Duel of the Coloratura: "Da tempeste il legno infranto"

As I continue my vocal training, I have grown more and more enthralled with the vocal music of Handel. Not only is the music lush, rich, and sparkling, but the vocal lines are some of the most demanding in repertoire for beginning singers. One of the most challenging aspects of singing Handel well is executing the da capo aria with ornamentation that is stylistically and musically interesting. When I sang "Where'er You Walk" (Semele) in my senior recital, I agonized over the return because I had no idea what to do for ornamentation. My accompanist, rather than giving me the "answers" to ornament ideas, had me listen to "Da Tempeste" (Giulio Cesare in Egitto). The performance was by Beverly Sills; I was blown away by the ease Sills negotiates the coloratura passages.

This particular aria occurs in Act III of Giulio Cesare in Egitto (Julius Caesar in Egypt). Cleopatra sings of her release from her inprisonment by her brother Ptolemy. The opera debuted in London on 20 February 1724 to rave reviews and positive reception from the public. Handel revived the opera several more times during his career, but after his death in 1759, like most opera seria, Giulio Cesare became unknown in the 19th Century. The opera was rediscovered, revived, and performed frequently in the 20th Century. Now regarded as the greatest of Handel's Italian operas, it is also frequently cited as the greatest of the opera seria of the 18th Century because of its strength of plot and dramatic impact, vocal writing, and evocative orchestration (Oxford). "Da tempeste il legno infranto" is a prime example of Handel's mastery of composition for voice and orchestra.

Since I had previously heard "Da tempeste" when we listened to it in music history class, I was a little disappointed with the recording we heard of Valerie Masterson. She sang the aria in English and has a beautiful upper register, but I was left wanting more mainly because of the difficulty of the coloratura sections in English. She sounded languorous negotiating each passage, which doesn't seem to be the case with Beverly Sills's performance. I also heard Joan Sutherland singing the aria on a YouTube video. So, I propose a duel between two great sopranos of the 20th Century: Beverly Sills vs. Joan Sutherland each singing "Da tempeste il legno infranto". Have a listen to Beverly Sills (text and translation listed below):

Da tempeste il legno infranto
Se poi salvo giunge in porto
non sa più che desiar.
Così il cor tra pene e pianto,
or che trova il suo conforto,
torna l'anima a bear.
Da tempeste, ecc.

When the ship, broken by storms,
Succeeds at last in making it to port,
It no longer knows what it desires.
Thus, the heart, after torments and woes,
Once it recovers its solace,
Is beside itself with bliss.
When the ship, etc.




Beverly Sills's performance of "Da tempeste" when compared with the score is fairly consistent with Handel's writing except she skips a few lines of music before the end of the A section (not sure if this is performance practice). Her ornamentation on the da capo certainly showcases her voice and also skill at negotiating coloratura passages (as if there weren't enough in the aria already). What I particularly am drawn to as a listener is her addition of octave leaps, trills, and arpeggios near the end of the da capo. These changes engage me as a listener and the second time through the A section sounds like new material or a vocal line Handel might have written as an option for a virtuosic soprano.

From a more phenomenological and referential perspective, Sills certainly exudes the regal character one might associate with the character of Cleopatra. Her voice is focused, clear, and direct as if she were singing directly to the listener--something I would expect from the Queen of Egypt. In addition, her voice shimmers throughout the aria, and it seems this sparkle propels her through the aria illuminating the efferevescent orchestration.

And now for the duel! Here's Joan Sutherland performing "Da tempeste":



What is so immediate about this performance in comparison with Sills is the sheer magnitude of Sutherland's voice. Sutherland also sounds more stately, and regal in this tempo. Here we have a Cleopatra that rules Egypt with the breadth and power of character illuminated by Joan Sutherland's enveloping lyric soprano. I initially expected Sutherland to have more difficulty with the coloratura passages, but she manipulates them to the extent of her ability. Rather than the effortless trills, octave jumps, and light passages by Sills, Sutherland utilizes her strengths in spades. The listener hears much more scalar passages in the da capo. These scalar passages do not diminish, but magnify the breadth of Sutherland's voice which sticks to the goal of ornamentation. Like Sills, Sutherland skips the same amount of music in the A section, so I am going to assume this is performance practice.

