Short contributions – perspectives on communication

VICENZO BELLINI’S OPERA CREATION, A MEANS OF CULTURAL COMMUNICATION

Cristina SIMIONESCU1

1Lecturer. PhD., „George Enescu” University of Arts, Iasi, Romania Corresponding author: [email protected]

Abstract thus the plot and characters’ feelings became At the crossroads “of a still aristocratic art and the extremely simple the heroes wearing peasant genuine issue of romanticism, Bellini achieved by his clothes instead of tragedy coturna; the drama creation the perfect union between classical beauty and the takes place between the story and the fairy tale exaltation theme of hero or rather more frequently of the heroine, condemned by fate”( Dicţionar de mari muzicieni, and disturbing the hearts and causing much 2006). La Sonnambula is one of the most important works pain. The title of the opera will be La Sonnambula that promoted Bellini’s popularity, particularly through or I due fidanzati svizzeri, one of the best known the gentle and sweet vaudeville flavour, linked to the and highly appreciated Bellinien operas, whose pathetic chant combined with high colourful voice of great interpretative value. The last Bellinian opera creation was premiere took place on March 6th, 1831 at the born after the disintegration of the fruitful partnership Teatro Carcano in Milan, resulting in a great with the librettist Felice Romani. After leaving Italy to triumph. The cast of the world- wide premiere settle in Paris, Bellini has signed a commitment with the included: Giuditta Pasta and Giovanni Battista Théâtre Italien (in 1834) for a new opera, . We will highlight how through the libretto, the action, the Rubini. The production capacity and the characters, the music, the opera represents a way to educate managing of the dramatic tune is specific to the and to enlighten the yesterday, today and tomorrow Italian composers, but Bellini proves to be the public. Keywords: opera, , libretto, characters, best inspired, reaching its peak quality. The days soprano. spent on Lake Como, in Moltrasio, represented the research work of the composer and the female workers songs were the source of inspiration to 1. OPERA LA SONNAMBULA - OVERVIEW compose the opera. Many of the choral tunes and the opera arias have an essentially pastoral The opera Ernani that ought to have been character and bear the typical Sicilian imprint. composed by Bellini,was replaced by La Bellini wanted to cover his grave with the most Sonnambula due to the rigors imposed by the uplifting notes and beloved arias: Ah! Non credea Austrian censorship towards the uncomfortable mirarti sì presto estinto, o fiore from the masterpiece political issues. The censorship of that time had La Sonnambula . a great influence upon the traits of the characters, which determined the librettist Felice Romani to 2. THE SUBJECT OF THE OPERA ask the change of the subject. Romani proposed Bellini a simple subject, according to the circumstances of the time, inspired by Eugène The action of the opera deals with a lost world, Scribe’s vaudeville La Somnambule or L’Arrivée or even ever nonexistent contemplated with a d’un nouveau seigneur (which had already been bitter nostalgia, in which the intellectual figure the subject of an adaptation of Jean-Pierre Aumer of Count Rodolfo rationally and with simplicity as ballet-pantomime). Bellini got out of the explains the concept of sleepwalking. Act One, libretto the genealogy according to which Amina the first picture: The action takes place in a would have been the daughter of Rodolfo and mountain village in Switzerland, during the feast

