I merely needed to sort out the phrasing before I felt I could sing them properly in my voice class.

Sometimes the text on the scores are too small and blurry. It helps to type them out more clearly.

I could have saved the output to Word files on my HD of course, but I’ve found that it’s actually easier to locate my documents if I store them online.

As a result, I soon got into the habit of uploading them to my blogs. Before I knew it, I had a whole slew of such postings.

Not only does it make them easier for me to locate, it makes them available to my classmates or anyone else who might find them useful.

A real win/win proposition.

Yes, my name is Bevin.

This is admittedly rather rarified territory. Some people would say that what we are doing is pedantry.

But as a voice student, I find these issues intriguing. How far I’m willing to engage in scholarly research is another matter of course. I’m not a music scholar, merely an opera lover and amateur voice student.

I believe Mala Pasqua means “Evil Easter.” I seem to recall I had a reason for translating it as “Underground Easter” but I can’t recall what it was now.

And a small world it is. It also shows how rare the interest is on a more serious level, because it amazes me that this question about the song isn’t common knowledge. I wouldn’t worry about coordinating the blog names-mine are all over the place. Clearly my Youtube one honors my interest in Roman history. Normally I wouldn’t be so free with my name and e-mail (why I like the You tube system), but coming upon your site, I figured anyone into this on this level would be OK. ( Your meticulous renditons of the text as sung by different voices is fascinating to me. By the way why do you translate mala pasqua as underground easter?)

So you seem a technically adept and clever person. Can’t we access some library on line to obtain our answer about the Mala Pasqua score? In this flurry of interest about the song, I came across some reference to the fact that for a long time they thought it didn’t exist any longer-but a copy was found?

Regards,

Marshall

I wish I had coordinated my blog names better in advance.

I agree with Horne’s attitude. As long as the material is not too far out of line with the opposite gender, I see no reason not to sing it.

I would probably draw the line at “O Mio Babbino Caro” though!

Ditto “Girls Just Wanna Have Fun.”

LOL!

I happen to be a “Corelliste” to the core having heard him live over 40x-and he happens to do this very well. (particularly the 71 Tokoyo recital-also does it as an encore at one of those insane Parma performances.) Nobody was better at sheer abandon, and he had a voice of the magnitude to pull it off-I need some garlic and gristle in a song like this!

Yes, the gender issue always amused me when I followed the text with a tenor singing. By the way, although it must have been written for a woman’s voice it has that tenor feel and phrasing, which Marilyn Horne once talked about ( in general), and why she loved, at least at home, singing tenor arias.

Re: the gender reversal, that’s a point I found interesting too.

I left some comments about that at a YouTube channel featuring Ileana Cotrubas singing the aria:

http://www.youtube.com/watch?v=sJaMbRgrNeU

You may want to leave some comments of your own.