737:
339:, the librettist's words gave him no inspiration at all and, at their next meeting, Romani agreed to re-write the text. Returning within half an hour, the second version left Bellini equally cold—as did a third draft. Finally, when asked what it was that he was seeking, Bellini replied: "I want a thought that will be at one and the same time a prayer, an imprecation, a warning, a delirium....". A fourth draft was quickly prepared: "Have I entered into your spirit?" asked the librettist—and he was immediately embraced by the young composer who was totally satisfied.
825:
will never see her again if
Valdeburgo judges her unworthy. The pair approach the cabin, from which Alaide emerges. Upon seeing her, Valdeburgo hails her and almost calls out her real name, but Alaide stops him. Valdeburgo tells Arturo that —for reasons he cannot reveal— Arturo must renounce any intentions toward Alaide. She cannot ever marry Arturo. Thinking Valdeburgo is his rival for Alaide's affections, Arturo is about to attack him with his sword, but he declares that he is not a rival. (Trio: first Valdeburgo
792:/ "Oh you who know the quakings of this wounded heart of mine"). Valdeburgo offers his services as someone from whom she may find comfort, while her father and his retinue urges calm and that she adopt a happier expression. Montolino and Osburgo discuss the situation, the former fearing that Arturo lacks concern for his intended bride while the latter describes Arturo's interest in other hermit-like people as part of his character, but promises to do his best to return Arturo to his intended bride.
39:
883:/ "Ah! have pity.... It is not I who speaks; / It is a love that is desperate, / It is the grief of a wounded heart".) Arturo continues to describe the "torturing madness of a burning heart" while Valdeburgo explains that, for Alaide's peace of mind, Arturo must leave her in peace and that he should fulfill his promises to Isoletta by marrying her. Reluctantly, Arturo agrees to return to marry Isoletta, but asks that Alaide attend his wedding so he can see her one last time. Valdeburgo agrees.
862:. The Prior feels that he has heard her voice before, and he demands that she prove her innocence. She is reluctant to say much more. Suddenly, Arturo rushes in and proclaims her innocence and confesses his own guilt, stating that he killed someone whom he assumed was a rival. All appears to doom both Alaide and Arturo when, into the chamber Valdeburgo suddenly appears, announcing that Arturo is innocent and that it was in single combat with Arturo that he fell into the lake.
363:
812:/ "Hush, hush, my love is condemned upon this earth; I cannot associate you with a destiny that is so hostile towards me". She tells him that she will reveal nothing about her past and begs him never to return. However, as the duet continues, she exclaims: "Ah! would that I could so easily / Erase you from ", admitting an attraction to Arturo. He says that he will continue to follow her "even into a desert" while she responds: "Your wish will prove your undoing".
904:
Isoletta greets Arturo who ignores her and remains in an anxious state, to the point where she realises that he does not love her and, essentially, releases him from his obligations. Then Alaide suddenly reveals herself, declaring that she has come to give
Isoletta courage. As "La straniera", she begs Isoletta to continue with the wedding, and, taking the prospective bride and groom by the arm, begins to lead them into the church.
845:
and he falls into the lake. Alaide then appears and Arturo declares that he has killed his rival, but Alaide, heavily shocked, reveals that
Valdeburgo is actually her brother. Upon hearing that news, Arturo jumps into the lake in an effort to save Valdeburgo. Attracted by the shouting, a crowd finds Alaide standing with Arturo's bloody sword, and they accuse her of murdering Valdeburgo. She is dragged off as a prisoner.
230:
1964:
351:
385:
220:
212:
259:, the impresario who controlled both the Naples and the Milan theatres. However, when Barbaja visited Milan in June, he offered Bellini the opportunity to choose between working for either Naples or Milan as the venue for his next opera. For the composer, the decision hung on the availability of singers for each of the houses, especially because
776:/ "Row, row, the wind has dropped......this blessed peace is the message of love".) But, together on the shore, Isoletta tells Baron Valdeburgo that she fears her Arturo has changed his attitude toward her and believes that he has fallen in love with a mysterious woman living as a hermit in a hut by the lake: (Duet: Isoletta to Valdeburgo:
1851:
183:. Ingeborg, however, insisted that the marriage had been consummated, and that she was his wife and the rightful Queen of France. Philip ultimately obtained an annulment through an assembly of French bishops. He then sought to marry Marguerite, daughter of William I, Count of Geneva, but she was kidnapped on the way to Paris by
801:
realises that it is she and, when she comes into the room, she chastises him for entering her hut. He continues to demand that he is there only to help her and that he loves her, while she keeps pressuring him to leave her in peace expressing the feeling that there is "an insuperable barrier between us".
824:
During a hunting expedition, Osburgo and
Valdeburgo encounter Arturo, but are aware that Alaide's cabin is close by. Osburgo begs him to return for his wedding to Isoletta, but he refuses, declaring that he does not love her. He asks Valdeburgo to meet his true love, after which he promises that he
334:
Following Romani's recovery, the libretto was delivered piecemeal, but
Bellini set to work again, albeit that progress was slow. By 7 January 1829, with Romani having recovered and set off for Venice to fulfill another contract, the composer was "almost up to the 2nd act". Filippo Cicconetti, in his
914:
Arturo burst out from inside the church, takes Alaide's hand, begging her to run off with him as he tries to drag her away. At that moment, the Prior rushes from the church and recognises Alaide as Queen Agnes. He announces that he has just learned that the Queen's rival for the throne, Isemberga,
895:/ "And not a soul returns? Oh cruel, / Grievous uncertainty! All leave me in / Ignorance of what has happened"). In her grief and misery she speaks to Arturo's portrait until the wedding party joyfully appears proclaiming that Arturo is in the castle and that he wants to marry her that very day.
