The Assoluta Voice in Opera, 1797-1847

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McFarland, 2003 - Music - 263 pages
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It is unusual for styles in opera to carry over from one era into another. It would be even more unusual for one era's characteristics to linger two generations into the next. Yet this is precisely what happened during the first half of the nineteenth century, when the intricacies of the fleet bel canto style were combined with the Romantic era's heroic declamation and formidable orchestral emphasis resulting in the creation of the assoluta voice.
This work traces the emergence of the impressive vocal writing that resulted from the marriage of the bel canto and Romantic eras. It also covers the uniquely versatile divas who were given the opportunities to make their mark on opera from the time of Cherubini to that of a young Verdi. Here, both the wide-ranging vocalism in the scores themselves and the artists capable of performing this style are referred to as assoluta. Chapters consider Luigi Cherubini's Medee, Gioacchino Rossini's Armida, Carl Maria von Weber's Oberon, Gaetano Donizetti's Anna Bolena, Vincenzo Bellini's Norma, Donizetti's Gemma di Vergy and Roberto Devereux, the time of transition in the late 1800s and early 1900s, and Giuseppe Verdi's Nabucco and Macbeth.
 

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Contents

Medee
11
Artnida
37
Oberon
50
Anna Bolena
64
Norma
90
Gemma di Vergy
137
Time of Transition
168
Nabucco
173
Macbeth
187
Assoluta Manquee II
222
Subgroups of Assoluta
237
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Page 243 - JB Steane, The Grand Tradition: Seventy Years of Singing on Record ( London, 1974), p.

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