Virtuosic passages and vocal acrobatics, those are some thoughts that come to mind when we hear the term "belcanto". The art of beautiful singing is central to the latest project by Anima Eterna Brugge. Together with conductor Giovanni Antonini and soprano Julia Lezhneva, they bring some pearls from the repertoire.
For the aria "Assisa a pie d'un salice" from Rossini's Otello, Lezhneva is accompanied by harpist Marjan de Haer. She plays the famous opening cadenza on a historical instrument. An artistic choice that proved not so simple… We spoke with Marjan from Anima Eterna to learn more about this new project and the instrument she specially selected.
For this project you are searching together with conductor Giovanni Antonini for the power of the belcanto period. It is a repertoire that Maestro Antonini says lies close to his heart. Had you worked with Maestro Antonini before?
M: For me it's the first time. As a harpist I am not present at every production and that's why I'm incredibly happy to be part of Belcanto. Today I was able to collaborate with Antonini for the first time and that was a very pleasant interaction. For the orchestra, Belcanto is the second project. The first project was still during full COVID times and took place in Belgium via a livestream. The Belgian audience can now also see Anima Eterna and Giovanni Antonini at work live.
The term "belcanto" refers to "beautiful singing" but this period, and certainly Rossini's oeuvre, has some impressive harp passages. For this project you play on an English double-pedal harp by Erard. But you first hesitated between that double and a single French Erard. Can you tell us how you made such a choice and what makes the chosen instrument so well suited for this repertoire?
M: First of all, I look at the period and the place. With Rossini we are in 1816. For the harp this is a turning point. On one hand you have the 18th-century harp where the soundboard was built like that of a lute. This harp was made of different pieces placed against each other. This model already had pedals by which the strings could be shortened. This happened via a system of hooks or catches. With this you could already raise the strings by a semitone. These harps had a beautiful curved shape with rococo decorations. They are very delicate instruments with fine strings. These kinds of harps were mainly built in Paris and they were still used in the conservatory for teaching until 1830.
M: But at the end of the 18th century, Sébastien Erard (1752-1831) began to renew the harp. He made the instrument sturdier. For example, the soundboard is no longer like that of a lute but is almost like half a tree trunk. Because of the sturdier soundboard, the string tension could also be greater. At the front of the instrument a separate column was added and the mechanics in the neck were different. The system with hooks was replaced by forks so that a string could be shortened in that way. In Erard's early harps this was initially a semitone higher but from 1810 even two semitones were possible. He then patented the double-pedal harp. There were two harp factories: one in Paris and one in London. The double-pedal harp was first built in London. It was an immediate success and all keys became possible on the harp.
M: So returning to the question, what do you choose? We are in 1816 but we are not immediately in Paris or London. Instead we are in Naples. We have documentation that at that time various Erard harps were present in the city. This suggests that Rossini probably also composed for an Erard harp. So then the question is, do you choose a double or a single? The double-pedal harp I brought with me dates from 1812. So timing-wise it fits well. It has just a little bit more sound than the single French Erard. I then made a big calculation and thought about it and ultimately chose the double-pedal harp. A good choice because during rehearsals the instrument has already sounded beautiful. The tonal balance with the orchestra is nicely balanced. This afternoon we will rehearse with the soloist for the first time.
Exciting!
M: Yes, indeed. But well, there is room for debate. Some people will be of the opinion that it is very possible to play this repertoire on an 18th-century harp. And that is true because there is documentation of orchestras where harps with the hook system were still used. But because Erard harps were present in Naples, I think I'm in good shape.
As a harpist, is the greatest challenge in the search for the right instrument? Does the acoustics of the venue also influence your choice?
M: No, I don't base myself on the venue. I search for the right instrument for the repertoire. I look at where and when the piece originated. In this case that is Naples in 1816. I look at the country, what was common at that time, what documentation is available about the harps that played in the orchestra or whether the composer wrote about certain instruments, and so on. I won't play a different harp in Antwerp than in Brugge. Fortunately!
That would present quite a logistical challenge.
M: Exactly! I would make it very difficult for myself.
Where can you as a harpist take your seat in the orchestra setup?
M: At Anima it's always special and I feel a bit like a star. (laughs) Namely, I get to sit right next to the concertmaster. This puts me in line with even the soloist and in direct contact with the conductor's hands. That's the seat where I also always get to sit with founding conductor Jos van Immerseel. An appropriate place because the sound of the harp is very direct. You pluck the string and the sound is gone. Completely different from wind instruments where the sound can be sustained. A harp has a direct attack and then it's good to be able to sit closer to the conductor.
M: Plus it's also just nice not to be hidden away. If you sit between other people, the sound can get lost. Jos once said that if the harp sits next to the double basses or horns, the sound gets swallowed. So having the harp sit next to the conductor certainly has musical added value. Moreover, it also aligns with images of earlier orchestras where the harp sometimes even sits between the first and second violins. So actually I'm in the right place there. (laughs) But nowadays we're brought up to have the harp at the back.
A shame for such a beautiful instrument.
WHAT: Belcanto!
WHO: Julia Lezhneva [soprano], Anima Eterna conducted by Giovanni Antonini
WHERE: AMUZ Antwerpen
WHEN: 13-01-'23
WHERE: Concertgebouw Brugge
WHEN: 14-01-'23