Un ballo in maschera
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Un ballo in maschera, or A Masked Ball, is an opera in three acts by Giuseppe Verdi with text by Antonio Somma. The opera's first production was at the Teatro Apollo, Rome, February 17, 1859.
The opera is based on the assassination of King Gustav III of Sweden, but is not historically accurate. During its composition, Verdi was asked by government censors to make many changes to the opera, due to its politically sensitive subject matter.
Despite its tragic conclusion, Un ballo in maschera has many moments of the brilliance and irony associated with comedy -- a mixture which has led critics to label it "Shakespearean."
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[edit] Genesis of the Opera: Censorship and Contention
In 1792, the King of Sweden, Gustav III, was killed, the result of a political conspiracy against him. He was shot while attending a masked ball and died 13 days later as a result of his wounds. It is on this episode that Verdi’s Masked Ball is loosely based; loosely, because very little of the historical truth is contained in Verdi’s opera.
In 1833, the French playwright Eugène Scribe wrote a play about Gustav called Gustave III. He retained the names of some of the historical figures involved, the conspiracy, and the killing at the masked ball. The rest of the play – the characterizations, the romance, the fortune-telling, etc.—is Scribe’s invention; and it is Scribe’s play that is the source of the story in Verdi’s opera.
Scribe’s play was well known and had been used by other composers, including Auber, as the basis for operas. However, the censors were still wary of it, since it showed the assassination of a king in a recent period of European history. During composition, the censors in Naples, for which Verdi’s opera was destined, required extensive changes, eventually demanding more alterations than the composer was willing to make. Therefore, he broke his contract and was sued by the theater, provoking him to lodge a counter-claim against the theater for damages. Eventually, the legal fight ended with withdrawal of the theater's charges, freeing Verdi to offer the opera to the Rome opera house.
But the Roman censors also wanted to make changes. Finally it was agreed that the setting would be moved from Europe, and the rank of the leading character would be reduced from king to colonial governor. So it was that the setting of the opera is Boston during the British colonial period, and the leading character is Riccardo, the Count (or Earl) of Warwick.
In some modern stagings, the Swedish setting, and some of the characters’ names are restored.
[edit] Roles
Riccardo, Count of Warwick (or Gustavo, King of Sweden), in love with Amelia, best friend of Renato, tenor
Amelia, in love with Riccardo, soprano
Renato (or Count Anckarström), husband of Amelia, friend of Riccardo, baritone
Oscar, page boy, soprano
Ulrica (or Madame Arvidson), a fortune-teller, contralto
A magistrate, tenor
Silvano (or Cristiano), bass
Amelia’s servant, tenor
Samuel (or Count Ribbing), bass
Tom (or Count de Horn), bass
[edit] Plot
- Place, Sweden or Boston, Massachusetts.
- Time, Sweden: 1792, or Boston: the end of the 17th century.
[edit] Overview
Riccardo is a noble, generous leader, though often high-spirited and impetuous. He is secretly in love with the wife of his closest advisor, Renato. When the secret is revealed, Renato joins the group of conspirators plotting against Riccardo’s life.
[edit] Act I.
Scene 1. A public audience at Riccardo’s palace, attended by his supporters, but also by his enemies who hope for his downfall.
Riccardo reviews the list of guests who will attend an upcoming masked ball. He is elated to see on the list the name of the woman he loves – Amelia, the wife of his friend and advisor, Renato. When Renato arrives, he tries to warn Riccardo about the growing conspiracy against him, but Riccardo refuses to listen to his words.
Next, Riccardo is presented with a complaint against a fortune-teller named Ulrica, accused of witchcraft. A magistrate calls for her banishment, but Oscar the page defends her. Riccardo resolves to investigate for himself and tells the members of the court to disguise themselves and to meet him at Ulrica’s lodging later that day.
