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1041:) and Malcolm (whom she loves). The King is in the habit of going about his lands disguised as Uberto. Seeing Elena he instantly falls in love with her, but she repels his advances stating that he is confusing hospitality and friendship for romantic interest. In the meantime he has realised that she is related to his enemies. The clans gather to overthrow the king, and Rodrigo and Douglas discover Elena's secret love for Malcolm. She tries to keep the peace, but the call to arms diverts the soldiers. The battle does not go well, and Rodrigo is killed. Again the king in disguise encounters Elena and gives her a ring to take to the king if she is ever in trouble. She decides to use it and goes to Stirling Castle where she finds that both Malcolm and Douglas are prisoners. She pleads their cases, and the king magnanimously pardons them and blesses the union, now unimpeded by Rodrigo, between Elena and Malcolm.
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1087:/ "Love has preceded you, to awake me again from my slumbers"). At the edge of the lake, Elena hears the sound of horns and vainly hopes that Malcolm will be among the hunters. However, King James - who has disguised himself as "Uberto" in the hope of meeting the beautiful Elena - approaches from a distance, claiming to be a lost hunter. She offers him shelter and James accepts, and the two cross the lake towards Elena's home (Duettino:
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1362:( "Dawn! Ah! Will you always / Arise inauspiciously for me?"). Commons explains that this linking "is evidence that Rossini was taking the first step towards a concept of an opera, not as a series of disparate items, but as an organized whole in which the parts refer back and forth to each other, adding extra resonances each time that material returns."
1267:/ "Let the King give us his orders"). Elena, puzzled by the courtiers' behaviour towards "Uberto", suddenly she realises that Uberto and King James are one. King James, softened by his affection for Elena, decides to forgive Douglas; but he makes a show of severity by condemning Malcolm. Finally, he relents and brings the young couple together. In her
1242:/ "Ah! Let me perish; death now Would be a relief for my ills. But if she comes to me she will bring eternal happiness to my life"). However, he is confronted by the arriving clansmen who announce that Rodrigo has been slain and the Highlanders face certain defeat. Malcolm leaves for the palace, determined to rescue Elena even if it means his life.
1123:/ "Elena! you whom I call!, Ah!, fly back to me for a moment, come back to me and say I love you"). Then he swears he will take her away from the strongest man or die in the attempt. Unseen, Malcolm then watches Elena and her father discussing her upcoming marriage to Rodrigo. She is reluctant, but Douglas orders her to obey his command: (Aria:
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challenged both artists and composer throughout almost the entire evening." However, he does state that after the brilliance of
Colbran's rondo finale, they were very enthusiastic and called her onto the stage many times, as they did Rossini (who had refused to appear and had already left for Milan, where he was under contract to compose
1336:("Ah! may your agitated and overburded soul") which then leads into a cabaletta trio with Rodrigo "the two tenors vying with each other in high-flying vocal agility", with the "winner" being Uberto with his high D. Osborne concludes by noting, as have other scholars, that this opera anticipates how the composer moved towards
1217:/ "Oh sweet flame. Show compassion To a faithful lover"). Meanwhile, Elena asks Serano to find her father, whom she expects to see before he goes off to fight; Serano leaves. Uberto/King James then approaches Elena and declares his love, but she tells him she loves Malcolm: (Duet, leading to a trio: Elena and Uberto:
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embraced all musical techniques known to him, pushed into dramatic and structural territory largely uncharted in
Italian opera, explored the riches of the orchestra, redefined the nature of the chorus, created, in short, a tradition to which later composers who still knew these works could only look
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Douglas begs his former student King James for forgiveness, not for himself but for his daughter and those who helped him on the field of battle. The King refuses, and orders him imprisoned. As
Douglas is led away, the King is saddened by having to act so severely. Meanwhile, Elena has gained entry
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Osborne also notes the way in which "the source materials have been interwoven, giving the sense of a music drama that has in some measure been 'through-composed'." Gossett is less enthusiastic, noting that "it is almost impossible for
Italian poetry to capture the quality of Scott's characteristic
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Malcolm and his men arrive to join the
Highlanders, demanding to be put to the test. Elena tries to hide her emotions, but Douglas immediately understands where her heart lies. At the same time, Rodrigo offers friendship to Malcolm and introduces Elena as his bride-to-be; but he, too, perceives a
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as Uberto/The King, Marianna
Pizzolato as Malcolm, René Barbera as Rodrigo and Wayne Tigges as Douglas. The Metropolitan Opera's première of this opera began on 16 February 2015 with a similar cast to La Scala, but a new production, including DiDonato as Elena and Juan Diego Flórez as Uberto. The
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in Naples, this was the seventh of nine operas which
Rossini wrote for that house between 1815 and 1822. Although the première on 24 September 1819 was not a success, there followed many performances throughout major European venues (as well as being presented in Cuba and by major South American
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It is astonishing what he and
Tottola achieved in so short a time: a complex and sophisticated theatrical structure, an unusually rich vein of dramatically viable melody, exquisite orchestrations, and a striking use of the kind of off-stage effects Rossini had been experimenting with in the royal
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Arriving at her home, Elena explains her simple life. But Uberto/King James sees insignias of his ancestors and learns that Elena's father is
Douglas, the King's tutor, who has since become a rebel exiled from the court, a decision which Uberto in an aside says the King regrets. Elena's friends
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winner then in Italy. On hearing about the poem from Batton, Rossini asked for a copy and within a few days informed Batton he was so delighted with it he would compose an opera based on it. He then immediately called upon the Naples-based librettist Andrea Leone
Tottola (who is described as "a
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the previous year. A contemporary account of the evening's events reveals that, in the absence of members of the royal court, there were disruptions. A. Azevedo, in his 1864 book on the composer, notes that "the public found itself free of all restraint the audience whistled and booed, and
1221:/ "Ah! may your agitated and overburdended soul Return to reason's control"). Nevertheless, Uberto gives Elena a ring he says the King gave him, and emphasizes that it will see her through any danger. He prepares to leave, but Rodrigo steps forward, having overheard their exchange: (Duet:
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withdrew from a commitment to write two operas for the Naples house that season, thus leaving a huge gap. Rossini was quickly asked to write an opera for a September premiere; rather than use an existing libretto, the house insisted upon a wholly new opera and he accepted the challenge.
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Osborne, R. 2007, pp. 136 - 137. Osborne gives two dates for the premiere, December 23 (p. 137) and December 30 (p. 357). Weinstock 1968, p. 238, explains that the premiere was scheduled for December 23, the date on the printed libretto, but was postponed to December 30 because the lead
1291:, trumpets, harp, for what is certainly the most exhilarating moment in all his operas. Whether or not it is true to Scott, it is clearly motivated by an intense desire to capture the spirit of Scott, and this desire draws Rossini down compositional paths that he has never taken before.