237:
Bellini and his librettist Romani took tremendous liberties with this already unusual story and devised a plot where the King, in order to resolve the problem of his double marriage, sends Agnes to live at a cottage on Lake
Montolino. Philip then sends her brother to secretly watch over her, while
903:
Knight and ladies assemble and
Montolino welcomes them, but Arturo is confused, then seeing Valdeburgo, he approaches him. Meanwhile, Alaide has entered and concealed herself. Valdeburgo tells Arturo that Alaide is present, but hidden. (Quartet: Arturo, Isoletta, Valdeburgo, and Alaide, aside).
844:
The couple comes out of the cabin, observed by Arturo, who overhears that they plan to leave together the next day. Arturo concludes that they are lovers, and after Alaide has returned to her cabin, he confronts
Valdeburgo furiously and demands revenge. The men fight a duel, Valdeburgo is wounded,
865:
The Prior again demands that Alaide reveal her identity, but she refuses. However, she does agree to lift her veil for the Prior alone and he gasps upon seeing her face. Immediately, he sends her away with
Valdeburgo. Arturo is left alone, while the Prior chastises Osburgo for his false testimony
423:
Others wrote equally enthusiastic reports, with abundant praise being given to the singers as well. However, there were detractors who criticised both the opera and its composer: its new style and its restless harmonic shifts into remote keys did not please all. 45 years later it was stated that
326:
that he did not think the performance could take place as scheduled due to Romani being ill. In addition, he was concerned about who would sing the tenor role when he had been unable to obtain Rubini's release from his Naples contract. Fortunately, having received good reports of the young tenor
829:/ "No: I am not your rival; then Arturo "Ah, if he is not my rival, / What does he wish of me"; then Alaide "No, you have no rival".) Alaide begs Arturo to leave, promising that she will see him again: "Your life, Arturo, matters to me as my own". Both Alaide and Valdeburgo urge Arturo to leave.
300:
appeared in 1821 and achieved an "extraordinary, even colossal, celebrity." In the space of several months, the book was reprinted a dozen times; it was translated into ten languages; there were no fewer than seven operas based on its story, and twice as many dramatic adaptations; and it was the
800:
Furtively, Arturo enters "The
Stranger" Alaide's hut, desiring to know the identity of this mysterious woman. Inside, he sees a portrait of her dressed in royal robes, wearing jewels. He hears a voice in the distance, singing a lament which expresses the joys of solitude and of a lowly life. He
787:
Count Montolino enters, supporting his daughter Isoletta's concerns, but is reassured by his friend Osburgo who promises to bring Arturo to his senses. Together, Isoletta and Valdeburgo share her concern as to what has transpired: (Duet and ensemble: Isoletta, then Valdeburgo, then chorus, as
911:/ "Merciful Heaven, in such a cruel moment, / Forgive my lips if they utter a lament"). Then religious music is heard from within the church with the choir singing blessings to the couple. Alaide's torment continues, until—suddenly—there is silence, followed by chaotic sounds from within.
815:
Then the sound of huntsmen is heard in the distance. Alaide urgently urges Arturo to leave. In the scene finale duet, the couple each expresses his or her feelings and anxieties, hers being to continue to warn him, his being to insist that "your fate will be mine / In life or in death".
263:, his preferred tenor, was contracted to sing only in Naples. However, by 16 June, he had decided on the location to be Milan, and then signed a contract to write a new opera for the Carnival season for a fee of one thousand ducati. This compared to 150 ducati for his first opera.
874:
Arturo comes to beg Alaide's forgiveness and confess his love, and, as he is about to enter the cabin, he encounters Valdeburgo, who again pleads with Arturo to desist in his attentions toward his sister, demanding that he draw his sword: (In an extended duet, first Valdeburgo
289:
of 1825 by Charles-Victor Prévot, vicomte d'Arlincourt, and planned for the premiere on the opening night of the season on 26 December. In the 1820s, the popularity of this author, upon whom was bestowed the epithet "the prince of the romantics", rivalled that of
238:
masquerading under the name Valdeburgo. Agnes has assumed the name of Alaide and hides under a veil. Count Arturo has fallen in love with her, in spite of his engagement to Isoletta, daughter of the Duke of Montolino. At this point the opera begins.
373:
784:/ "A newly bloomed rose has scarce opened / her virgin breast to the serene sky, / and already she wilts in pallor".) In the distance a crowd is heard following "La straniera" who has been seen from the lake shore. They curse her as a witch.
841:/ "Whatever am I to think? My heart is heavy / and I am left with an atrocious doubt..."). When Osburgo and his entourage enter, they tell him that he is betrayed because they have overheard Valdeburgo and Alaide planning to flee together.
471:, in Florence and Regio di Calabria in 1840, Brescia in August 1850, Milan again in 1857, and then in Turin in 1866. As noted by Tom Kaufman, its last-known presentation in the 19th century was in Catania in 1875 with Ana Eyre as Alaide.
335:
1859 biography, gives an account of Bellini's working methods, explaining how he set texts to music always with the words in front of him in order to see how inspired to compose he might become. When it came time to compose the final aria
331:, he was able to secure his services, describing him in a letter to Florimo as "one who will want to do himself honour; everyone tells me that his voice is beautiful, and that he has all the acting and spirit one could wish for."
736:
411:
a clamorous success... the poet the composer well, and the composer could not have served the singers better; all competed to render themselves pleasing to the public, and succeeded in such a way as to be applauded
486:
Following its last-known performance in 1875, the opera was first revived in April 1935 at La Scala with other revivals beginning in 1954 in Bellini's hometown of Catania. It was staged again between 1968 (at the
419:
Reporting to Romani, who was still in Venice, Bellini gave an account of the success: "The thing went as we never had imagined it. We were in seventh heaven. With receive my gratitude more than ever...."
