Role: Amina , an orphan who has been adopted by Teresa, engaged to Elvino. Setting: Near the mill in a Swiss village, early 19th century. Synopsis: While sleepwalking, Amina prays for Elvino and then sings her sorrow. She remembers the engagement ring that he took from her when he believed she was unfaithful to him.
|Published (Last):||8 July 2005|
|PDF File Size:||12.82 Mb|
|ePub File Size:||18.52 Mb|
|Price:||Free* [*Free Regsitration Required]|
The ballet had premiered in Paris in September at the height of a fashion for stage works incorporating somnambulism. The role of Amina was originally written for the soprano sfogato Giuditta Pasta and the tenor Giovanni Battista Rubini , but during Bellini's lifetime another soprano sfogato, Maria Malibran , was a notable exponent of the role.
The first performance took place at the Teatro Carcano in Milan on 6 March The majority of twentieth-century recordings have been made with a soprano cast as Amina, usually with added top-notes and other changes according to tradition, although it was released in soprano sfogato voice not be confused with the modern mezzo , nonexistent at the time who sang soprano and contralto roles unmodified. The phrase Ah! Returning to Milan after the I Capuleti e i Montecchi performances in March , little occurred until the latter part of April when Bellini was able to negotiate a contracts with both the Milan house for the autumn of and another for the Carnival season at La Fenice in Venice; these operas were to become Norma for La Scala and Beatrice di Tenda for Venice.
However, there was also a contract for a second Milan house for the following winter season for as-yet an unnamed opera, but it had already been agreed that Giuditta Pasta , who had achieved success in Milan in and appearing in several major operas, would be the principal artist. Then Bellini experienced the re-occurrence of an illness which had emerged in Venice due to pressure of work and the bad weather, and which consistently recurred after each opera.
The gastro-enteric condition—which he described as "a tremendous inflammatory gastric bilious fever"—  resulted in his being cared for by friends. It was not until the summer, when he went to stay near Lake Como, that the pressure to decide upon a subject for the following winter's opera became more urgent. That Pasta owned a house near Como and would be staying there over the summer was the reason that Felice Romani traveled to meet both her and Bellini. By 15 July they had decided on a subject for early , but it was uncertain as to whether Pasta was interested in singing a trousers role , that of the protagonist, Ernani, in an adaptation of Victor Hugo's Hernani , later set to music by Giuseppe Verdi in With both men having various other commitments, by the end of November nothing had been achieved in the way of writing either the libretto or the score of Ernani  but, by January, the situation and the subject had changed.
It must go on stage on 20 February at the latest. That music which he was beginning to use for Ernani was transferred to Sonnambula is not in doubt, and, as Weinstein comments, "he was as ready as most other composers of his era to reuse in a new situation musical passages created for a different, earlier one". During Bellini's lifetime another sfogato , Maria Malibran , was to become a notable exponent of the role of Amina.
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,  but it fitted Pasta's vocal capabilities, her soprano also having been described as a soprano sfogato , one which designates a contralto who is capable—by sheer industry or natural talent—of extending her upper range and being able to encompass the coloratura soprano tessitura.
The opera's premiere performance took place on 6 March , a little later than the original date. Its success was partly due to the differences between Romani's earlier libretti and this one, as well as "the accumulation of operatic experience which both [Bellini] and Romani had brought to its creation.
Weinstein's account of performances given charts those in the 20th century beginning from Stagings were presented as frequently as every two years in one European or North American venue or another, and they continued through the s bel canto revivals up to the publication of his book in Contributing to the revivals were Joan Sutherland 's taking the role of Amina at Covent Garden in  and at the Metropolitan Opera in , where the role become one of her most significant successes.
While not part of the standard repertory, La sonnambula is performed reasonably frequently in the 21st century. As can be seen in the list in the "Recordings" section, live performances in the s there being two by Callas in those years and from the s have been recorded on CD and DVD.
Additionally in the 21st century, Operabase , the database of upcoming and some past performances, shows performances of 21 productions in 16 cities presented since 1 August as well as those planned to be staged up to 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 lovelorn Alessio arrives, but she rejects his advances.
Then Amina comes out of the mill with her foster-mother, Teresa. She is the owner of the mill and had adopted Amina many years before. Amina thanks her, also expressing her thanks to her assembled friends for their kind wishes. Additionally, she thanks Alessio, who tells her that he has composed the wedding song and organised the celebrations; she wishes him well in his courtship of Lisa, but Lisa cynically rejects the idea of love. 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!
