Dear Morodiene and LoPresti,
Thank you so much for the instructions, both very profitable. Although I hadn't mention, I meant playing Chopin's works, especially Nocturnes, so I think listening to Bellini's operas is a great mean of aquiring the sense of freedom rubato is about. Would it be correct to say that tempo rubato gives a sense of improvisation, as if the work played were created the very time it is interpreted?
I don't necessarily think this, but it does allow the freedom as Lo Presti says, to be expressive and spontaneous.
Here are some ways rubato can be executed:
-linger on an important note in a phrase longer than the actual note value
-separate the LH and RH so they don't play exactly at the same time
-speed up the tempo toward an important note in a phrase, or conversely slow down the tempo toward an important note of a phrase, or going away from an important note in a phrase
-with a trill, start slower and gradually speed up and then slow it down toward the end (think parabolic curve)
Here is an example of some great rubato, both by the singer and the pianist. Note especially how the hands don't always land together on the beats: https://www.youtube.com/watch?v=OJGSuJL6lAU