New: Save your favorite arias, videos and singers!
Tell me more - Check it later - Not interested

Ah! quel giorno ognor rammento

Opera details:

Opera title:



Giaochino Rossini




Semiramide Synopsis


Semiramide Libretto



Aria details:









Previous scene: Eccomi al fine in Babilonia
Next scene: Oh! come da quel di

Ebe Stignani Semiramide Ah, quel giorno ognor rammento Cetra 50 031 édité ca 1953

Singer: Ebe Stignani

Ebe Stignani - Semiramide - Ah, quel giorno ognor rammento - Cetra 50.031 édité ca 1953

Ebe Stignani (July 10, 1903 [or 1904] - October 5, 1974) was an Italian opera singer, who was pre-eminent in the dramatic mezzo-soprano roles of the Italian repertoire during a stage career of more than thirty years.
Born in Naples in 1903[1] (some sources cite her year of birth as 1904[2]), Ebe Stignani studied music for five years at the San Pietro di Maiella Conservatory in Naples, including piano and composition as well as singing. The date of her singing début is usually said to have been in 1925 at the San Carlo opera house in Naples, in the role of Amneris in Verdi's Aida, but there is evidence that she may have sung a number of roles in the previous year. In 1926, she was invited to La Scala Milan by Arturo Toscanini to sing the part of Princess Eboli in Verdi's Don Carlo, and Milan continued to be a principal stage for her during the rest of her career. She sang all of the major Italian mezzo-soprano roles, but also tackled Wagner's Ortrud (Lohengrin) and Brangäne (Tristan und Isolde), and Saint-Saëns's Dalila (Samson et Dalila) conducted by Victor de Sabata.
She appeared with the San Francisco Opera in 1938 and again in 1948 but never at the Metropolitan Opera in New York. She toured extensively in North America in the years after World War II. Her first appearance at Covent Garden was in 1937, as Amneris, and she returned to London a number of times, notably in the role of Adalgisa in partnership with Maria Callas's Norma in 1952 and 1957. She also appeared frequently in South America, including the Teatro Colón in Buenos Aires, and in many other European cities outside Italy including Paris, Madrid, and Berlin (where she sang in 1933, 1937 and 1941). Among the new roles which she created during her career were Cathos in Felice Lattuada's Le preziose ridicole (1929), and La Voce in Respighi's Lucrezia (1937).
She retired from the stage in 1958 after appearances in London (as Azucena) and in Dublin (as Amneris). Thereafter, she lived quietly in retirement at her home in Imola. She had married in 1941 and given birth to a son in 1944.
Stignani's voice was large and rich in tone, if sometimes hard-edged, and evenly balanced throughout its considerable range (extending from a low F to a high C). It had sufficient flexibility for her to undertake such roles as Rossini's L'italiana in Algeri, but it was in noble, dramatic parts that she was heard to greatest effect. Critics often referred to the grandeur of her performances. By her own account, she was short and plump, and she admitted her shortcomings as an actress, but she achieved dramatic power and characterization through the quality of her voice and technique. She knew her priorities: speaking to Lanfranco Rasponi, she said, "I was given a magnificent gift, and in a way I am like a priestess, for I feel that it is my responsibility to keep the flame lit in the best possible manner... I am Stignani because of my voice". She was highly disciplined in her choice of roles and in the number of appearances she made, refusing to take assignments which she felt were not right for her voice, and this no doubt contributed to the longevity of her career at the highest level.
Source: Wikipedia

Watch videos with other singers performing Ah! quel giorno ognor rammento:


Eccomi alfine in Babilonia. È questo
Di Belo il tempio. - Qual silenzio augusto
Più venerando ancor rende il soggiorno
Della divinità ! - Quale nel seno
A me, guerrier, nudrito
Fra l'Orror delle pugne, ora si desta,
Del Nume formidabile all'aspetto,
Insolito terror, sacro rispetto! -
E da me questo Nume
Che può voler? Morendo il genitore
Qui m'inviò: segreto
Cenno di Semiramide mi chiama
Rapido alla sua reggia... ed anelante
Ad Azema, al suo ben l'ardente core
Qui volava sull'ali dell'amore.
Ah! quel giorno ognor rammento
Di mia gloria e di contento,
Che fra' barbari potei
Vita e onore a lei serbar.
L'involava in queste braccia
Al suo vile rapitore;
Io sentìa contro il mio core
Il suo core palpitar.
Schiuse il ciglio, mi guardò...
Mi sorrise... sospirò...
Oh! come da quel dì
Tutto per me cangiò!
Quel guardo mi rapì,
Quest'anima avvampò:
Il Ciel per me s'aprì,
Amore m'animò...
D'Azema e di quel dì
Scordarmi io mai saprò.
Ministri, al gran Pontefice annunziate
Il figlio di Fradate.

English Libretto or Translation:

Here I am at last in Babylon. And this
Of Belo the temple. - What an august silence
More venerating still makes the living room
Of the deity! - Which in the breast
To me, guerrier, nudrito
Between the Orror of the fists, now he wakes up,
Del Nume formidable to the appearance,
Unusual terror, sacred respect! -
And this Nume from me
What can he want? Dying the parent
Here he sent me: secret
A note from Semiramus calls me
Quick to his palace ... and yearning
To Azema, to his well-burning core
Here he flew on the wings of love.
Ah! that day every day
Of my glory and of contentment,
That among the barbarians I could
Life and honor to her serbar.
He wrapped it in these arms
To his vile kidnapper;
I felt against my core
His palpitar core.
He opened his eyelash, looked at me ...
He smiled at me ... he sighed ...
Oh! as from that day
Everything for me changed!
That guard kidnapped me,
This soul flared up:
The Ciel opened for me,
Love moved me ...
D'Azema and that day
Forget me I'll never know.
Ministers, to the great Pope announced
The son of Fradate.

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

Contributors to this page