La sonnambula

Vincenzo Bellini
Operas Adelson e Salvini (1825) Bianca e Fernando (1826) Il pirata (1827) La straniera (1829) Zaira (1829) I Capuleti e i Montecchi (1830) La sonnambula (1831) Norma (1831) Beatrice di Tenda (1833) I puritani (1835)
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La sonnambula (The Sleepwalker) is an opera semiseria in two acts, with music in the bel canto tradition by Vincenzo Bellini to an Italian libretto by Felice Romani, based on a scenario for a ballet-pantomime by Eugène Scribe and Jean-Pierre Aumer called La somnambule, ou L'arrivée d'un nouveau seigneur.

The first performance took place at the Teatro Carcano (it) in Milan on 6 March 1831.

The role of Amina was originally written for the mezzo-soprano Giuditta Pasta, and during Bellini's lifetime, another mezzo-soprano, Maria Malibran, was a notable exponent of the role. The majority of twentieth-century recordings have been made with a soprano cast as Amina, most with "added top-notes and [other] substantial changes". The first mezzo-soprano to record the role was Cecilia Bartoli.^[1]

The phrase "Ah! non credea mirarti / Sì presto estinto, o fiore" (I did not believe you would fade so soon, oh flower) from Amina's final aria is inscribed on Bellini's tomb in the Catania Cathedral on Sicily.

Performance history

With its pastoral setting and story, La sonnambula was an immediate success and is still regularly performed. The title role of Amina (the sleepwalker) with its high tessitura is renowned for its difficulty, requiring a complete command of trills and florid technique.^[2]

The opera was first given in London on 28 July 1831 at the King’s Theatre in London and in New York on 13 November 1835 at the Park Theatre.^[3]

In the 20th century, the role of Amina was sung by Maria Callas in the now-famous 1955 production by Luchino Visconti at La Scala. Joan Sutherland sang Amina at the Metropolitan Opera in 1960. While not part of the standard repertory, La sonnambula is performed reasonably frequently and, in the 21st century has been presented with Natalie Dessay in three productions, firstly by The Santa Fe Opera with Natalie Dessay in 2004, and then in Paris during the 2006/2007 season and an Met in 2009. A production was mounted by the Royal Opera House in London in 2011.

Roles

Synopsis

Act 1

Scene 1: A village, a mill in the background

Lisa, the proprietress of the inn, is consumed with jealousy as the betrothal procession of Amina and Elvino, who had once been betrothed to her, approaches. She spurns the lovelorn Alessio. Amina thanks her friends for their kind wishes and particularly her foster-mother Teresa, owner of the mill, who had adopted her as an orphan. She thanks Alessio, who had composed the wedding song and organised the celebrations, wishing him well in his courtship of Lisa, who continues to reject his advances. Elvino arrives, having stopped on his way at his mother's grave to ask her blessing on Amina. He gives Amina his mother's ring and they exchange vows.

A stranger arrives, asking the way to the castle. Lisa points out that it is getting late and he will not reach it before dark and offers him lodging at her inn. The newcomer, who surprises the villagers by his familiarity with the locality, asks about the celebrations and admires Amina, who reminds him of a girl he had loved long ago. He admits to having once stayed in the castle, whose lord has been dead for four years. When Teresa explains that his son had vanished some years previously, the stranger assures them that he is alive and will return.

As darkness approaches the villagers warn him that it is time to be indoors to avoid the village phantom, but he is not superstitious and assures them that they will soon be free of the apparition. Elvino is jealous of the stranger's admiration of Amina; he is jealous even of the breezes that caress her, but he promises her he will reform.

Scene 2: A room in the inn

Jenny Lind in La sonnambula

Lisa tells the stranger that he has been recognised as Rodolfo, the long-lost son of the count, and warns him that the village is preparing a formal welcome. Meanwhile she will be the first to pay her respects. She is flattered when he begins a flirtation with her, but runs out, dropping a handkerchief, when a sound is heard outside.

It is Amina, who enters the room, walking in her sleep. Rodolfo, realising that her nocturnal wanderings have given rise to the story of the village phantom, is about to take advantage of her helpless state but is struck by her obvious innocence and refrains. She falls asleep on the sofa and he goes outside as the villagers are heard advancing on the inn to welcome their new lord. Lisa points to the sleeping Amina; and Elvino, believing her faithless, rejects her in fury. Only Teresa believes in her innocence.