84 Volume 6 • Issue 1, January / March 2016 • VICENZO BELLINI’S OPERA CREATION, A MEANS OF CULTURAL COMMUNICATION celebrating the marriage of Amina and Elvino encounter with Elvino, alone and troubled, is very (an orphan raised by Teresa Morar). The only exciting, the young man stating that his heart has unhappy person with this event is the hostess died and that he is now one of the most unhappy Lisa, who loves Elvino. Amina receives as a gift people. Amina is trying in vain to make excuses, from the future husband, his mother’s ring and Elvino’s decision is final. The villagers joyfully a bunch of violets as a symbol of his love. The announce the news of Amina’s innocence, which party is interrupted by the appearance of a causes a tantrum on behalf of Elvino, who throws mysterious stranger nobleman - Count Rodolfo, the ring from the girl’s finger. who seems to know very well those places, but The second picture is carried out near who is not recognized by anyone in the village. Teresa‘s mill, near a ravine. Alessio can not The stranger says that he was raised by old senior convince Lisa that Elvino will never marry her, of the castle, who loved him as his own child. but a group of villagers comes with the news After being warned that the village was haunted that the hostess is chosen by Elvino, and the by the presence of ghosts and it was risky to wedding will take place immediately. Count continue his journey at night Rodolfo remains at Rodolfo tries to explain Rodolfo and the villagers the inn, as he considers this story just a that Amina suffers from sleepwalking, thus superstition. The count compliments the young justifying her presence in his room at the inn, bride and compares her to a lady whom he met but all his explanations are futile. Everyone is many years ago, stirring Elvino’s jealousy and preparing for the wedding again. When Lisa the quarrel with Amina. and Elvino pass in front of the mill, Teresa Second picture: An attempt to woo the hostess accuses landlady of the same guilt as that of by the Count is interrupted by a confusing noise. Amina, bringing as evidence a handkerchief Lisa runs away and hides scared, not before found in the Count’s room. In the general identifying Amina entering the Count’s room amazement Amina makes her appearance, through the window; in haste the hostess loses her sleepwalking on the curb of the roof of the mill, handkerchief. Sleepwalker Amina affectionately which is the proof that Rodolfo was right. Aware addresses the Count using the name of Elvino, that the slightest noise might be fatal if he wakes talking about the wedding ceremony. Rodolfo up Amina, the Count asks for silence (Popov, immediately understands the situation, but does 1964). Only now all understand that the dreaded ghost that haunted the village was none other not want to seize it and decides to leave the room than Amina in the state of sleepwalking. without waking up the girl. Upon learning about Dreaming of the lost love, Amina hopes to see the identity of the stranger from Lisa, the villagers once more Elvino; when she wakes up she is in arrive at the inn to greet him; They are led by the the arms of her lover and finally the long- landlady to Rodolfo’s room, where to their great awaited wedding will take place. surprise find Amina. Lisa notifies Elvino who, jealous and confused, breaks the engagement, casts Amina, while she, awoken to reality, can not 3. THE CHARACTERIZATION OF THE explain her presence in the Count’s room. CHARACTERS Meanwhile Teresa picks up discreetly Lisa’s handkerchief. Bellini in his works realistically reflects the In the second act, first picture the action takes human condition: all the characters want place in the valley between the village and the something that they fail to achieve. The heroes of castle. A group of villagers are heading to the the masterpiece La Sonnambula are treated under castle to ask the Count to come to the defence of the double aspect: the ingenuity and excessive Amina, if she is indeed innocent. Amina receives jealousy of Elvino; the Count’s good faith but consolation and affection from her mother (who mischievous; the envy and the jealousy that is convinced that Rodolfo will intervene to defend justify Lisa’s behaviour; Alessio’s goodness who his daughter) and relives the wonderful moments forgives the hostess, although he has all the spent with Elvino in those places. The unexpected evidence that she made a mistake; Amina –the