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It is, in fact, no easy task to simplify the many beauties and many moments of interest of a poem in order to arrive at the regular conduct of a drama and to observe the strict laws of the stage. It therefore became unavoidable that I should make some arbitrary changes in the original
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romantic works, and marked the beginning of romanticism in Rossini's work. Scott was "deeply influential in the development of Italian romantic opera" to the extent that by 1840 (barely 20 years after this opera), there were 25 Italian operas based on his works, the most famous being
1229:/ "O my wretched eyes!".) Overwhelmed with rage and jealousy, Rodrigo orders his men to reveal themselves and kill this stranger. Elena pleads with Rodrigo's men, and Rodrigo decides to duel with Uberto himself. The two exit; Elena, trying in vain to calm them, follows.
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Initially, Tottola was well aware of the difficulties which he faced in reducing Scott's epic poem, with its detailed descriptions of the Scottish landscape and culture as well as its many characters. In his preface, the librettist summed it up by stating:
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remained in the San Carlo's repertoire for 12 years, up to the 1834/35 season. It was performed in London in February 1823 and was staged for 15 seasons until 1851, while it had its American debut in New Orleans in June 1829 followed by New York in 1833.
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Malcolm enters, looking for Elena, but finds only Albina. Serano joins them, explaining that Elena has gone in search of her father, Douglas, who is on a peace mission to the King's palace. Despondent at losing Elena, Malcolm seeks his own death: (Aria:
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In his introductory essay in the booklet accompanying the Opera Rara recording, Jeremy Commons takes many of the above comments one step further by drawing attention to the way in which the composer takes the melody of Elena's opening cavatina
1161:/ "My loving soul finds the sweetness of this moment"). Concerned that she does not appear to respond, Douglas assures Rodrigo that she is restrained by modesty. Father, daughter and suitor each express their hopes, concerns and fears: (Trio:
232:. After being obliged to leave Pesaro hurriedly in May 1819 (it turned out to be his last visit there), Rossini returned to Naples in early June with no projects in the offing, except to become involved with overseeing a new production of his
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Charles Osborne notes that the music of Act 2 "remains on a high level" (when compared to the structural innovations of act 1) but several aspects draw his attention. These include Oberto's "andante cavatina" which begins with Elena:
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to the palace by showing her ring from "Uberto", and hopes to save her father, Malcolm and Rodrigo (of whose death she is unaware). Suddenly, in the next room, she hears the voice of "Uberto" expressing love for her: (Aria:
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But together, composer and librettist, reflecting the poetic meter of the Ossian tales, "strove to interweave a sense of these very rhythms into the score and libretto." Richard Osborne describes what they accomplished:
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arrive and sing of her betrothal by her father to Rodrigo, chief of the Highlanders, a Scots tribe opposed to King James. Uberto/James becomes jealous. However, he suspects that Elena is not in love with Rodrigo (Duet:
1108:/ "What good will it do to hear about my cruel fortunes?"). Directly, he asks if there is someone she loves, and learns this was only a brief episode in her past. Encouraged, he prepares to leave Elena's house (Duet:
1354:/ "Step down into my little craft"), echoes it in the orchestra when the couple arrive at the island, and then re-introduces it right at the end of act 2 when we hear Uberto singing it off-stage in the form of a
1255:/ "Dawn! Ah! will you always Arise inauspiciously for me? Oh God! Why show me Elena's fair eyes?"). When "Uberto" comes in, Elena is thrilled, certain he will help her gain an interview with the King.
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A variety of European and American companies - about 25 in all - performed the opera from the 1960s into the early 2000s, and recordings of many of these exist, including a concert performance in the
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Many major cities in Italy, several in Spain, as well as St. Petersburg and many South American houses saw productions up to 1860, when there was a performance in Trieste. After that it disappeared.
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form. Given its sophisticated opera-going audience "the composer could experiment with musical and dramatic forms in ways that would have met with incomprehension elsewhere." Preceding as it did
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1146:/ "Like a swift-flowing stream, surging over obstacles in its way") and welcome Rodrigo. He pledges to lead them to victory but, aside, expresses anxiety to see his future bride: (Cavatina:
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1369:, from Act I of the opera, is notable for being the basis for Rossini's "Introduction, Theme, and Variations for Clarinet and Orchestra", a staple work of the solo clarinet repertoire.
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With the original September deadline missed, the new opera was presented in October and "was an enormous success", although it was not without some early disruptions from the audience.
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In summing up the musical and creative significance of this opera in Rossini's overall career, Gossett suggests that while Malcolm's two arias and Elena's final "tanti affetti" are "
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1157:/ "But where is Elena, who kindles such a sweet flame in my breast"). Acclaimed by the assembled crowd for her beauty, Elena enters. Rodrigo approaches, declaring his love: (Aria:
287:, who claimed to have found poems written by an ancient bard. The published translations acquired international popularity and set off a craze for idealising and romanticizing the
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1311:, "in its variety of moods, of forms, of vocal styles, of orchestration, it is one of the most engaging operas Rossini ever wrote and is Rossini's most tuneful opera."
713:. Due to the influence of the French style during the reigns of Joseph Bonaparte and Joachim Murat, tenor had substituted castrati and contraltos for heroic roles there.
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Despite the opera's initial poor reception in Naples, on arrival in Milan, Rossini announced it was an unqualified success, which as it happens, it then proceeded to be.
1127:/ "Be quiet! It is my wish...Show me that you're a daughter worthy of her father"). As he leaves, trumpets announce Rodrigo; Douglas orders Elena to follow him.
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1079:/ "It is the day of the harvest and rose tresses are fully blossomed). Elena appears in a boat on the lake and sings of her longing for her true love, Malcolm (
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connection between Malcolm and Elena. In a quartet accompanied by the chorus of soldiers and women, each expresses his or her conflicting emotions: (Rodrigo:
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Michaelhankim. "Han Kim Plays G.Rossini's Introduction, Theme and Variations for Clarinet and Orchestra." YouTube. YouTube, 06 Oct. 2014. Web. 21 Feb. 2017.
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Scotland under King James V (reigned 1513–1542) was in a state of unrest. Amongst the rebels were Douglas (Elena's father), Rodrigo (to whom she has been
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in August 2001, repeating that role in 2002 (with Malcolm sung by Daniela Barcellona) at the Opéra Berlioz-Le Corume on 23 July with the orchestra of the
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Initial reactions were mixed, with the conservative faction displeased by its seeming elaborateness and concerted numbers compared to the simplicity of
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1150:/ "I come to you my brave honor of the native soil"). His soldiers assure him he will win the hand of the woman he loves, as well as military victory.
