Qui la voce sua soave – Elvira, Act II

This piece is the beginning of Elvira's mad scene. Striking is the contrast between the peaceful-dreamy melodic line and the reality in which Elvira, in mental confusion, no longer recognizes either Arturo or her father. But it is precisely this discrepancy that creates the impression of being mad: Elvira is not where her body is. It is quite possible that this mood inspired Donizetti to his mad scene in "Lucia di Lammermoor", which came to the stage only a few years after the "Puritani". The introductory slow section is vocally challenging in that it requires much legato and expression. In addition, it moves mainly in the middle range, which in sopranos who can sing very high is often a bit thin. The subsequent allegro moderato, on the other hand, lives from the numerous coloraturas that go up to Db and require the greatest precision (including descending chromatic runs, the jingle of madness par excellence). An Eb notated by Bellini and another Eb demanded by tradition round off the scene.

Recording 1: Mariella Devia (live 1994)

Mariella Devia (b. 1948) was actually exactly what was described above as an "ice skater with curves". She effortlessly climbed the highest top notes, the coloraturas were clean, the voice had a pleasant, dark coloring and much charisma. In addition, Devia was a "bank". Whatever she said, she sang it beautifully and without unpleasant surprises. As in this recording: Mariella Devia sings so well that one might think it was a studio recording.

Recording 2: Joan Sutherland (Studio 1963)

Similar things can be said about Joan Sutherland (1926-2010). Even if she was occasionally criticized for her unclear pronunciation: This woman was a coloratura machine. Precision, elegance, style, and all wrapped in a shell of dark-colored euphony. Although this version contains the entire ensemble notated by Bellini (in contrast to Devia's concert version), it is nevertheless not score-accurate: Joan Sutherland adds so many ornaments and coloraturas that one feels like in a salon: with Thalberg and Malibran.

Riccardo! Riccardo!… Suoni la tromba – Riccardo and Sir Giorgio, Act II

Patriotism has always inspired composers of Romanticism to melodies that are particularly catchy. Think only of Nabucco or Aida. It's no different here: As soon as it's about "Patria, vittoria, onor!" you actually want to go out on the street and sing along (or perform some substitute action, cleaning for example). A duet very similar to "Suoni la tromba" had been written a few years earlier by Auber in his Muette de Portici ("Amour sacré de la patrie"). It is quite possible that Bellini was inspired by this. And somehow the later composed Italian national anthem reminds of what Bellini wrote here for his Puritani. "Suoni la tromba" is sung by a baritone and a bass – a combination that was still typical for composers like Verdi. Later this voice constellation was more or less abandoned, at least in Italian opera.

Recording: Rolando Panerai & Nicola Rossi-Lemeni (Studio 1953)

Read more next week in Part 3!