Lucia Popp (born Lucia Poppová; 12 November 1939 – 16 November 1993) was a Slovak operatic soprano. She began her career as asoubrette soprano, and later moved into the light-lyric and lyric coloratura soprano repertoire and then the lighter Richard Strauss and Wagneroperas. Her career included performances at Vienna State Opera, the Metropolitan Opera, Covent Garden, and La Scala. Popp was also a highly regarded recitalist and lieder singer. Lucia Popp was born Lucia Poppová, in Záhorská Ves in the Slovak State (later Czechoslovakia and today Slovakia). Popp initially entered the Bratislava Academy to study drama. While she began her vocal lessons during this period as a mezzo-soprano, her voice developed a high upper register to the degree that her professional debut was as the Queen of the Night in Mozart's The Magic Flute in Bratislava, a role she revived in a 1963 recording conducted byOtto Klemperer. In 1963, Herbert von Karajan invited her to join the Vienna State Opera, where she debuted as Barbarina in Mozart's The Marriage of Figaro. Popp had strong ties to the Vienna State Opera throughout her career, and in 1979 was named an Austrian "Kammersängerin". She made her Covent Garden debut in 1966 as Oscar in Verdi'sUn ballo in maschera, and her Metropolitan Opera debut in 1967 as the Queen of the Night (production designed by Marc Chagall). During the 1970s, Popp turned from coloratura roles to lyric ones. Then, in the 1980s, she added heavier roles to her repertoire, such as Elsa in Wagner's Lohengrin and Eva in the same composer's Die Meistersinger von Nürnberg. As a result of this vocal progression, Popp sang various roles in the same opera at different stages in her career, including Zdenka and Arabella in Richard Strauss's Arabella; Susanna and the Countess in Mozart's The Marriage of Figaro; Queen of the Night and Pamina in Mozart's The Magic Flute; Zerlina, Donna Elvira, and later Donna Anna in Mozart's Don Giovanni; Adele and Rosalinde in Johann Strauss II's Die Fledermaus; Annchen and Agathe in Weber's Der Freischütz; and Sophie and the Marschallin in Richard Strauss's Der Rosenkavalier.
Lyirc & English Translation
You will see, my dear if you'll be good the cure I have for you! It's natural It won't give you disgust though no apothecary can prescribe it. It's a certain balm I carry within me which I can give you, if you'll try it. You want to know where I keep it? Then feel it beating, put your hand here.
A link to this wonderful artists personal website:
I send my kind and warm regards,
Watch videos with other singers performing Vedrai carino:
ZERLINA Via, via, non è gran mal, se il resto è sano. Vientene meco a casa; purché tu mi prometta d'essere men geloso, io, io ti guarirò, caro il mio sposo.
ZERLINA Vedrai, carino, se sei buonino, Che bel rimedio ti voglio dar! È naturale, non dà disgusto, E lo speziale non lo sa far. È un certo balsamo Ch'io porto addosso, Dare tel posso, Se il vuoi provar. Saper vorresti dove mi sta? Sentilo battere, toccami qua!
English Libretto or Translation:
ZERLINA Come, come; if that's the worst, there's no great harm done. Come with me home to supper, And give your faithful promise, you'll nevermore be jealous; Those bruises can be cured, where love is zealous.
Come, shall I tell thee, How what befell thee, Soon can be cured By my potent charm? No garden grows it, Though it aboundeth, Like furnace glows it, Yet none 'twill harm, All guard and cherish it: Gold cannot buy it, Say, wilt thou try it Soft 'tis, and warm. Has thy wit flown, Hear, how it throbs within, lays his hand on her heart 'Tis all thine own, Ah, 'tis thine only,