[Vesselina Kasarova rehearsing “Di tanti palpiti” from Rossinis’s “Tancredi” in Moscow, 2011. Clip with thanks to Denis Zaharov – There’s also the concert that followed this rehearsal. And just for kicks and because we can really need all the kicks and swagger we can get these days, here’s the take from about 20 years earlier. And yes, although I hope we’ll be able to sleep a little calmer again sooner, I’ll uphold this column for twenty years if need be.]
It’s time to gear up.
This week, we’re still rehearsing and we’re allowed to roll our eyes at the conductor and try out our moves, but next week, some people will end up in an office they should never ever even have been considered for. I still look up after readng the morning news most days, saying “You can turn off the candid camera and come out of hiding now. Yes, it was a great prank. You almost got us there. But now, decloak. Please.”
There will need to be a lot of marches and speaking up and standing up on our part, but to swagger in properly and take a stand with stance, with the necessary vigor and energy, we will have to revert to Rossini. To A LOT of Rossini.
Tancredi is worried about his home country in this aria, and painfully in love with it, and of course with a soprano, too, but as long as you have belcanto on your side, you will be speaking, and you will be heard. We’ve got triple beat rhythms and chest notes, and we’ve got enough of them to carry us through the next four years on the barricades.