44, respectively.
Again,
these
moments
seem
to
be
justified
by
the
lack
of
textual
punctuation,
and
as
a
result,
allow
the
singers
to
deliver
the
text
in
a
speech-like
manner.
83
Table
6.
Recording
analysis
of
Per
pieta,
bel
idol
mio
Per$pieta,$bel$idol$mio
Singer
Jos$Carreras
Dennis$O'Neil
Carlo$Bergonzi
Lawrence$Brownlee
Time
2:43
2:19
2:48
2:06
Added$vocal$$ornamentation
No
No
m.$32
No
Observation$of$Rests
Yes
Yes
Yes
Yes
Instances$of$liberty$with$indicated$rhythm
m.$15
The tenors who recorded Per piet, bell'idol mio adhered closely to the indications
of
Bellini.
There
is
a
sizeable
difference
in
the
tempi
due
in
large
part
to
Lawrence
Brownlees
faster-paced
interpretation.
Jos
Carreras
negated
the
dotted
rhythm
in
measure
15
in
favor
of
holding
a
quarter
note
on
the
B.
Carlo
Bergonzi
interpolated
an
E
rather
than
a
D
in
measure
32,
but
other
than
these
two
relatively
minor
encounters
of
score
modification,
the
tenors
adhere
to
the
wishes
of
Bellini.
Table
7.
Recording
analysis
of
Ma,
rendi
pur
contento
Ma,$rendi$pur$contento
Singer
Lawrence$Brownlee
Luciano$Pavarotti
Dennis$O'Neil
Carlo$Bergonzi
Time
2:14
2:17
2:31
2:31
43
Added$vocal$$ornamentation
No
No
44 No
No
Observation$of$Rests
Yes
Yes
NoLm.5,$9,$15,$17
Yes
Instances$of$liberty$with$indicated$rhythm
68
Each tenor who has recorded Ma, rendi pur contento chose to perform the piece
98
with
similar
tempi.
The
slower
meter
does
not
provide
the
opportunity
for
any
flourishing
vocal
ornamentation.
In
addition,
the
morose
character
of
the
piece
does
not
12
8
84
indicate
a
virtuosic
display
of
such
ornamentation.
None
of
the
tenors
chose
to
adjust
the
score
in
this
manner.
In
measures
five,
nine,
15,
and
17,
tenor
Dennis
ONeil
chose
to
negate
the
eighth
note
rests.
In
each
of
these
instances,
the
text
that
precedes
the
rest
is
not
accompanied
by
textual
punctuation,
which
justifies
ONeils
decision
to
deliver
the
prose
seamlessly
without
pause.
Table
8.
Recording
analysis
of
Quando
verra
quel
di
Quando'verra'quel'di
Singer
Jos'Carreras
Dennis'O'Neil
Time
2:49
2:17
Added'vocal''ornamentation
No
No
Observation'of'Rests
Yes
Yes
Instances'of'liberty'with'indicated'rhythm
The
first
of
the
Tre
Ariette
was
performed
in
accordance
with
the
indications
of
the
score.
The
tempi
are
significantly
different,
which
is
an
important
consideration
for
the
tenor.
Due
to
the
32nd
note
passages,
the
tenor
must
choose
his
tempo
wisely
so
as
to
adequately
articulate
these
passages.
Table
9.
Recording
analysis
of
Dolente
immagine
di
Fille
mia
Dolente'immagine'di'Fille'mia
Singer
Jos'Carreras
Dennis'O'Neil
Luciano'Pavarotti
Time
3:37
3:00
2:47
Added'vocal''ornamentation
No
No
No
Observation'of'Rests
Instances'of'liberty'with'indicated'rhythm
NoDm.14
m.31/36'(turn'is'sung'with'rhythmic'liberty)
Yes
m.'31/36'(no'turn)
NoDm.26
m.31'(turn'is'sung'with'rhythmic'liberty)
In Dolente immagine di Fille mia, there are two instances where indicated rests
were not observed: Carreras in measure 14 and Pavarotti in measure 26. In both cases, the
85
negation
of
the
rests
are
justified
due
to
the
lack
of
textual
punctuation
and
the
artists
desire
to
reflect
this
in
their
delivery.
turns
were
either
not
done
or
were
done
without
rhythmic
precision.
