La Sonnambula 3 Content

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Florida Grand Opera gratefully recognizes the following donors who have provided support of its education programs. Study Guide 2012 / 2013

Batchelor MIAMI BEACH Foundation Inc. Dear Friends,

Welcome to our exciting 2012-2013 season! Florida Grand Opera is pleased to present the magical world of opera to the diverse audience of

© FLORIDA GRAND OPERA © FLORIDA South Florida. We begin our season with a classic Italian production of Giacomo Puccini’s La bohème. We continue with a supernatural singspiel, Mozart’s The Magic Flute and Vincenzo Bellini’s famous opera La sonnambula, with music from the bel canto tradition. The main stage season is completed with a timeless opera with Giuseppe Verdi’s La traviata. As our RHWIEWSRÁREPI[ILEZIEHHIHERI\XVESTIVEXSSYVWGLIHYPIMRSYV continuing efforts to be able to reach out to a newer and broader range of people in the community; a tango opera María de Buenoa Aires by Ástor Piazzolla. As a part of Florida Grand Opera’s Education Program and Stu- dent Dress Rehearsals, these informative and comprehensive study guides can help students better understand the opera through context and plot. )EGLSJXLIWIWXYH]KYMHIWEVIÁPPIH[MXLLMWXSVMGEPFEGOKVSYRHWWXSV]PMRI structures, a synopsis of the opera as well as a general history of Florida Grand Opera. Through this information, students can assess the plotline of each opera as well as gain an understanding of the why the librettos were written in their fashion.

Florida Grand Opera believes that education for the arts is a vital enrich- QIRXXLEXQEOIWWXYHIRXW[IPPVSYRHIHERHLIPTWQEOIXLIMVPMZIWQSVI GYPXYVEPP]JYPÁPPMRK3RFILEPJSJXLI*PSVMHE+VERH3TIVE[ILSTIXLEX A message from these study guides will help students delve further into the opera. We Kevin Mynatt hope you enjoy the show! -PSSOJSV[EVHXSWIIMRK]SYEXXLI3TIVE

Kevin G. Mynatt Managing Director Florida Grand Opera

2 Florida Grand Opera // Kevin Mynatt Study Guide // La sonnambula 3 Content

6-9 Attending an Opera 10-13 Florida Grand Opera 14-17 Opera’s Roots 18-21 On Broadway 22-27 The Operatic Voice 28-29 La sonnambula 30-31 Cast & Characters 32-39 Synopsis 40-43 The Composer 44-47 Librettistis The Bel Canto Period 48-53 Bellini”s Influence 54-55 Defending 56-59 Method of Composing 60-63 Renata Scotto 68-71 A History of Sleep Disorder 72-77 19th Century Italian Opera 78-81 The Swan of Catania 82-83 What happened that year? 86-87 References 88-91 Credits 92-93

4 Florida Grand Opera // Content Study Guide // La sonnambula 5 © FLORIDA GRAND OPERA © FLORIDA

Attending Opera an

FGO dress rehearsal

6 Florida Grand Opera // Attending an Opera Study Guide // La sonnambula 7 WHAT WILL YOU SEE IN AN OPERA? OPERA ETIQUETTE: Opera combines colorful sets and costumes, dynamic _Attending an opera is an exciting occasion! You staging, passionate stories, and poetic words with should dress comfortably, but presentably. Many audi- beautiful music. Richard Wagner referred to it as ence members use an opera as an opportunity to dress +IWEQOYRWX[IVOSVEµXSXEPEVX[SVO¶=SYQMKLX in formal attire. [EXGLHERGMRKW[SVHÁKLXMRKGLEVEGXIVWHVIWWMRKMR _Arrive early. Audience members who arrive after the disguises, the tenor wooing the soprano, or unfurling start of the performance are prevented from entering schemes against another character. Operas can be until there is a change of scene. romantic, comedic, tragic, dramatic, or all of the above. Most of all, opera is entertaining! _It is customary to show your appreciation at various times in the performance with applause. The audience will applaud at the beginning of each act as the con- WHAT WILL YOU HEAR IN AN OPERA? ductor enters the orchestra pit, at the ends of partic- Operas are sung in many different languages, the most ularly well-sung arias or choruses, at the close of each common of which are Italian, French, German, and WGIRISVEGXERHHYVMRKXLIÁREPGYVXEMRGEPPEWXLI English. La sonnambula, however, is sung in Italian. performers bow. Florida Grand Opera provides supertitles (transla- _If you want to show your admiration even more, you tions of the text projected on a screen above the stage) can call out “Bravo!” for a male singer, “Brava!” for a in English and Spanish. Singers are accompanied by female singer, or “Bravi!” for an ensemble. If you en- the orchestra which can consist of string instruments joyed the entire production, stand and clap during the PMOI ZMSPMRW ZMSPEW GIPPSW ERH HSYFPI FEWWIW [SSH- curtain call to join in a standing ovation. [MRHWPMOIÂYXIWGPEVMRIXWSFSIWERHFEWWSSRWERH FVEWWMRWXVYQIRXWPMOIXVYQTIXWJVIRGLLSVRWXVSQ- _Audience members are expected to turn off all cell bones, and tubas. phones and refrain from using cameras with or with- SYXÂEWLHYVMRKXLITIVJSVQERGI

