Teatro Dell'Opera Di Roma 9 April 2024 - La sonnambula | GoComGo.com

La sonnambula

Teatro Dell'Opera Di Roma, Teatro Costanzi, Rome, Italy
All photos (6)
Tuesday 9 April 2024
8 PM

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Important Info
Type: Opera
City: Rome, Italy
Starts at: 20:00

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Overview

A Teatro dell’Opera di Roma new production

History
Premiere of this production: 06 March 1831, Teatro Carcano, Milan

La sonnambula is an opera semiseria in two acts, with music in the bel canto tradition by Vincenzo Bellini set to an Italian libretto by Felice Romani, based on a scenario for a ballet-pantomime written by Eugène Scribe and choreographed by Jean-Pierre Aumer called La somnambule, ou L'arrivée d'un nouveau seigneur. The ballet had premiered in Paris in September 1827 at the height of a fashion for stage works incorporating somnambulism.

Synopsis

Place: Switzerland
Time: Indeterminate

Act 1

Scene 1: A village, a mill in the background

As the betrothal procession of Amina and Elvino approaches, the villagers all proclaiming joy for Amina, Lisa, the proprietress of the inn, comes outside expressing her misery: Tutto è gioia, tutto è festa...Sol per me non non v'ha contento / "All is joy and merriment... I alone am miserable". She is consumed with jealousy for she had once been betrothed to Elvino and had been abandoned by him in favour of Amina. The lovelorn Alessio arrives, but she rejects his advances. All assembled proclaim the beauty of Amina: In Elvezia non v'ha rosa / fresca e cara al par d'Amina / "In Switzerland there is no flower sweeter, dearer than Amina". Then Amina comes out of the mill with her foster-mother, Teresa. She is the owner of the mill and had adopted Amina many years before. Amina thanks her, also expressing her thanks to her assembled friends for their kind wishes. (Aria: Come per me sereno / oggi rinacque il di! / "How brightly this day dawned for me".) Additionally, she thanks Alessio, who tells her that he has composed the wedding song and organised the celebrations; she wishes him well in his courtship of Lisa, but Lisa cynically rejects the idea of love. Elvino arrives, exclaiming Perdona, o mio diletta / "Forgive me my beloved", and explaining that he had to stop on his way at his mother's grave to ask her blessing on Amina. As they exchange vows, the notary asks what she brings to the partnership: "Only my heart" she answers at which Elvino's exclaims: "Ah the heart is everything!". (Elvino's aria, then Amina, then all express their love and their joy: Prendi: l'anel ti dono / che un dì recava all'ara / "Here, receive this ring that the beloved spirit who smiled upon our love wore at the altar".)

The sound of horses' hooves and a cracking whip is heard. A stranger arrives, asking the way to the castle. Lisa points out that it is getting late and he will not reach it before dark and she offers him lodging at her inn. When he says that he knows it, all are surprised. (Rodolfo's aria: Vi ravviso, o luoghi ameni, / in cui lieti, in cui sereni / "O lovely scenes, again I see you, / where in serenity I spent the calm and happy days of my earliest youth".) The newcomer, who surprises the villagers by his familiarity with the locality, asks about the celebrations and admires Amina, who reminds him of a girl he had loved long ago. (Tu non sai con quei begli occhi / come dolce il cor mi tocchi / "You can't know how those dear eyes gently touch my heart, what adorable beauty".) He admits to having once stayed in the castle, whose lord has been dead for four years. When Teresa explains that his son had vanished some years previously, the stranger assures them that he is alive and will return. As darkness approaches the villagers warn him that it is time to be indoors to avoid the village phantom: A fosco cielo, a notte bruna,/ al fioco raggio d'incerta luna / "When the sky is dark at night, and the moon's rays are weak, at the gloomy thunder's sound a shade appears." Not being superstitious, he assures them that they will soon be free of the apparition. Elvino is jealous of the stranger's admiration of Amina; he is jealous even of the breezes that caress her, but he promises her he will reform. (Duet finale, Elvino and Amina: Son geloso del zefiro errante / che ti scherza col crin e col velo / "I envy the wandering breeze that plays with your hair, your veil..")

Scene 2: A room in the inn

Lisa enters Rodolfo's room to see if all is well. She reveals that his identity is known to all as Rodolfo, the long-lost son of the count. She advises him that the village is preparing a formal welcome; meanwhile she wishes be the first to pay her respects. She is flattered when he begins a flirtation with her, but runs out at the sound of people approaching, dropping her handkerchief which the Count picks up. He sees the approaching phantom who he recognises as Amina. She enters the room, walking in her sleep, all the while calling for Elvino and asking where he is. Realising that her nocturnal wanderings have given rise to the story of the village phantom, Rodolfo is about to take advantage of her helpless state. But then he is struck by her obvious innocence and refrains: (Scene: first Rodolfo: O ciel! che tento / "God! What am I doing?"; then, separately, Amina: Oh! come lieto è il popolo / "How happy all the people are, accompanying us to the church"; then together.) As Amina continues her sleepwalk, Rodolfo hears the sound of people approaching and, with no other way out, he climbs out of the window.

