The reference to Greek classicism evoked by Ariosto immerses us in a courtly and elegant time where, with humility and beauty, roses droop their petals beneath a drop of dew. It's nice to think that from the humus evoked by the poet, another radiant rose blossomed, later passed down to the lyrical musical firmament with the exotic name "Katia," a soprano and a precious gift to music lovers around the world.
Beyond the courtly presentation of the character lovingly embraced by Euterpe, a premise is necessary which gives Katia the uniqueness of her voice and her singing.
In a glossary where vaguely muscular vocal evaluation criteria curiously prevail, opera singers are now defined as having light, lyric, lyric-driven, dramatic, Verdian or Puccinian, veristic, Wagnerian, baroque, and so on, departing from a fundamental principle handed down by a scattered dynasty of composer geniuses who have traced notes, dramaturgy, and even inherent theatrical direction on the magical musical staff. The performer is entrusted with the task of achieving great musical and vocal performance through intelligent, hedonistic listening to their own voice, from the "pleasure zones" (the true custodians of being, thought, and ultimately vocal color).
The synthesis of this principle of vocal physiology is in the singing, or rather, in the Bel Canto of Katia Ricciarelli, well represented in the cinematographic transposition of theOthello by Giuseppe Verdi, produced in 1986 by Franco Zeffirelli with Lorin Maazel conducting. Desdemona's nobility, contrasted with the hysterical jealousy of Othello (played by Placido Domingo), emerges with extraordinary vocal and dramatic perfection.
In the moment preceding the opera's epilogue, the threefold appeal is a "cry" that Katia Ricciarelli erupts with a perfect, human, and heartbreaking vocal and instrumental sound. The orchestra's double bass singsong accompanies Othello's appearance at his deathbed... the furtive kisses stolen from life, Desdemona's condemnation, the epilogue of Giuseppe Verdi's masterpiece. The end, the space left for the most intense emotions.
We find Katia Ricciarelli among Puccini's heroines, Floria Tosca, Suor Angelica, Liù in Turandot, Mimi ne La Bohème, Violetta Valery ne The Traviata, Amelia in Masquerade ball, Elizabeth of Valois in Don Carlos, Gilda in Rigolettoin Medea, Adriana Lecouvreur, Anna Bolena, Lucia di Lammermoor, Fedora, Madeleine of Coigny in theAndrea Chenier, Donna Anna and in other roles where vocal qualities such as Adina, Tosca, Euridice or Norma, in Verdi or Mozart, converge in a single song.
Katia Ricciarelli passes on her technical vocal heritage to the young talents of bel canto through lessons, master classes, competitions, aimed at continuing and perpetuating a heritage of humanity, such as the art of music and opera.
