Gioachino Rossini - Zelmira (1822) - Insertion Aria for Emma - "Ciel pietoso" (Bernarda Fink)

Rossini frequently rewrote his operatic scores to suit the characteristics of specific productions or even particular singers who would appeared in subsequent revivals; and we are talking not only about sets of variations for the solo pieces but about extensive replacements for original vocal numbers. "Zelmira" represents a similar case: for example, Rossini added a new aria for Zelmira, "Da te spero, oh Dio clemente", when Giuditta Pasta undertook the role in 1824 in London; since this number comes just before the finale to the opera which houses Zelmira's rondo, the composer restructured the finale as an ensemble. Another insertion which actually adds a number that is not present in the opera - an aria for Zelmira's confidante, Emma (contralto) - is presented here.
The aria was added for the 1822 revival of the opera in Vienna especially for Fanny Eckerlin, the creator of Donizetti's "Enrico di Borgogna". Like most of the opera, the number deals with a situation (though potent enough) that is unneeded for the effectiveness of the drama: Emma entrusts the son of Zelmira and Ilo to the chorus to save him from Antenore's wrath, and her personal torment is related in a classical two-part aria of little logical point but suprising loveliness. A gentle orchestral prelude overflows into a cantabile, set in the form of an intense prayer for the boy's safety, which is highlighted by an appealing (if rather overused in operatic treatment) harp accompaniment and delightful vocal lines for the soloist, creating a particularly romantic atmosphere and turning a unneeded aria into a pleasing addition to the opera's flow. A short tempo di mezzo where the chorus announces that the boy has reached safety moves into a slightly ordinary but exciting (and coloratura-laden) cabaletta where Emma celebrates her good fortune. While the aria still seems unneeded for the opera as a whole, its' sheer charm seems more than ample reason for its' inclusion into the final version of the opera.
A young Bernanda Fink essays the role of Emma and not only triumphs over its' demands but also manages to make them sound both easy and completely logical in the context of the drama. Hope you'll enjoy :).

[@dolorsrosello4901]

La belleza por la belleza!!!! Una maravilla. Bravo Rossini, eres insuperable!!!!

[@helgeevju]

What a showstopper for the "seconda donna" - and the emotional impact of Bernarda Fink's singing makes you forget what a difficult piece it is!

[@77Opera]

C'est magnifique!

[@albertodelbuono]

Bernarda Fink is not a singer, but a wonderful voice and a masterful performance art placed at the service of a woman with an extraordinary human sensitivity that is expressed, without affectations gender, always managing to grasp what the composer wanted to express in their music . Forget all artifice of vocal and go to the essence of musical expression. Listen to Bach or Haendel (but not only) is an experience "spiritual" unique, incomparable with any other

[@ilNuovoArchaeOpteryx]

It almost seems as if Rossini wrote this piece with Bernarda Fink's voice in his head... Her performance is breathtaking beautiful, emotional, with great virtuosity and a true feeling for what is stylistically appropriate! If she only would sing more Rossini!