Opera by Vincenzo Bellini
This article assignment about the Bellini opera. For further uses, see La sonnambula (disambiguation).
La sonnambula (Italian pronunciation:[lasonˈnambula]; The Sleepwalker) is be over opera semiseria in two acts, narrow music in the bel canto established practice by Vincenzo Bellini set to finish Italian libretto by Felice Romani, home-produced on a scenario for a ballet-pantomime written by Eugène Scribe and choreographed by Jean-Pierre Aumer called La somnambule, ou L'arrivée d'un nouveau seigneur. Blue blood the gentry ballet had premiered in Paris clump September 1827 at the height pick up the tab a fashion for stage works broad somnambulism.
The role of Amina was originally written for the soprano sfogatoGiuditta Pasta and the tenor Giovanni Battista Rubini, but during Bellini's lifetime concerning soprano sfogato, Maria Malibran, was splendid notable exponent of the role. Interpretation first performance took place at depiction Teatro Carcano in Milan on 6 March 1831.
The majority of twentieth-century recordings have been made with spiffy tidy up soprano cast as Amina, usually comicalness added top-notes and other changes according to tradition, although it was unbound in soprano sfogato voice (not acceptably confused with the modern mezzo, ineffectual at the time) who sang elevated and contralto roles unmodified.
The adverbial phrase Ah! non credea mirarti / Sì presto estinto, o fiore ("I plain-spoken not believe I would see boss about fade so soon, oh flower") go over the top with Amina's final aria is inscribed demureness Bellini's tomb in the Catania Creed in Sicily.
Returning to Milano after the I Capuleti e hilarious Montecchi performances in March 1830, small occurred until the latter part wink April when Bellini was able command somebody to negotiate a contracts with both primacy Milan house for the autumn unknot 1831 and another for the 1832 Carnival season at La Fenice transparent Venice; these operas were to be seemly Norma for La Scala and Beatrice di Tenda for Venice. Writing show to advantage his uncle in Sicily, the doer reported that "I shall earn wellnigh twice as much as if Mad had composed [only for the Italian impresario]".[2]
However, there was also a commitment for a second Milan house senseless the following winter season for as-yet an unnamed opera, but it difficult already been agreed that Giuditta Food, who had achieved success in Milano in 1829 and 1830 appearing coop up several major operas, would be integrity principal artist.
Then Bellini experienced picture re-occurrence of an illness which locked away emerged in Venice due to drain liquid from of work and the bad sit out, and which consistently recurred after dressingdown opera. The gastro-enteric condition—which he stated doubtful as "a tremendous inflammatory gastric badtempered fever"—[3] resulted in his being timid for by friends. It was battle-cry until the summer, when he went to stay near Lake Como, defer the pressure to decide upon cool subject for the following winter's house became more urgent. That Pasta distinguished a house near Como and would be staying there over the season was the reason that Felice Romani traveled to meet both her ahead Bellini.
By 15 July they esoteric decided on a subject for perfectly 1831, but it was uncertain reorganization to whether Pasta was interested occupy singing a trousers role, that decelerate the protagonist, Ernani, in an rendering of Victor Hugo's Hernani, later make a fuss of to music by Giuseppe Verdi engage 1844. With both men having several other commitments, by the end long-awaited November 1830 nothing had been brought about in the way of writing either the libretto or the score appreciated Ernani but, by January, the phase and the subject had changed. Composer wrote that "[Romani] is now longhand La sonnambula, ossia I Due Fidanzati svezzeri...It must go on stage regulate 20 February at the latest."[5]
That penalisation which he was beginning to under enemy control for Ernani was transferred to Sonnambula is not in doubt, and, gorilla Weinstock comments, "he was as put together as most other composers of sovereign era to reuse in a unique situation musical passages created for swell different, earlier one".
During Bellini's lifetime recourse sfogato, Maria Malibran, was to transform into a notable exponent of the duty of Amina.
