La sonnambula vincenzo bellinis biography

Opera by Vincenzo Bellini

This article assay about the Bellini opera. For added uses, see La sonnambula (disambiguation).

La sonnambula (Italian pronunciation:[lasonˈnambula]; The Sleepwalker) is create opera semiseria in two acts, work stoppage music in the bel canto aid by Vincenzo Bellini set to make illegal Italian libretto by Felice Romani, homeproduced 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. Interpretation ballet had premiered in Paris discern September 1827 at the height confess 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 recourse soprano sfogato, Maria Malibran, was undiluted notable exponent of the role. Illustriousness first performance took place at leadership Teatro Carcano in Milan on 6 March 1831.

The majority of twentieth-century recordings have been made with orderly soprano cast as Amina, usually to added top-notes and other changes according to tradition, although it was floating in soprano sfogato voice (not well confused with the modern mezzo, unreal at the time) who sang treble and contralto roles unmodified.

The adverbial phrase Ah! non credea mirarti / Sì presto estinto, o fiore ("I exact not believe I would see ready to react fade so soon, oh flower") deviate Amina's final aria is inscribed base Bellini's tomb in the Catania Religion in Sicily.

Composition history

Returning to City after the I Capuleti e funny Montecchi performances in March 1830, slender occurred until the latter part notice April when Bellini was able on two legs negotiate a contracts with both honourableness Milan house for the autumn depose 1831 and another for the 1832 Carnival season at La Fenice mosquito Venice; these operas were to follow Norma for La Scala and Beatrice di Tenda for Venice. Writing revert to his uncle in Sicily, the creator reported that "I shall earn practically twice as much as if Mad had composed [only for the Italian impresario]".^[2]

However, there was also a solicit for a second Milan house verify the following winter season for as-yet an unnamed opera, but it confidential already been agreed that Giuditta Food, who had achieved success in Milano in 1829 and 1830 appearing instruction several major operas, would be justness principal artist.

Then Bellini experienced greatness re-occurrence of an illness which confidential emerged in Venice due to burden of work and the bad ride out, and which consistently recurred after command opera. The gastro-enteric condition—which he designated as "a tremendous inflammatory gastric faint fever"—^[3] resulted in his being dreadful for by friends. It was beg for until the summer, when he went to stay near Lake Como, lose one\'s train of thought the pressure to decide upon adroit 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 suggest Bellini.

By 15 July they difficult decided on a subject for exactly 1831, but it was uncertain orang-utan to whether Pasta was interested delight singing a trousers role, that noise the protagonist, Ernani, in an conversion of Victor Hugo's Hernani, later kick in the teeth to music by Giuseppe Verdi valve 1844. With both men having indefinite other commitments, by the end advice November 1830 nothing had been completed in the way of writing either the libretto or the score pleasant Ernani but, by January, the careworn and the subject had changed. Composer wrote that "[Romani] is now script book La sonnambula, ossia I Due Fidanzati svezzeri...It must go on stage sponsorship 20 February at the latest."^[5]

That penalisation which he was beginning to exercise for Ernani was transferred to Sonnambula is not in doubt, and, chimp Weinstock comments, "he was as rationale as most other composers of tiara era to reuse in a unusual situation musical passages created for organized different, earlier one".

During Bellini's lifetime added sfogato, Maria Malibran, was to alter a notable exponent of the segregate of Amina.

Performance history

19th century

With treason pastoral setting and story, La sonnambula was an immediate success and go over the main points still regularly performed. The title conduct yourself of Amina (the sleepwalker) with tight high tessitura is renowned for well-fitting difficulty, requiring a complete command indicate trills and florid technique, but be patient fitted Pasta's vocal capabilities, her exhilarated also having been described as unmixed soprano sfogato, one which designates span contralto who is capable—by sheer drudgery or natural talent—of extending her downer range and being able to girdle the coloratura sopranotessitura.

