Baltimore Opera Company

Study Guide

I Puritani
The Puritans

Artist's Perspective: Arturo

Gregory Kunde

Arturo was my introduction by fire to bel canto opera. I was asked to debut in Montreal's new production in 1987, and since I'd been singing things like Rodolfo in Bohéme and the Duke in Rigoletto, the genre was very unfamiliar territory. I was flattered by Montreal's offer, but I had no idea at the time what an incredibly important decision I was making by accepting the role. That production, which was broadcast on the CBC, literally changed my life. I started getting offers to do bel canto roles that I had never even heard before, and a whole new world of music and singing style opened to me. For the first few years, I mixed repertoires—La Bohème, Cenerentola, Puritani, Madama Butterfly. As time passed, though, I decided to drop nearly all of the Puccini, Verdi, and other more lyric roles and to concentrate almost exclusively on bel canto.

Arturo always seemed to be the anchor of my singing-the role that gave me the most satisfaction. Why? Well, for starters, it has great legato lines, with phrases that require tenderness, with a great combination of coloratura and declamato. The opening aria, "Ah te, o cara," is one of the most terrifying entrances in all of opera. It has an extremely high tessitura and requires a high C# within three minutes of the first note you sing-the first of many notes above B during the evening. This aria is followed by two very challenging duets-one with the mezzo-soprano Queen and the duet with the baritone Ricardo (which usually includes a swordfight, as well) which ends the first act. I've heard rumors of a great mad scene for Elvira following this duet, but my brain is usually so oxygen-deprived by that point that I never hear the last ten minutes of the act.

Bellini knew a lot about the voice, and I think that is why Arturo doesn't appear in the second act. He needs all the rest he can get to be ready for the third act, which is, in my opinion, the greatest act ever written for the tenor voice. From the first to last note of that act you're singing-an what singing! The opening monologue needs every possible emotion and every color of the voice. You must portray the conflict leaving home has created in him, the elation he feels to be in his homeland again, and the relief and joy he feels when he is finally reunited with his beloved Elvira. Then comes the reason I love singing this role: the duet with Elvira, which goes from Arturo's sheer happiness to be at her feet to his begging forgiveness to his realization of Riccardo's betrayal and finally to confronting his own condemnation.

As if that weren't enough, this duet is followed by the finale, which is unimaginable for someone who doesn't know Bellini. Remember how I said the tenor needs all the rest he can get before the third act? Well, these last ten minutes are the reason. Arturo's final aria is a real tour de force for the tenor. After his impossibly difficult duet, he goes on to sing an aria/ensemble that contains, not only a high D-flat, but, if sung as written, a high F(!). This note may have been common in Bellini's time, but it's certainly not something you hear much today. Sure, Mozart's Queen of the Night has to pop them off all the time, but a tenor? Not very often. Needless to say, I do sing it as written, which has caused some controversy. I guess you could call me brave, because except for that first production in Montreal, where I was told the tradition was to sing an alternate note, I have always sung the F. Each new production I do, people want to know if I will sing it, so I will answer the question here before you even ask: Yes, I will. Again. And always, as long as I am still singing Arturo.

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