Gioachino Rossini - Maometto II - "Sorgete, sorgete" (Samuel Ramey)

The fourth singer who gets the say is the spectacular bass Fillippo Galli.

Galli stands a bit apart from all the others in the Quintet. First of all, unlike all the other singers, he is mostly associated with Rossini's opera buffa: his creations include Mustafa and Selim along with several other roles. Only Maometto, Assur and, to a certain extent, Fernando in "La gazza ladra" are tragic figures. A very broad range of roles which talks volumes about Galli's dramatical capabilities. David and Colbran have also appeared in comic operas, but only Galli has such a surprisingly wide role range. Secondly, unlike all the other singers, Galli was one of Rossini's lead singers from start to finish: he created the role of Batone in one of the five one act operas and was the first Assur. Basically, we have a very broad musical period, from Rossini's earliest successes to his last Italian opera. Quite a long companionship! And Rossini, just like in Nozzari's and Colbran's cases, was inspired by Galli's personality and has created some of his best bass music specifically for Galli.

Just like Nozzari and Pesaroni, Galli wasn't originally the voice with which he made his name. He made his debut as a tenor at 1804, after which he rose rapidly to the front rank. In 1810 his voice was changed to a bass by a severe illness, and on competent advice he studied to cultivate his changed voice, which brought him success equal to, if not greater, than that prior to his illness. He went on to become one of the most acclaimed basses of the era, with a voice known for its wide range, extreme agility, and expressivity, and a remarkable gift for acting. Many even called him "the most beautiful voice in Italy".

Concerning arias for Galli. His case is actually quite similar to Colbran's. He usually doesn't get the most solo opportunities: in most operas Galli's presence is most felt in ensembles, while solo pieces are limited to one cavatina or aria (though in "Maometto" he gets an additional "grand scene" which somehow isn't a real set piece of an aria). Mostly, in spite of the vocal demands, his cavatinas are rather simple successions of cantabile - cabaletta, but, unlike similarly crafted David arias, they never are truly dominated by the coloratura. Only in "Semiramide" his aria is different, a bass equivalent of a Mad Scene.

The cavatina of Maometto is a superbly written scene, though it is a rather simple one, with no obvious irregularities. The power of the aria lies in the fact that it helps quickly establish the character of the conqueror: manly, sure of success, powerful. Even the rather difficult coloratura patterns are well integrated as to help set up the title hero's position in the drama.

Samuel Ramey and Michele Pertusi are both well-known interpretators of Galli roles and both have sung the part of Maometto in full performances. In this case, I went for the Ramey who is successful in creating the character through his rich voice alone (though Pertusi is better overall in the role). Enjoy :)!

Видео Gioachino Rossini - Maometto II - "Sorgete, sorgete" (Samuel Ramey) канала LindoroRossini