Un bel di vedremo

Martina Arroyo (born February 2, 1937) is an operatic soprano of Puerto Rican and African-American descent who had a major international opera career during the 1960s through the 1980s. She was part of the first generation of black opera singers to achieve wide success and is viewed as part of an instrumental group of performers who helped break down the barriers of racial prejudice in the opera world. Arroyo first rose to prominence at the Zurich Opera between 1963--1965, after which she was one of the Metropolitan Opera's leading sopranos between 1965 and 1978. During her years at the Metropolitan Opera she was also a regular presence at the world's best opera houses, performing on the stages of La Scala, Covent Garden, the Opéra National de Paris, the Teatro Colón, the Deutsche Oper Berlin, the Vienna State Opera, the Lyric Opera of Chicago, and the San Francisco Opera to name just a few. She is best known for her performances of the Italian spinto repertoire and in particular her portrayals of Verdi and Puccini heroines. Her last opera performance was in 1991, after which she has devoted her time to teaching singing on the faculties of various universities in the United States and Europe. Having performed in the major opera houses and with the greatest symphony orchestras of the world, she has left a legacy of recordings, including: Handel's Judas Maccabeus (twice) and Samson, Mozart's Don Giovanni (Donna Elvira for Karl Böhm and Donna Anna for Sir Colin Davis), Beethoven's Missa solemnis and Ninth Symphony, Rossini's Stabat mater, Verdi's Un ballo in maschera, La forza del destino (in both the St. Peterburg and revised versions), and the Messa da requiem and Mahler's massive Eighth Symphony (the Symphony of a Thousand). She has also recorded important 20th century music, including Schoenberg's Gurre-Lieder and Carlo Franci's African Oratorio and two works she "created" in their world premieres: Karlheinz Stockhausen's Momente and Samuel Barber's Andromache's Farewell. Arroyo's discography (which also includes an aria recital), though enviable, does not encompass anything like the full range of roles she essayed onstage. At the Metropolitan Opera alone, these are the operas she performed but never recorded commercially: Verdi's Ernani, Macbeth, Il trovatore, Don Carlos (the Celestial Voice as well as Elizabeth, both in Italian), and ; Wagner's Lohengrin and Der Ring des Nibelungen (featured roles in all four operas); Ponchielli's La Gioconda; Giordano's Andrea Chénier; and Puccini's Madama Butterfly and Turandot (as Liù; she played the title role in Toronto). Since her official retirement from singing in 1989 Martina Arroyo has amassed significant teaching credits. She was elected a Fellow of the American Academy of Arts and Sciences in 2000. She was candid about her perceived status as second-best to her great contemporary, fellow African-American spinto Leontyne Price; once, when a Met doorman greeted her as "Miss Price", she sweetly replied, "No, honey: I'm the other one."...


Lyrics & English Translation


One good day, we will see
Arising a strand of smoke
Over the far horizon on the sea
And then the ship appears
And then the ship is white
It enters into the port, it rumbles its salute.

Do you see it? He is coming!
I don't go down to meet him, not I.
I stay upon the edge of the hill
And I wait a long time
but I do not grow weary of the long wait.

And leaving from the crowded city,
A man, a little speck
Climbing the hill.
Who is it? Who is it?
And as he arrives
What will he say? What will he say?
He will call Butterfly from the distance
I without answering
Stay hidden
A little to tease him,
A little as to not die.
At the first meeting,
And then a little troubled
He will call, he will call
"Little one, dear wife
Blossom of orange"
The names he called me at his last coming.
All this will happen,
I promise you this
Hold back your fears -
I with secure faith wait for him.




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I send my kind and warm regards,