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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 set to an Italian libretto by Felice Romani, based 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. The ballet had premiered in Paris in September 1827 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 1831.
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-soprano, nonexistent at the time) who sang soprano and contralto roles unmodified.
The phrase Ah! non credea mirarti / Sì presto estinto, o fiore ("I did not believe I would see you fade so soon, oh flower") from Amina's final aria is inscribed on Bellini's tomb in the Catania Cathedral in Sicily.
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 1829 and 1830 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"—Bellini to Vincenzo Ferlito his, late May/early June 1830, in 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 1831, 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 1844. With both men having various other commitments, by the end of November 1830 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. Bellini wrote that "Romani is now writing La sonnambula, ossia I Due Fidanzati svezzeri...It must go on stage on 20 February at the latest."Bellini to his Venetian friend Giovanni Battista Peruchinni, 3 January 1831, in
That music which he was beginning to use for Ernani was transferred to Sonnambula is not in doubt, and, as Weinstock 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.
The opera's premiere performance took place on 6 March 1831, 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." Press reactions were universally positive, as was that of the Russian composer, Mikhail Glinka, who attended and wrote overwhelmingly enthusiastically:
After its premiere, the opera was performed in London on 28 July 1831 at the King’s Theatre and in New York on 13 November 1835 at the Park Theatre. Herbert Weinstock provides a comprehensive year-by-year listing of performances following the premiere and then, with some gaps, all the way up to 1900."Performance data", in
Later, it was a vehicle for showcasing Jenny Lind, Emma Albani and—in the early 20th century—for Lina Pagliughi and Toti Dal Monte.
Contributing to the revivals were Joan Sutherland's taking the role of Amina at Covent Garden in 1961A.P.,"London Music": reviews, including La sonnambula, The Musical Times (London), Vol. 102, No. 1415, January 1961, p. 36 (by subscription) and at the Metropolitan Opera in 1963, 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. It has been given three productions with Natalie Dessay, the first at the Santa Fe Opera in 2004, the second in Paris in January/February 2010, and the third at the Metropolitan Opera in 2009, a production which was revived in Spring 2014 with Diana Damrau singing the role of Amina. A production was mounted by The Royal Opera in London in 2011, by the Salzburger Landestheater in Salzburg 2015, " La sonnambula (2015)", Salzburger Landestheater] and by the Staatstheater am Gärtnerplatz in Munich in 2015/2016. " La sonnambula", Staatstheater am Gärtnerplatz The first mezzo-soprano to record the role was Frederica von Stade in 1980, followed by Cecilia Bartoli.Notes in literature accompanying the Bartoli CD recording. Retrieved 3 June 2010.
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!Premiere cast, 6 March 1831 Conductor: Nicola Zamboni Petrini worldcat.org (accessed 27 December 2011) | ||
| Count Rodolfo | bass | Luciano Mariani |
| Amina | soprano | Giuditta Pasta |
| Elvino | tenor | Giovanni Battista Rubini |
| Lisa | soprano | Elisa Taccani |
| Teresa | mezzo-soprano | Felicita Baillou-Hilaret |
| Alessio | bass | Lorenzo Biondi |
| Notary | tenor | Antonio Crippa |
| Villagers – Chorus | ||
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 the inn, all are surprised. (Rodolfo's aria: Vi ravviso, o luoghi ameni, / in cui lieti, in cui sereni / "O lovely scenes, again I see you, / where in serenity I spent the calm and happy days of my earliest youth".) 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. (Tu non sai con quei begli occhi / come dolce il cor mi tocchi / "You can't know how those dear eyes gently touch my heart, what adorable beauty".) 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: A fosco cielo, a notte bruna,/ al fioco raggio d'incerta luna / "When the sky is dark at night, and the moon's rays are weak, at the gloomy thunder's sound ... a shade appears." Not being superstitious, he 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. (Duet finale, Elvino and Amina: Son geloso del zefiro errante / che ti scherza col crin e col velo / "I envy the wandering breeze that plays with your hair, your veil").
Scene 2: A room in the inn
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 whom 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! che tento / "God! What am I doing?"; then, separately, Amina: Oh! come lieto è il popolo / "How happy all the people are, accompanying us to the church"; then together.) Amina continues her sleepwalk and falls asleep on the sofa, but 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 Amina in fury. Only Teresa, her adoptive mother, believes in her innocence: Ensemble finale, first Amina D'un pensiero e d'un accento / "In my thought or in my words never, never have I sinned"; then Elvino: Voglia il cielo che il duol ch'io sento / "Heaven keep you from feeling ever the pain that I feel now!"; then the people and Teresa, the former proclaiming her treachery, Teresa pleading for her to be allowed to explain. Elvino then exclaims that there will be no wedding, and each expresses his or her emotional reaction to this discovery.