1377:
915:
has died and now Alaide must return to Paris. Arturo, rendered mad by this news, throws himself on his sword and dies. Finally, La Straniera/Alaide/Agnes is in total despair. (Aria, then choral finale:
858:
Alaide is brought to trial before the assembled judges, but concealed beneath a heavy veil. Osburgo testifies against her. When asked her name by the presiding Prior, she responds only with
498:
Since the 1970s the opera has made several appearances within Europe with Scotto again performing in Venice in 1970 under conductor Ettore Gracis, while in 1969 a concert performance at
804:
He persists with his questions, asking if she has been banished long ago and, finally, apologises for his intrusion. In an extended duet, first he, then she, then together proclaims:
203:
required Philip to take her back, rendering him essentially a bigamist and subject to excommunication. Agnes died in 1201, however, ending the threat of excommunication.
140:
72:
467:
Within Italy it received performances in over 50 cities until Turin in 1866: these included a revival at Milan's La Scala plus a performance in Bologna in 1836 with
474:
Abroad, it was first presented in Vienna in 1831, in Paris in 1832, in London on 23 June 1832, in New York on 10 November 1834, in Lisbon in 1835, and in Madrid as
270:, Bellini received a fee which was sufficient for him to be able to make his living solely by composing music, and this new work became an even greater success than
171:
At the heart of the plot of this opera is a complicated series of historical events beginning at the end of the twelfth century. King Philip Augustus of France (
147:
also adds that it is "more likely a dramatization of in Italian by Giovan Carlo, barone di Cosenza" since he then quotes a letter from Bellini to his friend
255:, Bellini remained in Genoa and then returned to Milan, but with no specific opportunities in place. Some complications had emerged in his relationship with
2007:
1764:
593:
presented it in November 2017, with Amanda Woodbury as Alaide, Gerard Schneider as Arturo, Javier Arrey as Valdeburgo, and Corrie Stallings as Isoletta.
1967:
1722:
1149:
574:
presented the opera in June/July and again in September/October 2013. The Alaide for these performances was Gruberova, with staging by Christoph Loy.
416:
Three days later, the same publication praised the quality of the music, describing Bellini as "a modern Orpheus" for the beauty of his melodies.
1684:
1488:
176:
772:
A chorus of local people on boats proclaims the upcoming wedding of Isoletta, daughter of Montolino, to Count Arturo of Ravenstal: (Men:
456:, the well-established set designer of the time, designed the sets, and the opera was presented on a triple bill, along with the ballets
1992:
566:
Only occasional modern-day performances continue to be given. In November 2012, the opera was presented in concert in Baden-Baden with
2022:
1703:
1670:
1654:
1623:
1614:
1599:
1546:
1522:
1515:
1506:
1474:
1276:
1987:
1902:
2017:
403:
1757:
1640:
1628:
1560:
1467:
1436:
780:/ "From her gestures, her expression, she did not appear to be mortal, but rather a divine image". Valdeburgo, to himself:
2012:
560:
919:/ "Now you are glutted, O fearful Heaven... / Now you have dealt your direst blow...... I ask for death, I await death")
1716:
541:
1884:
1350:
1577:"Vincenzo Bellini": Outline of his life (in English) and list of critical editions of his works published by Ricordi
424:"Bellini's style was abstruse, discontinuous, distorted, and lacking in distinction, that it alternated between the
1737:
891:
Isoletta, truly unhappy and understandably feeling ignored and unloved, prepares for her wedding. (Aria, Isoletta:
628:
445:
275:
1750:
1732:
1908:
1828:
590:
260:
536:
presented the opera and that was followed in 1993 with another concert performance at Carnegie Hall, starring
1913:
1111:
556:
533:
179:
in 1193. For unknown reasons, he separated from her the day after the wedding and sought an annulment from
1934:
1929:
1587:
296:
301:
subject of innumerable songs, parodies, paintings and lithographs. The success of his next three novels,
552:
453:
38:
503:
1393:
907:
She then leaves the church in deep anguish: "I have abandoned, not love, but hope", she cries. (Aria:
2002:
522:
808:/ "Keep, keep your secrets....but it is in vain to forbid me to love you", while she responds with
315:
582:
172:
362:
1355:
285:
In consultation with Romani as to the subject, it was agreed that it would be based on the novel
274:
had been. As for singers, it appears there was some doubt about the tenor, but that the soprano,
180:
1130:
585:
in Vienna presented it from 14 January 2015 in Loy's production with Gruberova alternating with
303:
1857:
1850:
1796:
1788:
1699:
1680:
1666:
1650:
1636:
1619:
1595:
1576:
1556:
1542:
1518:
1511:
1484:
1470:
1463:
1331:
709:
664:
323:
200:
184:
155:
148:
144:
98:
309:
1773:
1419:
1137:
1054:
1036:
537:
510:. Recordings exist of all three of these performances. Another production in Catania, with
256:
188:
124:
30:
1997:
1346:
1280:
586:
567:
511:
468:
1273:
350:
1091:
978:
682:
646:
578:
548:
507:
488:
449:
328:
279:
229:
879:/ "Yes, over the corpse of her brother / Clear your way and approach her"—then Arturo—
154:
The opera was composed in the autumn of 1828 and premiered on 14 February 1829 at the
1981:
1844:
1836:
1820:
1609:
1501:
1063:
961:
837:
Arturo is alone, still mistakenly crazy with jealousy directed at Valdeburgo: (Aria:
677:
526:
499:
492:
132:
54:
1727:
1572:
1534:
571:
342:
Rehearsals began in early January with the premiere planned for 14 February 1829.
