The final chord of the preceding recitative should be cued in tempo to resolve on the downbeat of the aria. Even if it is not used in other numbers, the harpsichord (if used for recits) should also play this number as it is a reference to baroque stylings, an aria in exalted style for the character of Elvira, that has all the flavorings of a Handel aria. Stylistically it should be approached as such with the rhythms double-dotted, and short notes highly energized. The voice must fill out vowels whenever possible, but the rhythm must remain angular, even instrumental in nature, as it would be in baroque writing.
Notes, musings, observations and ramblings of UTK Opera Theatre's Music Director, Kevin Class.
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