Scene 2: The village, as in act 1
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. As they are about to go to the church, Rodolfo enters and tries to explain that Amina is innocent because she did not come to his room awake – she is a somnambulist, a sleepwalker: (Duet, first Elvino Signor Conte, agli occhi miei / negar fede non poss'io / "I cannot deny, my lord, what my eyes have seen"; then Rodolfo V'han certuni che dormendo / "Certain people when they sleep go about as if awake".) 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 accidentally dropped in the Count's room. 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! non credea mirarti / sì presto estinto, o fiore / "I had not thought I would see you, dear flowers, perished so soon".) 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! non giunge uman pensiero / al contento ond'io son piena / "Human thought cannot conceive of the happiness that fills me".
| Lina Pagliughi, Ferruccio Tagliavini, Cesare Siepi, Wanda Ruggeri, Anna Maria Anelli | Franco Capuana, RAI Torino Orchestra and Chorus | CD: Preiser Records Cat: 20038 |
| Maria Callas, Cesare Valletti, Giuseppe Modesti, Eugenia Ratti, Gabriella Carturan | Leonard Bernstein, La Scala Orchestra and Chorus Recording of a performance at La Scala on March 5 | CD: Warner Classics |
| 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 |
| Joan Sutherland, Nicola Monti, Fernando Corena, Sylvia Stahlman, Margreta Elkins | Richard Bonynge, Maggio Musicale Fiorentino Orchestra and Chorus | CD: Decca Records Cat: 448 966-2; 455 823-2 (France) |
| Joan Sutherland, Luciano Pavarotti, Nicolai Ghiaurov, Isobel Buchanan, Della Jones | Richard Bonynge, National Philharmonic Orchestra London Opera Chorus | CD: Decca Records Cat: 417 424-2 |
| 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 |
| Lucia Aliberti, John Aler, Francesco Ellero d'Artegna, Jane Giering, Iris Vermillion | Jesús López Cobos, Deutschen Oper Berlin Live recording | CD: Eurodisc Cat: RD 69242 |
| Ľuba Orgonášová, Raúl Giménez, , Dilber Yunus Alexandra Papadjiakou | Alberto Zedda, Netherlands Radio Chamber Orchestra (Recording of a concert performance in the Concertgebouw, Amsterdam) | CD: Naxos Records Cat: 8.660042/43 |
| Edita Gruberová, José Bros, Roberto Scandiuzzi, Dawn Kotoski, Gloria Banditelli | Marcello Viotti, Munchner Rundfunkorchester | CD: Nightinggale |
| Eva Lind, William Matteuzzi, Petteri Salomaa, Sonia Ganassi, Stefania Donzelli | Gabriele Bellini, Orchestra of Eastern Netherlands | CD: Arts |
| 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 |
| Cecilia Bartoli, Juan Diego Flórez, Ildebrando D'Arcangelo, Gemma Bertagnolli, Liliana Nikiteanu | Alessandro De Marchi, Orchestra La Scintilla | CD: L'Oiseau-Lyre (Decca Records) Cat: 478 1084 |
| 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 white television film) | DVD: Video Artists International Cat: 4239 | |
| Eva Mei, José Bros, Giacomo Prestia, , Nicoletta Curiel | Daniel Oren RAI Maggio Musicale Fiorentino Directed by Federico Tiezzi (Video recording made at performances in January) | DVD: TDK DVWW Cat: 4239 | |
| Natalie Dessay, Juan Diego Flórez, Michele Pertusi, Jennifer Black, Jane Bunnell | Evelino Pidò, Metropolitan Opera Orchestra, Chorus and Ballet Directed by Mary Zimmerman (Video recording made at performances in March) | DVD: Decca Cat: B002Y5FKUE HD video: Met Opera on Demand La sonnambula, 21 March 2009, Met Opera on Demand. | |
| 2013 | Jessica Pratt, Shalva Mukeria, , Anna Viola, Julie Mellor | Gabriele Ferro, Orchestra e Coro del Teatro La Fenice Directed by Bepi Morassi (Video recording made at performances in April) | DVD: Cmajor Cat: 0814337011390 |
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