International Journal of Communication Research 85 Cristina SIMIONESCU innocent sleepwalking protagonist, sweet and how to combine perfectly, naturally the melodic tender who leaves room for some doubts that she arch length with the subject through languorous might not be that candid and sick person as movements, while the orchestra accompanies the people think she is. Amina plays the cheerful and voice with admirable simplicity (Sâmpetrean, sparkling role of a beautiful, innocent, but 2007). The glow of pure love of poetry and music unhappy girl because she suffers from is reflected in the choral moments in duets or in sleepwalking. She walks and talks in his sleep, as areas and the high-intensity vibrations of if she were in a trance, without realizing what dramatic action which find their emotional happens around her, which causes her endless culmination in the famous aria of the heroine in trouble. These problems are not foreseeable at the the final scene:Ah! non creda mirarti. The melodic beginning of the first act, when Amina and Elvino mastery meant to send the message of the poetic make their vows of love and faith in an atmosphere text is the primary means of expression of of joyful celebration. The action of the opera takes Bellini’s creation. The choirs and the music place in an unreal world, the same as Amina’s drawn from his music certify the melodic and world, joy emanating from her monologues and creative force that the interpreters have the duty then pain, revealing a clean, delicate soul, full of to understand and convey to the public. La love for everyone who listens to her and wish her Sonnambula is a challenging milestone for the good. Amina is not a person, but a symbol of the sopranos who want to approach it, both in terms dream of hope, goodness and happiness,it is the of acting and of voice. The actress in Amina’s soul of a person with spectral aura. role has the task to convey the complexity of the Neither the other characters of the opera lack feelings of the heroine through a soft voice, unrest: the young Elvino is tormented by jealousy, without asperity, with the perfect control on Lisa the hostess cries for love of him, the Count breathing, of colourfulness and high register, an relives his happy childhood, but the naive equal and bright vocal timbre in all registers, simplicity of the conflict, in reality, he hides a capable to fairly render the phrasing and subtle bitterness. Elvino has the role with the expressiveness specific to bel canto style. highest degree of difficulty, whose melodic lines From the perspective of voice we are going to represent some of the most beautiful and best- pursue the merging of the crystal voice colours known pieces dedicated to the voice of a tenor, of high-pitched and super high-pitched register evoking both love and distrust of the woman he with the clarity and the precision of the colourful loves (as the hero crosses different states of passages stemming from the fabric of the central affectivity of major intensity). From the register maintained and well nuanced. The psychological point of view, his vengeance can dynamic differences between the two acts should be regarded as an act of desperation or a tragic not be detrimental to voice consistency or to lose one. Count Rodolfo exhibits paternal care roundness and size. The agilities and the super towards poor Amina; out of his character we can high-pitched notes will be articulated with distinguish two different attitudes: on the one precision, but legato, animating the sustained hand he takes on the superiority of the city folk melodic moments on breath, loose ribs maintaining visiting the village, but at the same time he looks that long sentence that constitutes the specific with admiration at the rural world. In Amina’s character of the Bellinian creation that give depth presence in a state of sleepwalking he rejects the to the dramaturgy of the work. The voice should desire to take advantage of her, saving her always sound free, never forced, but shiny, honour and purity. smooth, continuously offering richly nuanced sounds properly led and supported on the air column. We will constantly follow to obtain the 4. MUSICAL CONSIDERATIONS supreme elegance on the legato sentences, using beautiful, expressive variations and the The theme of love and conflict between Amina homogeneity of medium and high-pitched and Elvino, gives Bellini the opportunity to registers (which we could interpret without the express his poetic genius. The composer knows public to notice supplementary efforts).

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In order to be able to interpret and act out as intelligence and musicality will surely manage real as possible the character of Amina, we need to convey the intense feelings and the to get away from sizes of the infantile manners, characteristic expressiveness of the character typical for lax voices and to complete them with Amina. lyricism and melancholy, completely abstract, with a high quality legato song (especially in the 5. THE OPERA I PURITANI - OVERVIEW medium register). In the variety of situations from the action development of the opera, the Written on a libretto by Carlo Pepoli - I puritani deep-toned of and expressiveness of singing will e i cavalieri (the title was later simplified in I much contribute to perfect interpretation of the Puritani) took as its starting point the historical passages with vocal acrobatics and the typical drama Têtes Rondes et Cavaliers by Jacques Bellinian mourning (Câmpeanu, 1975). In order François Ancelot and Joseph Xavier Boniface to express the interpretative intentions required (Saintine) after the short story by Walter Scott: by the text on the central fabric of the role, the Old Mortality. I Purinani is for an educated public melancholic singing and the suffering with a because it contains innovative elements in several silky smooth voice is absolutely necessary to directions, revealing orchestral complexity, a express with the support of breathing. The colourful palette and rhythmic variety not seen musical sentences of the aria Ah! Non credea in the previous works. The plot develops two mirarti should be loose and the sounds to have parallel stories: a love story against the consistency and roundness specific of bel canto background of historical and political of the time, singing; in the rondo that follows the sounds will that is the war between Cromwell and Stewart, be beautiful , round and supple to facilitate the and the love of Elvira and Arturo. The cast of the implementation of expressive colourfulness. world premiere included four famous singers of Permanent control of respiration is essential not the time: Giulia Gris (Elvira), Giovanni Battista to be felt the fatigue and the wear of voice to Rubini (Arturo), Antonio Tamburini (Riccardo), achieve the legato singing voice and to achieve Luigi Lablachere (Giorgio), whose interpretation the brilliance of voice, especially in the high- has remained legendary in particular for the pitched register. A good voice guided, nurtured, quartet: A Te, O Cara. The first performance took crystalline, sound, consistent across all registers, place at the Théâtre Italien in Paris on the 25th of which achieves supple and articulated agilities January 1835, the opera enjoying a great triumph, will easily and naturally describe the character constituting at the same time a good opportunity and the emotional states that the heroine goes for critics to resume talks on Bellini’s through (Pinghirec, 2003). monumentality. The interpreters of the role of Amina must The composer wrote at the same time a second show their interpretation valences of the variant of the opera (for and the virtuosities and the difficulties of the Bellivian Teatro San Carlo in Naples), but the scores arrived bel canto style through a voice rich in harmonics very late, the Neapolitan version being especially in the central register, perfect rediscovered and interpreted only in 1986, at the intonation, neat flow of sentences and of singing Teatro Petruzzelli of . Although it was line, depending on the emotional states of the originally structured in two acts, shortly before character. The execution of colourfulness and of the premiere the work was divided into three trills will be done with precision and articulation, acts. On the recommendation of Rossini, Bellini and the sounds from high-pitched of and super introduced the duet Giorgio - Riccardo at the end high-pitched will be expressed softly but firmly, of the second act, with the famous stretta: Suoni assisted by breathing. The soprano who knows la tromba, e intrepido which is frequently resumed how to express beautifully toned sounds, brilliant being requested by the public. Due to the size of on the central notes and homogeneous on all the opera, on the eve of the premiere there were registers, who knows the stylistic properties and removed three big musical numbers (which can lead the sentences beautifully, with today are reintroduced) the first act the trio of

