Elvira is trying to silence the frustrating conversation she is having inside her own head. The “palpitations” she is referring to are as much obsessive as they are indicative of heart beats. To characterize the attempts of Elvira to strengthen and ‘lift herself up’ only to be brought back to her anguish, the opening gesture of the first violins should be articulated in a way that conveys this adequately. Up bow and open ‘E’ string on the first note, with slight separation before the rapid descending gesture. This scalar descent becomes a motive of Elvira’s inability to uphold her feelings as exemplified in mm. 9 and 10.
In m. 21: D.G.: careful not to turn the syllabification of “idolo” into even eighths.
At m. 29, Giovanni’s music changes to the overt ‘songlike’ music typically reserved for moments meant to be overly “romantic” and insincere. The tempo may invite a VERY slight push forward, or at least needs to remain forward moving to frame this section as a bit of an 'act' on Giovanni's part, as well as to support the long, bel canto line. The bowings of the celli/bassi should follow that of violas, preferably with an upbow for one measure to a downbow at m. 30. Mm. 36 onwards, strive for best, most relaxed legato in second violins.
M. 46, slight separation between "no," and "non ti credo...". The "fp" in the orchestra should be emphatic but not harsh due to the rhythmic activity of the vocal line (it could become too intrusive).
No comments:
Post a Comment