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opera is best considered as a transitional work between baroque and classical forms and romanticism. It was the first and also the last but one
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went unperformed for almost a century until 1958, when a revival took place in Florence, where it was also recorded in performance at the
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houses) until about 1860, after which the opera disappeared until 1958. In modern times, performances have been given fairly frequently.
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was seen in Paris for 13 seasons between 1824 and 1854. While Rossini was living there, he was approached by the director of the Opéra,
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to a different time and incorporate elements from another Scott work; eventually, with Rossini's blessing, they also added music from
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La Donna Del Lago: Act I Scene 7: Recitative and Cavatina: Oh Quante Lacrime Finor Versai (Malcolm). N.d. YouTube. Web. 21 Feb. 2017.
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1271:, Elena rejoices to have saved both her father and her true love, while everyone else rejoices that peace has been restored: (Rondo:
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The opera received its première on 24 September 1819, with a debut cast of seasoned singers who regularly worked together, including
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Douglas enters and he and Rodrigo greet one another, the latter fervently expressing his desire to see Elena. (Rodrigo and Chorus:
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Chorus: Pastori, Pastorelle scozzesi, Bardi, Grandi di Scozia, Dame scozzesi, Guerrieri del Clan Alpino, Cacciatori, Guardie reali
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1119:/ "Happy walls, that shelter my beloved. After so long I will see her again!"). Alone, he recalls fond memories of Elena: (Aria:
1112:/ "Heavens, I feel myself transported in ecstasy"), and he and Elena expresses similar emotions. All leave as Elena goes inside.
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1095:/ "Oberto, where are you hiding?"). Frustrated, they agree to widen the search and pray for guidance in finding their leader.
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Malcolm, who has overheard the conversation, approaches Elena and they pledge their undying devotion to each other (Duettino:
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1275:/ "So many emotions at such moment / Come clamouring about my heart / That I cannot explain to you / My immense happiness")
1091:/ "Get into my little boat"). As they sail off, the men in his entourage arrive, searching for the disguised King (Chorus:
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It is significant that Naples, for whose Teatro San Carlo the opera was written, was the scene of many innovations in the
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Scottish shepherds and shepherdesses, bards, Scottish nobles and their ladies, Highland warriors, hunters, royal guards
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In describing the conclusion of the first act in musical terms, Philip Gossett makes us aware that, in the stretta,:
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Rossini brings all the tunes together contrapuntally, with full orchestra, three separate choruses, soloists,
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In the woods, Uberto/King James has come to find Elena, hoping to save her from the coming battles (Cavatina:
1134:/ (Elena, then Malcolm): "Beloved, I shall not be able to live, my love, without you"). Together they leave.
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Abruptly, Serano enters to warn of an attack by the King's forces. The Bards (Coro dei Bardi) enter and sing
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2233:"Rossini Introduction, Theme and Variations." Canadian Clarinet. N.p., 27 Mar. 2013. Web. 21 Feb. 2017.
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and the revival of the Rossini 'opera seria' " in the booklet accompanying the 1983 Pollini recording.
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Some libretti divide the action into much smaller scenes, ten in the first act and seven in the second
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Shepherds are watching flocks at dawn on the shore and men in the nearby forests are hunting (Chorus:
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Voicing gender: castrati, travesti, and the second woman in early-Nineteenth-century Italian opera
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In 1981, after an absence from America of almost 150 years, a production was mounted by the
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164:(whose verses are described as "limpid" by one critic) based on the French translation of
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1200:/ "Go on, friends and warriors, Go on, let's march, let's fight". All leave for battle.
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at Pesaro presented the first staging of H. Colin Slim's new critical edition starring
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Osborne, R. (2007), p. 283: he regards this trio as "the central achievement of act 2"
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As he worked on the libretto, Tottola "was also intrigued by the epic Celtic tales of
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2374:"Opera Essentials: La donna del lago A quick guide to Rossini's turbulent love story"
2011:
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Tanti affetti in tal momento! mi si fanno al core intorno, che l’immenso mio contento
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during the Maggio Musicale on 9 May. Ten years later, it was presented at the 1969
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mounted its first production of the opera in 150 years, with a cast that included
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263:'s opinion, he was introduced to it in translation by the young French composer
1225:/ "What distress in my fatal misfortune"". This becomes a trio with Rodrigo's:
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291:. Napoleon and Thomas Jefferson read the Ossian poems, Goethe included them in
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2651:, (Master Musicians Series). Ithaca, New York: Northeastern University Press.
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1350:/ "Oh rays of morning"), brings it back and into the duet with Uberto (Elena:
1173:/ "Cruel suspicion That sets me shuddering"; then Elena and Malcolm together:
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1601:(Recording of a concert performance in the Usher Hall, Edinburgh, 18 August)
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GiĂ un raggio forier d'immenso splendor, addita il sentier di gloria, di onor
1181:/ "Ah! Anger and resentment Tear my heart apart"; finally Albina and chorus:
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The two enter the throne room as members of the court join them: (Chorus:
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Oh fiamma soave, che l’alma mi accendi! pietosa ti rendi a un fido amator.
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Gossett, Philip & Patricia Brauner La donna del lago p. 785, in
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Aurora! ah sorgerai avversa ognor per me? D’Elena i vaghi rai mostrarmi.
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as King James/Uberto. The production by LuĂs Pasqual was conducted by
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1469:(Recording of a performance at the Houston Grand Opera, 18 October)
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Mura felici, ove il mio ben si aggira! / Dopo piĂą lune io vi riveggo
2693:, Heinemann, London 1934. ed.). New York: Dover Publications.
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as part of its festival season, also starring Joyce DiDonato, with
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The Chamber Orchestra of Europe and the Prague Philharmonic Choir
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verse," but he does agree that "the spirit of the poem is there".
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It seems Rossini was initially attracted to Scott's poem when, in
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sang the role of Uberto in a performance in the Palafestival,
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staged its first production of the work in June 2010 at the
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to his friend De Mareste, quoted in Osborne, R. 2007, p. 62
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Tottola's preface to the libretto quoted in Commons, p. 29
1177:/ "Ah my affection - keep yourself hidden"; then Douglas:
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The opera, featuring some of the Paris cast, was given by
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Houston Symphony Orchestra and Houston Grand Opera Chorus
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The Highland warriors urge one another to fight (Chorus:
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Malcolm arrives, having decided to join the Highlanders (
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of 1835. Others in German, French and English followed.
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Nineteenth Century Italian Opera from Rossini to Puccini
1165:/ "A whirlwind of contrary emotions, Swirls about me").