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Arturo-Riccardo-Enrichetta: Se il destino a te To complete his heinous plan, Riccardo will m’invola, the duet Arturo- Elvira: Da quel di ch’io confront his rival during the next the battle, ti mirai (act III) and the final stretta (act III): Ah! which will also be the last clash between sento o mio bell’angelo. Cromwell’s Puritans and Stuart’s knights. The third act takes place three months later. Near Elvira’s house the Puritan army soldiers 6. THE SUBJECT OF THE OPERA patrol constantly looking for the traitor. When the guards have moved away, Arturo leaves his The action is set at the time of Oliver Cromwell hideout cautiously, hoping to see his beloved; he during the Civil War in England, near Plymouth, is extremely disturbed by the personal drama when a love story between two political enemies that he lives (the inner struggle between the begets: a defender of the Royal Crown and of the sincere love for Elvira, and the love and duty for Stewarts family (after the beheading of Charles I), the Queen and country). From the house it is and daughter of a supporter of Oliver Cromwell’s heard poor Elvira’s sad voice singing a love song Puritans. The first act takes place in Pylmouth learned from her lover. Arturo answers with the fortress while the preparations for the marriage same song. Elvira comes out and the meeting has of Elvira (daughter of the governor Lord Gualtiero a spectacular effect: the girl regains reason. But Valton) with the knight Lord Arturo Talbo. the joy of reunion is short-lived because they are Although the Governor had promised Elvira’s surrounded by the Puritan army, announcing his hand to the Puritan colonel Sir Riccardo Forth, sentence to death for high treason. When the finally he gave in his brother’s insistence (Sir word “death” is uttered “ Elvira is well aware of Giorgio Valton) by agreeing to the marriage with what is going to happen and decides to follow his political foe, Sir Arturo. Being forced to her lover. Arturo can only recall the moments of accompany a political prisoner in London, the lost happiness and explains her the reason of his Governor is unable to attend the wedding disappearance, making her understand that he ceremony. Arturo recognizes the prisoner as being has not betrayed their love. While Riccardo is the dethroned queen Maria di Francia Enrichetta trying to separate them, when all seemed lost, (Henrietta Maria de Bourbon), to whom he the final defeat of the Stewarts is announced and promises that he will help her to escape. Despite the pardon of all prisoners is grunted by the entreaties of the Queen not to sacrifice his life, Cromwell in honour of peace and victory. Thus, Arturo covers her with Elivira’s wedding veil and Elvira and Arturo can crown their dreams of flee the castle together. For Arturo the opportunity love. to save his Queen is a great honour. The two fugitives are intercepted by Riccardo, but in the 7. THE CHARACTERIZATION end he allows them gladly to flee, hoping that he CHARACTERS will definitely get rid of his rival. Convinced that Arturo betrayed her love and left her for another woman, Elvira goes insane. Despite the extremely complex vocal and In the second act we learn that Arturo was acting commitment, Elvira appears as a pure, sentenced in absentia to death for high treason. fragile and evanescent character, with a great While Giorgio tells his believers of the sad fate and gentle soul who lives her emotional intimacy of his niece who has lost her mind, she makes that in an exclusively romantic world. Being a her shocking appearance, walking without any true romantic heroine inside her, who is target, delirious, laughing, calling her fiancé and permanently on the boundary between reality crying for her lost love. Riccardo is constrained and imagination, between the inner and outer by Giorgio not to dispel his rival in court, because worlds, she is ready to point out in the real otherwise Elvira will die of grief; he agrees to existence the images of her hallucinatory give up his love for Elvira to meet the obligations fantasies stimulated by the genius of the Bllinien of loyalty and honour, dedicating himself to the music. The composer’s entire attention is directed victory and glory of the country against his will. towards her, who places her at the heart of the

