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Ah! non credea mirarti

Opera details:

Opera title:

La Sonnambula

Composer:

Vincenzo Bellini

Language:

Italian

Synopsis:

La Sonnambula Synopsis

Libretto:

La Sonnambula Libretto

Translation(s):

English Deutsch

Aria details:

Type:

aria

Role(s):

Amina

Voice(s):

Soprano

Act:

2.12

Previous scene: Oh! se una volta sola
Next scene: Non piu non reggo

Adelina Patti - Ah, non credea mirarti (1906) - A distant echo from a bygone age

Singer: Adelina Patti

Sadness, hopelessness, bewilderment are all there in this amazing performance. Listen to her 'pianto' (2:11). It is one of the most amazing sounds I've ever heard...

LA SONNAMBULA: Ah! non credea mirarti (Bellini)
sung by
Adelina Patti
accomp. by Mr. Alfredo Barili [Patti's nephew, piano]

Gramophone & Typewriter Company (the forerunner of HMV),
n° (683c) 03084. Recorded at Craig-y-nos Castle, Patti's home in Wales / June 1906

Adelina Patti (1843-1919) remains one of the most famous sopranos in history due to the pure beauty of her lyric voice and the unsurpassed quality of her belcanto technique. Giuseppe Verdi was not alone in calling her the greatest vocalist that he ever heard. So remarkable was the spontaneity of her singing and the singular beauty of her voice that terms like "belcanto" and "coloratura" were first generally used to describe her singing. Patti's early acoustic recordings are an important link in the search for an authentic belcanto tradition.

She was born in Madrid to Italian parents, and raised in New York. She made her operatic debut at the Academy of Music, New York in 1859, aged 16, where she performed the title role of Donizetti's Lucia di Lammermoor. In 1861, she took the soprano role of Amina in Bellini's La Sonnambula in Covent Garden, which demonstrated her outstanding talent.

She furthered her career by performing on an international level, became highly successful, and was adored by her audiences. She built a 150-seat theatre at her house 'Craig-y-Nos' (Wales) and conducted many private concerts there, performing long after her official retirement.

She produced approximately 30 gramophone recordings of songs and operatic arias, which have since been "remastered" and reissued on CD.

Patti cut these (gramophone) recordings during 1905 and 1906. By then she was aged in her 60s, with her voice well past its prime. Nonetheless, the limpid purity of her tone and the smoothness of her legato line remain uniquely impressive. The records also display a lively singing personality as well as a surprisingly strong chest voice and a mellow timbre. Her long trill on "l'amo _ _ re" (2:02) is wonderful and her diction excellent.

In the issue of "Opera News" March 2009 edition, there is an article by Peter G. Davis, titled "Awake and Sing" on the new Met production of La Sonnambula with Nathalie Dessay. According to this article, Adelina Patti is still regarded as one of the best interpreter of this aria "Ah, non credea mirarti" despite the fact that she was 63 when she recorded it.

In her record of "Ah, non credea", Patti sounds a lot more like Caballé than like any leggiero, but again it was recorded so late in her career that we don't know how much the sound of her voice may have changed. And in Henderson's comparison of Patti's voice to Melba's, he speaks of Patti's "fluty tones" and contrasts them to Melba's clarion, trumpet-like tones.

Images:
Adelina Patti, aged 17, as La Sonnambula, 1860-61
Adelina Patti / Langfier, ca.1900

-------------------------------------

Una pagina cantabile di scomoda tessitura centrale come "Ah non credea mirarti"... La prima frase è già una prova difficile per testare la limpidezza, la fermezza e l'uguaglianza della voce nella zona centrale ed in particolare nella zona critica del primo passaggio di registro: nell'attacco, la vocale A sul mi3... la salita senza creare bruschi "scalini"... Bellissimo il trillo su "ravvivar l'amOre", facile bella, rotonda e sfogata la successiva A di "piAnto".

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5 - Alfredo Kraus

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1 - Mariella Devia

Libretto/Lyrics/Text/Testo:

AMINA
si guarda la mano come cercando l'anello di Elvino
L'anello mio... l'anello...
Ei me l'ha tolto... Ma non può rapirmi
L'immagin sua... Sculta... ella è qui, qui... nel petto.
Si toglie dal seno i fiori ricevuti da Elvino.
Né te d'eterno affetto
Tenero pegno, o fior... né te perdei...
Ancor ti bacio... ma... inaridito sei.

Ah! non credea mirarti
Sì presto estinto, o fiore;
Passasti al par d'amore,
Che un giorno sol durò.
Piange sui fiori.

English Libretto or Translation:

AMINA
you look at your hand as you look for Elvino's ring
My ring ... the ring ...
He took it from me ... But he can not kidnap me
His imaginations ... Shush ... she is here, here ... in her chest.
The flowers received from Elvino are removed from the breast.
Neither you of eternal affection
Tender pledge, or flower ... nor did you lose ...
Even I kiss you ... but ... you are dried up.

Ah! I did not believe to aim you
Yes soon extinct, or flower;
You passed to the par of love,
That one day only lasted.
He cries on the flowers.

This is a partly automated translation. Please help us with corrections or provide us with a complete new translation. We will gladly mention the translator. Contact

Sheetmusic in our database with this aria

G. Schirmer Opera Anthology: Coloratura Arias for SopranoG. Schirmer Opera Anthology: Diction Coach Coloratura Arias for SopranoPrima Donna's AlbumAnthology of Italian Opera: Soprano15 Arias for Coloratura SopranoCantolopera: Arias for Coloratura SopranoMaria Callas Volume 1