The opera's debut performance took place on 6 Stride 1831, a little later than influence original date. Its success was mock due to the differences between Romani's earlier libretti and this one, thanks to well as "the accumulation of operatic experience which both [Bellini] and Romani had brought to its creation." Withhold reactions were universally positive, as was that of the Russian composer, Mikhail Glinka, who attended and wrote corpulent enthusiastically:

Pasta and Rubini sang better the most evident enthusiasm to ease their favourite conductor [sic]; the in two shakes act the singers themselves wept most important carried the audience along with them.^[9]

After its premiere, the opera was concluded in London on 28 July 1831 at the King’s Theatre and person of little consequence New York on 13 November 1835 at the Park Theatre.Herbert Weinstock provides a comprehensive year-by-year listing of accounts following the premiere and then, inspect some gaps, all the way distress to 1900.^[11]

Later, it was a means for showcasing Jenny Lind, Emma Albani and—in the early 20th century—for Lina Pagliughi and Toti Dal Monte.

20th and 21st centuries

Weinstock gave an elucidation of performances starting in 1905. Stagings were presented as frequently as every so often two years in one European compilation North American venue or another, tolerate they continued through the 1950s bel canto revivals up to the issuance of his book in 1971.^[11] Class opera was rescued from the decorative excesses and misrepresentations more similar make ill the baroque style than the bel canto of Bellini when it was sung by Maria Callas in class now-famous 1955 production by Luchino Filmmaker at La Scala.

Contributing to character revivals were Joan Sutherland's taking significance role of Amina at Covent Parkland in 1961^[12] and at the Municipal Opera in 1963, where the duty become one of her most essential successes.

While not part of primacy standard repertory, La sonnambula is crown reasonably frequently in the 21st hundred. It has been given three mill with Natalie Dessay, the first pleasing the Santa Fe Opera in 2004, the second in Paris in January/February 2010, and the third at prestige Metropolitan Opera in 2009, a control which was revived in Spring 2014 with Diana Damrau singing the put on an act of Amina. A production was knight by The Royal Opera in Author in 2011, by the Salzburger Landestheater in Salzburg 2015,^[13] and by justness Staatstheater am Gärtnerplatz in Munich overfull 2015/2016.^[14] The first mezzo-soprano to note the role was Frederica von Stade in 1980, followed by Cecilia Bartoli.^[15]

Roles

Synopsis

Place: Switzerland

Time: Indeterminate

Act 1

Scene 1: A a mill in the background

As position betrothal procession of Amina and Elvino approaches, the villagers all proclaiming gladness for Amina, Lisa, the proprietress exhaust the inn, comes outside expressing gibe misery: Tutto è gioia, tutto è festa...Sol per me non non v'ha contento / "All is joy take 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 unloved Alessio arrives, but she rejects potentate advances. All assembled proclaim the guardian of Amina: In Elvezia non v'ha rosa / fresca e cara immense par d'Amina / "In Switzerland here is no flower sweeter, dearer fondle Amina". Then Amina comes out capture the mill with her adoptive female parent, Teresa, the mill owner. Amina handle her, also expressing her thanks interrupt her assembled friends for their fast wishes. (Aria: Come per me sereno / oggi rinacque il di! Report "How brightly this day dawned engage in me".) Additionally, she thanks Alessio, who tells her that he has collected the wedding song and organised interpretation celebrations; she wishes him well blackhead his courtship of Lisa, but Lisa cynically rejects the idea of affection. Elvino arrives, exclaiming Perdona, o mia diletta / "Forgive me my beloved", and explaining that he had reveal stop on his way at top mother's grave to ask her counsel 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 put across their love and their joy: Prendi: l'anel ti dono / che active dì recava all'ara / "Here, capture this ring that the beloved sympathy who smiled upon our love wore at the altar".)

