Adriana Lecouvreur: Act II, Aria: Acerba voluta (mezzo-soprano) Cover Image

Adriana Lecouvreur: Act II, Aria: Acerba voluta (mezzo-soprano): Serious Opera, Orchestra Accompaniment, Score and Parts

$75.00 USD

Adriana Lecouvreur: Act II, Aria: Acerba voluta (mezzo-soprano): Serious Opera, Orchestra Accompaniment, Score and Parts

Name: Adriana Lecouvreur: Act II, Aria: Acerba voluta (mezzo-soprano): Serious Opera, Orchestra Accompaniment, Score and Parts
Brand: Alfred Music
SKU: 36-A475702
Price: 75.00 USD
Availability: InStock

By Francesco Cilea, Italian libretto by Arturo Colautti, based on a play by Eugène Scribe and Ernest Legouvé

Item: 36-A475702

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The four-act opera ADRIANA LECOUVREUR was composed by Francesco Cilea (1866-1950) and premiered on November 6, 1902, at the Teatro Lirico in Milan, with Angelica Pandolfini in the title role and Enrico Caruso in the role of Maurizio. The libretto is by Arturo Colautti, and it is based on a play by Eugène Scribe and Ernest Legouvé, where some of the characters are based on actual historical figures, although the story itself is fictional. Despite a plot that includes multiple romantic entanglements, unrequited loves, misunderstandings, and murder-by poisoned-violets, the work is considered among the verismo operas, if it is less realistic than others classified as such. The title role has remained a favorite for sopranos with large voices since its premiere, and the opera holds a regular place in the repertoire. The mezzo-soprano aria, "Acerba voluttà, dolce tortura," is sung by the Princess de Bouillon at the beginning of Act II as she anxiously waits for Maurizio to join her at his villa. Instrumentation: 2+Picc.2.2.2: 4.3.1.0: Timp.Perc(1): Hp.Clst.Clock: Str (4-4-3-3-3 in set): Solo MzSop.

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Series: Kalmus Opera Library

Publisher: Keiser Productions, Inc.

UPC: 659859384214

SKU: 36-A475702

Instrumentation: 2+Picc.2.2.2: 4.3.1.0: Timp.Perc(1): Hp.Clst.Clock: Str (4-4-3-3-3 in set): Solo MzSop

More about this title

About the Composer: Francesco Cilea

Francesco Cilea (1866-1950) was an Italian composer whose operatic works exemplified the verismo tradition of late 19th and early 20th century Italy. Though he composed fewer operas than some contemporaries, his gift for lyrical melody and orchestral color secured lasting recognition, particularly through Adriana Lecouvreur, which has remained a staple of international opera houses since its 1902 Milan premiere.

Cilea's dramatic instinct shaped every aria and ensemble in his operas, creating vehicles that demand both vocal substance and musical intelligence from singers. His orchestration balances transparency with richness, allowing soloists to project while maintaining the harmonic complexity that makes his scores rewarding for both performers and conductors to study.

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Why we love this

This aria sits at the dramatic heart of Act II, capturing a moment of emotional vulnerability that reveals the Princess's interior conflict with elegant, singable writing. Cilea's orchestration provides a lush but never overwhelming accompaniment, giving mezzo-sopranos at various levels the space to shape the line without drowning in instrumental texture.

What to expect

Languorous and restless at once, the music captures a woman suspended between desire and dread. The orchestration wraps her voice in warmth while the harmonic language keeps the listener unsettled, mirroring her anxiety as she waits. The vocal line itself is generous and accessible, rewarding singers who find the dramatic truth beneath the surface elegance.

Who it's for

Mezzo-sopranos with secure middle and upper register singing at advanced amateur or professional levels, plus conductors and orchestras preparing concert performances of complete or partial opera repertoire. This aria works equally well in recital contexts with piano reduction or full orchestral performance.

How to get the most out of it

Shape the phrase arcs through the orchestral accompaniment rather than against it; the strings and harp create natural breathing points that support the mezzo's phrasing.
Balance the harp and celesta figurations so they shimmer without obscuring the soloist; these instruments add color, not density.
Allow the opening horn and woodwind writing to establish the villa's intimate atmosphere before the mezzo enters; resist rushing into the aria.
Work with the mezzo to identify moments where the orchestra yields completely, letting silence and sustained chords amplify the emotional stakes.

How to use it

This aria functions beautifully as a standalone concert piece for orchestras or larger ensembles working on verismo literature. It can anchor a program of Italian operatic excerpts or serve as a centerpiece for a mezzo-soprano guest artist recital, whether performed with full orchestra or piano accompaniment.