Gilda’s aria from the second scene of the first act of Verdi’s Rigoletto is one of the most frequently encountered arias for the collaborative pianist. Although basically playable, there are a few pieces of advice that can add consistency to performances of the accompaniment. This aria is frequently encountered in sight-reading/audition situations, and the advice below should help with accuracy on occasions that do not permit much practice time.
Tactile Tips - An Alternate Intro!
- Three measures before the first statement of the text “Caro nome…”: These sixths are playable depending on the soloist’s preferred tempo, but it may be beneficial to leave out the bottom-middle note of each figuration. In other words, the pianist begins and ends with a sixth on each figure, but only the upper note will remain on the middle sixth. This prevents the motive from sounding labored. It also yields a professional sound in a situation where preparation isn’t possible.
- One measure before the first statement of the text “Caro nome…”: Try what’s printed below! This puts the last three sixteenths of each beat in a single hand position allowing them to be played lightly and effortlessly. Although this alternative arrangement must be practiced, it is less risky and more reliable than the original notation. Knowing it will give you a stable option in stressful situations. Very little motion is needed to execute the measure in this manner. Just begin each figure with a 3-1/2-1 fingering.
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