199:. Denmark continued to complain about Philip's treatment of Ingeborg and in 1200
1660:
577:
Concert performances were given in Marseilles in late October/November 2013 with
518:
291:
1693:
1078:(Recording of a concert performance in the Carnegie Hall, New York, February)
211:
1865:
1441:
1117:
1071:
192:
1950:
1804:
1381:
384:
372:
1008:
Montserrat Caballé, Vincente Sardinero, Amedeo Zambon, Bianca Maria Casoni
444:
The opera was first performed at La Scala, Milan on 14 February 1829, with
401:
The opera was an immediate success and, in the words of the writer for the
219:
547:
A complete concert performance was given in November 2007 in London, with
987:(Recording of a performance in the Teatro Massimo, Palermo, 10 December)
761:
746:
659:
517:
A recording exists of a concert performance in the Cour Jacques Coeur in
196:
128:
1407:
982:
833:
Scene 4: A remote place, with Alaide's cabin to be seen in the distance
623:
563:
and a complete studio recording was made with this cast the same week.
774:
Voga, voga, il vento tace........e l'alma pace / Messaggiera dell'amor
740:
Disegno per copertina di libretto, drawing for La straniera (undated).
521:
in August 1989. There was also a performance that year as part of the
1500:
Lippmann, Friedrich; McGuire, Simon (1998), "Bellini, Vincenzo", in
909:
Ciel pietoso, in sì crudo momento, / Al mio labbro perdona un lamento
1210:
Bellini to Raina, in Cambi (ed.) and quoted in Weinstock 1971, p. 63
1742:
151:
in which he says that Romani "certainly will not follow the play"
735:
641:
210:
120:
839:
Che mai penso? Un dubbio atroce / Mi rimane e il cor mi preme...
525:
given in the Gaillard Auditorium, Charleston, USA on 26 May with
1462:. Prato, 1859. Nabu Press, United States, 2013 (Book on demand)
1746:
1351:"Opera/Review: How Bellini's Second Thoughts Were Really First"
917:
Or sei pago, o ciel tremendo... / Or vibrato è il colpo estremo
187:, who married her instead. Ultimately, in 1196 Philip married
1368:
London Philharmonic Orchestra programme book, 3 November 2007.
877:
Si...Sulla salma del fratello / T'apri il passo, a lei t'invia
1243:
Bellini to Romani, 15 February 1829, in Weinstock 1971, p. 67
514:
in the major role, was given at the Teatro Massimo in 1971.
322:
However, by 20 September, Bellini told his Neapolitan friend
1337:
on operadis-opera-discography.org.uk. Retrieved 12 May 2014
854:
Scene 1: The great hall of the Tribunal of the Hospitallers
782:
Giovin rosa, il vergin seno / schiudi appena al ciel sereno
866:
against Alaide, stating that his actions will be watched.
1649:(The Master Musicians Series), London: J. M. Dent, Ltd.
887:
Scene 3: Isoletta's apartment in the Castle of Montolino
207:
Adjustments to the story in order to create the libretto
1633:
The Bel Canto Operas of Rossini, Donizetti, and Bellini
1497:", in the booklet accompanying the Opera Rara recording
893:
Nè alcun ritorna?....Oh crudel. / Dolorosa incertezza
768:
Scene 1: Central courtyard of the Castle of Montolino
555:
as (Valdeburgo) in the principal roles, conducted by
1011:
Anton Guadadno Orchestra e Coro della Carnegie Hall
570:
as Alaide and José Bros as Arturo di Raventel. The
1943:
1922:
1894:
1876:
1780:
1738:
L' Etrangere, vol 2 by Charles-Victor Prevot (1825)
1531:", in booklet accompanying the Opera Rara recording
1252:
Giuseppe Rovani, 1874, in Weinstock,1971, pp. 68—69
1041:(Recording of a performance at La Fenice, January)
881:
Ah, pietà... non io favello; / È un amore disperato
82:
68:
60:
50:
21:
1733:L' Etrangere vol 1 by Charles-Victor Prevot (1825)
870:Scene 2: In the forest but close to Alaide's cabin
1618:, Vol. Four. London: Macmillan Publishers, Inc.
1493:Kaufman, Tom (2008), "Historical performances of
810:Taci, taci, è l'amor mio / condannato sulla terra
540:in one of her very early roles, presented by the
1675:Thiellay, Jean; Thiellay, Jean-Philippe (2013),
1510:, Vol. One. London: Macmillan Publishers, Inc.
827:No: non ti son rivale; / non io ti tolgo a lei
778:Agli atti, al volto / non mortal, divina imago
191:("la straniera"), the daughter of a nobleman,
1758:
1594:, pp. 48–49. New York: Penguin Putnam.
1283:, onlibrettodopera.it. Retrieved 12 May 2013
1201:Lippmann & McGuire 1998, in Sadie, p. 389
8:
1604:Maguire, Simon; Forbes, Elizabeth (1998), "
1234:, 16 February 1829, in Weinstock 1971, p. 66
1579:on ricordi.it. Retrieved 13 December 2013.
141:Charles-Victor Prévot, vicomte d'Arlincourt
73:Charles-Victor Prévot, vicomte d'Arlincourt
1765:
1751:
1743:
1527:Walton, Benjamin (2008), "The Creation of
899:Scene 4: A courtyard leading to the church
37:
18:
1723:International Music Score Library Project
1150:Southwest German Radio Symphony Orchestra
551:as Alaide, Dario Schmunck as Arturo, and
1665:, New York: Cambridge University Press.