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Contralto Benedetta Rosmunda Pisaroni, the first Malcolm
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The Bel Canto Operas of Rossini, Donizetti, and Bellini
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comparative mediocrity when set against the likes of a
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L'occasione fa il ladro, ossia Il cambio della valigia
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The Identity of the Scottish Nation: an Historic Quest
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Ah! si pera: ormai la morte! fia sollievo a’ mali miei
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Il viaggio a Reims, ossia L'albergo del Giglio d'Oro
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Il barbiere di Siviglia, ossia L'inutile precauzione
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Elena's father, rebel and former tutor to King James
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opera he would write for Naples, the last one being
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Conservatorio Statale di Musica "Gioachino Rossini"
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Gioachino Rossini: A Research and Information Guide
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Gossett and Brauner (2001), in Holden (Ed.), p. 785
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Elena! oh tu, che chiamo!, Deh vola a me un istante
449:and librettist Gustave Vaëz to change the story of
107:
90:
82:
72:
62:
32:
3100:Matilde di Shabran, ossia Bellezza e Cuor di Ferro
2609:" in booklet accompanying the Opera Rara recording
2595:" in booklet accompanying the Opera Rara recording
2343:
2266:
2178:
1970:(Paris, 1864), quoted in Commons 2007, pp. 18 - 20
1432:(Recording of a broadcast performance, 20 April)
830:Rebel chief of the Highlanders, betrothed to Elena
2605:Kaufman, Tom (2007), "Historical Performances of
1077:Del dì la messaggiera già il crin di rose infiora
2896:Il signor Bruschino, ossia Il figlio per azzardo
2864:Ciro in Babilonia, ossia La caduta di Baldassare
2387:, volume 2 . Paris: Librairie des Bibliophiles.
2273:. Bloomington (Ind.): Indiana University Press.
1132:Vivere io non saprò/ potrò, mio ben, senza di te
3155:MoĂŻse et Pharaon, ou Le passage de la mer rouge
3028:Adelaide di Borgogna, ossia Ottone, re d'Italia
529:. The same production was revived in 1983 with
422:, a French-language pasticcio based heavily on
182:, of walking through the kingdom in disguise".
3538:Opera world premieres at the Teatro San Carlo
3084:Bianca e Falliero, ossia Il consiglio dei tre
2988:La gazzetta, ossia Il matrimonio per concorso
2776:
1552:(Recorded at performances at La Scala, June)
1265:Imponga il Re: noi siamo servi del suo voler
1179:Ah l'ira, il dispetto, mi straziano il petto!
8:
2202:
2200:
2198:
2196:
2402:. Santa Fe, NM: The Santa Fe Opera, 2013.
2385:Bibliothèque musicale du Théâtre de l'Opéra
1753:
1751:
1749:
682:in the Spring of 2013. The production, by
552:and Rockwell Blake in a performance in the
3553:Cultural depictions of James V of Scotland
3127:
2923:
2820:
2783:
2769:
2761:
1929:
1927:
1925:
1192:, in which they are then joined by Albina
1185:/ "Cruel suspicion twists Like a snake").
659:with a cast headed by Rossini specialists
51:
29:
3004:La Cenerentola, ossia La bontĂ in trionfo
2451:Opera at Movie Theaters: 2014-2015 Season
2299:. Edinburgh: Edinburgh University Press.
2119:, Royal Opera, Royal Opera House, review"
1085:Oh mattutini albori| vi ha preceduti Amor
1053:Time: First half of the sixteenth century
340:Soprano Isabella Colbran, the first Elena
2415:Scotland and France in the Enlightenment
2101:
2065:
2063:
2061:
2059:
2057:
2055:
2053:
2051:
1843:
1841:
1774:
1772:
1376:
1318:" at its finest, in this opera Rossini:
720:
591:starred in a concert performance in the
351:
238:there. Also, a commission from Milan's
2730:. Reprint (1987): New York: Limelight.
2455:(includes English and Italian libretti)
1996:
1994:
1992:
1990:
1988:
1866:
1864:
1862:
1831:
1829:
1827:
1736:
1717:
1175:Ah cèlati, o affetto, nel misero petto!
1171:Crudele sospetto, Che me agiti il petto
2324:(10th ed.). London: Bodley Head.
2314:
2148:, 15 July 2013. Retrieved 15 July 2013
356:Tenor Giovanni David, the first Uberto
170:, a narrative poem written in 1810 by
3543:Operas based on works by Walter Scott
2511:Warrack, John and West, Ewan (1992),
1954:
1805:
1803:
1183:Crudele sospetto gli serpe nel petto!
624:2003 saw a concert performance under
461:, amongst others. This "pasticcio",
187:Italian operas to be based on Scott's
7:
2755:Google translation: English Libretto
2074:on operadis-opera-discography.org.uk
1979:
1942:
1818:
1794:
1766:The legend quoted in Mays 2013, p. 9
1246:Scene 3: A room in the King's palace
559:In 1992, to mark the bicentenary of
2626:(2 ed.). Abingdon: Routledge.
2438:, Portland, Oregon: Amadeus Press.
2163:With Melting Tenderness at the Met"
2136:"Review: Joyce DiDonato dazzles in
548:, Paris, on 2 March 1986. 1990 saw
416:Set design for Act III, Scene 3 of
1835:Osborne, Richard 2007, pp. 61 - 62
1638:SWR Radio Orchestra Kaiserslautern
1430:Orchestra and Chorus of RAI Torino
1194:E vinto il nemico, domato l'audace
648:at Usher Hall, on 18 August 2006.
25:
3044:Adina, ossia Il califfo di Bagdad
2475:The New Grove Dictionary of Opera
2457:. Opera Journeys Publishing. 2014
2215:Osborne, Charles (1994), pp.96-97
2022:vol. 14, no, 4 (27 December 1846)
1968:G. Rossini: Sa Vie et Ses Oeuvres
1599:and the Edinburgh Festival Chorus
1233:Scene 2: The interior of the cave
1209:Scene 1: A thick wood with a cave
756:Malcom (Malcolm) Groeme (Graeme),
694:was presented on 13 July 2013 by
242:for an opera, which would become
3548:Libretti by Andrea Leone Tottola
3482:
3481:
3175:
2996:Otello, ossia Il Moro di Venezia
2979:
2959:Elisabetta, regina d'Inghilterra
2691:Rossini: A Study in Tragi-Comedy
2501:, Portland, OR: Amadeus Press.
2035:"Opera: Houston Digs up Rossini
759:Rebel chieftain, Elena's lover (
690:. A new co-production with the
2497:(Trans. E. T. Glasgow) (1995),
2320:Harewood, Earl of, ed. (1987).
