(As sung by Mme. Malibran. Quoted from “Mécanisme des Traits,” by de La Madelaine, 1868.)
The rôle of Rosina in Rossini’s Il Barbiere has long been a favourite peg with prime donne on which to hang interpolated ornaments for the display of their vocal agility. Some of these are not always in good taste, being trivial or banal in character, thus concealing the natural charm of the original melody under a species of Henri Herz variations. Others, however, such as those used by the Patti and the Sembrich, for instance, are of great originality and excellent effect.
Here are some of the traditional ornaments and cadenzas sung by certain famous singers of the past in Rosina’s entrance cavatina: “Una voce poco fa.” This air was originally written by Rossini in E major, the part of Rosina being intended for a mezzo-soprano, and was thus sung by the late Paulina Viardot-Garcia. This exceptionally gifted artist, possessing a voice of very great compass, was enabled to sing not only the rôles assigned to mezzo-soprano contraltos, such as Orphée, or Fidès (Le Prophète), which she created, but also the parts given to dramatic sopranos. Mme. Viardot was thus able, with some slight modifications, to sing Norma, Desdemona (Otello: Rossini), Rachel (La Juive), etc.
The rôle of Rosina has now definitely passed into the possession of florid or coloratura sopranos; much, therefore, of the music is of necessity transposed, the air in question being now sung one half-tone higher, in the key of F.
Here is a change used by Mme. Cinti-Damoreau, who sang the music in the original key. The composer wrote:
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Mme. Cinti-Damoreau sang thus:
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