The biggest difference between the two performances is that Sutherland sticks to her tempo in the B section that she established in the A section of the aria. The Sills recording shows a greater scope of human emotion because of this slower tempo, but Sutherland's recording has more depth in one emotion: the elegance and power of Cleopatra. If I were to choose the "better" recording, I would choose Beverly Sills's performance because of the journey she takes us through the emotional and dramatic range of Cleopatra's chracter. This is not to say that Joan Sutherland's recording is not successful nor a fantastic recording. Even if I heard Sutherland's recording before Sills's, I would have noticed Sutherland's voice because is so recognizable and glorious in its own respect, which exemplifies why Bel Canto roles, rather than Handel's Cleopatra, made Sutherland's career. I would certainly pay $500 to hear Sutherland sing Lucia di Lammermoor any day, but Sills deserves my support, and $500, on this one.


Beverly Sills vs. Joan Sutherland
"Da tempeste il legno infranto"
Giulio Cesare in Egitto
Georg Frideric Handel

Winner: Beverly Sills.

References
Giulio Cesare in Egitto, Vocal Score (Publice Domain)
English translation of "Da tempeste" from http://www.columbia.edu/itc/music/reserves/cd2482/text/act3.html
oxformusiconline.com
Concise History of Western Music, 5th ed., Barbara Hanning
Giulio Cesare Synopsis, http://www.metoperafamily.org/metopera/history/stories/synopsis.aspx?id=167

Winter Holds on for Just a Little Longer

When I write about music or analyze it in some fashion, the pieces I choose relate to me somehow. The two performances of the piece I have chosen spoke to me because of the weather. It's very rare that an external aspect have an impact on what I choose to analyze. Since the weather has returned to being cold again, I thought it would be interesting to look at two performances of the first movement of Antonio Vivaldi's Concerto No. 4 in f minor, Op. 8, RV 297, "Winter" from The Four Seasons. As with my John Dowland analysis, I propose to use a modified version of Ferrara's eclectic method to compare and contrast the two performances. I will engage each performance separately before comparing them.

Before diving into the analysis of the first performance, the eclectic method calls for an historical analysis of the piece and its composer. The composer of this concerto, Antonio Vivaldi (1678-1741), was playful referred to in his lifetime as "The Red Priest" because of his bright red hair. Like his outward appearance, Vivaldi's music is known for its fiery and playful exuberance, and it was extremely popular in his time probably because of the Vivaldi's passion for composition. Vivaldi brought structured harmony and creative melodies to Baroque music; he is considered as one of the composers who began the evolution of music to the classical style. This is especially evident in harmonic progressions in his best-known concertos like The Four Seasons and in his light-sounding music.

The Four Seasons is Vivaldi's most performed work, and also a favorite piece of Baroque music among intellectuals and the public. Composed in 1723, each season has its own concerto, particular texture, and three movements. "Winter", the last of the four concertos, is in f minor, and features an icy, staccato texture throughout the three movements. Vivaldi is seen as a progressive in terms of program music for these concertos because he based them on anonymous sonnets possibly written by Vivaldi himself. Each line of the sonnet is illuminated in its corresponding concerto moreso than any other program music of the Baroque Period.

The first performance of this piece is the Berlin Philharmonic under the direction of Herbert von Karajan, solo violinist is Anne-Sophie Mutter. This is the first movement (Allegro non molto) from "Winter" by Vivaldi:


The piece is in f minor, but in an extended binary form or an early version of sonata-allegro form. One can hear distinct textures marking two episodes and a cadence at the end of the second episode in the key of E-flat major. After the cadence, Vivaldi plays with the first episode almost like a classical development, eventually retransitioning back to f minor with the second theme. Looking at the sound-in-time, Karajan directs a large string orchestra from the harpsichord with light, snowy melodic and accompanimental figure; gusts of Mutter's violin cut through the expanse in precise bursts. Following that, Mutter's smoother playing announce expanses of chills played by the accompanimental instruments. The piece returns to carefully travelling steps played by the orchestra with Mutter's hopeful yet despairing violin soaring above it. But, even her melody succombs to the tremendous chill of the large ensemble by the end of the piece. Virtual feelings in this performance include: melancholy, plaintiveness, iciness, sparkle, hope, restraint, suffering.

Looking at this piece referentially, take a look at the excerpt sonnet Vivaldi used to program this piece. What is interesting to note is Vivaldi placed corresponding sections of the sonnets he set to music in the score itself. Here is the sonnet for this movement (Italian followed by English translation):

Aggacciato tremar trà neri algenti
Al Severo Spirar d'orrido Vento,
Correr battendo i piedi ogni momento
E pel Soverchio gel batter i denti;

Trembling with cold in the icy snow
In the harsh breath of a horrid wind,
Running, stamping one's feet every moment
and our teeth chattering in the freezing cold.

