LindoroRossini's video: Hidden treasures Giacomo Puccini Suor Angelica 1918 Senza mamma o bimbo

≈ History ≈ {adapted from the Grove Dictionary & Naxos.com} Giacomo Puccini (1858-1924) prompted by the successes of Leoncavallo and Mascagni's highly realistic one-act operas had considered as early as 1904 producing a collection of similar works to be performed in a single evening. The composer did ultimately complete the project, but the resulting "Il trittico", first performed at the Metropolitan Opera on December 14, 1918, is only occasionally performed complete with the central "Suor Angelica" usually omitted. Journalist Forzano offered Puccini an outline of the opera in 1917, an original story which proved appealing to the composer {his older sister Igenia was Mother Superior of the convent at Vicepelago}. ≈ Narrative ≈ The opera, set in a convent in Siena, provides a tightly constructed retelling of the last hours of Sister Angelica (soprano), a woman who has taken the veil for bearing a child out of wedlock. After 7 years with no news from her family, Angelica is visited by the Princess (mezzo-soprano), her aunt, who wishes to secure Angelica's signature on some legal documents. Their tortured encounter concludes with the revelation that the young woman's child has died which shatters Angelica's fragile mind, and she poisons herself, hallucinating in her last moments that Virgin Mary appears before her. ≈ Music ≈ The primary interest in "Suor Angelica" lies in the ability of Puccini to sustain an atmosphere of an enclosed space. Still, the first four scenes are picturesque but unremarkable, while the effect of the climatic meeting between Angelica and her aunt rests on the poignancy of the text. However, the long finale, recalling gestures of a Romantic mad scene, is truly heartbreaking, the heroine's growing delirium captured with great vividness. A brief prelude depicts Angelica's wandering mind. The initial suspended sigh in the higher strings gives way to a haunting seven-note motive in the violas heard over the disparate sustained tones of the brass {0:27}. The theme progresses through the cor anglais, flute|viola, first violins|violas before finally resolving in a somber march {1:15}. The first section of the aria proper is a delicate yet desolate lullaby, as Angelica laments her loss over a rocking motive in the strings {1:57}. The second verse initially progresses in similar fashion. However, as the idea that her son died without his mother comes to Angelica, her shock is depicted in a crescendo-decrescendo sequence of blank phrases closely mirrored by the orchestra {3:03}. The aria then moves into a subdued hymn, as the young woman imagines her child as an angel over the light murmur of the horns|harp|violas|cellos and a freely flowing line for the first violins {3:26}. The more frantic Angelica's ravings become, the more vivid is this invocation of heaven, as the solo violin|clarinets|celesta are added {4:16}. A rhapsodic rise in the orchestra forces an uncertain falling line in the flute|bassoon|first violins|viola, as the notion of suicide first occurs to Angelica {4:36} who readily accepts it in an immediate appeal for death to come over a symphonic surge of the orchestra {4:48}. The final section of the aria recalls the funeral march of the prelude in the brass|percussion|harp|strings, as Angelica directly asks from her son for some sign {5:20}. The beauty of the aria only underlines just how deeply painful is the woman's delirium. The following recitative sees the nuns entering in hopes of providing comfort to Angelica who simply tells her companions that she is well, as she has received her "blessing". This is presented in a richly melodic, steadily growing in power hymn to Virgin Mary over full orchestra {6:44}. The underlying subtle moroseness of the episode is further underlined by the following frantic flight of the oboe|violins, as the night call is heard, and the sisters form a line to return to their cells {7:45}. The hymn is repeated with a simplified accompaniment, recalling the vision of heaven Angelica had earlier in the whole tones of the strings and gentle swaying of the harp with delicate details for solo instruments{8:01}. The solo violin supports the soprano's final accent to high C, bringing this sincere invocation of a grief-stricken heart to a serene close. ≈ Score ≈ The complete score of the work is readily available on IMSLP {P. 68/Bar 7-P. 81}: http://imslp.us/scores/Forzano_Giovacchino_1970/Puccini_-_Suor_Angelica_%28orch._score%29.pdf ≈ Recordings ≈ The 1999 EMI issue under the direction of Antonio Pappano is a fine modern account of "Il trittico" with the added blessing of a varied cast for all three works. In "Suor Angelica" the poignant performance of Cristina Gallardo-Domas is ideally understated, the London Voices and the Philharmonia Orchestra providing expert support. Hope you'll enjoy =).