Amina continues to sleep on the sofa as the villagers arrive at the inn. Lisa enters and points to Amina, who wakes up at the noise. Elvino, believing her faithless, rejects her in fury. Only Teresa believes in her innocence: Ensemble finale, first Amina D'un pensiero e d'un accento / "In my thought or in my words never , never have I sinned"; then Elvino: Voglia il cielo che il duol ch'io sento / "Heaven keep you from feeling ever the pain that I feel now!"; then the people and Teresa, the former proclaiming her treachery, Teresa pleading for her to be allowed to explain. Elvino then exclaims that there will be no wedding, and each expresses his or her emotional reaction to this discovery.

Act 2

Scene 1: A wood

On their way to ask the count to attest to Amina's innocence, the villagers rest in the woods and consider how they will express their support to him: (Chorus: Qui la selva è più folta ed ombrosa / "Here the wood is thick and dark"). Amina and Teresa arrive and are on a similar mission, but Amina is despondent, although Teresa encourages her daughter to continue. They then see Elvino coming in the wood looking downcast and sad. He continues to reject Amina, even when the townspeople come in with the news that the count says that she is innocent. Elvino is not convinced and takes back the ring, though he is unable to tear her image from his heart: (Aria, then chorus: Ah! Perché non posso odiarti, infedel, com'io vorrei! / "Why cannot I despise you, faithless, as I should?")

Scene 2: The village, as in act 1

Lisa, Alessio, Elvino and the villagers are in the square. Elvino declares that he will renew his vows and proceed to marry Lisa. She is delighted. As they are about to go to the church, Rodolfo enters and tries to explain that Amina is innocent because she did not come to his room awake – she is a somnambulist, a sleepwalker: (Duet, first Elvino Signor Conte, agli occhi miei / negar fede non poss'io / "I cannot deny, my lord, what my eyes have seen"; then Rodolfo V'han certuni che dormendo / "Certain people when they sleep go about as if awake".) Elvino refuses to believe him and calls upon Lisa to leave, but at that moment Teresa begs the villagers to be quiet, because Amina has at last fallen into an exhausted sleep.

Learning of the impending marriage, Teresa confronts Lisa, who says that she has never been found alone in a man's room. Teresa produces the handkerchief Lisa had dropped. The Count is unwilling to say what he thinks of this, but continues to insist on Amina's virtue. Elvino demands proof and Rodolfo, seeing the sleeping Amina walking across the high, dangerously unstable mill bridge, warns that to wake her would be fatal. All watch as she relives her betrothal and her grief at Elvino's rejection, taking the withered flowers in her hand. (Aria: Amina Ah! non credea mirarti / sì presto estinto, o fiore / "I had not thought I would see you, dear flowers, perished so soon".) Then as she reaches the other side safely, the distraught Elvino calls to her and she is taken into his arms. Rodolfo hands him the ring which he places on her finger, at which time she awakens and is amazed by what has happened. All rejoice. In an aria finale, Amina expresses her joy: Ah! non giunge uman pensiero / al contento ond'io son piena / "Human thought cannot conceive of the happiness that fills me".

Venue Info

Teatro Dell'Opera Di Roma - Rome
Location   Piazza Beniamino Gigli

The Teatro dell'Opera di Roma is a major opera house in Rome. Originally opened in November 1880 as the 2,212-seat Costanzi Theatre, it has undergone several changes of name as well modifications and improvements. The present house seats 1,600.  Over one hundred years of success have brought the most acclaimed voices, the most prestigious sticks, and the notes of musicians who have marked its destiny to the Teatro dell'Opera di Roma: Pietro Mascagni, Giacomo Puccini, Ottorino Respighi, have delivered it to the honors of history of Italian melodrama as the cradle of 20th-century opera and musical theater.

Original Teatro Costanzi: 1880 to 1926
The Teatro dell'Opera was originally known as the Teatro Costanzi after the contractor who built it, Domenico Costanzi (1819–1898). It was financed by Costanzi, who commissioned the Milanese architect Achille Sfondrini (1836–1900), a specialist in the building and renovation of theatres. The opera house was built in eighteen months, on the site where the house of Heliogabalus stood in ancient times, and was inaugurated on 27 November 1880 with a performance of Semiramide by Gioachino Rossini.

Designing the theatre, Sfondrini paid particular attention to the acoustics, conceiving the interior structure as a "resonance chamber", as is evident from the horseshoe shape in particular. With a seating capacity of 2,212, the house had three tiers of boxes, an amphitheater, and two separate galleries, surmounted by a dome adorned with splendid frescoes by Annibale Brugnoli.