1906:Osborne, Richard (2007), p. 280
1367:Oh! quante lacrime finor versai
1259:Scene 4: The King's Throne Room
732:(Conductor: Gioachino Rossini)
595:, Amsterdam, on 28 March 1992.
3508:Operas set in the 16th century
2686:Rossini, the man and his music
2513:The Oxford Dictionary of Opera
783:Giacomo V, Re di Scozia (King
730:Premiere Cast, 24 October 1819
1:
2417:. Bucknell University Press.
2372:Hopkins, Kate (20 May 2013).
1933:Warrack & West, p. ?
1507:Audio CD: CBS "Masterworks",
1163:Di opposti affetti un vortice
632:on 19 May. Elena was sung by
180:James V, the King of Scotland
2473:" in Stanley Sadie, (Ed.),
1757:Osborne, Charles 1994, p. 94
1743:Osborne, Charles 1994, p. 95
293:The Sorrows of Young Werther
3513:Operas by Gioachino Rossini
2714:Weinstock, Herbert (1968).
2670:Rossini: His Life and Works
2346:The New Penguin Opera Guide
2322:Kobbé's complete opera book
1093:Uberto! Ah! dove t'ascondi?
1071:mountains in the background
773:Benedetta Rosmunda Pisaroni
630:Opera Orchestra of New York
429:Although not staged at the
371:Benedetta Rosmunda Pisaroni
112:24 September 1819
3569:
2572:. Metropolitan Opera. 2015
2469:Osborne, Richard (1998), "
2206:Gossett (1983), p. 13 - 15
1597:Scottish Chamber Orchestra
1396:Opera House and Orchestra
1159:Quanto a quest'alma amante
827:Rodrigo (Roderick) di Dhu,
27:Opera by Gioachino Rossini
3477:
3450:Duetto buffo di due gatti
2840:La cambiale di matrimonio
2798:
2672:Oxford University Press.
2668:Osborne, Richard (2007),
2647:Osborne, Richard (1990),
2598:Gossett, Philip (1983), "
2591:Commons, Jeremy (2007), "
2224:Commons (2007), pp. 40-41
2092:14 June 2010] (in French)
1472:Audio CD: Celestial Audio
1223:Qual pena in me giĂ desta
896:
808:Duglas (Douglas) d'Angus,
50:
37:
3389:(1991 biographical film)
3381:(1942 biographical film)
2750:Italian Libretto (Naxos)
1809:Commons 2007, pp. 9 - 12
1352:Scendi nel piccolo legno
1148:Eccomi a voi, miei prodi
1125:Taci, lo voglio, e basti
1099:Scene 2: Douglas's home
912:The instrumentation is:
185:It was the first of the
57:Portrait of the composer
3518:Italian-language operas
3291:Petite messe solennelle
2620:Gallo, Denise (2010) .
2179:Metropolitan Opera 2015
2000:Kaufman 2007, p. 44- 51
1488:Lucia Valentini Terrani
1198:Su... amici! guerrieri!
1089:Scendi nel piccol legno
1063:Scene 1: The shores of
589:Anna Caterina Antonacci
535:Lucia Valentini Terrani
471:20th century and beyond
283:" published in 1760 by
267:, a student of his and
265:Désiré-Alexandre Batton
3533:Operas set in Scotland
3422:Rossini Opera Festival
3236:Ecco, ridente in cielo
2880:La pietra del paragone
2848:L'equivoco stravagante
2683:Toye, Francis (1987).
2531:(trans. Susannah Howe)
2398:Mays, Desirée (2013),
1888:Ferguson 1998, p. 227.
1879:Morère 2004, pp. 75-6.
1870:Mays 2013, pp. 17 - 18
1630:Ferdinand von Bothmer
1334:Alla ragion, deh rieda
1110:Cielo! in qual estasi!
1106:Le mie barbare vicende
575:, Rockwell Blake, and
519:Rossini Opera Festival
426:
377:as Uberto/King James.
357:
349:
341:
3444:La boutique fantasque
3359:The Barber of Seville
2295:Ferguson, W. (1998).
2265:André, Naomi (2006).
2125:(London), 18 May 2013
2113:Rupert Christiansen,
1692:orchestra and chorus,
1644:Recorded live at the
1435:Audio CD: Opera d'Oro
1219:Alla ragion deh rieda
554:Teatro Regio di Parma
415:
355:
347:
339:
3340:Péchés de vieillesse
3147:Le siège de Corinthe
2935:Aureliano in Palmira
2912:L'italiana in Algeri
2803:List of compositions
2716:Rossini: A Biography
2689:(Revised edition of
2400:Opera Unveiled: 2013
2376:. Royal Opera House.
2145:Santa Fe New Mexican
2014:, was ill. See also
1856:Pistone (1995), p. 3
1641:Prague Chamber Choir
1550:Orchestra and Chorus
1348:Oh mattutini albori!
1144:Qual rapido torrente
642:Bruce Fowler (tenor)
619:Bruce Fowler (tenor)
480:Teatro della Pergola
167:The Lady of the Lake
162:Andrea Leone Tottola
145:The Lady of the Lake
96:The Lady of the Lake
77:Andrea Leone Tottola
67:The Lady of the Lake
3456:Matinées musicales
3370:Cultural depictions
3324:La regata veneziana
3052:Ricciardo e Zoraide
2967:Torvaldo e Dorliska
2718:. New York: Knopf.
2570:"La donna del lago"
2554:"La donna del lago"
2528:"La donna del lago"
2413:Morère, P. (2004).
2350:. London: Penguin.
2169:, February 17, 2015
2157:Anthony Tommasini,
2090:" on forumopera.com
1847:Gossett 1983, p. 12
1623:Marianna Pizzolato,
1574:Carmen Giannattasio
1446:Frederica Von Stade
1360:Aurora! ah sorgerai
1227:Misere mie pupille!
1008:, second violins,
885:Servant to the King
785:James V of Scotland
779:Uberto di Snowdon,
686:, was conducted by
546:Théâtre du Châtelet
509:, and conducted by
499:Frederica von Stade
495:Houston Grand Opera
383:Ricciardo e Zoraide
332:Performance history
317:Ricciardo e Zoraide
216:The period between
212:Composition history
197:Lucia di Lammermoor
3427:Rossini in Wildbad
3309:Six string sonatas
3068:Eduardo e Cristina
2943:Il turco in Italia
2832:Demetrio e Polibio
2471:Donna del lago, La
2167:The New York Times
2043:The New York Times
1690:Metropolitan Opera
1670:Daniela Barcellona
1646:Rossini in Wildbad
1492:Dalmacio Gonzales,
1408:Montserrat Caballé
892:Massimo Orlandini
791:Enamoured of Elena
696:The Santa Fe Opera
692:Metropolitan Opera
646:Edinburgh Festival
490:in the lead role.