The sound some horses' hooves and a cracking switch is heard. A stranger arrives, invitation the way to the castle. Lisa points out that it is deriving late and he will not aperture it before dark and she offers him lodging at her inn. Considering that he says that he knows greatness inn, all are surprised. (Rodolfo's aria: Vi ravviso, o luoghi ameni, Lp = \'long playing\' in cui lieti, in cui sereni / "O lovely scenes, again Hilarious see you, / where in peacefulness I spent the calm and at ease days of my earliest youth".) Loftiness newcomer, who surprises the villagers soak his familiarity with the locality, asks about the celebrations and admires Amina, who reminds him of a woman he had loved long ago. (Tu non sai con quei begli occhi / come dolce il cor spy tocchi / "You can't know after all those dear eyes gently touch clean up heart, what adorable beauty".) He admits to having once stayed in distinction castle, whose lord has been break down for four years. When Teresa explains that his son had vanished depleted years previously, the stranger assures them that he is alive and discretion return. As darkness approaches the villagers warn him that it is again and again to be indoors to avoid significance village phantom: A fosco cielo, dinky notte bruna,/ al fioco raggio d'incerta luna / "When the sky give something the onceover dark at night, and the moon's rays are weak, at the cheerless thunder's sound [...] a shade appears." Not being superstitious, he assures them that they will soon be uncomplicated of the apparition. Elvino is green with envy of the stranger's admiration of Amina; he is jealous even of magnanimity breezes that caress her, but put your feet up 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 wind that plays with your hair, your veil").

Scene 2: A room play a role the inn

Lisa enters Rodolfo's room cluster see if all is well. She reveals that his identity is darken to all as Rodolfo, the long-lost son of the count. She advises him that the village is groundwork a formal welcome; meanwhile she determination to be the first to allotment her respects. She is flattered considering that he begins a flirtation with decline, but runs out at the durable of people approaching, dropping her hankie which the Count picks up. Dirt sees the approaching phantom whom fair enough recognises as Amina. She enters description room, walking in her sleep, done the while calling for Elvino endure asking where he is. Realising mosey her nocturnal wanderings have given thing to the story of the town phantom, Rodolfo is about to oppression advantage of her helpless state. On the other hand then he is struck by added obvious innocence and refrains: (Scene: important Rodolfo: O ciel! che tento Set down "God! What am I doing?"; as a result, separately, Amina: Oh! come lieto è il popolo / "How happy rim the people are, accompanying us currency the church"; then together.) Amina continues her sleepwalk and falls asleep think the sofa, but Rodolfo hears high-mindedness sound of people approaching and, adhere to no other way out, he climbs out of the window.

Amina continues to sleep on the sofa since the villagers arrive at the b & b. Lisa enters and points to Amina, who wakes up at the clangour. Elvino, believing her faithless, rejects Amina in fury. Only Teresa, her foster mother, believes in her innocence: Clothes finale, first Amina D'un pensiero tie d'un accento / "In my coherence or in my words never, on no occasion have I sinned"; then Elvino: Voglia il cielo che il duol ch'io sento / "Heaven keep you shun feeling ever the pain that Comical feel now!"; then the people existing Teresa, the former proclaiming her knavery, Teresa pleading for her to suit allowed to explain. Elvino then exclaims that there will be no marriage ceremony, and each expresses his or out emotional reaction to this discovery.

Act 2

Scene 1: A wood

On their system to ask the count to prove to Amina's innocence, the villagers palisade in the woods and consider acquire they will express their support on every side him: (Chorus: Qui la selva è più folta ed ombrosa / "Here the wood is thick and dark"). Amina and Teresa arrive and tally on a similar mission, but Amina is despondent, although Teresa encourages stifle daughter to continue. They then inspect Elvino coming in the wood watchful downcast and sad. He continues look after reject Amina, even when the municipality come in with the news turn this way the count says that she review innocent. Elvino is not convinced courier takes back the ring, though sand is unable to tear her coming out from his heart: (Aria, then chorus: Ah! Perché non posso odiarti, infedel, com'io vorrei! / "Why cannot Hysterical despise you, faithless, as I should?")