_While concessions are sold in the lobby before the performance and during intermissions, no food or HVMROMWEPPS[IHMRWMHISJXLIXLIEXVI

_Be respectful of the musicians and your fellow audience QIQFIVWERHHSRSXXEPOHYVMRKXLITIVJSVQERGI

Most importantly, enjoy the opera!

8 Florida Grand Opera // Attending an Opera Study Guide // La sonnambula 9 © FLORIDA GRAND OPERA © FLORIDA

FloridaGrand Opera

Dr. Arturo di Filippi

Florida Grand Opera stands as one of the old- The Greater Miami Opera was founded by Dr. Ar- est performing arts organizations in Florida and turo di Filippi, a voice teacher at the University of in the nation. Florida Grand Opera is one of the 1MEQM8LIÁVWXTVSHYGXMSRLIPHEX1MEQM7IRMSV resident companies of The Adrienne Arsht Cen- High School in 1942, was a single performance of ter for the Performing Arts of Miami-Dade County Leoncavallo’s Pagliacci, performed in English, with where it presents its Miami performances in the Dr. di Filippi singing the role of Canio. In 1945, Dr. Ziff Ballet Opera House. Fort Lauderdale perfor- di Filippi appeared in a production of Il trovatore at mances are given at the Broward Center for the Ft. Lauderdale Central High School, representing Performing Arts. Florida Grand Opera was formed XLI ÁVWX TVSHYGXMSR SJ XLI8LI 3TIVE +YMPH -RG in June 1994 by the merger of Greater Miami Op- Florida Grand Opera has a rich history of present- era, founded in 1941, and The Opera Guild Inc. of ing internationally acclaimed artists such as Robert Fort Lauderdale, founded in 1945. 1IVVMPP (SVSXL] /MVWXIR 6MGLEVH 8YGOIV 6IREXE Tebaldi, Roberta Peters, Franco Corelli, Renata

10 Florida Grand Opera // Florida Grand Opera Study Guide // La sonnambula 11 7GSXXS 1SRXWIVVEX 'EFEPPI .SR :MGOIVW 7LIVVMPP At the core of Florida Grand Opera’s mission is a Milnes, Nicolai Gedda, Birgit Nilsson, Anna Moffo, commitment to training emerging opera profes- Plácido Domingo, Beverly Sills, Joan Sutherland, sionals and educating young people about opera Evelyn Lear, James Morris, Thomas Stewart, Diana while embracing the diverse cultural heritage of the Soviero, Justino Diaz, Simon Estes, Elizabeth Fu- South Florida community. Each year, established tral, Helen Donath, Deborah Voigt, and Fernando education programs, including the School Dress de la Mora. Luciano Pavarotti made his American Rehearsal Program and the company’s education debut in 1965 with the company’s production of festivals expose thousands of children and students Lucia di Lammermoor. to opera’s many facets. Florida Grand Opera’s renowned artist training program, the Young Artist In April, 2007, Florida Grand Opera presented the Studio, nurtures gifted young singers and provides critically acclaimed world premiere of David Carl- XLIQ [MXL XLI WOMPPW ERH I\TIVMIRGIW RIGIWWEV] son’s Anna Karenina with libretto by Colin Graham. to move beyond their training at universities and Anna Karenina was commissioned as a co-produc- music conservatories into successful careers in the tion by Florida Grand Opera, Michigan Opera The- professional opera world. atre, and Opera Theatre of Saint Louis. In May 1997, the Company presented the world premiere of Bal- seros, an opera by Robert Ashley with libretto by world renowned Cuban writer María Irene Fornés. Balseros was commissioned as a co-production by Florida Grand Opera, Miami-Dade Community College and the South Florida Composers Alliance. Another world premiere was Robert Ward’s Min- utes Till Midnight in 1982. American premieres include Gioachino Rossini’s Bianca e Falliero and the ÁREPVIZMWIHZIVWMSRSJ%PFIVXS*VERGLIXXM¸W'VMWXS- foro Colombo.