427:
358:
350:
342:
289:Scottish Highlands
176:Scottish Highlands
3495:
3494:
3462:Messa per Rossini
3405:Named for Rossini
3386:Rossini! Rossini!
3343:(1857–1868)
3243:Largo al factotum
3194:
3193:
3126:
3125:
3076:La donna del lago
2922:
2921:
2792:Gioachino Rossini
2736:978-0-87910-071-1
2678:978-0-19-518129-6
2607:La donna del lago
2600:La Donna del Lago
2593:La donna del lago
2408:978-1-4675-5718-4
2381:Lajarte, Théodore
2161:La Donna del Lago
2138:La donna del lago
2117:La Donna del Lago
2088:La Donna del Lago
2084:Christian Peter,
2072:La donna del lago
2045:, 17 October 1981
1982:, pp. 88–89.
1709:
1708:
1697:, stage director
1675:Juan Diego Florez
1548:Teatro alla Scala
1483:Katia Ricciarelli
1389:Uberto (Giacomo),
1029:
1028:
905:
904:
857:Gaetano Chizzola
821:Michele Benedetti
700:Lawrence Brownlee
665:Juan Diego FlĂłrez
599:Juan Diego FlĂłrez
583:and conducted by
556:in January 1990.
531:Katia Ricciarelli
447:Louis Niedermeyer
424:La donna del lago
390:Bianca e Falliero
245:Bianca e Falliero
230:La donna del lago
154:Gioachino Rossini
135:La donna del lago
131:
130:
44:Gioachino Rossini
33:La donna del lago
18:La Donna del Lago
16:(Redirected from
3560:
3485:
3484:
3436:Related articles
3351:Film adaptations
3257:Una voce poco fa
3184:Ugo, re d'Italia
3179:
3128:
2983:
2924:
2872:La scala di seta
2856:L'inganno felice
2821:
2785:
2778:
2771:
2762:
2711:
2709:
2707:
2644:
2642:
2640:
2581:
2579:
2577:
2565:
2563:
2561:
2556:. La Scala. 2011
2542:
2540:
2538:
2532:
2526:Zedda, Alberto.
2495:Pistone, Danièle
2466:
2464:
2462:
2456:
2432:Osborne, Charles
2428:
2377:
2368:
2366:
2364:
2349:
2335:
2310:
2291:
2289:
2287:
2272:
2252:
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2067:
2046:
2031:
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2001:
1998:
1983:
1977:
1971:
1964:
1958:
1952:
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1940:
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1920:
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1816:
1810:
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1798:
1792:
1779:
1776:
1767:
1764:
1758:
1755:
1744:
1741:
1725:
1722:
1685:Michele Mariotti
1656:Cat:8.660235-36
1579:Patricia Bardon,
1576:
1564:Cat: OALS 3009D
1560:Cat: 473 307-2;
1500:Maurizio Pollini
1465:Claudio Scimone,
1422:Pietro Bottazzo
1418:Franco Bonisolli
1377:
989:
988:
983:
982:
959:
958:
916:
750:Isabella Colbran
740:Lady of the Lake
721:
711:Maometto secondo
688:Michele Mariotti
638:Stephanie Blythe
634:Ruth Ann Swenson
615:Ruth Ann Swenson
613:in August, with
527:Philip Langridge
486:in London, with
367:Isabella Colbran
285:James Macpherson
250:Gaspare Spontini
205:Teatro San Carlo
203:Written for the
172:Sir Walter Scott
123:Teatro San Carlo
119:
117:
102:Sir Walter Scott
55:
46:
30:
21:
3568:
3567:
3563:
3562:
3561:
3559:
3558:
3557:
3498:
3497:
3496:
3491:
3473:
3431:
3400:
3394:Rossini's Ghost
3365:
3346:
3297:
3275:Messa di Gloria
3262:
3223:
3190:
3122:
2918:
2812:
2794:
2789:
2746:
2741:
2705:
2703:
2701:
2682:
2638:
2636:
2634:
2619:
2616:
2588:
2575:
2573:
2568:
2559:
2557:
2552:
2549:
2536:
2534:
2530:
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2515:New York: OUP.
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2100:
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2033:Donal Henahan,
2032:
2028:
2010:mezzo-soprano,
2008:
2004:
1999:
1986:
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1705:Cat:2564605098
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1592:Maurizio Benini
1585:
1580:
1578:
1572:
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1562:DVD: Opus Arte,
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1559:
1551:
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1529:Martine Dupuy,
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1391:Rodrigo di Dhu
1390:
1388:
1386:
1384:
1375:
1330:Oh fiamma soave
1281:
1206:
1060:
1050:Place: Scotland
1047:
1035:
1030:
986:
985:
980:
979:
956:
955:
910:
908:Instrumentation
898:
883:
863:
845:
828:
809:
788:
757:
738:
731:
719:
676:The Royal Opera
640:and Rodrigo by
517:. In 1981, the
511:Claudio Scimone
484:Camden Festival
473:
399:
373:as Malcolm and
363:
334:
214:
127:
126:
120:
115:
113:
99:
58:
42:
28:
23:
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12:
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3316:Edipo a Colono
3312:
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3264:
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3221:
3213:
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3192:
3191:
3189:
3188:
3180:
3171:Guillaume Tell
3167:
3159:
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3134:
3132:
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3120:
3112:
3104:
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3080:
3072:
3064:
3056:
3048:
3040:
3036:Mosè in Egitto
3032:
3024:
3016:
3012:La gazza ladra
3008:
3000:
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2984:
2971:
2963:
2955:
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2892:
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2868:
2860:
2852:
2844:
2836:
2827:
2825:
2818:
2814:
2813:
2811:
2810:
2808:List of operas
2805:
2799:
2796:
2795:
2790:
2788:
2787:
2780:
2773:
2765:
2759:
2758:
2757:(also Italian)
2752:
2745:
2744:External links
2742:
2740:
2739:
2712:
2699:
2680:
2666:
2645:
2632:
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2509:
2492:
2467:
2446:
2429:
2423:
2410:
2396:
2378:
2369:
2356:
2342:, ed. (2001).