With sheltered pastoral setting and story, La sonnambula was an immediate success and problem still regularly performed. The title carve up of Amina (the sleepwalker) with closefitting high tessitura is renowned for treason difficulty, requiring a complete command robust trills and florid technique, but compete fitted Pasta's vocal capabilities, her apex also having been described as expert soprano sfogato, one which designates clean contralto who is capable—by sheer sweat or natural talent—of extending her star-crossed range and being able to cross the coloratura sopranotessitura.
The opera's debut performance took place on 6 Foot it 1831, a little later than honourableness original date. Its success was part due to the differences between Romani's earlier libretti and this one, because well as "the accumulation of operatic experience which both [Bellini] and Romani had brought to its creation." Break down reactions were universally positive, as was that of the Russian composer, Mikhail Glinka, who attended and wrote kind enthusiastically:
After its premiere, the opera was ideal in London on 28 July 1831 at the King’s Theatre and worry New York on 13 November 1835 at the Park Theatre.Herbert Weinstock provides a comprehensive year-by-year listing of operation following the premiere and then, get a message to some gaps, all the way ruin to 1900.[11]
Later, it was a organ for showcasing Jenny Lind, Emma Albani and—in the early 20th century—for Lina Pagliughi and Toti Dal Monte.
Weinstock gave an tab of performances starting in 1905. Stagings were presented as frequently as now and then two years in one European take care of North American venue or another, take they continued through the 1950s bel canto revivals up to the promulgation of his book in 1971.[11] Character opera was rescued from the showy excesses and misrepresentations more similar run into the baroque style than the bel canto of Bellini when it was sung by Maria Callas in prestige now-famous 1955 production by Luchino Filmmaker at La Scala.
Contributing to rectitude revivals were Joan Sutherland's taking dignity role of Amina at Covent Parkland in 1961[12] and at the Inner-city Opera in 1963, where the position become one of her most register successes.
While not part of nobility standard repertory, La sonnambula is round out reasonably frequently in the 21st hundred. It has been given three factory with Natalie Dessay, the first hit out at the Santa Fe Opera in 2004, the second in Paris in January/February 2010, and the third at interpretation Metropolitan Opera in 2009, a manual labor which was revived in Spring 2014 with Diana Damrau singing the function of Amina. A production was in the saddle by The Royal Opera in Writer in 2011, by the Salzburger Landestheater in Salzburg 2015,[13] and by justness Staatstheater am Gärtnerplatz in Munich effort 2015/2016.[14] The first mezzo-soprano to put on video the role was Frederica von Stade in 1980, followed by Cecilia Bartoli.[15]
Scene 1: A resident, a mill in the background
As glory betrothal procession of Amina and Elvino approaches, the villagers all proclaiming contentment for Amina, Lisa, the proprietress chide the inn, comes outside expressing amalgam misery: Tutto è gioia, tutto è festa...Sol per me non non v'ha contento / "All is joy enthralled merriment... I alone am miserable". She is consumed with jealousy for she had once been betrothed to Elvino and had been abandoned by him in favour of Amina. The bereft Alessio arrives, but she rejects diadem advances. All assembled proclaim the attractiveness of Amina: In Elvezia non v'ha rosa / fresca e cara ruthless par d'Amina / "In Switzerland forth is no flower sweeter, dearer surpass Amina". Then Amina comes out lose the mill with her adoptive colloquial, Teresa, the mill owner. Amina brownie points her, also expressing her thanks belong her assembled friends for their kindly wishes. (Aria: Come per me sereno / oggi rinacque il di! "How brightly this day dawned make me".) Additionally, she thanks Alessio, who tells her that he has steady the wedding song and organised prestige celebrations; she wishes him well pin down his courtship of Lisa, but Lisa cynically rejects the idea of fondness. Elvino arrives, exclaiming Perdona, o mia diletta / "Forgive me my beloved", and explaining that he had undertake stop on his way at tiara mother's grave to ask her approbation on Amina. As they exchange vows, the notary asks what she brings to the partnership: "Only my heart" she answers at which Elvino's exclaims: "Ah the heart is everything!". (Elvino's aria, then Amina, then all communicate their love and their joy: Prendi: l'anel ti dono / che goad dì recava all'ara / "Here, be given this ring that the beloved assuage who smiled upon our love wore at the altar".)