88 Volume 6 • Issue 1, January / March 2016 • VICENZO BELLINI’S OPERA CREATION, A MEANS OF CULTURAL COMMUNICATION action as the main character of the opera and forms of the melodrama of the eighteenth from an emotional point of view. Elvira’s century, knows very well how to fold on the madness amid the war between the Puritans and demands of expressive representation, being Stewarts, is the core of the whole opera and even especially concerned by emphasizing the if the libretto is not too valuable, it contains parts emotional and sentimental aspects of the drama that deserve a closer attention from the dramatic more than the psychology of the characters. I perspective, especially with regard to the fragility Puritani belongs to the first romantic operas of the heroine and her mental disorders. from the early nineteenth century, which by the Elvira reveals us consciously the happiness force and imposed dramatic character prepare produced by the important event of marriage Giuseppe Verdi’s compositions, and by merging with Arturo until he leaves her running away several musical numbers (within endings) those with the Queen. From this moment Elvira loses of Richard Wagner (Câmpeanu, 1975). The her reason, falls into a kind of depression caused multitude of emotional states crossing the opera by a sudden trauma that causes an image of action is reproduced faithfully by the Enrichetta that she sees in all women who appear expressiveness and originality of the song, whose before his eyes. Elvira is a character with a absolute master remains Bellini alone without particular sensitivity, is passionate and from the any rival. vocal point of view offers from the very beginning The Bellinian vocal writing represents the the exam of pure bel canto vocal virtuosity transition moment when the fiorituri give an requiring breathing, sentencing, certain high- expressive purpose to the dramatic meaning, pitched and super high-pitched notes filato and revealing the feelings or state of the dramatic many cadences and variations within the aria. development of the characters, the singers Arturo’s musical score is very beautiful, but encountering greater difficulties in interpretation. the character does not have the opportunity to The paper reveals the interplay between the develop in terms of drama because it is absent in Italian and the French music. Bellini opens new the crucial moments of the opera. In the first act, paths by using the French musical, dramatic and the inner struggle between his love for Elvira thematic method, joined to the immense wealth and the duty towards the Queen is expressed of melodic expansive, typically Italian ideas. He and resolved very quickly, that he can not be experiments various harmonies, approaching the musical French language and answering thus the fully appreciated, and in the last act, his three Parisian public expectations, while revealing the months exile, although it is described in an complexity of orchestral thought by using rich emotional way, it is not dramatically exploited. and precise effects of instruments timbre. It is This is Elvira’s opera, as Norma is Norma’s and recognized that the specific Puritan La Sonnambula is Amina’s. Almost every time instrumentation was the composer’s major when Elvira appears on stage, the audience hears concern throughout the elaboration of the opera before they see her, which creates an extraordinary and we must recognize that his efforts were effect. In the scene of her madness the last lines rewarded with remarkable successes. of the aria are heard from the backstage: O Bellini knew very well how to use the fireworks rendetemi la speme , then she makes her appearance specific to the grand-opera genre: the collective on stage, the composer trying in this way to historical paintings or the use of offstage musical create an atmosphere of mystery around this fragments, particularly valuable in creating character who tours the rooms of the fortress, spatial effects (we remind in this regard the repeating incessantly her dissatisfaction and her introduction of complex opera, the warrior choir, suffering. the morning prayer, or the typical romantic scene of the Hurricane). Nothing can undermine 8. MUSIC CONSIDERATION the particular qualities of the memorable Bellinien melodies, created of ample expressive arches, Chief representative of Italian musical of wide breathing, extremely clean and neat. Romanticism, Bellini while using the closed (Bornac, 1998). We must not forget that the bel

