Vincenzo Bellini - "Torna, vezzosa Fillide" (Marcello Giordani)

Although originally set in Milan somewhere around 1827 for soprano, "Torna, vezzosa Fillide" seems to have become somewhat a staple for tenors (similar to Rosina passing to sopranos). While proving a fact that time rewrites the composer's music in one way or another, this concert aria also constitutes, for me, one of Bellini's most openly dramatic pieces, further highlighted by the composer's care for the melody.

The piece is set in three movements, though it is not truly as simple as that. The aria is centered around three main musical ideas, each of which, though seemingly independent, are elaborately connected into a scene of rare contrasts. The piece starts innocently enough with a gentle, Rossinian cantabile (the A section), as the hero sings of his love for Fillide whose absence "brings sadness to this shepherd's heart". Nothing makes the listener fell anything but completely contented: we are transported to a rather typical for opera Arcadian setting where the pastor will surely find his love. Or will he? After a repeat of the A section, the mood moves to the minor, the music becoming unsettled and intense, the verses now talk of Fillide's suffering and the suffering of her lover. This constitutes the central B section. The text begins to sound slightly macabre, especially with such an urgent accompaniment: the hero, singing in triplets and sixteenths, accounts how he is desperately trying to find his lover, water (the shore, the river) being a central motive. The aria then returns to the A section, for a slightly lighter mood but this transition is cut short by the return of the agitated B section, as the hero cries out in despair: "Where is my Fillide?" (a phrase that is placed at the finish of each of the three sections, each time changing in color). Finally, the distraught finale is set up. With the stormy sea in the background, the singer despairs of ever seeing his beloved again. The original setting still remains but a rare darkness now dominates the proceedings: Fillide is surely drowned, and her lover, from beginning of the piece to its' dramatic conclusion, seems to have ranted in his madness, making the aria almost a Mad Scene of sorts with an unusual Poe-like setting (think "House of the Usher"). A most unusual piece, all in all, but very much Bellini at his best.

I'm uploading two completely different version: one, with Lawrence Brownlee, is perhaps closer to what Bellini had in mind when he composed the piece, using a light voice to further shock the listener to the final revelation; plus, Brownlee is very responsive to the text and embellishes it to great effect. On the other hand, we have Marcello Giordani, a very stark contrast: providing a more dramatic reading, focusing (which is especially evident in the final "cabaletta") on the portrayal of a mad man, Giordani is more aggressive than Brownlee, truly creating an oppressive rendition; moreover, this version uses an orchestral setting which works quite well, though I would, unusually, prefer the original piano accompaniment which helps underline the macabre qualities of the piece. Hope you'll enjoy :)!

Category:

Music

Tags:

• Bellini
• coloratura
• belcanto
• classical

[ManHasCorners]

@MzMuPhiEpsilon I'd have to agree. Giordani gets really soupy in the first section and it seems so out of place. He's giving away the weight of it rather than let the music play its part. Brownlee has this great lightness about his performance that lets everything speak to its fullest.

[MzMuPhiEpsilon]

I think Lawrence Brwonlee has something special...Marcello Giordani is not giving me what i need....It sounds to me like Mr. Lawrence is having fun and not taking so serious the piece...at 1:40-1:45 its like hes doing too much..Im not saying hes a bad singer I just dont like his interpretation...

[Cantormatis]

Bravo. Probably the best I've heard him sing.

[bloodymary61]

Ottima interpretazione.

[enzoonapulitan]

Sei un genio ti amo marcello