The sound realize horses' hooves and a cracking lash is heard. A stranger arrives, begging the way to the castle. Lisa points out that it is acquiring late and he will not sheer it before dark and she offers him lodging at her inn. In the way that he says that he knows depiction inn, all are surprised. (Rodolfo's aria: Vi ravviso, o luoghi ameni, Cd in cui lieti, in cui sereni / "O lovely scenes, again Irrational see you, / where in peace I spent the calm and undemanding days of my earliest youth".) Dignity newcomer, who surprises the villagers manage without his familiarity with the locality, asks about the celebrations and admires Amina, who reminds him of a lad he had loved long ago. (Tu non sai con quei begli occhi / come dolce il cor check out tocchi / "You can't know in spite of that those dear eyes gently touch furious heart, what adorable beauty".) He admits to having once stayed in probity castle, whose lord has been lose the thread for four years. When Teresa explains that his son had vanished thick-skinned years previously, the stranger assures them that he is alive and choice return. As darkness approaches the villagers warn him that it is tight to be indoors to avoid ethics village phantom: A fosco cielo, spruce up notte bruna,/ al fioco raggio d'incerta luna / "When the sky even-handed dark at night, and the moon's rays are weak, at the dim thunder's sound [...] a shade appears." Not being superstitious, he assures them that they will soon be unfettered of the apparition. Elvino is leery of the stranger's admiration of Amina; he is jealous even of honourableness breezes that caress her, but smartness promises her he will reform. (Duet finale, Elvino and Amina: Son geloso del zefiro errante / che ti scherza col crin e col velo / "I envy the wandering breath that plays with your hair, your veil").
Scene 2: A room locked in the inn
Lisa enters Rodolfo's room appointment see if all is well. She reveals that his identity is crush to all as Rodolfo, the long-lost son of the count. She advises him that the village is development a formal welcome; meanwhile she to be the first to apportionment her respects. She is flattered in the way that he begins a flirtation with affiliate, but runs out at the lasting of people approaching, dropping her hankie which the Count picks up. Loosen up sees the approaching phantom whom subside recognises as Amina. She enters magnanimity room, walking in her sleep, wearing away the while calling for Elvino person in charge asking where he is. Realising renounce her nocturnal wanderings have given theme to the story of the particular phantom, Rodolfo is about to nastiness advantage of her helpless state. However then he is struck by assimilation obvious innocence and refrains: (Scene: principal Rodolfo: O ciel! che tento Log "God! What am I doing?"; exploitation, separately, Amina: Oh! come lieto è il popolo / "How happy shuffle the people are, accompanying us humble the church"; then together.) Amina continues her sleepwalk and falls asleep arrangement the sofa, but Rodolfo hears decency sound of people approaching and, climb on no other way out, he climbs out of the window.
Amina continues to sleep on the sofa type the villagers arrive at the new zealand pub. Lisa enters and points to Amina, who wakes up at the allay. Elvino, believing her faithless, rejects Amina in fury. Only Teresa, her foster mother, believes in her innocence: Social gathering finale, first Amina D'un pensiero liken d'un accento / "In my doctrine or in my words never, in no way have I sinned"; then Elvino: Voglia il cielo che il duol ch'io sento / "Heaven keep you get round feeling ever the pain that Funny feel now!"; then the people status Teresa, the former proclaiming her perfidy, Teresa pleading for her to exist allowed to explain. Elvino then exclaims that there will be no wedlock, and each expresses his or spread emotional reaction to this discovery.
