Giovanni Paisiello - Nina (1789) - Cavatina for Nina - "Il mio ben" (Teresa Berganza)

Описание: A while ago, in the description to "Joan Sutherland sings three baroque arias", I discussed my feelings towards the Australian diva's early work versus her later recordings, and in some ways, Teresa Berganza presents, for me, a similar case. It is undeniable that Berganza was an extremely talented performer with a wide array of accomplished recordings (including an unusually light but extremely believable Carmen), and, when I first heard her singing Rosina with Prey, Alva and Abbado (recorded in 1970, if I'm not mistaken), the attraction was imminent. But when I managed to obtain the present early 1959 recital not so long ago, I suddenly found myself in a dilemma very much similar to the one that occurred in the case of Joan Sutherland: while Berganza's voice, unlike Sutherland's, retained its' basic color throughout the mezzo's career, both singers started out with brighter voices and a more involved manner than their later selves were famous for. In short, both singers started so well that their later work can seem slightly less distinguished, though, I must note, that this comparison is limited to each of the singers, that is, their respective younger selves are just too good and charming; and, of course, this is just a way I perceive their voices.

The present recital, quite imaginatively constructed (Rossini arias are interspersed with those of his predecessors, such as Pergolesi, Paisiello and Cherubini), can be considered almost an equivalent of Sutherland's "The art of the primadonna" on all levels (though it is on a smaller scale, limited to just one CD). I will try to upload three pieces from the recording: Serpina's joyful opening aria, "Stizzoso, mio stizzoso", Nina's moving cavatina, "Il mio ben", and Neris' stunningly gorgeous plea "Medea, ah, Medea" (in fact, the respective works of the trio of composers mentioned above).

The success of Paisiello's "Nina" was considerable: having had its' premiere in 1789, the work remained popular until 1845, often performed by the finest singers such as Rossinis first wife, Isabella Colbran, and Giuditta Pasta. The work was originally the result of a special commission from King Ferdinand of Spain who, feeling the need to show the world that he was an Enlightened monarch, took an interest in a village, San Leucio, and decided to turn it into a model community of silk manufacturers. By the summer of 1789 the community had been established and on 25th June, at what might be described as an official opening ceremony, the King invited 240 special guests to visit the silk mills. That evening he entertained them with Paisiello's opera which ended the evening with a triumph.

The great and once universally famed cavatina with which Nina makes her appearance in the first act, "Il mio ben", is one of the most telling scenes in the whole repertory: over a entirely regular but lilting triplet accompaniment, the slow vocal line is beautifully shaped to express the heartbreak of lost love but eventually disintegrates into a remarkable sequence of passionate and angular utterances over a shifting chromatic harmony as Nina confronts the silence which surrounds her (especially notable is the section between 4:20 - 4:35, as the heroine laments the absence of her lover's call). Little wonder that eighteenth century audiences leaned out of their balconies to assure the heroine "do not fear, your love will come!" Berganza is exemplary, easily establishing a very moving performance of the utmost gentility and lyricism.

Hope you'll enjoy :).