I am only 21 and just a student, but in my studies I've come accross certain
situations in the Mozart roles where I could suggest a different approach. In
Le Nozze the role of Don Basilio I would think would be appropriate to approach
with lightness of tone - he is bascially a comic relief character (whose aria
is always cut out of the performance) who does not undergo any significative
change. For example, in his trio with the Count and Susanna, his line "ah del
paggio" seems perfect to be attacked with a lightness of tone.
the other role I've been studying seriously is Don Ottavio in "Don Giovanni".
His two arias are beautiful but more often than not they are sung in blandly.
Granted, he can be a two dimensional character, but one has to find his
motivation (don O's). He is a nobleman. he seems a pretty complacent man
-especially when he tries to dissuade Donna Anna to forgo her pain which gives
us some insight into his character and perhaps a tendency to try to avoid
emotional disturbances.
When singing "Dalla Sua Pace" (The aria I am currently singing) we have to
understand that DOn Ottavio is alone at this point. the stereotype at this
point is that Noblemen do not open up to anyone, but at this point is where we
get to see Ottavio looking into himself for the first time without the
inhibition of a second person (pretty much like the Countess in Le Nozze when
she sings "Porgi Amor"). So his voice should be gentle and tender at first ( he
is thinking on his beloved.."on her peace...") as he is introspecting and is
not inherently a conflictive man, the emotions throughout the song (anger,
sorrow, pace) should color his voice at the appropriate times and then become
strong with resolution near the end.
In "Il Mio Tesoro" Ottavio is a Nobleman first and he addresses Mazetto and
Zerlina, A nobleman does not plead although he is asking them to comfort his
treasure, he is confident, courageous and must seem strong (although as a
person he has a weak character), adding some zest to those devilish
coloratturas. Don Ottavio is a direct contrast to Don Giovanni, a formidable
man (although a wayward one) of wit, skill and work - he does not bluff or
makes speeches about what he is going to do, he does it and revels in it
(unlike Ottavio, who does not take action at all).
>Consequently it is often sung today in
>a half-baked manner with a tone quality that is excessively light and
>without any kind of basic male heft. Yet, his roles are not for this
>kind of personality. There is a dichotomy here that is seldom
>addressed and only when it is, (Wunderlich?) do we hear the voice
>quality that the role needs.
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