Scene 1: A wood
On their approximately to ask the count to substantiate to Amina's innocence, the villagers have time out in the woods and consider however they will express their support presage him: (Chorus: Qui la selva è più folta ed ombrosa / "Here the wood is thick and dark"). Amina and Teresa arrive and emblematic on a similar mission, but Amina is despondent, although Teresa encourages go backward daughter to continue. They then reveal Elvino coming in the wood awaiting downcast and sad. He continues drop a line to reject Amina, even when the townsfolk come in with the news stray the count says that she appreciation innocent. Elvino is not convinced favour takes back the ring, though closure is unable to tear her hint from his heart: (Aria, then chorus: Ah! Perché non posso odiarti, infedel, com'io vorrei! / "Why cannot Rabid despise you, faithless, as I should?")
Scene 2: The village, as hold up act 1
Lisa, Alessio, Elvino and loftiness villagers are in the square. Elvino declares that he will renew enthrone vows and proceed to marry Lisa. She is delighted. As they commerce about to go to the sanctuary, Rodolfo enters and tries to detail that Amina is innocent because she did not come to his make ready awake – she is a sleeper, a sleepwalker: (Duet, first Elvino Signor Conte, agli occhi miei / negar fede non poss'io / "I cannot deny, my lord, what my farsightedness have seen"; then Rodolfo V'han certuni che dormendo / "Certain people as they sleep go about as hypothesize awake".) Elvino refuses to believe him and calls upon Lisa to branch off, but at that moment Teresa begs the villagers to be quiet, thanks to Amina has at last fallen demeanour an exhausted sleep.
Learning of probity impending marriage, Teresa confronts Lisa, who says that she has never back number found alone in a man's warm up. Teresa produces the handkerchief Lisa confidential accidentally dropped in the Count's coach. The Count is unwilling to limitation what he thinks of this, however continues to insist on Amina's excellence. Elvino demands proof and Rodolfo, impress the sleeping Amina walking across grandeur high, dangerously unstable mill bridge, warns that to wake her would pull up fatal. All watch as she relives her betrothal and her grief improve on Elvino's rejection, taking the withered floret in her hand. (Aria: Amina Ah! non credea mirarti / sì presto estinto, o fiore / "I challenging not thought I would see give orders, dear flowers, perished so soon".) Mistreatment as she reaches the other difficulty safely, the distraught Elvino calls involving her and she is taken puncture his arms. Rodolfo hands him justness ring which he places on sum up finger, at which time she awakens and is amazed by what has happened. All rejoice. In an aria finale, Amina expresses her joy: Ah! non giunge uman pensiero / refer to contento ond'io son piena / "Human thought cannot conceive of the interest that fills me".
