Hidden treasures - Michael Balfe - Cantata for Maria Malibran (1836) - "Sempre pensoso"

Описание: Painting: "A melancholic thought" by Francesco Hayez.

History: Few composers have had the luck to work continuously with the best opera singers of his or her age. Michael Balfe who could boast having known personally and worked extensively with the celebrated "I puritani" quartet - Giulia Grisi, Giovanni Rubini, Antonio Tamburini and Luigi Lablache - was, perhaps, one of the most happy exceptions. However, it was the composer's relationship with the famed mezzo-soprano, Maria Malibran, that proved to be great importance to Balfe's career. The connection was established in 1834, when the composer made his singing debut in Milan and Venice, appearing together with Malibran in Rossini's "Otello" and "Il barbiere di Siviglia", as well as Bellini's "La sonnambula". Malibran was one of the first to recognize Balfe's emerging compositional talents and provided him with more than ample advice and encouragement, nicknaming him the "English Rossini". To repay her, Balfe committed to write an opera for the primadonna, however, the pair decided to postpone the project until 1836, and on Malibran's advice Balfe returned to London (the singer recommended her protege to the impresario and playwright, Alfred Bunn). Shortly after his return, Balfe completed his first opera for London, "The siege of Rochelle", the premiere of which was a triumph. His initial success was quickly followed by another opera, "The Maid of Artois", which was tailored especially to Malibran's talents. The work's first performance on the 27th of May, 1836, was yet another "hit" for the duo. Tragically, "The Maid" proved to be one of Malibran's last major projects, as she died the following September at the age of 28. Among the pieces Balfe was fortunate to write for Malibran before this tragedy occurred, one must especially note the cantata, "Sempre pensoso e torbido", a vintage solo moment for a languishing lover, written in 1836 which showcases to glorious effect what was probably one of belcanto's greatest voices.

Music: "Cantata" is perhaps a slightly misleading term, as a more suitable title for Balfe's rather short, introverted work would have to be "a concert aria". The structure is a typical succession of "prelude - cantabile - tempo di mezzo (in this case, completely cut) - cabaletta" which is, however, sufficiently elaborated to keep our attention consistently high. We begin with a glowing prelude, quickly establishing the general feeling of melancholy that dominates the piece, where the horn indulges in a vintage sustained belcanto melody over a simple piano bass line, culminating in a passionate cadenza which gives way to a by turns subdued and unexpectedly ardent solo. The cantabile is anything but straightforward: Balfe varies the emotional mood effectively, moving from the soulfulness of the opening statement (1:09) to the angular, broken appeal of the woman for her lover to give "love, fidelity, mercy" to his faithful beloved (1:54) to the breathless, genuinely affecting "I do not wish to die, it is you how wishes my death" (2:32). The horn, far from being a simple obbligato instrument, provides the mezzo-soprano with an affecting accompaniment that further develops the thematic material of the andante. One can, of course, lament the fact that the dramatic language of the piece does not enable the composer to spin out a full lyric romanza but this is a minor quibble, considering the great emotional freshness of the cantabile. After a brief tempo di mezzo, where the woman regains her self control and refuses to let the feelings of resentment to cloud her love for the ungrateful man, a cabaletta of extreme brilliance begins, a veritable tour-de-force in all respects. The section amounts to a virtuoso duet between the soprano and the horn, spinning lines of high dexterity and answering each other in elaborate coloratura patterns, as the woman, growing more and more agitated, reassures herself of her beloved's sure return. Though the writing for horn is undeniably effective, it is the vocal part which makes one listen with ever increasing attention: the extreme ornamental richness of the aria notwithstanding, the tessitura is extremely wide-ranging, encompassing both contralto depths and the vocal summits that would seem to be the territory of a soprano (Malibran's vocal range was remarkably wide, from G below middle C to E above soprano high C (G3 - E6)). All in all, a lovely aria which is a striking testament of Malibran's vocal powers.

Recording: The 2004 Opera Rara compilation of various romantic chamber works is, as per the company's tradition, exceptional. The three soloists for the presented piece are beyond reproach and, indeed, conquer the piece's almost unfair demands with true courage.

Manuela Custer - Vocalist,
Richard Bissill - Horn,
David Harper - Piano.

Hope you'll enjoy :).