Opera Daily 🎶 — Zaide
This week's Opera Daily features a soprano aria from Act 1 of the unfinished German opera Zaide by Mozart
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Today we’re listening to…
“Ruhe sanft, mein holdes Leben” a soprano aria from Act 1 of the unfinished German opera Zaide by Mozart.
Eight years after Mozart died in 1791, his widow Constanze came across a manuscript without a title that he had written when he was 23. Constanze sold it along with several other Mozart manuscripts to a publisher, and in 1838, the publisher named it Zaide after the principal character. The opera was first performed in 1866.
Lucia Popp is singing here, and as always, it's delicate, beautifully phrased, and filled with silvery tones.
🎧 Listen here (6 minute listen): Soprano Lucia Popp singing “Ruhe sanft, mein holdes Leben” a soprano aria from Act 1 Zaide by Mozart
Mozart had finished two of the three acts of Zaide before abandoning the opera but left the second act with a cliffhanger ending.
To give context to the (unfinished) libretto, a popular theme of the period symbolized the poor relationship between the West and the East.
The opera takes place in Turkey, and Zaide (soprano) falls in love with Gomatz (tenor), a slave, which causes jealousy in the Sultan (tenor), who also happens to love her. Zaide chooses a free life with Gomatz rather than a good life with the Sultan. The final quartet suggests that Zaide and Gomatz are given extreme punishment or execution. This is where Mozart's manuscript stops.
“Ruhe sanft, mein holdes Leben” appears in Act 1 when Zaide first discovers Gomatz, asleep under a tree. She admires him and leaves him jewels, money, a photo of her, and a letter asking him to meet her later in that same spot. She hopes that her tears will bring his wishes to reality.
Rest peacefully, my beloved,
Sleep until happiness dawns,
My portrait I give you,
See, how kindly it smiles upon you.
Sweet dreams rock him to sleep,
And grant his wish at last,
That the things of which he dreams
May ripen into reality.
Want more?
"Ruhe sanft, mein holdes Leben" is one of Mozart's most beautiful arias. It is deceptive in that it seems like a sweet lullaby, but it is incredibly hard to sing for the soprano.
As I have said (many times before!), if you talk to any trained opera singer, they will tell you that Mozart is like medicine for the voice. If you find yourself getting away from your vocal technique and the voice needs a couple of good training sessions or a "tune-up," Mozart is where to turn, as it will help show you where to focus.
Lucia Popp, a Czech-born soprano had a high, light, and focused voice that became heavier over the years. Mozart is what she is most famous for. The world lost her too soon (at 54). If you want to hear more Lucia Popp, I recommend this piece "L'amero, saro costante" from "Il Re pastore."
Grateful for your time and ears,
Michele
PS. Missed our last edition? We featured “Come in quest’ora bruna”, Amelia’s opening aria from Simon Boccanegra.
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My first exposure to this beautiful aria was Kiri Te Kanawa's all-Mozart album. That sixth leap followed by the octave leap to the A surely tests any soprano's technique--can that leap to the A sound exactly like the prior leap to the E so the phrases are part of a whole. Popp, like Te Kanawa, was also I think a beautiful Straussian singer. Her Vier Letzte Lieder are a treasure.
Medicine for the singer's voice — and for the listener's soul! I love Dessay's recording, but hadn't heard Popp's take before. Such a delightful listen on a snowy Sunday. 💙