[Thanks to Andrea Cawelti, Ward Project Music Cataloger, for contributing this post.]
Cadenzas can be one of the most thrilling parts of an opera performance. Sometimes added by the composer, but more often created by singers (or their advisors) to showcase their particular talents, cadenzas today are rarely improvised on the spot, but carefully practiced in advance to create a show-stopping effect on the audience. Some contemporary singers borrow cadenzas which were composed by 19th century singers, a time period when singers were better trained in the art of creating flashy vocals, but primary source material of such an elusive part of performance can prove difficult to find.
Dr. Ward has found two duet cadenzas which may be connected to soprano Henriette Sontag (1806-1854). While they do not appear to have been written down by a professional, they present tantalizing and unusual documentation which may illuminate the career of a singer about whom Hector Berlioz eulogized: “she played with notes as no Indian juggler has ever juggled with golden balls; but she also sang music, great and immortal music, as musicians sometimes dream of hearing it sung.”
Top: Cadenza for Linda and Pierotto, from Donizetti’s Linda di Chamounix, the end of the duet “Al bel destin che attendivi.”
Bottom: Cadenza for Semiramide and Arsace, from Rossini’s Semiramide, the end of the duet “Giorno d’orrore.”
Now if that doesn’t liven up a potentially dry topic, I don’t know what will.
Thanks for the post.