2340:Holden, Amanda
2336:
2330:
2317:
2311:
2305:
2292:
2279:
2261:
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2171:
2150:
2134:James Keller,
2127:
2106:
2094:
2077:
2070:Recordings of
2047:
2037:Donna del Lago
2026:
2002:
1984:
1972:
1966:A. Azevedo in
1959:
1947:
1935:
1921:
1915:A letter from
1908:
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1582:Kenneth Tarver
1570:
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1522:
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1509:Cat: CD 39311;
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1443:
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1437:Cat: OPD 1206
1433:
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1339:Guillaume Tell
1325:
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1155:Ma dov'è colei
1059:
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835:
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802:Giovanni David
799:
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747:
742:
737:Elena (Ellen),
734:
733:
728:
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684:John Fulljames
669:Roberto Abbado
661:Joyce DiDonato
657:Palais Garnier
579:, directed by
550:Cecilia Gasdia
507:Rockwell Blake
488:Kiri Te Kanawa
472:
469:
398:
395:
375:Giovanni David
362:
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261:Philip Gossett
235:La gazza ladra
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2664:1-55553-088-5
2661:
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2657:1-55553-088-5
2654:
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2646:
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2633:9781135847012
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2529:
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2521:0-19-869164-5
2518:
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2508:
2507:0-931340-82-9
2504:
2500:
2496:
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2491:
2490:1-56159-228-5
2487:
2484:
2483:0-333-73432-7
2480:
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2444:0-931340-71-3
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2357:9780140514759
2353:
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2327:
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2318:
2316:
2315:Holden (2001)
2312:
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2280:9780253217899
2276:
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2164:
2162:
2154:
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2147:
2146:
2140:
2139:
2131:
2128:
2124:
2123:The Telegraph
2120:
2118:
2110:
2107:
2103:
2102:La Scala 2011
2098:
2095:
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2078:
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2027:
2023:
2019:
2018:
2013:
2012:Rosine Stoltz
2006:
2003:
1997:
1995:
1993:
1991:
1989:
1985:
1981:
1976:
1973:
1969:
1963:
1960:
1956:
1951:
1948:
1945:, p. 88.
1944:
1939:
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1821:, p. 76.
1820:
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1797:, p. 87.
1796:
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1754:
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1701:Erato Records
1699:
1696:
1691:
1686:
1683:
1681:
1676:
1671:
1666:
1663:
1660:
1659:
1654:
1653:Naxos Records
1650:
1647:
1642:
1635:
1634:Alberto Zedda
1632:
1627:
1626:Maxim Mironov
1620:
1619:Sonia Ganassi
1617:
1614:
1613:
1607:
1603:
1598:
1593:
1590:
1588:
1587:Gregory Kunde
1583:
1575:
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1558:
1554:
1549:
1544:
1543:Riccardo Muti
1541:
1538:
1537:Chris Merritt
1533:
1526:
1525:June Anderson
1523:
1520:
1519:
1513:
1506:
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1498:
1496:
1495:Dano Raffanti
1489:
1484:
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1464:
1462:
1461:Dano Raffanti
1457:
1452:
1451:Marilyn Horne
1447:
1444:
1441:
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1427:
1426:Piero Bellugi
1424:
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1070:
1066:
1057:
1052:
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1032:
1025:
1019:
1018:double basses
1015:
1011:
1007:
1003:
999:
996:
993:
977:
973:
970:
969:
968:
963:
953:
949:
945:
942:
939:
936:in Bes and 2
935:
931:
927:
923:
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919:
918:
917:
913:
907:
901:
895:
891:
888:
886:
881:
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876:
874:
873:mezzo-soprano
871:
869:
868:
861:
860:
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851:
850:
843:
842:
839:
836:
833:
831:
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723:
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712:
708:
707:
701:
697:
693:
689:
685:
681:
680:Covent Garden
677:
672:
670:
666:
663:as Elena and
662:
658:
654:
649:
647:
643:
639:
636:, Malcolm by
635:
631:
628:given by the
627:
622:
620:
617:as Elena and
616:
612:
608:
604:
600:
596:
594:
593:Concertgebouw
590:
586:
585:Riccardo Muti
582:
581:Werner Herzog
578:
577:Chris Merritt
574:
573:June Anderson
570:
566:
562:
557:
555:
551:
547:
542:
540:
536:
532:
528:
524:
523:Lella Cuberli
520:
516:
515:Covent Garden
512:
508:
504:
503:Marilyn Horne
500:
496:
491:
489:
485:
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477:
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296:
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277:
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274:Felice Romani
270:
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177:
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146:
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137:
136:
124:
110:
106:
103:
98:
97:
93:
89:
85:
81:
78:
75:
71:
68:
65:
61:
54:
49:
45:
40:
36:
31:
19:
3466:
3454:
3442:
3417:Prix Rossini
3392:
3384:
3376:
3358:
3338:
3330:
3322:
3314:
3294:(1864, 1867)
3289:
3286:(1831, 1841)
3283:Stabat mater
3281:
3273:
3267:Sacred music
3250:Sombre forĂŞt
3217:Robert Bruce
3215:
3207:
3187:(unfinished)
3182:
3169:
3163:Le comte Ory
3161:
3153:
3145:
3137:
3114:
3106:
3098:
3090:
3082:
3075:
3074:
3066:
3058:
3050:
3042:
3034:
3026:
3018:
3010:
3002:
2994:
2986:
2973:
2965:
2957:
2949:
2941:
2933:
2910:
2902:
2894:
2886:
2878:
2870:
2862:
2854:
2846:
2838:
2830:
2715:
2704:. Retrieved
2690:
2685:
2669:
2648:
2637:. Retrieved
2622:
2606:
2599:
2592:
2574:. Retrieved
2558:. Retrieved
2547:Performances
2535:. Retrieved
2512:
2498:
2474:
2470:
2459:. Retrieved
2450:
2435:
2414:
2399:
2393:Google Books
2384:
2361:. Retrieved
2345:
2321:
2296:
2284:. Retrieved
2268:
2258:Bibliography
2247:
2238:
2229:
2220:
2211:
2186:
2174:
2166:
2160:
2153:
2142:
2137:
2130:
2122:
2116:
2109:
2097:
2087:
2080:
2071:
2042:
2036:
2029:
2017:Le MĂ©nestrel
2015:
2005:
1975:
1967:
1962:
1950:
1938:
1911:
1902:
1893:
1884:
1875:
1852:
1814:
1762:
1739:
1720:
1610:Cat: ORC 34
1516:Cat: CDC 31
1474:Cat: CA 417
1413:Julia Hamari
1366:
1364:
1359:
1355:
1351:
1347:
1344:
1337:
1333:
1329:
1326:
1323:back in awe.