1327:
1325:
1323:
1321:
1227:
1225:
1179:
1177:
926:
600:
383:
371:
361:
349:
228:
218:
1173:
1076:Opera Orchestra of New York and Chorus,
1293:
1291:
1289:
1269:
1267:
996:Cat: 3MCD-971-151 (highlights +Zaira),
1695:Vincenzo Bellini: A Guide to Research
1635:, Portland, Oregon: Amadeus Press.
1481:Bellini: Life, Times, Music 1801–1835
233:Domenico Barbaja, Naples in the 1820s
7:
1483:. London, Sanctuary Publishing Ltd.
1424:on operadis-opera-discography.org.uk
1408:http://washingtonclassicalreview.com
368:Henriette Méric-Lalande, sang Alaide
215:Bellini in 1830 by Natale Schiavoni
1110:London Philharmonic Orchestra and
282:or Tamburini, would be available.
14:
2008:Opera world premieres at La Scala
1615:The New Grove Dictionary of Opera
1507:The New Grove Dictionary of Opera
1394:Theater's website for 2015 season
43:Henriette Meric-Lalande as Alaide
1963:
1962:
1849:
1553:Bellini: His life and His Operas
820:Scene 3: A forest near Montolino
1935:Teatro Massimo Bellini, Catania
1435:Judith Malafronte (July 2015).
1232:Gazzetta privilegiata di Milano
655:Baron, secret brother of Alaide
610:Premiere cast, 14 February 1829
404:Gazzetta privilegiata di Milano
45:in the original 1829 production
1539:The Oxford Dictionary of Opera
1479:Galatopoulos, Stelios (2002),
796:Scene 2: La straniera's cabin
319:in 1825, was almost as great.
175:) married the Danish princess
1:
1692:Willier, Stephen Ace (2002),
945:Isoletta, Arturo, Valdeburgo
561:London Philharmonic Orchestra
1384:.com. Retrieved 12 May 2013
1035:Orchestra and Chorus of the
977:Orchestra and Chorus of the
491:in Palermo) up to 1972 with
337:Or sei pago, o ciel tremendo
278:and, for the baritone role,
1592:The New Penguin Opera Guide
1551:Weinstock, Herbert (1971),
1458:Cicconeti, Filippo (1859),
1445:. Vol. 80, no. 1.
1405:Washington Classical Review
806:Serba, serba i tuoi segreti
719:Il Priore degli Spedalieri
542:Opera Orchestra of New York
2039:
1993:Operas by Vincenzo Bellini
1261:Galatopoulos, pp. 192–130.
1219:Cicconetti 1859, pp. 39—40
1152:and Orpheus Vokalensemble
950:Opera House and Orchestra
123:in two acts with music by
87:14 February 1829
2023:Libretti by Felice Romani
1959:
1410:Accessed 2018 November 3.
1274:Performances 1829 to 1866
790:Oh tu che sai gli spasimi
703:Il signore di Montolino,
440:19th century performances
36:
28:
16:Opera by Vincenzo Bellini
1909:Vaga luna, che inargenti
1885:Meco all'altar di Venere
1829:I Capuleti e i Montecchi
1706:and on books.google.com.
1582:Kimbell, David (2001), "
1460:Vita di Vincenzo Bellini
943:Il signore di Montolino,
591:Washington Concert Opera
261:Giovanni Battista Rubini
224:Librettist Felice Romani
1988:Italian-language operas
1659:Rosselli, John (1996),
1537:and West, Ewan (1992),
1437:"Bellini: La Straniera"
1297:Kaufman 2008, pp. 41—51
1112:Geoffrey Mitchell Choir
629:Henriette Méric-Lalande
534:Teatro Verdi di Trieste
482:20th century and beyond
452:in the leading roles.
446:Henriette Méric-Lalande
276:Henriette Méric-Lalande
2018:Operas based on novels
1930:Teatro Bellini, Naples
1903:Composizioni da Camera
1645:Orrey, Leslie (1973),
741:
532:In December 1990, the
393:
381:
369:
359:
234:
226:
216:
1728:Libretto (in Italian)
1315:Galatopoulos, p. 141.
1192:Weinstock 1971, p. 53
1183:Weinstock 1971, p. 55
739:
454:Alessandro Sanquirico
387:
375:
365:
353:
232:
222:
214:
167:Historical background
135:, based on the novel
2013:Operas set in France
1679:, Paris: Actes Sud.
1081:CD: Celestial Audio,
725:Stanislao Marcionni
523:Spoleto Festival USA
462:L'avviso ai maritati
1662:The Life of Bellini
1555:, New York: Knopf.
1359:, 10 February 1993.
1030:Domenico Trimarchi
1000:Cat: 2 MCD-023-265
972:Domenico Trimarchi
788:Montolino returns:
691:confidant of Arturo
583:Theater an der Wien
529:in the major role.
506:under the baton of
495:in the title role.
346:Performance history
173:Philip II of France
162:Composition history
1895:Other compositions
1378:Operabase listings
1356:The New York Times
1279:2013-01-06 at the
1068:Gaétan Laperrière
751:Time: 14th century
742:
705:father of Isoletta
637:Count of Ravenstel
504:Montserrat Caballé
394:
382:
370:
360:
356:Antonio Tamburini,
235:
227:
217:
181:Pope Celestine III
143:, although writer
139:(2 vols, 1825) by
1975:
1974:
1858:Beatrice di Tenda
1797:Bianca e Fernando
1789:Adelson e Salvini
1685:978-2-330-02377-5
1489:978-1-86074-405-1
1161:
1160:
1024:Francesco Signor,
729:
728:
714:Domenico Spiaggi
673:fiancée of Arturo
665:Antonio Tamburini
478:in January 1850.
