Gioachino Rossini, Tancredi, “(Fiero incontro!)...Lasciami, non t’ascolto”

Kathleen Felty, mezzo-soprano (Tancredi);  Maria Novella Malfatti, soprano (Amenaide)

Premiered in 1813, Tancredi is one of the miracles of bel canto. This powerful drama invigorated opera seria (literally “serious opera”), which had thrived in Italy in the hands of Vivaldi and Scarlatti, but by the late 18^th century was stagnating for lack of originality and sheer inspiration. Tancredi gave opera seria new beauty and excitement. The piece also transformed the already supremely accomplished young Gioachino Rossini (1792-1868) into the greatest superstar of the Italian operatic scene. By the time Venice’s Teatro La Fenice offered the commission for Tancredi, Rossini, at just 20 years old, had nine operas under his belt, nearly all of which were comedies. Based on a now-forgotten play by Voltaire, Tancredi altered Rossini’s very identity as a composer, presenting him a creator of moving, powerful drama.

This opera’s musical hallmark is exquisitely graceful sculpting of the melodic line in any legato passage. We hear this in the wonderful close-harmony singing for the hero (a trouser role, sung by mezzo-soprano or contralto) and heroine (lyric soprano) in the second of their two lengthy, grand-scale duets. By this point, midway in Act Two, they’ve gone through considerable emotional travails. Here we have the despairing Tancredi asking himself how his beloved Amenaide’s heart could change, as she insists, “You’re the only object of my love.” Highlighting this duet is the restrained legato middle section, sung largely in thirds. This requires immaculate technical control and unerring vocal unanimity in terms of both tonal color and phrasing. Tremendous rigorous drive and flexibility are needed for the last section, in which they both proclaim that it would be better to die, so that the torture they’re feeling can end.

Photos: Kyle Flubacker