This text is illuminated brilliantly by Vivaldi; Karajan and Mutter give the listener an interpretation of winter easily heard by the listener. Vivaldi's goal seems primarily to capture winter through music, and he did that. According to Peter Guttmann on classicalnotes.net, Vivaldi's composition is a 'dry schematic' for soundtrack, but still provides an enthralling listen for modern listeners. Mutter and Karajan have the disconnect of two and a half centuries to overcome, but their performance reflects winter to the listener given the orchestration, instruments, and techniques native to the 20th and 21st Centuries.

Here is the second performance. This is a string quartet with basso continuo (bass and harsichord) led by solo violinist Janine Jansen (The movements are out of order in this clip -- Fast forward to 4:48 to hear the 'Allegro non molto' movement).



What I immediately was enthralled with this performance is the depth of expression and the intimacy achieved with having only one player on a part for the concerto. The players have more freedom to stretch tempo, sink into the dynamics and add their own ego to their own part. I think this resonates with the concept of affections in the Baroque: the listener hears the scope of winter rather than just a slice of it as with the previous recording. What I find so exquisite is the bowing in the quartet and basso continuo is clearly audible with this ensemble. It works to the groups advantage phenomenologically and referentially. Now that the harpischord is more present and the listener hears the grating of the bow against the strings, the winter depicted is icy, bitter, harsh, and freezes to the bone. Looking at the sonnet Vivaldi drew from, I can more clearly visualize the "chattering teeth" and feel the "horrid wind" blowing. I get the chills when I listen to this performance, and I did not with the previous performance. It makes me wonder if the composer's intent to have the piece played by a small ensemble is the absolute way to perform The Four Seasons.

After giving both performances a listen again and moving to my meta-critique, I feel that I have only pointed out the obvious similarities and differences with the two performances. If I were to do this assignment again, I would choose two quartet recordings of the movement rather than one of a string orchestra and another of a quartet. I feel through doing this I could develop a more critical ear open to slight differences rather than just looking at the umbrella of the performance. But, even still, I feel if I were to look at quartet against quartet that would be limiting my scope as well.

Now for something completely different and worth your while for reading this performance comparison. This is M. Levickis playing "Allegro non molto" from Concerto No. 4 in f minor "Winter" by Vivaldi on a surprise instrument. Voilà!



References:
classicalnotes.net
oxfordmusiconline.com
classicalmusic.about.com
baroque-music-club.com/vivaldiseasons.html

A Kate Winslet Tribute

I find myself going to movies recently so I can find myself. I realize this is a HUGE statement to make, but it's something I think about every time I watch a movie: Am I like this character? Could I possibly be in this situation? Is this actor like his/her character in reality? Regardless of any circumstance, I always find myself drawn to the characters Kate Winslet plays. These are strong women not afraid to show their full range of emotion through any situation.

In Sense and Sensibility (1995), Winslet's interpretation of Marianne Dashwood leaves me wondering if selfishness and pride get in the way of my better judgment when it comes to love.



Rose in Titanic (1997) fuels my passion to question authority and my desire to be genuine, authentic, and heart-driven in all aspects of my life. Her portrayal of Clementine in Eternal Sunshine of the Spotless Mind (2004) made me realize my neuroticism is quirky, charming, and lovable. And, in Revolutionary Road (2008), April Wheeler showed the courage and tragedy facing a woman trapped by her husband's ambitions.

But, when it comes down to it, there is no doubt in my mind as to why she received an Oscar nomination in 2009 for the role of Hanna Schmitz in The Reader (2008). Winslet created a character full of depth, grace, and guilt that in turn transforms a Nazi war criminal into a catharsis-worthy person. Most striking of Schmitz is her overwhelming sense of guilt. Take a look:



Marion Cotillard, Academy Award winner for Best Actress in 2008, said this of Winslet:

"Kate Winslet, with each new role you continue to push the boundaries of what's possible. Your brilliant performance in The Reader encompasses all of the qualities that have drawn us to you: passion, vulnerability, and extraordinary depth. As your characters move through time, love, and the most dire of circumstances, we, as your audience, never lose a connection to you. This is yet another unforgettable portrait from one of our most gifted actresses and one of our most inspiring, too."

Congratulations, Kate, Academy Award winner for Best Actress in 2009. I cannot wait to see where you go next!!

Weep You No More for Musical Comparisons

As a singer, I am always drawn to music that has a vocalist. My primary interest throughout my collegiate studies centered around art songs and their performance. I also delight very much in popular music and culture, so for this paper, I thought it would be interesting to compare “Weep You No More Sad Fountains” written by John Dowland. My goal is not to find the more “authentic” piece, but to explore the piece using its score in original form from Google books (as well as editorial scores placed in modern notation with piano or guitar accompaniment found on cpdl.org) and comment on the performances. My method of analysis will be using the eclectic method as outlined by Dr. Lawrence Ferrara in his book The Philosophy and Analysis of Music: Bridges to Sound, Musical Form, and Reference. Since this is a comparison, I will briefly engage with the eclectic method for each performance.