324:Francesco Florimo
253:Bianca e Fernando
201:Pope Innocent III
185:Thomas I of Savoy
156:Teatro alla Scala
149:Francesco Florimo
145:Herbert Weinstock
117:The Foreign Woman
108:
107:
99:Teatro alla Scala
2030:
1966:
1965:
1853:
1774:Vincenzo Bellini
1767:
1760:
1753:
1744:
1721:: Scores at the
1689:
1629:Osborne, Charles
1447:
1446:
1432:
1426:
1417:
1411:
1402:
1396:
1391:
1385:
1375:
1369:
1366:
1360:
1344:
1338:
1329:
1316:
1313:
1307:
1306:Warrack and West
1304:
1298:
1295:
1284:
1271:
1262:
1259:
1253:
1250:
1244:
1241:
1235:
1229:
1220:
1217:
1211:
1208:
1202:
1199:
1193:
1190:
1184:
1181:
1155:CD: Nightingale,
1138:Laura Polverelli
1135:Kay Stiefermann,
1100:
1099:Enkelejda Shokas
1037:Teatro La Fenice
1028:Beniamino Prior,
927:
601:
589:as Alaide. The
257:Domenico Barbaja
189:Agnes of Merania
125:Vincenzo Bellini
102:
94:
92:
41:
31:Vincenzo Bellini
19:
2038:
2037:
2033:
2032:
2031:
2029:
2028:
2027:
1978:
1977:
1976:
1971:
1955:
1939:
1918:
1890:
1872:
1776:
1771:
1713:
1687:
1541:New York: OUP.
1450:
1434:
1433:
1429:
1418:
1414:
1403:
1399:
1392:
1388:
1376:
1372:
1367:
1363:
1347:Bernard Holland
1345:
1341:
1330:
1319:
1314:
1310:
1305:
1301:
1296:
1287:
1281:Wayback Machine
1272:
1265:
1260:
1256:
1251:
1247:
1242:
1238:
1230:
1223:
1218:
1214:
1209:
1205:
1200:
1196:
1191:
1187:
1182:
1175:
1166:
1156:
1148:
1143:
1141:
1136:
1134:
1131:Edita Gruberová
1121:
1109:
1104:
1103:Dario Schmunck,
1102:
1098:
1097:
1095:
1082:
1077:
1075:
1067:
1062:
1060:
1059:Rafael Le Bron,
1058:
1045:
1044:CD: Opera d'Oro
1040:
1034:
1029:
1027:
1025:
1023:
999:
997:
995:
993:
991:
986:
976:
971:
969:
967:
965:
949:
944:
942:
936:
934:
925:
851:
758:
734:
611:
599:
587:Marlis Petersen
581:as Alaide. The
568:Edita Gruberova
512:Elena Souliotis
469:Carolina Ungher
391:
390:Caroline Unger,
389:
379:
378:Domenico Reina,
377:
367:
358:sang Valdeburgo
357:
355:
348:
266:Therefore, for
225:
164:
104:
103:
97:
95:
90:
88:
46:
44:
17:
12:
11:
5:
2036:
2034:
2026:
2025:
2020:
2015:
2010:
2005:
2000:
1995:
1990:
1980:
1979:
1973:
1972:
1960:
1957:
1956:
1954:
1953:
1947:
1945:
1941:
1940:
1938:
1937:
1932:
1926:
1924:
1920:
1919:
1917:
1916:
1911:
1906:
1898:
1896:
1892:
1891:
1889:
1888:
1880:
1878:
1877:Opera excerpts
1874:
1873:
1871:
1870:
1862:
1854:
1841:
1833:
1825:
1817:
1809:
1801:
1793:
1784:
1782:
1778:
1777:
1772:
1770:
1769:
1762:
1755:
1747:
1741:
1740:
1735:
1730:
1725:
1712:
1711:External links
1709:
1708:
1707:
1690:
1673:
1657:
1643:
1626:
1602:
1588:Holden, Amanda
1580:
1564:
1563:
1549:
1532:
1525:
1498:
1491:
1477:
1449:
1448:
1427:
1420:Recordings of
1412:
1397:
1386:
1370:
1361:
1339:
1332:Recordings of
1317:
1308:
1299:
1285:
1263:
1254:
1245:
1236:
1221:
1212:
1203:
1194:
1185:
1172:
1165:
1162:
1159:
1158:
1153:
1145:
1128:
1124:
1123:
1114:
1106:
1092:Patrizia Ciofi
1089:
1085:
1084:
1079:
1069:
1052:
1048:
1047:
1046:Cat# OPD 1261
1042:
1031:
1022:Renata Scotto,
1020:
1016:
1015:
1012:
1009:
1006:
1002:
1001:
988:
979:Teatro Massimo
975:Nino Sanzogno,
973:
959:
955:
954:
951:
946:
931:
924:
921:
850:
847:
765:
764:
757:
754:
753:
752:
749:
733:
730:
727:
726:
723:
720:
716:
715:
712:
707:
700:
699:
696:
693:
686:
685:
683:Caroline Unger
680:
675:
668:
667:
662:
657:
650:
649:
647:Domenico Reina
644:
639:
632:
631:
626:
621:
614:
613:
612:(Conductor: )
608:
605:
598:
595:
579:Patrizia Ciofi
549:Patrizia Ciofi
508:Anton Guadagno
489:Teatro Massimo
450:Domenico Reina
414:
413:
347:
344:
329:Domenico Reina
280:Luigi Lablache
223:
163:
160:
127:to an Italian
106:
105:
96:
86:
84:
80:
79:
70:
66:
65:
62:
58:
57:
52:
48:
47:
42:
34:
33:
26:
25:
15:
13:
10:
9:
6:
4:
3:
2:
2035:
2024:
2021:
2019:
2016:
2014:
2011:
2009:
2006:
2004:
2001:
1999:
1996:
1994:
1991:
1989:
1986:
1985:
1983:
1970:
1969:
1958:
1952:
1949:
1948:
1946:
1942:
1936:
1933:
1931:
1928:
1927:
1925:
1921:
1915:
1914:Oboe Concerto
1912:
1910:
1907:
1905:
1904:
1900:
1899:
1897:
1893:
1886:
1882:
1881:
1879:
1875:
1868:
1867:
1863:
1860:
1859:
1855:
1852:
1847:
1846:
1842:
1839:
1838:
1837:La sonnambula
1834:
1831:
1830:
1826:
1823:
1822:
1818:
1815:
1814:
1810:
1807:
1806:
1802:
1799:
1798:
1794:
1791:
1790:
1786:
1785:
1783:
1779:
1775:
1768:
1763:
1761:
1756:
1754:
1749:
1748:
1745:
1739:
1736:
1734:
1731:
1729:
1726:
1724:
1720:
1719:
1715:
1714:
1710:
1705:
1704:0-8153-3805-8
1701:
1698:. Routledge.
