My newest aria is “Suicidio” from “La Gioconda.” Tis 19th century Grand Opera at the hilt. Nope, it’s not a light story but gripping like a delicious and robust main course.
La Gioconda means “happy woman.” The character is described as a ballad singer. She seems rather more tormented than happy. Perhaps the title is librettist’s Boito’s use of irony.
A talented fellow singer recently gave me a very nice compliment after I sang “Amelia” with Amore Opera last May. She told me I sang like a gangster.
After reading the story of La Gioconda, I would use this word to describe this opera. This is quite the gangster libretto.
My initial impressions:
1. It’s from a prose play by Les Mis Victor Hugo. Ole boy was dark. Jeez.
2. It has a principal role for the six voice types: soprano, mezzo, contralto, tenor, baritone, and bass. Well done, Ponchielli; no alto and tenor trifling like Mozart.
3. The soprano singer is obsessed with the tenor and adores her mom. Sounds about right.
4. If you get a rosary from a blind old woman, you shall have protection.
5. I like seeing girl code with sopranos and mezzos.
6. There’s a lot of premature stabbing in this opera. Just breathe and use your words, people.
7. Getting the last word doesn’t make you a good or right human. For more info, see life of beelzebub baritone, Barnaba.
8. Don’t piss off the baritone in heat. It won’t end well.
9. I love that each act has a creative title. None of this boring act 1-4 stuff. Gay approved.
10. What does the lion’s mouth look like? Google images has disappointed my curiosity.
11. Was Lisa del Gioconda actually happy and did Leonardo di Vinci inspire this opera?
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