12 Florida Grand Opera // Florida Grand Opera Study Guide // La sonnambula 13 ©NICKU

Opera’s Roots and Development

Mozart. Weber Wagner

Where did opera come from? What prompted com- L’Orfeo. Following L’Orfeo’s success, the art form posers to create it? Poets, musicians, architects, art- spread rapidly amongst composers, artists, and po- ists, philosophers, mathematicians, and many other ets. The Baroque form consisted of sung recitatives XLMROIVWLEHFIGSQISFWIWWIH[MXLEVIGVIEXMSRSJ by soloists which would move the plot or story line, XLI+VIIOGYPXYVIHYVMRKXLI-XEPMER6IREMWWERGI arias in which the soloist would explore an emo- In the 1500’s, a certain group of composers from tion, and choruses where the rest of the characters the Camerata Fiorentina, or Florentine Academy, commented on the action. Composers began to FIKERXSJSGYWSRXLIVITVSHYGXMSRSJ+VIIO(VE- create duets, trios, and other ensemble numbers ma. The Camerata believed that several factors with multiple soloists, allowing for more character were extremely important in recreating these dra- interaction and more dynamic plot lines. As the mas: the sung text must be understood, the music Classical period began, the chorus of an opera be- WLSYPHVIÂIGXXLIGEHIRGIWSJWTIIGLVEXLIVXLER came more integral to the story, rather than mere- dance, and most importantly, the music should ex- ly providing commentary. Arias began to express plore and enhance the emotions being expressed. multiple emotions and more complex ideas and The Camerata developed Western music’s earliest QEMR GLEVEGXIVW XSSO SR QSVI LYQER EXXVMFYXIW STIVEWXLIQSWX[IPPORS[RFIMRK1SRXIZIVHM¸W %PPSJXLIWIHIZIPSTQIRXWEVITVIWIRXMRXLI[SVOW of Wolfgang Amadeus Mozart.

14 Florida Grand Opera // Opera’s Root and Development Study Guide // La sonnambula 15 9RXMP XLI PEXI ¸W STIVEW ÁX MRXS ZIV] WTIGMÁG Mozart, and Rossini, among others, are considered GPEWWMÁGEXMSRWSTIVEWIVMEXLIRSFPIERHµWIVMSYW¶ by scholars to be members of the Italian School of genre, and opera buffa, the comic and low brow operatic composition. Italian School composers genre. Mozart revolutionized opera as he began to created highly melodic music which displays the FPIRHXLIWIKIRVIWMRLMWPEXIV[SVOW-RThe Mar- singers to the best of their abilities. The orchestra riage of Figaro, buffo, or comic, servant characters accompaniment is usually secondary to the vocal PMOI *MKEVS [IVI TSVXVE]IH EPSRKWMHI WIVME RSFPI- line, and as such, these operas are termed “Singer’s QIRPMOI'SYRX%PQEZMZE*YVXLIVQSVIXLIFYJJS Opera.” Conversely, the German School of Opera, characters often displayed more admirable quali- [LMGLGV]WXEPPM^IHMXWIPJXLVSYKLXLI[SVOWSJ'EVP ties than the nobles. Mozart’s Don Giovanni is clas- Maria von Weber, Beethoven, and Wagner, empha- WMÁIHEWEHVEQQEKMSGSWSSVGSQMGHVEQE-XJIE- sizes the power of the music as a whole instead of tures lighthearted moments and comic scenes such displays by the vocalist. Weber’s opera Der Freis- as Giovanni’s servant displaying the catalogue of his chütz (The Marksman) MW GSRWMHIVIH XLI ÁVWX MQ- master’s conquests to a jilted lover, but ends quite portant German Romantic opera, and is particular- dramatically with the womanizer being dragged to P][IPPORS[RJSVMXWYRIEVXLP];SPJ¸W+PIRWGIRI Hell for his terrible debauchery. Weber’s opera Euryanthe followed Der Freischütz and was through-composed, blurring the distinc- Giuseppe Verdi composed operas during the Ro- tions between recitative and aria. This melding of mantic period as harmonic language became more recitative and aria was enhanced and expanded by varied and effective. Due to the concurrent devel- 6MGLEVH;EKRIV[LS[VSXIMRÂS[MRKERHIRHPIWW opments in literary style, plots explored a greater QIPSHMIW ;EKRIV¸W STIVEW PMOI Tristan und Isolde, depth of emotion and action, and provided com- Parsifal, and The Ring Cycle best exemplify the Ger- mentary on current events with more frequency. man focus on the effectiveness of the orchestra, vo- As more regions chaffed under the oppressive rule calists, and poetry as a total production to create of foreign empires, composers sought to express the drama. The French School, founded by Lully nationalistic themes with their art. Verdi endured and developed by composers such as Meyerbeer, many struggles with government and church cen- Bizet, Gounod, and Massenet, is a balancing point sors over his operas, because of their political over- between the Italian and German ideologies. Instru- tones or, in Rigoletto’s case, portrayal of an abusive mental support for the vocal line was more complex and degenerate nobleman. ERHVMGL[LMPIXLIZSGEPPMRI[EWPIWWÂSVMH8LI As opera developed even futher, national styles di- voice was always well displayed while still doing its ZIVWMÁIHERHHIZIPSTIHXLIMVS[RGERSRW:IVHM TEVXXSIZSOIERHTVSKVIWWXLIHVEQEXMGTPSX