1697:
1696:
1691:
1686:
1682:
1678:
1674:
1672:
1671:0-521-46781-0
1668:
1664:
1663:
1658:
1656:
1655:0-460-02137-0
1652:
1648:
1644:
1642:
1638:
1634:
1630:
1627:
1625:
1624:1-56159-228-5
1621:
1617:
1616:
1611:
1610:Stanley Sadie
1607:
1603:
1601:
1600:0-140-29312-4
1597:
1593:
1589:
1585:
1581:
1578:
1574:
1571:
1570:
1569:
1568:
1567:Other sources
1562:
1558:
1554:
1550:
1548:
1547:0-19-869164-5
1544:
1540:
1536:
1535:Warrack, John
1533:
1530:
1526:
1524:
1523:1-56159-228-5
1520:
1517:
1516:0-333-73432-7
1513:
1509:
1508:
1503:
1502:Stanley Sadie
1499:
1496:
1492:
1490:
1486:
1482:
1478:
1476:
1475:9781289392079
1472:
1469:
1465:
1461:
1457:
1456:
1455:
1454:
1453:Cited sources
1444:
1443:
1438:
1431:
1428:
1425:
1423:
1416:
1413:
1409:
1406:
1401:
1398:
1395:
1390:
1387:
1383:
1379:
1374:
1371:
1365:
1362:
1358:
1357:
1352:
1348:
1343:
1340:
1336:
1335:
1328:
1326:
1324:
1322:
1318:
1312:
1309:
1303:
1300:
1294:
1292:
1290:
1286:
1282:
1278:
1275:
1270:
1268:
1264:
1258:
1255:
1249:
1246:
1240:
1237:
1233:
1228:
1226:
1222:
1216:
1213:
1207:
1204:
1198:
1195:
1189:
1186:
1180:
1178:
1174:
1171:
1170:
1163:
1154:
1151:
1146:
1139:
1132:
1129:
1126:
1125:
1119:
1115:
1113:
1107:
1093:
1090:
1087:
1086:
1080:
1073:
1070:
1065:
1064:Gregory Kunde
1056:
1055:Renée Fleming
1053:
1050:
1049:
1043:
1038:
1033:Ettore Gracis
1032:
1021:
1018:
1017:
1013:
1010:
1007:
1004:
1003:
990:CD: Melodram,
989:
984:
980:
974:
970:Renato Cioni,
966:Enrico Campi,
963:
962:Renata Scotto
960:
957:
956:
952:
947:
940:
932:
929:
928:
922:
920:
918:
912:
910:
905:
901:
900:
896:
894:
889:
888:
884:
882:
878:
872:
871:
867:
863:
861:
856:
855:
848:
846:
842:
840:
835:
834:
830:
828:
822:
821:
817:
813:
811:
807:
802:
798:
797:
793:
791:
785:
783:
779:
775:
770:
769:
763:
760:
759:
755:
750:
748:
744:
743:
738:
731:
724:
721:
718:
717:
713:
711:
708:
706:
702:
701:
697:
694:
692:
688:
687:
684:
681:
679:
678:mezzo-soprano
676:
674:
670:
669:
666:
663:
661:
658:
656:
652:
651:
648:
645:
643:
640:
638:
634:
633:
630:
627:
625:
622:
620:
616:
615:
609:
606:
603:
602:
596:
594:
592:
588:
584:
580:
575:
573:
569:
564:
562:
558:
554:
550:
545:
543:
539:
538:Renée Fleming
535:
530:
528:
527:Carol Neblett
524:
520:
515:
513:
509:
505:
501:
500:Carnegie Hall
496:
494:
493:Renata Scotto
490:
484:
483:
479:
477:
476:La estranjera
472:
470:
465:
463:
459:
455:
451:
447:
442:
441:
437:
435:
431:
427:
421:
417:
410:
409:
408:
406:
405:
399:
398:
392:sang Isoletta
386:
374:
364:
352:
345:
343:
340:
338:
332:
330:
325:
320:
318:
317:
313:in 1823, and
312:
311:
306:
305:
299:
298:
293:
288:
283:
281:
277:
273:
269:
264:
262:
258:
254:
249:
248:
246:
245:
239:
231:
221:
213:
209:
208:
204:
202:
198:
194:
190:
186:
182:
178:
174:
169:
168:
161:
159:
157:
152:
150:
146:
142:
138:
134:
133:Felice Romani
130:
126:
122:
118:
114:
113:
100:
85:
81:
78:
74:
71:
67:
63:
59:
56:
55:Felice Romani
53:
49:
40:
35:
32:
27:
24:
20:
1961:
1901:
1864:
1856:
1843:
1835:
1827:
1819:
1813:La straniera
1812:
1811:
1803:
1795:
1787:
1718:La straniera
1717:
1694:
1676:
1661:
1646:
1632:
1613:
1606:La straniera
1605:
1591:
1584:La straniera
1583:
1573:Casa Ricordi
1566:
1565:
1552:
1538:
1529:La straniera
1528:
1505:
1495:La straniera
1494:
1480:
1459:
1452:
1451:
1440:
1430:
