I first heard “Di rigori armato” in the chorus at Glyndebourne, lurking in the wings to listen to this aria like a nosy neighbour, watching as the Italian tenor walked on, smiled with aristocratic ease… and delivered 55 seconds of absolute perfection. It was so smooth, so charming, so impossibly elegant that I thought, “One day I’ll do that.” Well — today is that day. And now I know exactly why I avoided it for years: it’s basically a polite, powdered-wig death trap.
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It’s short, it’s elegant, and it’s utterly unforgiving. High tessitura from the start, Mozart-style agility, and the kind of exposed orchestration where if you drop one note, everyone in the room will hear it and possibly judge your ancestors.
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For me, it’s a milestone — a piece you only attempt when your technique, breath, and confidence are ready to step onto that high wire. Evidently I can still work a lot on this and I will, but recordings like this are great progress markers: (
@london.recording.days ) little time capsules showing how far you’ve come and where you still want to go. And yes, one day I’d love to sing it in the full opera — wigs, waistcoats, powdered faces, the works.
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Walk on. Smile. Glide, swan, glide. Pretend you’re not frantically paddling under the surface. Dx
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