LA MATTINA ALL’OPERA, BUONGIORNO CON…. · Paolo Pellegrini

La Mattina all'Opera Buongiorno con ... Mariella Devia

April 12, 2026·40 min·3 clips

How did Mariella Devia revive traditional Italian singing against the tide of foreign vocal trends?

The episode opens by introducing Mariella Devia and her vocal approach that characterized a revival of traditional Italian singing. It contrasts this with foreign proposals in the post-Callas philological American singing field, mentioning the influence of Maria Callas. The discussion references an interview where Leila Genscher noted adapting her structure to Callas's trend, highlighting the tension between Italian and foreign vocal styles. Devia is positioned as absorbing these tendencies and revisiting them in an Italian way, both technically and conceptually. Her conceptual revisiting involved an enlargement of the traditional repertoire, accepting desuetes titles and serious Rossinian roles previously handled by singers like Cuberli. The episode details her repertoire expansion into Donizettian works, particularly Lucia di Lammermoor, which became central to her career. It also covers her maintenance of light lyrical soprano roles like Gilda and French repertoire such as Lakmé, showing continuity with tradition. A key point is Devia's phrasing and declamation, which exhibited strong Italian sensitivity rather than focusing on vocalization phosphorescence or wide range. Comparisons are made to Lina Pagliughi and Renata Scotto, noting Devia's compactness, perfect emission, and solidity in the over-acute sector. The episode traces her career from debut in the 1970s to closure in 2006 with Lucia, highlighting her shift to more dramatic roles like Lucrezia Borgia, Maria Stuarda, and Norma. It emphasizes her professionalism and dedication, spanning decades from the 1970s to the 2000s. Technical aspects are discussed, including her ability to handle Mozartian, Belcantist (Rossini, Bellini, Donizetti), and early Verdi roles. The episode analyzes a specific performance: the May 14, 1992, Lucia di Lammermoor at La Scala, with Devia as Lucia, Renato Bruson as Enrico, and Carlo Colombara as Raimondo, directed by Stefano Ranzani. This interpretation is described as traditional, modeled on Lina Pagliughi's Lucia, with a lyrical sense and dramatic awareness. It addresses criticisms of Devia's singing as cold, arguing instead for its expressive lyrism and emotional participation. The scene of Lucia's madness is highlighted for its technical mastery and expressive validity, incorporating traditional elements like cadences and virtuosity. The episode concludes by celebrating Devia's contributions to opera, thanking her for emotions given to audiences at La Scala and the Carlo Felice Theater in Genoa.

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