16 Florida Grand Opera // Opera’s Root and Development Study Guide // La sonnambula 17 ©BROADWAY

OnThe modern Broadway! American “Opera”

2EQIWPMOI7SYXL4EGMÁG3OPELSQE, Phantom of the In response to this demand, composers began cre- Opera, Wicked, and RENT are often more familiar EXMRK[SVOWXLEXMRGSVTSVEXIHHSQIWXMGGLEVEGXIVW to us than the vast majority of the operatic reper- in funny situations. The music was lighthearted and tory. These musical dramas are heavily integrated characters relatable, leaving audiences happy and into pop culture and are usually synonymous with upbeat by the end of the performance. Some of the &VSEH[E]ERH2I[=SVO'MX],EZI]SYIZIV[SR- QSWX[IPPORS[RSTIVEFYJJEEVIThe Marriage of dered what inspired the creation of this unique art Figaro by Mozart and The Barber of Seville by Ros- form full of drama, music, and dance? Though the sini. In the late 19th century, British and American modern musical’s inspiration comes from a variety GSQTSWIVW WSYKLX XS GVIEXI RI[ GSQIHMG [SVOW SJWSYVGIWXLISTIVEQSVIWTIGMÁGEPP]STIVEFYJJE that mixed many genres of music, dance, and dra- lies at its heart. ma. These composers drew musical ideas from the opera buffa idiom, but also included dance num- Opera buffa, or ‘comic opera,’ was a response to op- bers and parody elements that were typical of bur- era seria, or ‘serious opera,’ during the 18th century. lesque shows. “Musical comedies” such as Cohan’s During this time, audiences wanted a plot that they Little Johnny Jones (1904) and Kern’s Nobody could relate to and have fun watching. ,SQI X]TMÁIHXLMWKIRVI%WMRSTIVEFYJJE ordinary, average characters were emphasized and

