Rehearsal Notes

Aria Coachings

General comments:  Keep your attention on clear phrase direction and line.  Think too how your sound should be different in Mozart than it is in other literature.  Your lines should always be clearly defined, tone round and pure (and without undo weight) and always elegant (never pushed).  I will not steer anyone in the direction of doing something vocally unhealthy or at odds with what you are doing in studios, but do speak to your teachers about your sound in Mozart.  We will continue to work this.

 

Batti, batti:

 

Despite the surface pleadings of this text, the line must seem always effortless and gentle.  The coloring of the word “batti” comes from the observation of the double consonant and requires little else.  This diction, however, should not inhibit the clear direction of the line, and it is the phrasing which makes the music sound elegant and refined. 

In m. six, be sure to note that the rhythm is NOT dotted on “…lina le”.  I believe it is improperly dotted in the Schirmer edition. 

It is especially important to maintain this ‘effortless’ quality in the Allegretto [“pace, pace”].  Although the rhythmic activity increases, the clarity of the line is still of utmost importance.  For the melissma on “passar”, use the “ss” to give you a clear accent when opening to the “a”.  These melissmas should sound quite suggestive and exhuberant, so utilize what Mozart gives you in the writing.  Give us a great difference in articulation between the energized staccato of “si, si , si , si…” and the elegance of “notte e di vogliam passar”.

 

Vedrai carino:

 

Crescendo throughout first measure leading to downbeat of second bar.  The ornament should be on the beat, and use the breath (vibrato) to lightly articulate the grace notes.  Mm. 28 and 30:  do not hold on to “no”.  These should be short. 

A couple people struggled with the rhythms in mm. 69-71. The first  “battere” is dotted, but the first beats of the next two bars are not. 

 

 

Madamina!:

 

Remember the rule:  If you sing the same pitch three or more times consecutively, then you MUST exaggerate the direction of the line (either crescendo or diminuendo – those are your two choices).  This is very important to remember throughout this aria as the voice has little true melodic movement.  Keep the legato through your lines as much as possible and allow the orchestra to take care of the articulation. 

In m. 62, do not lose the pulse as you are slowing down.  Any ritardando must be evenly paced, so do not linger too long on “ma”. 

Think “easy” and “elegant” in the minuet.  Do not put an accent on unaccented final syllables such as “bionda”. 

 

Or sai chi l’onore:

 

We were excited during the rehearsal, but eventually settled on a pace/tempo that was closer to what we wanted.  The energy is generated by the fast articulation of the strings, but the accompaniment is always “p”, so there is little reason to push for sake of projection over the orchestra.  Instead, think of fullness of sound and fill out short notes, especially pick ups which may get lost if not given good resonance.