When the music is sung right, Mozart is like a medicine, a balm for the voice. He is indescribably beautiful and a true genius. But it can be deceiving. He seems so simple and effortless, but it takes a lot of effort to make it happen.
Perfect legato and perfect breath control are required to pull off many long phrases. Mozart also writes the run in crazy coloraturas, as well as some dramatic moments. To do everything that requires secure technology. It is very different from verismo and Verdi. Clarity and Purity: When singing Mozart’s music, you need to engage certain muscles to maintain flexibility while maintaining tonal purity. All this is a testament to good health and technique.
Mainly in recitative, Zerlina becomes more dramatic. In the scene just before ‘Battie, Batty’, when Don Giovanni almost seduces her and she returns to Mussett, she says, ‘Oh, don’t you believe me? Then kill me. ’ It’s completely human and very relatable. This is another thing about these roles. You can see yourself and know that you could be that person.
But to interpret this, we have to be faithful to what Mozart already wrote. He’s a great vocal composer. A lot has already been written into the score, emphasizing how the language is expressed. If you follow it, the emotions speak for themselves. So the interpretation has to be a little more rigorous, but it should look easy.
The hard work for that is in the preparation. You need to know what others are saying, be aware of what is going on around you, and listen. Once you know that, everything becomes clear, you can stop overthinking it and enjoy being your character. It really is one of the greatest pleasures.
