The plot thickens when we consider that Zerlina nearly left Masetto for a tryst with the Don, and pouted her way out of getting caught by basically daring Masetto to spank her for being bad. This current aria can be taken as genuine love from Zerlina, or it can be a gross display of emasculation, the operatic equivalent of saying, "Aw, did Masetto get a boo-boo?"
Lyric sopranos fall easily in love with the music that Puccini writes for Mimì. As you work with your teacher on this aria, we can help you stay on track.
In this aria, the Duke is angry that Gilda, the young woman he lied to in order to get into her pants was kidnapped (by other terrible men), and until he finds her he can't get into her pants yet. That's right: Gilda's kidnapping is bad for him.
Have you ever wondered, when taking on music lessons, what requirements there may be when starting? Some instructors might give you a list of their requirements ahead of time, but most probably don't.
I'll fess up: I'm a podcast addict. They're the morphine drip that gets me through the day. But I've only dabbled in shows that focus on classical voice, and that's a problem. As an antidote, I've found five series, with different focuses, that are worth checking out.
Background acting (AKA working as an "extra" on a television or film set), with few barriers to entry and mostly single-day commitments, could be a good way to fill gaps between gigs. Approach it constructively and you can hone your craft while earning a (mostly) quick buck.
So. Back to the key of your aria. Basically, in the Baroque and Classical eras, the out-of-tuneness of various keys became associated with different affects. The theory was that a listener could be swayed to feel differently when they heard music played in G major versus in B-flat major, or in d minor versus f minor.
That mutual respect is at the root of how opera's best voice coaches work, and it's something singers should look for in their work. A coach's ability to demonstrate respect for a singer's work counts for a lot, and we have three ways to achieve it:
Singers know well that bel canto opera is demanding stuff. For pianists, a quick glance at the sparse, simple accompaniments in the arias by Bellini, Donizetti, and Rossini can give the false impression that the repertoire is simple. The notes may be straightforward, but there's more to the art of playing bel canto than meets the eye:
What would opera singers be without their stretchy, malleable tempos? More specifically, where would they be without the unwritten rules - "performance practice", they're often called - about when you simply must take some extra time? Opera is no place for heartless clockwork; but when it comes to mastering operatic skills, sometimes being a cold metronome is a clarifying experiment.