Carreras
and
dor,
Om - bra di
Pavarotti
took
the
turn
out
of
tempo,
and
slowly
negotiated
the
ornament
before
continuing
forward.
Example
44.
Bellini:
Dolente
immagine,
di
Fille
mia
m.
36
36
gui - bi - le
e_i - ne
Table
10.
Recording
analysis
of
Vaga
luna,
che
inargenti
40
Vaga$luna,$che$inargenti
Time
3:37
3:49
3:25
3:49
3:35
Added$vocal$$ornamentation
No
No
No
No
m.$35;$m.$38;$m.$42;$m.$46;$mm.$49T52
Observation$of$Rests
Yes
Yes
Yes
Yes
Yes
Instances$of$liberty$with$indicated$rhythm
m.$7,$bt.$4;$$m.$33,$bt.$4
m.$33,$bt.$4
m.$13,$bt.$4;$m.$33,$bt.$4
Copyright by Nlendic 2009
86
There are several interesting realizations when analyzing this data. First, the tempi
are
all
very
similar.
Next,
each
tenor
observed
each
of
the
rests
that
Bellini
notated.
Finally,
60%
of
the
singers
took
liberty
with
the
indicated
rhythm
in
measure
33,
negating
29
the
dotted
rhythm
found
on
beat
four
in
favor
of
a
straight
eighth
note
rhythm
(pexample
45).
Dil - le pur
che lon ta
pp
nan
za
il
mio duol
non
puo
le - nir,
che se
36
za
Regarding vocal ornamentation, only Ramon Vargas took liberty, and he was liberal
in
his
application
of
this
type
of
melodic
modification.
Specifically,
the
second
strophe
is
highlighted
by
interpolated
high
notes,
appoggiaturas,
and
inverted
triadic
arpeggios.
Vargas
decision
to
embellish
the
second
strophe
shows
one
artists
interpretation
of
the
39
liberties
one
enjoys
when
performing
bel
canto
repertoire.
If
performed
with
care,
taste,
and
stylistic
accuracy,
however,
implementing
vocal
Dil
ornaments
add
-variety
to
an
nir.
- le pur
chewill
gior
no e se
otherwise
straightforward
strophic
piece.
ra
con - to
87
Table
11.
Recording
analysis
of
La
ricordanza
La#ricordanza
Singer
Lawrence#Brownlee
Jos#Carreras
Dennis#O'Neil
Time
4:50
5:51
5:27
Added#vocal##ornamentation
m.#15#(turn)
No
No
Observation#of#Rests
NoHm.#12,#36,#40
NoHm.36#
NoHm.6,#10,#36,#48
Instances#of#liberty#with#indicated#rhythm
m.#20
In La ricordanza, the common trait among the performers is that none of them
breathed
in
measure
36.
Consistent
with
the
theme,
there
is
no
punctuation
after
the
word
tremante
in
measure
36,
which
occurs
directly
before
a
sixteenth
note
rest.
In
fact,
all
the
other
instances
where
the
singers
did
not
observe
the
rests
were
in
moments
where,
due
to
the
text,
it
is
justified
not
to
breathe.
The
exception
to
this
is
ONeils
recording,
in
which
he
does
not
rest
in
measure
6,
even
though
a
comma
after
the
word
notte
and
a
subsequent
rest
seems
to
indicate
that
a
rest
and
breath
is
warranted.
Brownlee added a vocal turn in measure 15 where one is not indicated (example
46).
Brownlee
added
this
ornament
to
bridge
beats
one
and
two
of
measure
15,
which
occurs
in
the
midst
of
the
word
mercede.
Example
46.
Bellini:
La
ricordanza
m.
15
& b 44
ce
? b 44
&b
& b 44
de a'
3
mar - tir
88
Table
12.
Recording
analysis
of
Sogno
dinfanzia
Sogno%d'infanzia
Singer
Carlo%Bergonzi
Dennis%O'Neil
Time
2:56
6:40
Added%vocal%%ornamentation
m.%42
No
Observation%of%Rests
Yes
NoIm.%155;
Instances%of%liberty%with%indicated%rhythm
The obvious discrepancy with the art song Sogno dinfanzia is the time/tempo.
ONeils
recording
is
more
than
double
the
length
of
Carlo
Bergonzis.
What
one
must
consider
when
reading
this
table
is
the
fact
that
Sogno
dinfanzia
is
a
four-strophe
piece.