Costanzi was obliged to manage the theater himself. Under his direction, and despite financial problems, the opera house held many world premieres of operas, including Cavalleria Rusticana by Pietro Mascagni on 17 May 1890. For a brief period, the theatre was managed by Costanzi's son, Enrico, who gained renown by organizing another great premiere, that of Tosca by Giacomo Puccini on 14 January 1900.

In 1907, the Teatro Costanzi was purchased by the impresario Walter Mocchi (1871–1955) on behalf of the Società Teatrale Internazionale e Nazionale (STIN). In 1912 Mocchi's wife, Emma Carelli, became the managing director of the new Impresa Costanzi, as the theatre was later known, following various changes in the company structure. During the fourteen years of her tenure, major works which had not been performed before in Rome (or even in Italy) were staged. These included La fanciulla del West, Turandot and Il trittico by Giacomo Puccini; Parsifal by Richard Wagner; Francesca da Rimini (Zandonai) by Riccardo Zandonai; Boris Godunov by Modest Mussorgsky; Samson et Dalila by Camille Saint-Saëns and many others. Diaghilev's Ballets Russes also performed.

Restructured Teatro Reale dell'Opera: 1926 to 1946
In November 1926 the Costanzi was bought by the Rome City Council and its name changed to Teatro Reale dell'Opera. A partial rebuilding ensued, led by architect Marcello Piacentini and lasting fifteen months. The house re-opened on 27 February 1928 with the opera Nerone by Arrigo Boito.

Chief among several major changes was the relocated entrance, from the street formerly known as Via del Teatro (where the garden of the Hotel Quirinale is now) to the opposite side, where Piazza Beniamino Gigli exists today. In addition, the amphitheater inside the theatre was replaced by the fourth tier of boxes (now the third tier) and a balcony. The interior was embellished by new stuccowork, decorations, and furnishings, including a magnificent chandelier measuring six meters in diameter and composed of 27,000 crystal drops.

Above the proscenium arch is a plaque commemorating the rebuilding: "Vittorio Emanuele III Rege, Benito Mussolini Duce, Lodovicus Spada Potenziani, Romae Gubernator Restituit MCMXXVIII—VI”". Confusingly the dates appear to be back to front. (The VI refers to the sixth year after the Fascist's March on Rome of 1922.)

Present Teatro dell'Opera di Roma: from 1946
Following the end of the monarchy, the name was simplified to Teatro dell'Opera and, in 1958, the building was again remodeled and modernized. Rome City Council again commissioned architect Marcello Piacentini, who radically altered the building's style, notably with regard to the facade, entrance, and foyer, each of these taking the form we know today.

The theater's legendary acoustics still bear comparison with any other auditorium in the world. The seating capacity is about 1,600. The house was retrofitted with air-conditioning subsequent to a restoration, which provided improvements to the interior. The stucco work was completely restored, the great proscenium arch strengthened, and a parquet floor of solid oak blocks laid to replace the previous one.

On 2 January 1958, the theater was the venue for a controversial performance of Norma starring Maria Callas in the presence of the President of Italy: for health reasons, Callas abandoned the performance after the first act (the opera company had not engaged an understudy).

The post-war period saw celebrated productions, including Mozart's Le nozze di Figaro in 1964 and Verdi's Don Carlo in 1965, both conducted by Carlo Maria Giulini and directed by Luchino Visconti.

In the 1950s and 1960s, the Director was Riccardo Vitale (father of actress Milly Vitale).

In 1992, Gian Carlo Menotti was appointed Artistic Director of the Teatro dell'Opera di Roma, a post he maintained for two years before being asked to resign over conflicts with the theatre's managers involving Menotti's insistence on staging Wagner's Lohengrin.

From 2001 to 2010, the music director and chief conductor of the company were Gianluigi Gelmetti. He was due to be succeeded in these posts by Riccardo Muti, as announced in August 2009, but Muti demurred, citing in La Repubblica in October 2010 "general difficulties that are plaguing the Italian opera houses". Later, Muti assumed a role similar to that of a music director but without a title. Notable productions under Muti have included Gluck's Iphigénie en Aulide (2009), Verdi's Nabucco (2011), Simon Boccanegra (2012), and Ernani (2013).

Daniele Gatti was first guest-conducted with the company during the 2016–2017 season. He returned for subsequent guest engagements in each of the following two seasons. In December 2018, the company announced the appointment of Gatti as its new music director, with immediate effect. Gatti is scheduled to stand down as the company's music director on 31 December 2021. In June 2021, the company announced the appointment of Michele Mariotti as its next music director, effective 1 November 2022, with an initial contract of 4 years.

Important Info
Type: Opera
City: Rome, Italy
Starts at: 20:00
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