"Fra il padre"

So, I decided against my first choice - the extract of 'Quant'e grato all'alma mia' - on this recording purely for the fact that I realised I'd heard it all before...kind of. The aria, composed before Barbiere or Cenerentola, contains extracts of (in)famous arias from both operas; 'Una voce poco fa' and 'Non piu mesta' respectively. Both of them I've tried...but I did the musical equivalent of 'dipping my toe in' and then quickly ran back to my Handel. In true opera composer style, Rossini robbed brilliant ideas from an opera that didn't do fantastically, and created two absolute monsters of the operatic repertoire. Legend.

Anyway, enough of that; on to "Fra il padre", which I've been obsessively, incessantly humming for about 3 days. I apologise profusely to anyone who I've been around, as it can't be all that fun to have my constant trilling worming into your poor little ears...

The repeating woodwind theme, that first makes an appearance at the very beginning of this piece, is the cheeky little melody thats been on 'replay' in my mind. I must have listened to this 20 second section more times than Rossini himself, purely to hear the octave piccolo (I think/hope) which makes me want to nod my head in time. Much of Rossini's composition is so fiercely rhythmic, and, for me at least, this piece is just such a wonderful example of that signature style; no one else could have composed it. Perhaps if I listen to this in the car, and people see me nodding, they'll think I'm listening to hiphop, and my social status will take a sudden climb...maybe something to try!

I'm slightly suspicious of Rossini and his apparent use of the 19th Century equivalent of 'cut and paste' on the massive virtuosic vocal passages that are apparent in so many of his real 'finale' type arias. However, credit where credit's due - the guy's pretty talented at conveying emotion. In the slightly less crazy quasi-arioso, 'Tanti affetti', directly before 'Fra il padre', Elena, the titular Lady of the Lake, is singing about the multitude of emotions that are 'crowding [her] heart' and the 'immensity of [her] hapiness' that she 'cannot express'; well, I'd beg to differ. The coloratura in the aria itself seem to me the perfect representation and expression of a racing heart, overflowing with feelings that literally run away with her, vocally and emotionally. The finale of the piece, where the orchestra comes in with a bang, and the vocal rhythm suddenly pulls out and stretches just like elastic is truly majestic- with Joyce DiDonato's voice soaring high above the rest.

As for Ms. DiDonato...I have no words! Well maybe a few - That voice is out of this world. That's all bases covered I'd say? 'They' say that Isabella Colbran, Rossini's muse, must have possessed an unbelievable voice, or at the very least, been a truly convincing actress, to sing all of the parts that Rossini wrote for her. Joyce would have kicked her butt any day. The CD is a triumph, and by far the best christmas present I got this year, from one of my precious few friends who can truly sympathise with my inner geek.

Dear Lord, I pray that one day I'll be able to sing Rossini. I pray that I don't continue to sound like a varying range of strangled animals when attempting the 16th notes. I pray that I'll be able to find somewhere to breath in between said 16th notes. I pray that somehow, somewhere, I'll be able to sing his music at faster than half speed. Amen.