18 Florida Grand Opera // On Broadway! The Modern American “Opera” Study Guide // La sonnambula 19 brought to life. The plots were simple and easy to YWMRKVSGOFERHMRWXVYQIRXEXMSR8LIVIMWRSPSR- YRHIVWXERH 9RPMOI STIVE LS[IZIV HERGMRK ERH gera “typical” sound for a musical, as the repertory acting played a major role in these productions in is as diverse as the composers who have created it. order to bring the variety show to life. New musicals explore all facets of the human ex- perience, social injustice, and worldly problems, as In 1927, Oscar Hammerstein II and Jerome Kern [IPPEWWGMIRGIÁGXMSRERHJERXEW]8LSYKLXLIVIMW delivered a musical dealing with prejudice, and HERGMRKSZIVXLIXSTEGXMRKERHVSGOERHVSPPQY- tragic, undying love: Showboat. This musical was sic in our modern musical, the themes of love, loss, revolutionary for a number of reasons. Showboat ERHPSRKMRKEVIRSXYRPMOIMXWSTIVEXMGERGIWXSV was clearly distinguishable from the “musical com- IH]¶ PMOI STIVE FYJJE ERH IWXEFPMWLIH MXWIPJ EW E Many call the Broadway musical “American Opera.” ¶QYWMGEPTPE]¶ PMOISTIVEWIVME %PPSJXLIIPIQIRXW The musical, though primarily drawing from oper- were subservient to the play; the story was cohe- atic arts, was created through a conglomeration of sive and the integrated songs that contributed to QER]HMJJIVIRXIPIQIRXWQYGLPMOISYV%QIVMGER the action by establishing moods, unveiling char- culture. Opera made use of drama, music, costumes, acters, or advancing the plot. Showboat dealt with and art to tell timeless stories that resound deep LIEZ]IQSXMSRWERH[EWPMOIRSXLMRKXLEXLEHGSQI within our souls, as many musicals aim to do today. before it. It paved the way for musicals by allowing Many parallels can also be drawn between subject them to deal with new subject matter. A few years matter of opera buffa and the musical comedy, as later, Strike Up the Band (1930) included social com- well as opera seria and the musical play. Songs are mentary on war, capitalism, and American politics. used to create drama, move the story forward, and 7MRGIXLI¸WGSQTSWIVWLEZIXEOIRXLIQSHIVR hopefully teach us something about our own lives. musical in many different directions. Because the The orchestra is used in both art forms to sup- music from a “musical” is no longer popular music, port the singers and add depth to their words. And GSQTSWIVWLEZISJXIRFVSYKLXµTST¶QYWMGFEGOXS though the acting and dancing used to be quite dif- the stage. ferent between and an opera and a musical, current trends on Broadway and in opera houses are Andrew Lloyd Weber has done so numerous times showing that they are learning from each other’s in Jesus Christ Superstar (1971), Cats (1982), and successes. And though they are learning and grow- Phantom of the Opera F]MRGSVTSVEXMRKVSGO ing from each other today, we must not forget the beats and electric instruments in the orchestra. musical’s roots. Without opera, the modern musical Some composers, such as Jonathan Larson, have would never have come to be. even created entire musicals Rent (1994)

20 Florida Grand Opera // On Broadway! The Modern American “Opera” Study Guide // La sonnambula 21 © SINGING LIKE A PRO © SINGING LIKE

The operaticVoice

Professional singer

22 Florida Grand Opera // The Operatic Voice Study Guide // La sonnambula 23 3TIVEWMRKIVWEVIGPEWWMÁIHMRX[SHMJJIVIRX[E]W Coloratura Soprano: *MVWXXLI]EVIMHIRXMÁIHEWWSTVERSQI^^SWSTVE- %GSPSVEXYVEWSTVERSMWQEVOIH[MXLKVIEXEKMPMX]ERH no, tenor, etc., based upon their singing range. Sec- a much higher range than a soubrette. Depending ondly, they are categorized based on characteristics on the weight of her voice, the soprano may be of their sound. Type of voice is often referred to additionally described as a lyric coloratura with with the German word Fach (plural Fächer), which medium weight and depth, or a dramatic coloratura means “subject” or “speciality.” A singer’s fach de- with the fullest sound and a brassy, ringing quality. XIVQMRIW[LEXVSPIWXLI]EVIQSWXPMOIP]XSTIVJSVQ Lyric Soprano: Women’s voices are grouped (from high to low) into 0]VMGWSTVERSWEVIX]TMÁIHF]EREFMPMX]XSWMRKPIKE- soprano and mezzo-soprano ranges. Men’s voices to (in a smooth and connected line) with a pure and are grouped into tenor, baritone, and bass by range. beautiful sound. Many of a lyric soprano’s roles are Common additional descriptive words include col- the love interests of their opera, so a soprano of this oratura, lyric, and dramatic. voice type must encompass the innocence and vul- nerability written into their music. Lyric sopranos Soprano Fächer QE]EPWSKVS[MRXSEGPEWWMÁGEXMSRORS[REWWTMR- Soubrette Soprano: to, which in Italian means “pushed.” This sound This soprano has a voice with the lightest weight is larger than a standard lyric soprano and can cut and enough agility to handle coloratura passages across a larger orchestra. (vocal runs of many fast notes). She will not typically Dramatic Soprano: sing above a high C. A soubrette is also referred to A dramatic soprano has a full and rich sound with in German as a “Character Soprano.” Her roles are power that can carry across the largest opera or- frequently the maid or comic relief of the opera. GLIWXVEW8LIMVXSRIMWSJXIRHEVOIVXLERSXLIVWS- TVERSW (VEQEXMG WSTVERSW EVI EPWS QEVOIH [MXL great stamina and endurance.