1422:La straniera
1421:
1415:
1404:
1400:
1389:
1380:for 2013 on
1373:
1364:
1354:
1342:
1334:La straniera
1333:
1311:
1302:
1257:
1248:
1239:
1231:
1215:
1206:
1197:
1188:
1168:
1167:
1147:Pietro Rizzo
1144:Luca Grassi
1108:David Parry,
1096:Roland Wood,
1083:Cat: CA 607
1026:Elena Zilio,
1014:Opera d'oro
968:Elena Zilio,
939:La straniera
938:
916:
913:
908:
906:
902:
898:
897:
892:
890:
886:
885:
880:
876:
873:
869:
868:
864:
860:La straniera
859:
857:
853:
852:
843:
838:
836:
832:
831:
826:
823:
819:
818:
814:
809:
805:
803:
799:
795:
794:
789:
786:
781:
777:
773:
771:
767:
766:
704:
690:
672:
654:
653:Valdeburgo,
636:
619:the stranger
618:
576:
572:Zurich Opera
565:
546:
531:
516:
497:
485:
481:
480:
475:
473:
466:
461:
458:Buondelmonte
457:
443:
439:
438:
433:
429:
425:
422:
418:
415:
402:
400:
397:The premiere
396:
395:
341:
336:
333:
321:
314:
308:
302:
297:Le Solitaire
295:
286:
284:
271:
268:La straniera
267:
265:
252:
250:
247:
244:La straniera
243:
241:
240:
236:
206:
205:
170:
166:
165:
153:
136:
116:
112:La straniera
111:
110:
109:
76:
23:La straniera
22:
2003:1829 operas
1688:(in French)
1157:NC 0715603
1105:Mark Stone
1061:Ning Liang,
992:Cat: 27039;
698:Luigi Asti
607:Voice type
557:David Parry
519:Montpellier
380:sang Arturo
316:L'Étrangère
294:. Prévot's
292:Victor Hugo
287:L'Étrangère
137:L'Étrangère
77:L'Étrangère
1982:Categories
1866:I puritani
1641:0931340713
1561:0394416562
1468:1289392072
1442:Opera News
1164:References
1142:José Bros,
1118:Opera Rara
1072:Eve Queler
948:Conductor,
923:Recordings
671:Isoletta,
553:Mark Stone
434:semi-serio
304:Le Renégat
242:Preparing
193:Bertold IV
158:in Milan.
91:1829-02-14
51:Librettist
1951:Bel canto
1923:Namesakes
1805:Il pirata
1612:, (Ed.),
1504:, (Ed.),
1382:operabase
689:Osburgo,
559:with the
502:featured
307:in 1822,
272:Il pirata
75:'s novel
29:Opera by
1968:Category
1631:(1994),
1575:(pub.),
1277:Archived
1039:, Venice
762:Overture
747:Brittany
732:Synopsis
660:baritone
635:Arturo,
617:Alaide,
432:and the
428:and the
412:greatly.
354:Baritone
197:Dalmatia
177:Ingeborg
129:libretto
119:) is an
83:Premiere
69:Based on
61:Language
1944:Related
1848:(1831)
1677:Bellini
1647:Bellini
1590:(Ed.),
1122:ORC 38
983:Palermo
745:Place:
624:soprano
366:Soprano
310:Ipsiboé
101:, Milan
89: (
64:Italian
1998:Operas
1869:(1835)
1861:(1833)
1840:(1831)
1832:(1830)
1824:(1829)
1816:(1829)
1808:(1827)
1800:(1826)
1792:(1825)
1781:Operas
1702:
1683:
1669:
1653:
1639:
1622:
1608:", in
1598:
1559:
1545:
1521:
1514:
1487:
1473:
1466:
953:Label
935:Alaide
695:tenor
251:After
1845:Norma
1821:Zaira
1586:" in
1169:Notes
1127:2015
1088:2007
1051:1993
1019:1970
1005:1969
998:Myto,
994:Myto,
958:1968
933:Cast:
930:Year
849:Act 2
756:Act 1
722:bass
642:tenor
604:Role
597:Roles
430:buffo
426:serio
388:Mezzo
376:Tenor
121:opera
1700:ISBN
1681:ISBN
1667:ISBN
1651:ISBN
1637:ISBN
1620:ISBN
1596:ISBN
1557:ISBN
1543:ISBN
1519:ISBN
1512:ISBN
1485:ISBN
1471:ISBN
1464:ISBN
1116:CD:
710:bass
460:and
448:and
436:."
195:of
131:by
1984::
1439:.
1353:,
1349:,
1320:^
1288:^
1266:^
1224:^
1176:^
981:,
941:),
544:.
464:.
407:,
1887:"
1883:"
1766:e
1759:t
1752:v
1140:,
1133:,
1120:,
1101:,
1094:,
1074:,
1066:,
1057:,
985:,
964:,
937:(
875:—
115:(
93:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
