Speaking Solfeggio

The chapter begins the lessons in the eighteenth-century art of melody, involving practical engagement with real historical solfeggi. It provides instruction in the first year of study: how to name notes in the eighteenth-century manner by a process known as “reading,” or “spoken solfeggio.” The lessons cover the simple scale, hard and soft melody, the compound scale, minor keys, accidentals, and key signatures and modulation. In keeping with the original method, the instruction covers not only note-naming but also basic aspects of theory. The method applies to melodies from the era of Arcangelo Corelli to that of Vincenzo Bellini, or roughly 1680–1830. In an appendix, seven supplementary guidelines are put forward to deal with ambiguities and complexities in the primary sources.

O retrato de Anna de La Grange como Norma, de Louis-Auguste Moreaux

Este artigo analisa a pintura de Louis-Auguste Moreaux intitulada O retrato da atriz Lagrange (Museu Nacional de Belas Artes, Rio de Janeiro), exposta em 1860 em homenagem à atriz e cantora francesa Anna de La Grange em seu papel como Norma, personagem da ópera de Vincenzo Bellini. O artigo analisa a crítica do período, a carreira de Anna de La Grange, os modelos internacionais acerca da retratística teatral e sua circulação no Brasil, além da renovação da retratística na coleção de pinturas da Academia Imperial de Belas Artes.

In Favour with Queen and Nation: Giulia Grisi, the “Fugitive Norma” in London

Giulia Grisi (1811–1869), the first Adalgisa in Vincenzo Bellini's Norma (Milan, 1831), broke her Italian contract and left for Paris in 1832, where she became prima donna under Gioachino Rossini at the Théâtre Italien. In addition, she made her London debut in 1834, replacing Maria Malibran in the young Victoria's eyes and ears with her singing, acting, and flawless beauty, especially in the operas of the future Queen's favourite, Vincenzo Bellini. Grisi's real goal, however, was to conquer Giuditta Pasta's throne by embodying Norma: she first performed the role in London in 1835, and then in almost every season until 1861. Despite her success, she was unjustly attacked for copying Pasta, as established by Thomas G. Kaufman. Bellini himself likewise misjudged her, stating that “the elevated characters she does not understand, does not feel, because she has neither the instinct nor the education to sustain them with the nobility and the lofty style they demand.” “In Norma she will be a nonentity; … the role of Adalgisa is the only one suited to her character.” Nonetheless, even hostile critics like Henry F. Chorley had to acknowledge that “her Norma, doubtless her grandest performance … was an improvement on the model [i.e. Pasta]; … there was in it the wild ferocity of the tigress, but a certain frantic charm therewith, which carried away the hearer – nay, which possibly belongs to the true reading of the character.” The purpose of this article is to investigate Grisi's London reception, primarily in the context of her Norma performances.

9. An Analysis of the Vocal Ensembles from the Opera “I Puritani” by Vincenzo Bellini

I Puritani is the masterpiece that crowned the creation of the Italian composer Vincenzo Bellini, being remarked and appreciated for the richness of his melodicity and profound symbols filled with the inspiration and creativity of a creator. This was the last of the ten works composed by Bellini, whose disappearance was premature, at only 33 years, but the passion and talent with which he created revealed a work dominated by essence and emotion, which establishes a close connection between chant and the poetic text, providing new expressive valences to the lyrical universe. The extremely difficult and demanding vocal writing raises serious challanges, the Bel-canto style meaning not only a “beautiful chant” but also a difficult texture, a certain specific phrasing and a spread of spectacular acute tones.