Act 2

Scene 1: A wood

On their way to ask the count to attest to Amina's innocence, the villagers meet Amina and Teresa, on a similar mission. Elvino continues to reject Amina, even when the count sends a message that she is innocent. Elvino is not convinced and takes back the ring, though he is unable to tear her image from his heart.

Scene 2: The village, as in Act I

Elvino has decided to marry Lisa. They are about to go to the church when Rodolfo tries to explain that Amina is innocent because she had not come to his room awake – she is a somnambulist, a sleepwalker, but Elvino refuses to believe him.

	"Ah! non credea mirarti" Francisca Pomar de Maristany (es) in 1929
Problems playing this file? See media help.

Teresa begs the villagers to be quiet, because Amina has at last fallen into an exhausted sleep. Learning of the impending marriage, she confronts Lisa, who says that she has never been found alone in a man's room. Teresa produces the handkerchief Lisa had dropped. The Count refuses to comment, but continues to assert Amina's virtue. Elvino demands proof, which is dramatically produced when Amina is seen walking in her sleep across the high, dangerously unstable mill bridge. Rodolfo warns that to wake her would be fatal, so all watch as she relives her betrothal and her grief at Elvino's rejection. When she reaches the other side safely, Elvino calls to her and she wakes to find herself in his arms, to the rejoicing of all.

Noted arias

• "Come per me sereno" (Amina, act 1)
• "Prendi, l'anel ti dono" (duet Elvino, Amina, act 1)
• "Vi ravviso, o luoghi ameni" (Rodolfo, act 1)
• "Tutto è sciolto" (Elvino, act 2)
• "Ah! non credea mirarti" (Amina, act 2)

Recordings

Audio

Video

References

Notes

Cited sources

• Eaton, Quaintance, Opera Production 1: A Handbook, Da Capo Press, 1974 ISBN 0-306-70635-0 ISBN 0-306-70635-0
• Kimbell, David, in Holden, Amanda (Ed.), The New Penguin Opera Guide, New York: Penguin Putnam, 2001. ISBN 0-140-29312-4

Other sources

• Anderson, James, The Complete Dictionary of Opera and Operetta, Wings Books, 1993 ISBN 0-517-09156-9
• Budden, Julian; Forbes, Elizabeth; Maguire, Simon, "La sonnambula", in Stanley Sadie, (Ed.), The New Grove Dictionary of Opera, Vol. Four. London: MacMillan Publishers, Inc. 1998 ISBN 0-333-73432-7 ISBN 1-56159-228-5
• Casa Ricordi (pub.), "Vincenzo Bellini": Outline of his life (in English) and list of critical editions of his works published by Ricordi on ricordi.it. Retrieved 13 December 2013.
• Galatopoulos, Stelios (2002), Bellini: Life, Times, Music: 1801-1835. London, Sanctuary Publishing Ltd. ISBN 9781860744051
• Osborne, Charles, The Bel Canto Operas of Rossini, Donizetti, and Bellini, Portland, Oregon: Amadeus Press, 1994. ISBN 0931340713
• Orrey, Leslie, Bellini (The Master Musicians Series), London: J. M. Dent, Ltd., 1973. ISBN 0-460-02137-0
• Rosselli, John, The Life of Bellini, New York: Cambridge University Press, 1996. ISBN 0-521-46781-0
• Thiellay, Jean; Thiellay, Jean-Philippe, Bellini, Paris: Actes Sud, 2013, ISBN 978-2-330-02377-5 (French)
• Willier, Stephen Ace, Vincenzo Bellini: A Guide to Research. Routledge, 2002. ISBN 0-8153-3805-8 and on books.google.com.
• Weinstock, Herbert (1971), Bellini: His life and His Operas, New York: Knopf. ISBN 0394416562

External links

• Media related to La sonnambula at Wikimedia Commons
• La sonnambula: Free scores at the International Music Score Library Project
• Libretto (Italian), Opera Glass, Stanford University
• Cast, synopsis (Italian, English, German), libretto (Italian, German), Opera Guide
• La sonnambula, containing the Italian text, with an English translation, and the music of all the principal airs, O. Ditson, Boston, 1900, archive.org
• Libretto in Italian and English, Testament Records (UK)
• Francis Shelton, "Bellini: La sonnambula" (review of Cecilia Bartoli's performance in the title role, Festspielhaus Baden-Baden, 10 April 2008), Musical Criticism.
• Synopsis of La sonnambula, Metropolitan Opera