VINCENZO BELLINI: THE HIGH NOTE OF BEL CANTO
Bel canto style was a prominent characteristic of opera from the Romantic era. Ushered in by Gioacchino Rossini’s opera Il Barbiere di Siviglia (The Barber of Seville) in 1816, opera in the Romantic era focused more on the expression of emotions and storytelling—often complex plots— through vocal prowess. It was a reinvention of the traditional musical structures thus far expected of singers in classical opera.
What IS bel canto? •
It means “beautiful singing” in Italian and showcases the expressive potential of the human voice.
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It is characterized by long, smooth, and melodic vocal lines.
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It requires very precise vocal technique involving control of the intensity of vocal tone, as well as agility, fluidity, and clear articulation of notes, words, and transitions between registers.
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Each singer personalizes their performance of a bel canto aria showing off their unique talent with ornamentation—improvisational vocal fireworks of extra fast-moving notes.
Bellini may have popularized bel canto vocal fireworks, but ornamentation is still very popular today far beyond operatic singing. Listen to this well-known diva show her stuff.
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VINCENZO BELLINI: THE HIGH NOTE OF BEL CANTO
Vincenzo Bellini was born in 1801, in Catania, Sicily. He was highly influenced by his musically talented family, so that he was already an exceptional musician by the young age of five. Bellini was sent to the Conservatory in Naples, Italy. For his graduation in 1825, Bellini debuted his first opera: a semi-serious opera entitled Adelson e Salvini, set in his hometown. Bellini had a particular affinity for the soprano voice. He described the arias he wrote as not just a simple melody within an opera, but rather an illustration of the beauty and ability of the human voice. His aptitude for composing for the voice, makes Bellini one of the premier bel canto composers.
Catania, Sicily as of 2013.
Gioacchino Rossini, along with Gaetano Donizetti, were Bellini’s Italian contemporaries and make great contributions to bel canto opera, however the three had strong artistic differences and often did not get along. Unlike his contemporaries, Bellini did not write comic operas, favoring Opera semiseria instead. He also did not care for Rossini’s excessive added ornamentations. Bellini preferred the cabaletta aria structure, rather than the bravura aria structure that Donizetti and Rossini preferred. A cabaletta was less interruptive to the dramatic action and offered more characterization to the audience unlike a bravura, purely a demonstration of vocal capabilities.
