Gioachino Rossini - Concert Aria (1813) - "Alle voci della gloria" (Samuel Ramey)

This virtuoso scene for bass and orchestra, "Alle voci della gloria", a typical "aria di baule" or "suitcase aria" (meaning arias that singers in the nineteenth century carried around with them, should a need arise to sing a piece of suitable demands; sometimes literally in a suitcase :D), generally supposed to have been written by Rossini in 1813 for Filippo Grimani, a Venetian patron, is something of an enigma in the list of Rossini's works, and has a decidedly troubled modern life. It was considered not so long ago (and interpolated as such) as an insertion aria for the completely-sololess Blansac from one of Rossini first operas, "La scala di seta". But there are several signs that, as Philip Gossett rightly points out in his book on performing belcanto, overturn a possibility of Rossini actually considering such an insertion: first off all, we have the text, worthy of opera seria, speaking of a languishing lover, completely lost in his desire to see his beloved again, though the cabaletta is set in a more hopeful mood; then, there is the rich orchestration which includes instruments - trumpets, trombones and percussion - that are actually absent from the earlier opera itself; the level of virtuosity that is asked throughout also seems alien to the comprimario from the farse; finally, there is a question of musical balance, Blansac does not actually need an aria, as it would destroy the balance of the opera where half of the numbers are already traditionally set as solo pieces. Still, the piece, despite it's enigmatic history, brilliantly showy, if not exactly what could be considered one of Rossini's best creation, is a delightful early work.
It is set to a classical three-part structure, beginning with a dramatic series of coloratura roulandes over a vaguely militant bass line, punctuated by the use of winds and sighing string lines, lending a very romantic atmosphere to the opening. But it is the next section, a stunning andante that catches one's attention, perfectly detailing the lover's desire to see his beloved. Some may find it familiar and, indeed, the section appears as Elisabetta's (from the later, by two years, "Elisabetta, Regina d'Inghilterra") "Bell'alme generose" from her final aria (though I actually prefer it in this setting). After a resolute tempo di mezzo, a cabaletta of stunning virtuosity begins, again recognizable as Rosina's "Io sono docile" and, even more so, Elisabetta's cabaletta for her cavatina, pointing to some of the inspiration behind one of Rossini's more successful dramatic works.
I actually have two renditions of this scena, one of them - by the stunning Michele Pertusi, but I decided to go for a slightly more serious approach (truth be told, Pertusi approaches the aria as a comical one which is especially evident in the cabaletta, bubbling with joy but not exactly responsive to the text), as taken by Samuel Ramey in the presented version. Hope you'll enjoy :).
P.S. Just noticed: the opening chords are similar to those of the previous post of Lindoro's alternative aria :).

[@donaldauguston9740]

I've just listened to this four times in a row. The man is a marvel!

[@loralayons1120]

Bravo!!! Grande, grande, grande!!!

[@barytonal]

Pure beauté du beau chant

[@alextudor43]

J'entends des merveilles !

[@moniquemalaurie9713]

Grand Samuel Rammey!

[@alextudor43]

Samuel Ramey, béni des Dieux

[@danielrodriguez9630]

Basso vero!

[@rafaelbanusirusta5430]

Sublime!

[@giulianataramella1192]

Inarrivato ed inarrivabile!

[@34castafiore]

Sans prédécesseur en tout cas au XXième siècle et malheureusement sans successeur, il faut redire à quel point la voix de Samuel RAMEY est vraiment exceptionnelle et unique. C'est en effet la seule basse chantante colorature des "temps modernes". Même si il a brillé dans d'autres répertoires, Il est vraiment, dans sa tessiture, le spécialiste de tout le répertoire du bel canto romantique : Qualité et noblesse des phrasés, coloratures détachées, souplesse de la voix, beauté et belles colorations du timbre, facilité dans les aigus, homogénéité des registres surtout entre le médium et les aigus. Aucune note n'est poussée ou trop tendue. Seul petit bémol, l'interprète n'est pas toujours au niveau du chanteur. C'est toute la panoplie de son talent que l'on entend ici dans cet air de concert qui n'est autre qu'une grande scène d'opéra séria Rossinien.

[@tamolyn5141]

I would disagree that Ramey's performances as an actor are not at the level of his singing. You might want to watch the DVD of his Don Quichotte. I have seen both Ramey and Ferruccio Furlanetto, who I regard as one of the finest actors in opera, in that role, and of the two, I preferred Ramey's acting performance...voice as well.

[@jasonhurd4379]

Viva Rossini

[@Arashi110]

Una voce della gloria. I have no idea how Filippo Galli sounded but I'm absolutely sure Ramey could hold his own pretty well against him.

[@Agorante]

I seem to remember that Galli had started as a tenor. So Ramey probably had a richer voice and one for whom the required coloratura is even more remarkable.
Or maybe I'm confusing Galli with Benetti - the other famous Rossini bass.

[@aneamarlivana172]

@@Agorante It was indeed Galli who started out as a tenor. An illness brought about the change in his voice.

[@clarafrediani2992]

❤️❤️❤️

[@idasteinbach1730]

😊😊❤❤❤❤

[@MartiniPyrus]

I answer, if you please, Makashi 11. This painting it is 'Henry VIII and Anne Boleyn deer shooting' by William Powell Frith. Here you can not see the Queen's female bust, as in the original painting, so it looks like a boy.

[@jefgong]

Amusant de noter que la cabalette de l'air de concert est identique au "Questo cor ben lo comprende" d'Elisabetta Regina d'Inghilterra.

[@alextudor43]

Image : Henri VIII et Anne Boleyn ?