Bergonzi
only
sings
the
first
strophe,
whereas
ONeil
sings
all
four.
This
brings
to
light
the
question
of
whether
or
not
to
perform
an
art
song
in
its
entirety.
One
answer
is
that
it
is
more
desirable
to
include
all
the
verses
in
order
to
adhere
to
the
score.
Table
13.
Recording
analysis
of
Torna,
vezzosa
Fillide
Torna,'Vezzosa'Fillide
Singer
Lawrence'Brownlee
Marcello'Giordani
Dennis'O'Neil
Time
7:51
7:34
7:49
Added'vocal''ornamentation
m.'176G177;'m.'190;'m.'221
m.'107;'m.'190;'m.'191;'m.'193;'m.'196;'m.'216;'m.'221G222
m.'190
Observation'of'Rests
NoGm.'180
NoGm.'91
Yes
Instances'of'liberty'with'indicated'rhythm
Torna, vezzosa Fillide most closely resembles an aria in a mature Bellini style. The
art
song
is
divided
into
three
sections.
They
are
labeled
Andantino,
Un
pomeno
mosso,
and
Agitato.
Given
the
varieties
of
the
different
sections
and
the
resemblance
of
aria
form
and
structure,
there
are
opportunities
for
the
implementation
of
adjustments
to
the
printed
score.
As
the
above
table
indicates,
these
opportunities
are
exploited.
89
a
setting
of
the
score
that
is
transcribed
for
full
orchestra.
While
Torna,
vezzosa
Fillide
was
probably
conceived
as
a
sketch
for
an
operatic
aria,
Bellini
composed
the
piece
for
voice
and
piano.
If
he
ever
transcribed
the
piece
for
full
orchestra,
it
no
longer
exists.
Giordani also embellishes the melody, in particular during the third Agitato section.
His
embellishments
are
primarily
interpolations
of
high
register
pitches,
often
singing
his
notes
a
major
third
or
perfect
fourth
higher
than
notated
by
Bellini.
This
is
not
an
uncommon
occurrence
in
standard
operatic
repertoire.
Often,
cadenzas
have
become
commonplace
as
alternatives
to
the
original
score.
Like
Giordanis
ornaments,
operatic
cadenzas
feature
the
interpolation
of
high
register
pitches
that
show
the
virtuosic
qualities
of
the
leading
tenors.
While not as prevalent, Brownlee and ONeil take liberty with vocal embellishments
The significance for compiling these tables is to discern how to add elaboration into
the
arias,
using
the
art
songs
as
a
guide
for
what
to
embellish
and
how
frequently
these
embellishments
should
be
introduced.
Based
on
this
data,
it
is
reasonable
to
conclude
that
certain
rests
can
be
negated
as
longs
as
it
makes
textual
sense
to
do
so.
In
addition,
exercising
liberties
with
regard
to
rhythm
is
less
frequent
and
can
be
problematic
in
operatic
performance.
Finally,
tempi
and
the
addition
of
vocal
ornamentation
are
90
performance
aspects
that
should
be
discussed
and
planned
with
a
pianist
and/or
conductor.
91
CONCLUSION
Literature
selection
is
one
of,
if
not
the
most
important
tasks
associated
with
pedagogy.
Teachers
and
teachers
of
singing
have
only
a
short
while
to
impact
each
student
before
that
student
has
decided
for
or
against
continuing
to
study.
In
studying
the
voice
as
an
instrument,
it
is
important
that
the
student
likes
what
he
sings,
but
there
is
more
to
liking
a
piece
than
simply
enjoying
the
melodic
and
harmonic
interplay.
If
the
literature
is
too
easy
or
too
difficult,
then
the
student
will
become
disinterested.
Literature
should
be
selected
with
each
specific
student
in
mind.
Tailoring
literature
selection
to
each
individual
student
is
one
way
to
ensure
that
he
has
the
best
experience
possible.
As
such,
one
should
not
begin
voice
study
immediately
with
Bellini
arias,
nor
should
they
be
attempted
within
the
first
several
years
of
voice
study.
Because
of
the
difficulty
associated
with
the
arias,
attempting
them
in
the
primitive
years
of
study
will
likely
discourage
the
student
and
will
possibly
lead
to
a
loss
of
interest
in
vocal
study.
