Verdi’s A Masked Ball has been both popular and in the standard operatic repertory since its premiere in 1859. The opera is virtually perfect; its composer was at the peak of his formidable powers. It has everything: great arias for high soprano, dramatic soprano, contralto, tenor, baritone, and wonderful ensemble pieces. Though I’ve written about the work several times, I thought it would be useful to collect a few of the best numbers from the work in one place. There’s no method to my selection process other than personal taste.
‘La rivedrò nell’estasi’ depicts Riccardo’s (I’ll use the nomenclature of the Massachusetts setting of the opera rather than the Swedish) joy at seeing Amelia again at the upcoming ball. Luciano Pavarotti is the tenor.
In Act I, Oscar (Verdi’s only trouser role) defends Ulrica against the accusation of witchcraft. ‘Volta la terrea’ is sung by Kathleen Battle. The music continues until the end of the scene. Pavarotti and Renato Bruson are the featured singers here.
In the second scene of Act 1 Ulrica, the fortune teller, summons her magical powers: ‘Re dell’abisso, affrettati’. The contralto is Marian Anderson, who was the first black singer to appear at the Met and in this role. She should have been at the house at least 20 years earlier. By the time she made her debut she was in her late 50s, and though her voice was still impressive, it was less than it had been at her peak.
At the end of the scene, Ulrica tells Riccardo that he will be killed by the next man who shakes his hand. He laughingly dismisses her prophecy and offers his hand to the courtiers, who refuse to take it. Renato arrives and shakes Riccardo’s hand in greeting. Richard Tucker leads the ensemble in what he thinks is a joke.
Act 2 is set outside of town, Boston in the original setting. It’s where the gallows is located. Amelia has come here alone to pick the herbs which Ulrica told her would free her of her guilty love for Riccardo. ‘Ma dall’arido stelo divulsa’. Two versions follow. The first is sung by Birgit Nilsson in German.
The second interpretation of the aria, sung in the original Italian, is by Leontyne Price.
She is then surprised by Riccardo, who has come to meet her, and the two finally declare their love for each other. The duet that ensues is one of the most passionate in the entire operatic literature. It is by turns agitated and then surging with emotion. Nilsson and Tucker sing the duet. It’s impossible to find heroic voices like this today.
The conclusion to Act 2 is one of the most remarkable scenes in all opera. Renato is escorting his wife back from a chaste assignation with his boss and best friend Riccardo. She is veiled, and he doesn’t realize who she is. The conspirators arrive, led by Sam and Tom, who want to assassinate Riccardo. They confront Renato; in the struggle, Amelia’s veil drops. Renato, horrified, assumes that Amelia and Riccardo have been involved in an adulterous love affair. He asks the two leaders of the conspiracy, Samuel and Tom, to meet him the next day when he will join their murderous plot. Josef Metternich is the aggrieved husband. Zinka Milanov is his wife. The mixture of rage (Renato), fear (Amelia), and macabre mirth among the conspirators is unique in opera.
Renato has resolved to kill Amelia for the dishonor she has brought on him. He changes his mind and declares that it is Riccardo, not Amelia, who deserves to die. Renato’s aria ‘Eri tu che macchiavi quell’anima’ is as great a baritone aria as ever written. Its depiction of marital betrayal and desire for vengeance is unequalled. It’s worth more than one performance.
First, the great Italian baritone Mattia Battistini. Known as ‘The King of the Baritones’, he never sang in North America because of an intense aversion to trans-Atlantic travel.
Cornell MacNeil was one of a succession of great 20th century American baritones. His interpretation of the great aria has more bite and anger to it compared to Battistini who seems most concerned with elegance of line and beautiful singing rather than reaching to swirling emotional core of the piece.
Riccardo, torn between love and duty, has resolved to renounce his love for Amelia and send her and Renato back to England: ‘Ma se m’è forza perderti’ is another of Verdi’s great tenor arias. Alfred Piccaver was a British-American tenor who made the bulk of his career in Vienna. Though he sang in Chicago, he turned down an offer from the Met.
At the eponymous ball, Riccardo tells Amelia of the decision he has made. As they say goodbye, Renato stabs Riccardo. The wounded Riccardo discloses that though he loved Amelia, she never broke her marriage vows. He pardons all the conspirators, bidding farewell to his friends and his country as he dies. Placido Domingo is Riccardo in this recording of the opera’s conclusion.
I always loved this opera