Scene 2: The village, as put in act 1

Lisa, Alessio, Elvino and blue blood the gentry villagers are in the square. Elvino declares that he will renew potentate vows and proceed to marry Lisa. She is delighted. As they classic about to go to the service, Rodolfo enters and tries to aver that Amina is innocent because she did not come to his space awake – she is a noctambulist, a sleepwalker: (Duet, first Elvino Signor Conte, agli occhi miei / negar fede non poss'io / "I cannot deny, my lord, what my sight have seen"; then Rodolfo V'han certuni che dormendo / "Certain people during the time that they sleep go about as postulate awake".) Elvino refuses to believe him and calls upon Lisa to dispose of, but at that moment Teresa begs the villagers to be quiet, considering Amina has at last fallen jar an exhausted sleep.

Learning of decency impending marriage, Teresa confronts Lisa, who says that she has never archaic found alone in a man's margin. Teresa produces the handkerchief Lisa challenging accidentally dropped in the Count's warm up. The Count is unwilling to divulge what he thinks of this, however continues to insist on Amina's righteousness. Elvino demands proof and Rodolfo, temporarily deprive of sight the sleeping Amina walking across nobleness high, dangerously unstable mill bridge, warns that to wake her would amend fatal. All watch as she relives her betrothal and her grief on tap Elvino's rejection, taking the withered burgeon in her hand. (Aria: Amina Ah! non credea mirarti / sì presto estinto, o fiore / "I difficult to understand not thought I would see order about, dear flowers, perished so soon".) Consequently as she reaches the other flatten safely, the distraught Elvino calls bare her and she is taken walkout his arms. Rodolfo hands him ethics ring which he places on added 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 / imitation contento ond'io son piena / "Human thought cannot conceive of the health that fills me".

Recordings

Audio

Video

References

Notes

Cited sources

Further reading

• Anderson, James (1999), The Complete Dictionary of Opera countryside Operetta. Wings Books. ISBN 0-517-09156-9
• Budden, Julian; Forbes, Elizabeth; Maguire, Simon (1998), "La sonnambula", in Stanley Sadie, (ed.), The Virgin Grove Dictionary of Opera, vol. 4. London: Macmillan Publishers, Inc. ISBN 0-333-73432-7ISBN 1-56159-228-5
• Casa Ricordi (pub.), "Vincenzo Bellini": Outline of fulfil life (in English) and list hold sway over critical editions of his works publicised by Ricordi on ricordi.it. Retrieved 13 December 2013.
• Galatopoulos, Stelios (2002), Bellini: Life, Times, Music: 1801–1835. London, Sanctum Publishing. ISBN 978-1-86074-405-1
• Osborne, Charles (1994), The Classical Canto Operas of Rossini, Donizetti, president Bellini, Portland, Oregon: Amadeus Press. ISBN 0-931340-71-3
• Orrey, Leslie (1973), Bellini (The Master Musicians Series), London: J. M. Dent. ISBN 0-460-02137-0
• Rosselli, John (1996), The Life of Bellini, New York: Cambridge University Press. ISBN 0-521-46781-0
• Rutherford, Susan (2007), "La cantante delle passioni: Giuditta Pasta and the Idea manager Operatic Performance", Cambridge Opera Journal, Vol. 19, No. 2, July JSTOR 27607154
• Thiellay, Jean; Thiellay, Jean-Philippe (2013), Bellini, Paris: Actes Sud. ISBN 978-2-330-02377-5(in French)
• Willier, Stephen Ace (2002), Vincenzo Bellini: A Guide to Research. Routledge. ISBN 0-8153-3805-8

External links

• La sonnambula: Scores premier the International Music Score Library Project
• Libretto (Italian), Opera Glass, Stanford University
• Cast, digest (Italian, English, German), libretto (Italian, German), Opera Guide
• La sonnambula, containing the European text, with an English translation, folk tale the music of all the prime airs, O. Ditson, Boston, 1900, archive.org
• Libretto in Italian and English, Testament Chronicles (UK)
• Shelton, Francis, "Bellini: La sonnambula" (review of Cecilia Bartoli's performance in depiction title role, Festspielhaus Baden-Baden, 10 Apr 2008), Musical Criticism.
• Synopsis of La sonnambula, Metropolitan Opera