Vocalitatea rolului Gilda - proiecții metodice în însușirea ariei „Caro nome”

Abstract

Approaching an operatic role requires an artist, in addition to vocal and acting skills, to work diligently to research and acquire a great deal of knowledge about everything related to authorship, inspiration, musical
analysis, style, scenography concepts, interpretations, in order to perfectly recreate the role and, at the same time, in giving a touch of originality, without which, the artistic act would have neither meaning nor permanence over time. Therefore, opera singers must put the role into voice, form their empathic ability to transpose themselves into the character's personality, and make their own feelings, even the gestures and facial expressions of the character, all of which are dominated by strong self-control . Singers are
often compared to athletes because they have to work continuously to constantly discipline their body and voice in the service of the artistic act. In the Caro nome aria, the newly awakened love in Gilda's heart is
masterfully rendered by the composer, first of all through the rhythm, then through the phrasing, melodic design and, above all, through the vocal, which acquires various expressive valences during the aria. The Verdian vocal writing is a special one, containing elements of the bel canto style, these being perfectly molded on a construction of a much more prominent drama than in the composers of the bel canto era. Thus, the vocality of the entire aria gravitates around three essential elements of the canto spianato style: legato,
messa di voce and portamento, and the ornamentation has a small weight, only trills and long and short appoggiaturas being present.