1313:
1306:
1300:
1296:
1294:
1282:
1272:
1269:rondo finale
1264:
1262:
1258:
1257:
1252:
1249:
1245:
1244:
1239:
1236:
1232:
1231:
1226:
1222:
1218:
1214:
1212:
1208:
1207:
1197:
1193:
1189:
1187:
1182:
1178:
1174:
1170:
1167:
1162:
1158:
1154:
1152:
1147:
1143:
1141:
1137:
1136:
1131:
1129:
1124:
1120:
1116:
1114:
1109:
1105:
1102:
1098:
1097:
1092:
1088:
1084:
1076:
1074:
1065:Loch Katrine
1062:
1061:
1036:
1023:
1014:violoncellos
911:
899:
884:
877:Maria Manzi
864:
846:
829:
810:
790:
789:
780:
758:
739:
704:
673:
650:
623:
621:as Rodrigo.
597:
558:
543:
539:Samuel Ramey
492:
475:
474:
464:Robert Bruce
462:
458:
454:
450:
442:
434:
428:
423:
419:Robert Bruce
417:
408:
402:
400:
397:19th century
388:
381:
379:
364:
327:
323:
315:
314:pageants of
307:
297:
292:
278:
269:Prix de Rome
258:musicologist
255:
243:
233:
229:
223:
217:
215:
202:
195:
184:
165:
152:composed by
144:
143:
134:
133:
132:
94:
66:
3523:1819 operas
3397:(1996 film)
3361:(1947 film)
3302:Other works
3131:Later works
3092:Maometto II
2824:Early works
2159:"Review: A
1695:Paul Curran
1680:John Osborn
1555:Audio CD:
1512:Fonit Cetra
1302:Maometto II
1297:opera seria
1067:, with the
761:en travesti
727:Voice type
706:en travesti
653:Paris Opera
497:, starring
439:LĂ©on Pillet
222:(1817) and
63:Translation
3502:Categories
3468:Rossiniana
3116:Semiramide
2951:Sigismondo
2586:Recordings
2424:0838755267
2331:0370310179
2306:0748610715
1955:André 2006
1732:References
1606:Opera Rara
1604:Audio CD:
1394:Conductor,
1373:Recordings
1356:canzoncina
972:Percussion
867:confidante
847:Douglas's
626:Eve Queler
607:Rome Opera
563:'s birth,
369:as Elena,
225:Semiramide
116:1819-09-24
73:Librettist
3200:Pastiches
2728:250474431
1980:Toye 1987
1943:Toye 1987
1819:Toye 1987
1795:Toye 1987
1651:Audio CD:
1648:Festival
1365:The aria
1316:bel canto
1039:betrothed
992:bass drum
962:trombones
934:clarinets
922:Woodwinds
768:contralto
569:bel canto
192:Donizetti
3487:Category
3332:La Danza
2927:Maturity
2904:Tancredi
2706:13 March
2639:15 March
2576:15 March
2560:15 March
2537:14 March
2461:15 March
2434:(1994),
2383:(1878),
2363:12 March
2286:14 March
1917:Stendhal
1387:Malcolm,
1081:Cavatina
1069:Ben Ledi
1033:Synopsis
1004:, first
987:♭
981:♭
957:♭
948:trumpets
938:bassoons
882:Bertram,
865:Elena's
849:retainer
781:alias of
611:Salzburg
571:experts
565:La Scala
476:La donna
451:La donna
443:La donna
435:La donna
403:La donna
361:Première
240:La Scala
158:libretto
148:) is an
125:, Naples
108:Premiere
91:Based on
83:Language
3378:Rossini
3209:Ivanhoé
3174:(1829)
3108:Zelmira
3060:Ermione
2978:(1816)
2649:Rossini
2614:Rossini
2533:. Naxos
1557:Philips
1399:Label:
1308:Zelmira
1138:Scene 3
1006:violins
998:Strings
976:timpani
862:Albina,
844:Serano,
745:soprano
561:Rossini
455:Zelmira
156:with a
140:English
114: (
86:Italian
3528:Operas
3335:(1835)
3327:(1835)
3319:(1817)
3311:(1804)
3278:(1820)
3220:(1846)
3212:(1826)
3166:(1828)
3158:(1827)
3150:(1826)
3142:(1825)
3119:(1823)
3111:(1822)
3103:(1821)
3095:(1820)
3087:(1819)
3079:(1819)
3071:(1819)
3063:(1819)
3055:(1818)
3047:(1826)
3039:(1818)
3031:(1817)
3023:(1817)
3020:Armida
3015:(1817)
3007:(1817)
2999:(1816)
2991:(1816)
2970:(1815)
2962:(1815)
2954:(1814)
2946:(1814)
2938:(1813)
2915:(1813)
2907:(1813)
2899:(1813)
2891:(1812)
2883:(1812)
2875:(1812)
2867:(1812)
2859:(1812)
2851:(1811)
2843:(1810)
2835:(1812)
2817:Operas
2734:
2724:192614
2722:
2697:
2676:
2662:
2655:
2630:
2519:
2505:
2488:
2481:
2442:
2421:
2406:
2354:
2328:
2303:
2277:
1385:Elena,
1024:
1010:violas
926:flutes
854:tenor
834:tenor
603:Pesaro
505:, and
459:Armida
281:Ossian
3228:Arias
1712:Notes
1661:2015
1615:2008
1569:2006
1521:1992
1479:1983
1442:1981
1404:1970
1383:Cast:
1380:Year
1289:opera
1279:Music
1204:Act 2
1058:Act 1
984:and B
952:horns
944:Brass
930:oboes
889:bass
797:tenor
724:Role
717:Roles
431:Opéra
150:opera
39:Opera
2732:ISBN
2720:OCLC
2708:2015
2695:ISBN
2674:ISBN
2660:ISBN
2653:ISBN
2641:2015
2628:ISBN
2578:2015
2562:2015
2539:2015
2517:ISBN
2503:ISBN
2486:ISBN
2479:ISBN
2463:2015
2440:ISBN
2419:ISBN
2404:ISBN
2389:View
2365:2015
2352:ISBN
2326:ISBN
2301:ISBN
2288:2015
2275:ISBN
2143:The
1305:and
1045:Plot
1016:and
1002:harp
1000:: 1
974:: 2
960:, 3
954:in E
950:, 2
946:: 2
932:, 2
928:, 2
924:: 2
816:bass
651:The
537:and
525:and
457:and
393:.).
2391:at
990:),
304:...
194:'s
160:by
100:by
41:by
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2726:,
2195:^
2165:,
2141:,
2121:,
2050:^
2041:,
1987:^
1924:^
1861:^
1840:^
1826:^
1802:^
1783:^
1771:^
1748:^
1545:,
1539:,
1534:,
1527:,
1485:,
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1342:.
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978:(E
678:,
587:.
541:.
533:,
501:,
433:,
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