The sound of horses' hooves and a cracking whip is heard. 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 she offers him lodging at her inn. When he says that he knows it, all are surprised. 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.
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. Lisa enters Rodolfo's room to see if all is well. She reveals that his identity is known to all as Rodolfo, the long-lost son of the count. She advises him that the village is preparing a formal welcome; meanwhile she wishes to be the first to pay her respects.
She is flattered when he begins a flirtation with her, but runs out at the sound of people approaching, dropping her handkerchief which the Count picks up. He sees the approaching phantom who he recognises as Amina. She enters the room, walking in her sleep, all the while calling for Elvino and asking where he is. Realising that her nocturnal wanderings have given rise to the story of the village phantom, Rodolfo is about to take advantage of her helpless state.
But then he is struck by her obvious innocence and refrains: Scene: first Rodolfo: O ciel! What am I doing? As Amina continues her sleepwalk, Rodolfo hears the sound of people approaching and, with no other way out, he climbs out of the window. Amina continues to sleep on the sofa as the villagers arrive at the inn.
Lisa enters and points to Amina, who wakes up at the noise. Elvino, believing her faithless, rejects her in fury. Elvino then exclaims that there will be no wedding, and each expresses his or her emotional reaction to this discovery. Amina and Teresa arrive and are on a similar mission, but Amina is despondent, although Teresa encourages her daughter to continue. They then see Elvino coming in the wood looking downcast and sad.
He continues to reject Amina, even when the townspeople come in with the news that the count says that she is innocent. Elvino is not convinced and takes back the ring, though he is unable to tear her image from his heart: Aria, then chorus: Ah!
Lisa, Alessio, Elvino and the villagers are in the square. Elvino declares that he will renew his vows and proceed to marry Lisa. She is delighted. Elvino refuses to believe him and calls upon Lisa to leave, but at that moment Teresa begs the villagers to be quiet, because Amina has at last fallen into an exhausted sleep.
Learning of the impending marriage, Teresa 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 is unwilling to say what he thinks of this, but continues to insist on Amina's virtue. Elvino demands proof and Rodolfo, seeing the sleeping Amina walking across the high, dangerously unstable mill bridge, warns that to wake her would be fatal.
All watch as she relives her betrothal and her grief at Elvino's rejection, taking the withered flowers in her hand.
Aria: Amina Ah! Then as she reaches the other side safely, the distraught Elvino calls to her and she is taken into his arms. Rodolfo hands him the ring which he places on her finger, at which time she awakens and is amazed by what has happened.
All rejoice. In an aria finale, Amina expresses her joy: Ah! From Wikipedia, the free encyclopedia. This article is about the Bellini opera. For other uses, see La sonnambula disambiguation. The sleepwalker in act 2, sc. Act 2, sc. Retrieved 3 June Vincenzo Bellini.
Composizioni da Camera Vaga luna, che inargenti Oboe Concerto. Bel canto. Category:Compositions by Vincenzo Bellini. Opera portal. Namespaces Article Talk. Views Read Edit View history. Contribute Help Community portal Recent changes Upload file. In other projects Wikimedia Commons.
Directed by Mary Zimmerman Video recording made at performances in March. Wikimedia Commons has media related to La sonnambula.
Ah, non credea mirarti... Ah, non giunge... (English translation)
The ballet had premiered in Paris in September at the height of a fashion for stage works incorporating somnambulism. The role of Amina was originally written for the soprano sfogato Giuditta Pasta and the tenor Giovanni Battista Rubini , but during Bellini's lifetime another soprano sfogato, Maria Malibran , was a notable exponent of the role. The first performance took place at the Teatro Carcano in Milan on 6 March The majority of twentieth-century recordings have been made with a soprano cast as Amina, usually with added top-notes and other changes according to tradition, although it was released in soprano sfogato voice not be confused with the modern mezzo , nonexistent at the time who sang soprano and contralto roles unmodified. The phrase Ah! Returning to Milan after the I Capuleti e i Montecchi performances in March , little occurred until the latter part of April when Bellini was able to negotiate a contracts with both the Milan house for the autumn of and another for the Carnival season at La Fenice in Venice; these operas were to become Norma for La Scala and Beatrice di Tenda for Venice. However, there was also a contract for a second Milan house for the following winter season for as-yet an unnamed opera, but it had already been agreed that Giuditta Pasta , who had achieved success in Milan in and appearing in several major operas, would be the principal artist.
La sonnambula (Bellini, Vincenzo)