La sonnambula di vincenzo bellinis biography
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La sonnambula
Opera by Vincenzo Bellini
This article is about the Bellini opera. For other uses, see La sonnambula (disambiguation).
La sonnambula (Italian pronunciation:[lasonˈnambula]; 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 at the height of a fashion for stage works incorporating somnambulism.
The role of Amina was originally written for the soprano sfogatoGiuditta 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.
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Biography
The blond-haired Sicilian Vincenzo Bellini took Italian opera forward into the Romantic period. In his short life, he produced some of the greatest masterpieces of his age. New works were received with an enthusiastic curiosity that could vary from rapturous acclaim to noisily expressed disapproval. Bellini was born into a musical family in the city of Catania where, as in all of Italy’s major centres, opera thrived. He made swift progress in his studies. At 18, he enrolled at the Real Collegio di Musica in Naples, one of the leading education institutions in Italy, where he remained for six years. In Naples he would have heard the latest works of Rossini, a composer nine years his senior, who was setting Italian opera on a new path of ornate vocal writing and orchestral richness. At the time, star singers dominated the opera world. Worshipped as gods of the theatre, they were the main attraction of any performance. Bellini would go on to work with the finest artists of his day, learning how to compose for the voice and how to imbue his vocal lines with dramatic power. In , his last year at the conservatoire, Bellini wrote Adelson e Salvini for his fellow students to perform. The following year he was given the opportunity to produce his second opera, Bianca e Ferna
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Vincenzo Bellini: description well-travelled symbol canto composer whose will was grandeur short
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When was Vincenzo Bellini born?
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