However,
if
there
is
interest
and
aptitude
in
the
study
of
Bellini
arias,
the
art
songs
and
methods
that
have
been
outlined
in
this
document
will
provide
an
effective
means
of
training
a
tenor
for
their
goal
of
being
able
to
study
and
perform
the
arias.
To
many,
Bellini
is
regarded
as
third
in
the
line
of
the
three
most
notable
bel
canto
composers,
with
the
top
spot
a
virtual
toss-up
between
Rossini
and
Donizetti.
Two
factors
sheer
volume
of
output
and
lack
of
fanfare
virtuosic
material
hinder
Bellinis
perception
as
an
equal.
Due
to
the
brevity
of
his
life
and
the
considerable
amount
of
time
he
spent
on
each
work,
Bellini
could
never
match
the
output
of
Donizetti,
whose
operatic
output
is
roughly
75.
Likewise,
he
seemed
not
to
possess
the
flare
for
the
dramatic,
as
92
exemplified
by
Rossinis
famous
art
song
La
Danza.
Perhaps
this
is
due
to
the
conservative
nature
of
his
musical
training.
One
could
conceive
of
many
other
factors
that
contributed
to
Bellinis
compositional
output.
One
of
these
may
be
that
he
simply
did
not
possess
the
inherent
ability
that
Donizetti
had.
This
is
evidenced
by
Donizettis
ability
to
compose
one
of
the
repertorys
most
famous
tenor
arias
in
Una
furtiva
lagrima
from
Lelisir
damore.
As
the
story
goes,
Donizetti
composed
this
aria
in
20
minutes.
Bellini,
on
the
other
hand,
spent
significantly
more
time
composing
his
operas,
ultimately
leading
to
the
smaller
total
output.
This
is
attributed,
at
least
in
part,
to
librettist
Felice
Romani
and
delays
in
providing
Bellini
texts.
It
is
not
known
how
much
time
Bellini
spent
composing
his
art
songs,
but
it
is
reasonable
to
conclude
that
he
was
not
efficient
in
this
endeavor,
either.
Twenty-four
art
songs
remain
from
Bellinis
roughly
30
total
art
songs,
which,
compared
to
Donizetti
and
Rossini,
is
also
a
diminutive
number.
Text
must
have
been
important
to
Donizetti
and
Rossini,
but
it
is
hard
to
imagine
that
they
placed
as
much
importance
on
text
as
did
Bellini.
This
is
evidenced
in
Bellini
pioneering
the
canto
declamato
style.
Possibly
then,
toiling
over
the
perfect
union
of
text
and
music
was
a
major
factor
in
Bellinis
comparatively
small
output
of
art
songs
and
operas.
Nonetheless,
Bellini
deserves
to
be
placed
alongside
his
contemporaries
rather
than
distantly
behind
them.
His
art
songs,
due
to
their
harmonic
and
melodic
accessibility,
are
perfect
for
the
beginning
singer,
yet
they
demand
so
much
in
terms
of
technique
and
interpretation
that
they
are
worth
studying
even
as
a
seasoned
performer.
Part
of
the
genesis
of
this
project
was
to
champion
Bellinis
operatic
material,
which
is
less
frequently
performed
than
Donizettis
or
Rossinis.
Bellinis
operatic
tenor
arias,
as
93
exemplified
by
this
essay,
require
the
same
stability
of
technique
and
interpretation
that
his
art
songs
require.
It
is
for
this
reason
that
the
art
songs
and
arias
should
be
studied
in
conjunction
with
one
another,
thereby
ensuring
that
the
tenor
has
fully
prepared
himself
for
the
rewarding
experience
of
performing
Bellinis
vocal
music.
94
BIBLIOGRAPHY
Books
Apel,
Wili.
The
Harvard
Dictionary
of
Music.
Cambridge:
Harvard
Press,
2000.
Grout,
Donald
Jay,
A
History
of
Western
Music.
New
York:
W.W.
Norton
and
Company,
1960.
McGinnis,
Pearl
Yeadon,
and
Willis,
Marith
McGinnis.
The
Opera
Singer's
Career
Guide:
Understanding
the
European
Fach
System.
Plymouth,
UK:
Scarecrow
Press,
2010.
Maguire,
Simon.
Vincenzo
Bellini
and
the
Aesthetics
of
Early
Nineteenth-Century
Italian
Opera.
New
York:
Garland,
1989.
Miller,
Richard.
Training
Tenor
Voices.
New
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