It was both the first opera to be written and also the first chronologically in its setting. These operas are as well known for their dramatic as for their musical demands, especially for the soprano. In each, the soprano has a fiery scene that closes the opera, after some extremely demanding music preceding the last act. Part of the success of the Anna Bolena premiere was due to the stellar cast, which included the soprano Giuditta Pasta as Anna and the tenor G.
Rubini in the role of Percy. Romani turned Anne Boleyn's life into a powerful drama of innocence and injustice, heroism, and love. The libretto is superior, and the text contains many dramatic and musical opportunities for the composer. Both acts are carefully structured, and each twist in the plot and each detail in the score moves the drama forward. Arias are carefully prepared; love scenes and conflict scenes are juxtaposed with scenes for chorus or for larger groups of players.
And brilliant ensembles bring the main portions of the drama to closure. The characters are thoroughly developed, particularly those of Giovanna Jane Seymour and Anna Bolena -- rivals in love and in music. Giovanna's music is afflicted, impassioned, and sung in the lower, richer voice of the mezzo-soprano.
Her character provides much of the tension and drama of the opera as she torments herself over the fate of her rival. Her love scenes with Enrico are scenes of conflict as she pleads for Anna's life and pits her will against that of the monarch's.
Al dolce guidami [Anna Bolena: sop.]
However, Anna has the heroine's part. Contrary to the portrait of her often painted by historians, Felice Romani paints her as a noble martyr who faces her downfall with heroic fortitude and even forgiveness. Her music exudes radiant innocence and heroism. Prison scenes were standard fare in traditional serious opera, and Romani's drama contains not one but two of them; one for Percy and Rochefort that takes place in the Tower of London, and one for the solitary Anna.
They allow for a change of scene and mood, for introspection and reflection, and for a solitary character to reveal herself or himself before the audience. In between the two prison scenes is a scene devoted entirely to a somber chorus, which makes the section into a tripartite structure.
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- Al dolce guidami from Anna Bolena Sheet Music by Gaetano Maria Domenico Donizetti.
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Write a review Rate this item: Preview this item Preview this item. Al dolce guidami ; Coppia iniqua: Gaetano Donizetti ; Felice Romani Publisher: Subjects Operas -- Excerpts -- Vocal scores with piano. More like this Similar Items. Allow this favorite library to be seen by others Keep this favorite library private.
Find a copy in the library Finding libraries that hold this item Excerpts Vocal scores with piano Document Type: Gaetano Donizetti ; Felice Romani Find more information about: Gaetano Donizetti Felice Romani.
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