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In fact, nowadays, when a composer calls for a very high note, it usually is transposed, so that actually the supposedly high C of Di quella pira nearly always is a B flat. Probably there has been no general deterioration in voices, popular opinion to the contrary notwithstanding. Phenomenal voices always have been rare, and doubtless are no rarer now than at any other period.
The true creation of a builder-poet's brain, it illustrates Leo Battista Alberti's definition of the charm of architecture, tutta quella musica, that melody and music of a graceful edifice. We are able to understand what Michelangelo meant when he remarked that all subsequent designers, by departing from it, had gone wrong.
Dante knew it when he talked of 'quella que imparadisa la mia mente. Paradise is here, visible and tangible by mortal eyes and hands, whenever self is lost in loving, whenever the narrow limits of personality are beaten down by the inrush of the Divine Spirit. The saddest moment in the lives of these two persons whose history we have followed for so long, was over and done with.
Quella che fu pur dianzi Sì dalla tema del morire oppressa, Fatta allor di repente A le parole di Mirtillo invitta, Con intrepido cor così rispose: 'Pensi dunque, Mirtillo, Di dar col tuo morire Vita a chi di te vive? O miracolo ingiusto!
He saw them three by three, approaching girls, in green, in rose, in russet, entwining, per l'aer perso, in mauve, in purple, quella pacifica oriafiamma, gold of oriflamme, di rimirar fe piu ardenti. But I old men, penitent, leadenfooted, underdarkneath the night: mouth south: tomb womb. Speak up for yourself, Mr O'Madden Burke said. J. J. O'Molloy, smiling palely, took up the gage.
The act closes with the spirited aria, "Di quella pira," for Manrico, a number which has always been the delight of great dramatic tenors, not alone for its fine melody, but for its opportunity of showing the voice and using the exceptional high C which is introduced in the finale of the aria. The last act is replete with beautiful melodies following each other in quick succession.
Altogether, Zicari has observed that Rolli, although unacquainted with the 'Adamo Caduto, has sometimes inadvertently hit upon the same words in his Italian translation of Milton which Salandra had used before him. Eve's altered complexion after the eating of the forbidden fruit is noted by both poets: Torbata ne la faccia? Non sei quella Thus Eve with countenance blithe her story told;
The duchess congratulated her sister in affectionate terms, and signed herself, "Quella che desidera vedere la Signoria Vostra." She who desires to see your Highness, Below she added messages from her baby-boy: "Ercole begs me to commend him to your Highness, and to his new cousin."
He wishes to have his recitative in the third act lengthened a couple of lines, which, owing to the chiaro oscuro and his being a good actor, will have a capital effect. For example, after the strophe, "Sei la citta del pianto, e questa reggia quella del duol," comes a slight glimmering of hope, and then, "Madman that I am! whither does my grief lead me?" "Ah! Creta tutta io vedo."
Thus, while, in a way, he represented and, as it were, gave voice to the Rome of Augustus, he did so in a transcendental manner; the Rome which he represents, whether as city or empire, being less a fact than an idea, and already strongly tinged with that mysticism which we regard as essentially mediaeval, and which culminated later without any violent breach of continuity in the conception of a spiritual Rome which was a kingdom of God on earth, and of which the Empire and the Papacy were only two imperfect and mutually complementary phases; quella Roma onde Cristo e Romano, as it was expressed by Dante with his characteristic width and precision.
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