Wrestling with Recitative

Anyone who has seen a Mozart, Donizetti, Rossini or other bel canto opera has experienced recitative. Often known by its shorthand recit, recitative is where singers communicate the story through rapid fire Italian that mimics natural speech. There are two types of 'recit; recitativo secco (dry recit) where there is only continuo (usually a harpsichord) and recitativo accompagnato where the orchestra plays.

Rossini's L'Italiana in Algeri is filled with recit and one of the joys (and challenges) is to not only learn all the text and notes in the proper order, but also to infuse it with personality so that what is being said is delivered well and helps move the story along. Recits are filled with action and reaction and can sometimes be like watching a tennis match (or a doubles match if there are four singers on the stage.) So how does one begin to get a handle (and one's lips) around it?

First I translate, translate and translate. Translation #1: A literal translation so that I know what each word means. Translation #2: I consult the Nico Castel volumes which are not only filled with a literal translation, but also explains exactly what the text means (idiomatic expressions, figures of speech, double entendres etc...) and finally Translation #3: How would my character say it when I infuse my own personality into it?

It usually takes me longer to learn recits that it does to learn to learn the numbers because the melodic structure is minimal and after a while recits can begin to sound alike so it's always important to know exactly what you are saying and what the other characters are saying.

My next step in the process is to rapidly repeat the text and notes over and over again until they become second nature. This is where patience and a sense of humor are necessary. At first the brain may go left while the tongue goes right, but eventually it all starts to fit together. Like dialogue, it's smart to learn your cue lines and the text of your colleagues so that you know what this conversation really means.

Finally, you get to put it all together with the other characters and you often discover (as is the case with lines in a play) that how someone delivers a line may inspire a new delivery of your line and vice-versa so it helps to keep it fresh. There is a sense of improvisation in recitative which, once mastered, can be a lot of fun. But the process of getting it all together can be a lot like wrestling with Hulk Hogan (then, not now) and means that you have to be prepared, pumped up (at least mentally) and ready to take your competitor (that tongue-twisting line on page 215) down!

Peace,

Eric

The Italian Girl in Algers meets the baritone boy

Week 1 of rehearsals are nearly done and I have so many Italian words running through my brain that I sometimes forget that I speak English! Along with staging, dance movements (yes, I said dance movements) and trying to remember my cast mates' names, it's a wonder I can keep my head on straight. (It should be noted that I got lost trying to find my way out of DC and back to Baltimore where I am staying.)

I have to say that for my first "L'Italiana in Algeri" AKA "The Italian Girl in Algers," I am pretty happy with my level of preparation. I have a good understanding of the role and characterization. (Pats himself on the back.) Of course I had lots of help--thanks to Nico Castel's text and translation, hours and hours of practice and memorization, the various people who helped coach the role and the "additional" coaching I received via the fabulous singers who have performed this opera in the past. YouTube rocks!

Besides the total amount of text associated with Rossini, the greatest challenges come from being able to make musical lines out of the patter (lots of fast text), sing legato when there is a line and try to find the balance between vocal beauty and character in the voice. Taking a cue from Johnny Depp who is known for fusing two personalities to create his characters, I have decided that my character Taddeo, the former lover of Isabella (the Italian Girl,) is a cross between Fred Sanford and Snagglepuss--exit stage left as I have a heart attack.

Making a role debut is always filled with excitement (and some fear--I am a neurotic singer after all.) Add onto that a debut with a company and you get the idea that the level of preparation needs to be very high. It's helpful to have colleagues whose level of preparation is as high, a stage director who wants to milk the comedic elements with precision and a conductor who is as passionate about Rossini as I am.

We still have several weeks to explore, stage, create and play and I am looking forward to every minute as I add another Rossini role to my repertoire. Viva Rossini!

Peace,

Eric