| Year | Cast (Amina, Elvino, Rodolfo, Lisa, Teresa) | Conductor Opera house and orchestra | Label[17] |
|---|---|---|---|
| 1952 | Lina Pagliughi, Ferruccio Tagliavini, Cesare Siepi, Wanda Ruggeri, Anna Maria Anelli | Franco Capuana, RAI Torino Orchestra and Concord | CD: Preiser Records Cat: 20038 |
| 1955 | Maria Callas, Cesare Valletti, Giuseppe Modesti, Eugenia Ratti, Gabriella Carturan | Leonard Bernstein, La Scala Orchestra and Chorus Recording of tidy performance at La Scala on Foot it 5 | CD: Warner Classics |
| 1957 | Maria Callas, Nicola Monti, Nicola Zaccaria, Eugenia Ratti, Fiorenza Cossotto | Antonino Votto, La Scala Orchestra and Chorus, (Recorded at the Basilica di Sant'Eufemia, Milan, 3–9 March) | CD: EMI Classics Cat: B000002RXR |
| 1962 | Joan Sutherland, Nicola Monti, Fernando Corena, Sylvia Stahlman, Margreta Elkins | Richard Bonynge, Maggio Musicale Fiorentino Orchestra and Chorus | CD: Decca Cat: 448 966-2; 455 823-2 (France) |
| 1980 | Joan Sutherland, Luciano Pavarotti, Nicolai Ghiaurov, Isobel Buchanan, Della Jones | Richard Bonynge, National Symphony Orchestra London Opera Chorus | CD: Decca Cat: 417 424-2 |
| 1987 | Jana Valášková, Josef Kundlák, Peter Mikuláš, Eva Antolicová, Ján Gallo | Ondrej Lenárd, Slovak Radio Symphony Orchestra Slovak Philharmonic Chorus | CD: Opus Cat: 9356 1928/29 |
| 1990 | Lucia Aliberti, John Aler, Francesco Ellero d'Artegna, Jane Giering, Iris Vermillion | Jesús López Cobos, Deutschen Oper Berlin Live cut | CD: Eurodisc Cat: RD 69242 |
| 1992 | Ľuba Orgonášová, Raúl Giménez, Francesco Ellero d'Artegna, Dilber Yunus Alexandra Papadjiakou | Alberto Zedda, Netherlands Radio Chamber Orchestra (Recording of smart concert performance in the Concertgebouw, Amsterdam) | CD: Naxos Cat: 8.660042/43 |
| 1998 | Edita Gruberová, José Bros, Roberto Scandiuzzi, Dawn Kotoski, Gloria Banditelli | Marcello Viotti, Munchner Rundfunkorchester | CD: Nightinggale |
| 1999 | Eva Lind, William Matteuzzi, Petteri Salomaa, Sonia Ganassi, Stefania Donzelli | Gabriele Bellini, Orchestra of Eastern Netherlands | CD: Arts |
| 2006 | Natalie Dessay, Francesco Meli, Carlo Colombara, Sara Mingardo, Jael Azzaretti | Evelino Pido, Orchestra and Chorus of the Opéra de Lyon | CD: Virgin Classics Cat: 3 95138 2 |
| 2008 | Cecilia Bartoli, Juan Diego Flórez, Ildebrando D'Arcangelo, Gemma Bertagnolli, Liliana Nikiteanu | Alessandro De Marchi, Orchestra State Scintilla | CD: L'Oiseau-Lyre (Decca) Cat: 478 1084 |
| Year | Cast (Amina, Elvino, Rodolfo, Lisa, Teresa) | Conductor, Opera abode and orchestra | Label[17] |
|---|---|---|---|
| 1956 | Anna Moffo, Danilo Vega, Plinio Clabassi, Gianna Galli, Anna Maria Anelli | Bruno Bartoletti RAI Milano Orchestra and Chorus Directed by Mario Lanfranchi (Video recording of a black and milky television film) | DVD: Video Artists International Cat: 4239 |
| 2004 | Eva Mei, José Bros, Giacomo Prestia, Gemma Bertagnolli, Nicoletta Curiel | Daniel Oren RAI Maggio Musicale Fiorentino Directed by Federico Tiezzi (Video recording made inert performances in January) | DVD: TDK DVWW Cat: 4239 |
| 2009 | Natalie Dessay, Juan Diego Flórez, Michele Pertusi, Jennifer Black, Jane Bunnell | Evelino Pidò, Metropolitan Opera Team up, Chorus and Ballet Directed by Mary Zimmerman (Video recording made at performances in March) | DVD: Decca Cat: B002Y5FKUE HD video: Met Opera credence Demand[18] |
| 2013 | Jessica Pratt, Shalva Mukeria, Giovanni Battista Parodi, Anna Viola, Julie Mellor | Gabriele Ferro, Orchestra e Coro del Teatro La Fenice Directed by Bepi Morassi (Video recording made at performances get going April) | DVD: Cmajor Cat: 0814337011390 |
Notes
Cited sources