International Journal of Communication Research 89 Cristina SIMIONESCU canto period has made a major contribution to most fascinating Bellinian creations is, the development of technical valences of singers, indisputably, the opera La Sonnambula. finding ways of solving the high-pitched sounds Fascinating - because it is impossible not to be (without differences in changing registers), impressed by the subtlety of poetry emanating creating heroic voice effects and eliminating the from music and strange - because nowadays the falsetto. subject is childish and inconclusive. The interpretation of the role of Elvira must I Puritani reveals an extraordinarily mature control very well the lead of voice in order to be Bellini in the thinking and the conduct of the able to execute colourful passages with flexibility, development of his charming music. Elvira’s accuracy and articulation, having the ability to fragility dictates the melodic evolution of the convey the character’s intense emotional action on stage and the embroidery and voice experiences that enhance and support the virtuosic passages reveal his soul overwhelmed partners on stage. To successfully play the role, by the controversies and conflicts between her the soprano will find softness of timbre and the duty as daughter and her love, between the fragility specific for the character while Puritans’ honour and her happiness alongside a maintaining the expressive tension at a high traitor. All these consume her so much that they level, even in moments of silence. It is very produce her a mental imbalance resolved by the important for the voice to remain equal in all final happy denouement. In the final scene of the registers, broad, with elegant and supple legato first act and madness scene we will follow the (especially in the central area) in order to facilitate sentencing and the sustained legato singing, the the achievement of enrichment effects and colour expressive meanings and the vocal requirements variation. especially in terms of high-pitched and super The protagonist must embody the role with high-pitched notes to be bright, penetrating, consummate charm, using a rich palette of shades round and free. The same principles will apply and colour timbres, and to demonstrate the for the execution of the vigorous agilities of the perfection of voice resulting in a extraordinary cabaletta from the madness aria, when the voice mature Bellinian style. A line of singing perfectly must remain warm, soft, smooth and robust at supported by breathing, the colour passages the same time, but with ample and supple accuracy with intense emotional participation colourfulness and homogeneous in all registers. will certainly lead to an exceptional interpretation. La Sonnambula, Norma, I Puritani, Lucia di The colour passages will be executed with safety, Lammermoor, Lucrezia Borgia or Roberto Devereaux perfectly supported on the air column, following are operas that merge the idea of singer the homogenisation of registers in order to obtain endowed with vocal qualities with his technical various, amazing vocal effects. We will see that and theatrical valances. The cast of these operas voice remains supple, energetic and full of has enjoyed famous interpretations from great enthusiasm to get bright, expressive cadences, names of the lyrical stage, such as Maria Callas, filatosounds, expressive and sustained sentencing Joan Sutherland, Natalie Dessay, Angela or bright super high-pitched sounds that have Gheorghiu and Anna Netrebko. Consuelo Rubio extraordinary effects on the public. de Uscatescu writes in his book The Art of Chant: “A specialist in the history of music reminds us how, depending on the vocal technique, we are 9. CONCLUSIONS witnessing a genuine change of writing. It is a writing in the service of voice, of singers and The opera La Sonnambula contains pages of an stars and at the same time in the service of the extraordinary purity, but that require an audience’s enthusiasm for these singers, all exceptional voice robustness. Through this these, in a psychological and sociological way, divine music the maestro knew how to express completely different from the one Mozart had emotional and mental states the characters when he was writing ‘Italian’ operas for certain masterfully go through. One of the strangest and singers” (Rubio de Uscătescu, 1989). Like all

90 Volume 6 • Issue 1, January / March 2016 • VICENZO BELLINI’S OPERA CREATION, A MEANS OF CULTURAL COMMUNICATION great composers Bellini has his original and References unmistakable style. The Bellinian bel canto style BORNAC, R. (1998) Sociologia muzicii vocale, Piatra is born after a careful study of the character, the Neamt:Adana Publishing House. passions and the feelings that dominate or CÂMPEANU, L. (1975) Elemente de estetică vocală. Bucureşti: Interferenţe Publishing House. which the characters express. An important RUBIO DE USCĂTESCU, C. (1989) Arta cântului. feature of the Bellinian bel canto style is the Bucureşti:Musical Publishing House. unusual length of the wonderful melodic lines, (2006) Dicţionar de mari muzicieni. Bucureşti: Encyclopedic elaborate and simple at the same time, which Univers Publishing House. SÂMPETREAN, M.R. (2007) Cunoaşterea vocii umane şi offers the music an intrinsic grandeur, which persuasiunea jocului scenic. Cluj:MULTIMEDIAMusica remains unaltered regardless of the complexity Publishing House. of orchestration. Bellini was able to give birth PINGHIREAC, G. (2003) Simboluri estetice ale vocii de to the most adequate “sound” to express his soprană. Bucureşti: National University of Music Publishing House. world, even if the orchestration is sometimes POPOV, A. (1964) Unitatea artistică a spectacolului. extremely simple. Bucureşti: Meridiane Publishing House.

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