Scene 2. At Ulrica’s dwelling. Riccardo, disguised as a fisherman, arrives before the others; when he realizes that Amelia is coming to see Ulrica, he hides and watches. Alone with Ulrica, Amelia confesses that she is tormented by her love for Riccardo, and asks for a means to bring peace to her heart. Ulrica tells her to gather a certain herb with magical powers; Riccardo resolves to be there when she does so. Amelia leaves.
Now Riccardo presents himself again, along with all of the courtiers, and asks to have his fortune told. Ulrica reveals that he will be killed by the next man who shakes his hand. He laughingly dismisses her prophecy and offers his hand to the courtiers, who refuse to take it. Finally Renato appears and takes Riccardo’s hand. Riccardo’s true identity is now revealed and he is acclaimed by the people.
[edit] Act II.
On the outskirts of the town, at the gallows-place. Midnight. Amelia, conquering her fears, has come here alone to pick the herb of which Ulrica told her. She is surprised by Riccardo, who has come to meet her. Now the two finally declare their love for each other.
Unexpectedly, Renato arrives, and Amelia covers her face with her veil before he can recognize her. Renato explains to Riccardo that the conspirators are pursuing him, and his life is in danger. Riccardo leaves, making Renato promise to escort the veiled woman safely back to town, not asking her identity. When the conspirators arrive, they confront Renato; in the struggle, Amelia’s veil drops. Renato assumes that Amelia and Riccardo have been involved in an adulterous love affair. He asks the two leaders of the conspiracy, Samuel and Tom, to meet him the next day.
[edit] Act III.
Scene 1. Renato’s house. Renato has resolved to kill Amelia for the dishonor she has brought on him. She protests her innocence and begs to see her son one last time. Renato relents, and declares that it is Riccardo, not Amelia, who deserves to die.
Samuel and Tom arrive, and Renato asks to join their plot, pledging the life of his son as proof of his sincerity. They agree to draw lots to decide who will kill Riccardo. Amelia is forced to draw the winning name – Renato.
Oscar, the page, arrives with invitations to the masked ball; Samuel, Tom and Renato agree that this is where the assassination will take place.
Scene 2. Riccardo, torn between love and duty, has resolved to renounce his love for Amelia and send her and Renato back to England.
At the ball, Renato tries to learn from Oscar what costume Riccardo is wearing. Oscar at first refuses to tell, but finally answers: a black cloak and a red ribbon. Riccardo manages to identify Amelia and tells her of the decision he has made. As they say goodbye, Renato stabs Riccardo. The wounded Riccardo discloses that though he loved Amelia, she never broke her marriage vows. He pardons all the conspirators, bidding farewell to his friends and his country as he dies.
[edit] Noted arias
- "La rivedra nell'estasi" (Riccardo)
- "Alla vita che t'arride" (Renato)
- "Volta la terrea" (Oscar)
- "Re dell'abisso" (Ulrica)
- "Di' tu se fedele" (Riccardo)
- "È scherzo od è follia" (Riccardo)
- "Ma dall'arido stelo divulsa" (Amelia)
- "Ve'se di notte qui con la sposa" (Samuel, Tom)
- "Morrò, ma prima in grazia" (Amelia)
- "Eri tu, che macchiavi" (Renato)
- "Dunque l'onta di tutti sol una" (Renato, Samuel, Tom)
- "Ma se m'e forza perderti" (Riccardo)
- "Saper vorreste" (Oscar)
- "Ella è pura: in braccio a morte" (Riccardo)
[edit] Un Ballo in Maschera in Popular Culture
The film comedy The Adventure of Sherlock Holmes' Smarter Brother features an English-language version of Un Ballo in Maschera in which the ballroom scene is deliberately mistranslated in a humorous way.
[edit] References
Budden, Julian. The Operas of Verdi, vol. 2, New York.Oxford University Press. ISBN 0-19-520068-3
Osborne, Charles. The Complete Operas of Verdi, New York. Da Capo Press. ISBN 0-306-80072-1
