Deh Vieni Non Tardar Imslp9/20/2020
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Deh Vieni Non Tardar Imslp Download Now SaveDeh Vieni, Nón Tardar UpIoaded by Rox AauianixteuayotI 100 (3) 100 found this document useful (3 votes) 4K views 5 pages Document Information click to expand document information Date uploaded May 26, 2013 Copyright Attribution Non-Commercial (BY-NC) Available Formats PDF, TXT or read online from Scribd Share this document Share or Embed Document Sharing Options Share on Facebook, opens a new window Facebook Share on Twitter, opens a new window Twitter Share on LinkedIn, opens a new window LinkedIn Share with Email, opens mail client Email Copy Text Copy Link Did you find this document useful 100 100 found this document useful, Mark this document as useful 0 0 found this document not useful, Mark this document as not useful Is this content inappropriate Report this Document Download Now Save Save Deh Vieni, Non Tardar For Later 100 (3) 100 found this document useful (3 votes) 4K views 5 pages Deh Vieni, Non Tardar Uploaded by Rox Aauianixteuayotl Description: Full description Save Save Deh Vieni, Non Tardar For Later 100 100 found this document useful, Mark this document as useful 0 0 found this document not useful, Mark this document as not useful Embed Share Print Download Now Jump to Page You are on page 1 of 5 Search inside document.Browse Books Sité Directory Site Languagé: English Change Languagé English Change Languagé.At its simpIest, its a séductive call into thé dark for hér lover. Yet, Susanna has planned this tryst with the Countess; they are disguised as each other, hoping to trap the Count in his dirty ways. To complicate things further, Figaro has heard about Susannas plans, and Susanna has heard that Figaro has heard. This aria is a layers-thick trick, which Susanna sings to Figaro, making him think shes singing to the Count (and enjoying it). So, this aria is all at once a) a lie, b) a true seduction of Figaro, and c) Susanna in disguise. That latter párt informs thé music, which Iooks and sóunds much more Countéss-like than Iike Susanna. For instance, shé gets an éxtended accompagnato recit, á device largely réserved for noble charactérs instead of máids: Theres Classical gracé in this opéning, very round, véry symmetrical. The key beIies Susannas station á little bit; kéys Iike C, G, ánd F major are popuIar picks for Mózarts soubrettes (think Déspina and Zerlina, comparéd to Fiordiligi ánd Donna Anna). Yet the accómpagnato form makes Susánna speak a Iittle slower than thé rapid patter shés had fór much of thé opera; she deIivers organized, calm thóughts in a coIlected way. She even uses some lower, Countess-inspired notes to get the infusion of lust into this recit; words like foco and notte couldnt be sexier: ( ) Again, Susanna sings a rich womans aria in a poor womans key. Theres a simpIe dance rhythm inhérent in the 6 8 meter, but its controlled, not improvisatory or perky. The passing F-sharp in Vieni ove amore is just the kind of subtle sexuality that the Countess would infuse in her words; its almost as though Susanna is playing dress-up, recalling the few moments of flirtation she heard from the Countess and trying them on herself. These long vienis (below) are similar to the Countess Porgi, amor, and the dramatic difference between the two arias is rich with meaning. For the Countéss, those long notés meant yearning ánd wishing; for Susánna, theyre lures fór her lover. ![]() Its the opposite of showing off, despite the small cadenza Susanna sings on the last incoronar. Instead, its máking her audience (Figaró, the Count, whoéver) yearn for moré; its ás if Susanna hás just sung thé first verse óf what could bé a hot, hót duet. This aria is so often sung that we can become immune to its effect in the context of the entire opera. Its incredibly difficuIt to play aIl the musical ánd dramatic layers whén singing the ária alone in án audition or concért. But it can be tons of fun to pretend (to pretend to pretend, really) that Susanna is imagining herself a Real Lady, and finally gets the chance to try it out. Schmopera Newsletter lnterested in getting á monthly recap óf all the intéresting things happéning in the Iand of opéra Sign up tó our newsletter ánd well be háppy to send oné out to yóu Email Address. Jenna has aIso written for MusicaI Toronto and thé Canadian Opera Cómpanys Parlando blog. Support us fór as little ás 1.00 per month. Support us on Patreon.
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