Una Voce Poco Fa

Written by Neil Kurtzman | 7th July 2025

Rossini’s setting of the first of Beaumarchais’s Figaro trilogy, The Barber of Seville, is arguably the greatest comic opera ever written. Its zany zest, unparalleled mirth, overwhelming energy, and musical beauty and inventiveness place it in a spot occupied only by the Marx Brothers.

The Count Almaviva is infatuated with Rosina, an heiress whom her guardian, the elderly Dr Bartolo, wants to marry for her money. The count, pretending to be a poor student, has gained Rosina’s attention. ‘In Un voce poca fa’, she shows her independence and determination to have the suitor she desires.

The part of Rosina was originally written for a contralto, but has often been hijacked by coloratura sopranos who have sometimes turned the great piece into a canary song. Below are several versions of the aria song as written and as transposed up for the high soprano.

Maria Callas (1923-1977) was near the end of her career when this version of the aria was recorded during a Paris concert in 1958. It’s a fine interpretation of the aria, but it could use a little more verve.

The Spanish mezzo Tereza Berganza (1933-2022) was especially known for her Rossini roles. She only appeared 15 times at the Met (1967-68) as both Mozart’s and Rossini’s Rosina. At her first go at The Barber, Douglas Watt of the New York Post wrote: “But the revival was really distinguished by the presence of Teresa Berganza as Rosina. The Spanish mezzo-soprano had not sung the role with the company before, although she has been a well-known recitalist here, and her way with Rossini’s music is much admired. She is certainly the most charming Rosina at the Met since her compatriot Victoria de los Angeles. Like her, she sings the music in the low key, which makes it much more appealing to the ear than the constant chirping of coloratura sopranos one is usually subjected to. Short and dark, if not exactly petite, Miss Berganza is quite enchanting to look at, a pleasant if not volatile actress, and a singer of great style and skill. She lit the stage up whenever she was on it, without making any attempt to do so.”

The following filmed excerpt was conducted by Claudio Abbado and directed by Jean-Pierre Ponnelle; it was filmed at Salzburg in 1972.

Victoria De Los Angeles gave 137 performances at the Met – but only four in The Barber. She sang the role in its original low key. De Los Angeles Una voce poco fa

Kathleen Battle (b 1948) was a big star at the Met until she was fired by General Manager Joseph Volpe in 1994 during rehearsals for a production of Donizetti’s The Daughter of the Regiment. The reason for the dismissal was “unprofessional actions”. Rossini’s heroine was a regular part of her repertoire. She sang the high version. The performance below is from a 1987 concert.

Antonina Nezhdanova (1873-1950) was a Ukrainian soprano who made her career in the last years of Imperial Russia and then continued after the 1917 revolution as a singer and teacher in the Soviet Union. She was the greatest Russian soprano of her era. She had a high lyric voice that negotiated all the obstacles of bel canto singing. Coloratura, roulades, acuti, trills, and all sorts of vocal ornamentation were under her easy control. Her recording of Una voce poco fa from The Barber is an astounding lesson of perfect bel canto singing.

Roberta Peters gave over 500 performances at the Met – 59 of them as Rosina. Below is a somewhat nasal rendition ot the aria from an appearancde on the Ed Sullivan Show.

The words to the aria are below with an English translation.

A voice a little while ago
Una voce poco fa

Here it resonated in my heart
Qui nel cor mi risuonò

My heart is already wounded
Il mio cor ferito è già

And Lindor was the one who plagued him
E Lindor fu che il piagò

Yes, Lindoro will be mine
Sì, Lindoro mio sarà

I swore, I will win it
Lo giurai, la vincerò

Yes, Lindoro will be mine
Sì, Lindoro mio sarà

I swore, yes, I will win it
Lo giurai, la sì, la vincerò

The tutor will refuse
Il tutor ricuserà

I will sharpen my wits
Io l’ingegno aguzzerò

Eventually it will settle down
Alla fin s’accheterà

And I’ll stay happy
E contenta io resterò

Yes, my gold will be
Sì, lindoro mio sarà

I swore, I will win it
Lo giurai, la vincerò

Yes, Lindoro will be mine
Sì, Lindoro mio sarà

I swore, aaaah yes
Lo giurai, aaaah sì

I am docile
Io sono docile

I’m respectful
Son rispettosa

I am obedient
Sono obbediente

Sweet, loving
Dolce, amorosa

I let myself be held up
Mi lascio reggere

I am guided, I am guided
Mi fo guidar, mi fo guidar

But, but if they touch me
Ma, ma se mi toccano

Where is my weakness
Dov’è il mio debole

I’ll be a viper, I’ll be
Sarò una vipera, sarò