Aspasia makes her private life depended upon her social status, just like Zenobia in the Venetian version of the plot:
Vuoi, ch’io parta? Partirò. (a Far.) / Vuoi ch’io resti? Resterò. (a Dec.) / Ma vendetta, io vò da te. / Vuoi amore? Vuoi tu affetto? / So, che ardir tu chiudi in petto. / So, che in sen tu vanti fe.
Do you want me to leave? I will leave. (to Farnace) / Do you want me to stay? I will stay. (to Decio) / But revenge, I will invoke you. / Do you want love? Do you want affection? / I know the daring you embosom. / I know that you boast about fidelity in your heart.
At this point in the work Aspasia is on stage since first entering in Act I, scene 6. After ‘Placarti dovresti’, there were recitative dialogues with Farnace and Decio together but no aria. As the next aria is also sung by Aspasia, she rules the stage during a substantial ten-minute long scene. ‘Vuoi ch’io parta’ (I/8; D major, C, Larghetto e cantabile‒Presto), a bravura number, contrasting with the preceding cantabile,199 also does not have a simple da capo form: the A section is made up of two contrasting materials alternating with each other. Two completely diverse musical characters can be heard: for the first part of the text ‒ ‘Vuoi, ch’io parta? Partirò. / Vuoi ch’io resti? Resterò’ ([To Farnace:] ‘Do you want me to leave? I will leave. / [To Decio:] Do you want me to stay? I will stay’) ‒ there is a syllabic aria parlante episode in D major, Larghetto e cantabile (bars 1‒5 and 13‒16), as she addresses each suitor individually. Then, it is suddenly interrupted by the Presto section (bars 6‒13 and 17‒27) ‒ ‘Ma vendetta, io vo da te’ ([To both:] ‘But ←81 | 82→vengeance is what I want from you’). Virtuoso violin idioms occur on the word ‘vendetta’, reaching aʺ four times within three bars (Ex. 2.12).
Example 2.12 Section A2 of ‘Vuoi ch’io parta?’, bars 14–25, vocal part
In the first measure of the introductory ritornello (Ex. 2.13), the violins show the different themes by creating interference rhythmically: the dotted semiquavers and ornamental demisemiquavers against the semiquaver-triplets may represent Aspasia’s unbalanced and undecided feelings towards the two men (which one is to leave and which one to stay), versus the only thing she surely wants: to take revenge.
The vocal part and bass are stuck together in a complimentary fashion, while motivically they are mirroring each other. The prevalent dotted octave-leap motif on a‒A in the bass is recurrent in the soprano part on aʺ‒a′ both in the Largo (bars 15‒16) and in the Presto sections (bars 16 and 23), making the artistic ‘patchwork’ coherent. This frequent occurrence of aʺ, many times on metrical accents connected with large leaps, is very informative about Strada’s ←82 | 83→vocal flexibility and agility. It also indicates just how surely and easily her voice could move within the upper register, where she felt comfortable and secure.
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