Opera Monday: Una Voce Poco Fa

The Opera: Il barbiere di Siviglia (The Barber of Seville) by Gioachino Rossini, libretto (lyrics) by Cesare Sterbini, based on Beaumarchais’ play Le Barbier de Séville. Premiered at the Teatro Argentina, Rome, February 20, 1816, under the title Almaviva, ossia l’inutile precauzione (Almaviva, or the useless precaution).

The Artists: American  mezzo-soprano Frederica von Stade (b. June 1, 1945).

The Story: Rosina is the young ward of Seville’s Dr. Bartolo, an elderly buffoon who has kept her under close watch and now intends to marry her. Rosina has fallen in love with a young man she knows only as Lindoro, who is in reality the Count Almaviva, who has enlisted the barber and general factotum Figaro to help him woo her.

In this aria, Rosina sings of her plans to outwit Bartolo and meet the young man who has captured her heart.

Why It’s Fabulous: Rossini’s barbiere is often considered the greatest example of opera buffa—a style of comic opera that featured common contemporary characters and situations, in contrast to opera seria of the time, which often dealt with mythical or historical figures. The opera—and this aria—feature some of the hallmarks of Rossini’s genius: lively and driving rhythms, combined with witty musical characterizations and exciting vocal passages.

Il barbeire di Siviglia remains one of the most commonly performed operas in the world, not least because it provides a showcase for bravura coloratura singing, as exemplified by this aria. The role of Rosina was written for a coloratura contralto, and is most often sung by a coloratura mezzo-soprano.

Although the role is frequently transposed up for coloratura soprano, I like it best as it is sung here, by a mezzo-soprano (although I have had little opportunity to hear it sung by a true contralto). The darker hue of the mezzo voice seems to me to suit Rosina’s strong spirit, and better foreshadows the troubles that will later befall her (see The Marriage of Figaro) than does the essential brightness of the coloratura soprano.

Of course, it might just be because I adore mezzos, and Frederica von Stade is not only among the greatest interpreters of Rosina of the past century, she also happens to be my favorite singer. She has the pure tone and incredible agility to handle everything Rossini could dish out, vocally speaking, as well as tremendous musical intelligence, charm, and—most essential in this role—a great sense of fun.

Fun Facts: This aria, Una voce poco fa, was the one Susan Kane butchered in the “music lesson” scene from Orson Welles’ Citizen Kane.

Another famous aria from this opera, Largo al factotum, has been used to comic effect in numerous cartoons, including Bugs Bunny (“The Rabbit of Seville”), and Spongebob Squarepants (“Choir Boys”). It also serves as the soundtrack to the cartoon being dubbed by Robin Williams’ character in the opening scene of the film Mrs. Doubtfire.

Recommended Listening:

Il barbiere di Siviglia (Gioachino Rossini) ~ Deutsche Grammophon (1972); Berganza, Prey, Alva, Dara, Montarsolo, London Symphony Orchestra/Abbado

Il barbiere di Siviglia (Gioachino Rossini) ~ Decca (1989); Bartoli, Nucci, Matteuzzi, Fissore, Burchuladze, Orchestra del Teatro Communale di Bologna/Patanè