Before writing a brief eclectic analysis of each performance, I engaged an historical overview. “Weep You No More Sad Fountains” was written by John Dowland (1563-1626). He primarily wrote music for voice and lute, premiering his compositions by working as a lutenist in the courts of Christian IV of Denmark and later England’s James I. Dowland’s style is best described by his own pun on his name (and his title for an instrumental piece), “Semper Dowland, semper dolens” or “Always Dowland, always woeful.” Dowland’s music has returned to popularity due to an increased interest in early music in the 20th Century. Kate Winslet sang his song “Weep You No More Sad Fountains” in the film Sense and Sensibility (1995), and Sting recorded a volume of Dowland’s works in 2006 called Songs from the Labyrinth (thus, the popular culture inspiration for this comparison).

The Sting version of “Weep You No More Sad Fountains” follows the score but ignores the repeated chorus. The piece is in a minor mode and ends with a picardy third. Very much like art songs and popular music of today, the piece contains two verses sung to the same music and accompaniment. Sting sings the melody with lute accompaniment. The lute is played by Edin Kazanov, a Bosnian lutenist. Looking at the piece from a phenomenological perspective, Sting uses a soft and smooth tone that soars over the graceful plucking and dulcet tones of the lute. I would go so far to characterize the song as a mournful lullaby. The piece’s virtual feelings are restrained, melancholy, yearning, sparse, and plaintive; these feelings coincide with the questioning manner of the lyrics:

Weep you no more, sad fountains;
What need you flow so fast?
Look how the snowy mountains
Heav'n's sun doth gently waste.
But my sun's heav'nly eyes
View not your weeping
That now lies sleeping,
Softly, softly, now softly lies sleeping.

Sleep is a reconciling,
A rest that Peace begets.
Doth not the sun rise smiling
When fair at e'en he sets
Rest you then, rest, sad eyes,
Melt not in weeping
While she lies sleeping,
Softly, softly, now softly lies sleeping.

Too bad this isn’t an eclectic analysis assignment, or I’d have a heyday with the lyrics and their referential meaning… But, the onto-historical world of this song is worth engaging. Since Dowland even referred to his music as “always woeful”, I believe this performance speaks to the composer’s assessment of his own music. An article on pbs.org I read mentions Dowland’s time as politically and religiously charged with conflict.Dowland dealt with the disdain between Catholics and Protestants during his day, and the song could be a plea to awaken from that conflict. Although Dowland played his music in the courts and traveled with it, the piece could resonate with common people as a call for hope to awaken to a new day with prayer.

Sting certainly captured the melancholy of the piece, but hints to the hope of waking to a new day. Even when the piece was recorded in 2006, the sentiment of one’s desire to awaken to a new and hopeful day resonates. In the post-9/11 world, the globe has felt repercussions of the War on Terrorism in many fronts: War in Iraq, war in Afghanistan, continued violence in the former Soviet republics, struggles for independence in the former Yugoslav countries, etc. Sting’s performance speaks to one’s need for hope, and lulls one to sleep as the song might be intended.

Moving to the version of the song in Sense and Sensibility, here's a clip I found on YouTube:

I was surprised to find that the piece does not follow the score written by Dowland at all. In fact, the piece has been rearranged to the major mode and accompaniment played on the piano. I’m not even sure if this is the same setting… This is not to say that similar virtual feelings or referential meanings are not to be found—there are similar affects, but the piece just is completely different than Sting’s performance. The major mode almost nullifies the longing and yearning in the lyrics, but it enhances the lullaby theory presented earlier. Kate Winslet uses a very similar vocal production method to Sting; she sings sweetly, softly, and uses a lot of head voice. Even with the similarity of the two performers’ vocal production, I would say that I prefer the Sting version because it captures the piece: It is faithful to the score and the impact of the song is thusly more resonant.

Being faithful to Dr. Ferrara’s eclectic method, I think it important to present a meta-critique of my analyses. I think if I were to do this assignment again, I would research each of these recordings more. I have so many questions: Is the version used in Sense and Sensibility sung by Kate Winslet really Dowland’s setting? Why did Sting choose to omit the repetition of the chorus after singing the verse? What type of vocal timbre do other singers choose to use when singing this song? Maybe I’ll post a follow up post to this one if I have enough time later in the semester.

References:
books.google.com
cpdl.org
Concise History of Western Music. Barbara Hanning, 4th ed.
oxfordmusiconline.com
pbs.org/wnet/gperf/shows/sting/index.html