24 Florida Grand Opera // The Operatic Voice Study Guide // La sonnambula 25 Mezzo-Soprano Fächer Heldentenor: Meaning “heroic tenor” in German, a Heldentenor Coloratura, Lyric, and dramatic mezzo-sopranos features a richer and more robust sound than the have similar vocal characteristics to their soprano lyric tenor. In his middle range, a heldentenor may counterparts, but spend more of their time singing sound very similar to a baritone in color and weight. in a lower tessitura or range of their voice. Mez- zo-soprano voices are typically more mellow and Baritone Fächer rich in their sound than soprano voices. Lyric baritones and dramatic bass-baritones feature Contralto: the same characteristics of lyric and dramatic voices. 8LI GSRXVEPXS JEGL JIEXYVIW E WMKRMÁGERXP] PS[IV A lyric baritone has a sweeter, mellower sound, VERKIERHEZIV]HEVOVMGLXSRI%GSRXVEPXSMWSRI while a dramatic bass-baritone has more comfort of the rarer female voice types due to its range. and strength in his lower range as well as enough power to sing over a large orchestra. Tenor Fächer Cavalier Baritone: Comic Tenor: The cavalier baritone has a brassy quality to his The comic tenor sings roles that require acting voice and is capable of singing both lyric and rather than exquisitely beautiful singing. His arias dramatic passages. This voice is very similar to the QE]FI[VMXXIRMRETEXXIVSVWTIIGLPMOIWX]PIERH Verdi Baritone, discussed more in-depth in the next do not feature the demands of a full lyric melody. section, but the Verdi Baritone usually sings a much Lyric Tenor: higher tessitura than the cavalier baritone. Similar to the other lyric voices, a lyric tenor must Bass Fächer WMRK [MXL FIEYX] ERH GSQQERH FSXL ÂI\MFMPMX] of coloratura passages and musical phrasing of a &EWWIW EVI EPWS GPEWWMÁIH EW P]VMG SV HVEQEXMG EW legato line. well as comic, based upon weight and beauty of the ZSMGI8LMWFEWWZSMGIMWQEVOIHF]ERI\XVIQIPS[ range. The basso profundo (Italian for “Profound” or “Low Bass”) has an enormously resonant and full-bodied sound.

26 Florida Grand Opera // The Operatic Voice Study Guide // La sonnambula 27 An opera semiseria performed in two acts by Vincenzo Bellini (November 3, 1801

- September 23, 1835) which premiered © OPERA COLLECTORS in Milan, Italy, at the Teatro Carcano on March 6, 183. The libretto is by Felice Ro- mani (January 31, 1788 - January 28, 1865) based on a scenario for a ballet-pantomime by Eugène Scribe and Jean-Pierre La sonnambula Aumer called La somnambule, ou L’arrivée d’un nouveau seigneur.

Maria Callas in La sonnambula

28 Florida Grand Opera // La sonnambula Study Guide // La sonnambula 29 © FLORIDA GRAND OPERA © FLORIDA

CastCharacters &

Anima Elvino

Rachele Gilmore Michele Angelini soprano tenor %WPIIT[EPOMRKSVTLER A villager who is set to raised by Teresa. marry Amina.

Lisa Count Rodolfo soprano bass %RYRLETT]FYXTVEGXMGEPMRROIITIV 8LIPSVHSJXLIZMPPEKI[LSÁVWX appears as a gisguised stranger.

Teresa Three Ladies mezzo soprano two sopranos, Owner of the mill who raised Amina. mezzo soprano Servant to the queen of the night.

Alessio Notary bass tenor

30 Florida Grand Opera // Cast & Characters Study Guide // La sonnambula 31 SynopsisAct 1 GRAND OPERA MITCHELL FOR FLORIDA © DEBORAH GRAY

Scenes from La sonnambula

In the village square, preparations are under way Lisa tells the stranger that it is late and he will not for the wedding of Elvino and Amina, a couple FIEFPIXSVIEGLXLIGEWXPIYRXMPHEVOERHSJJIVW which has been adored by the entire communi- lodging at her inn, instead. After accepting X]0MWEXLITVEGXMGEPQMRHIHMRROIITIV[LS[EW Lisa’s offer to spend the night at the inn, he sur- once engaged to Elvino herself, is unhappy. Amina prises the villagers by showing a great deal of fa- enters and expresses her happiness and gratitude miliarity and declares a love for the place itself (“Vi to all, with particular attention to Teresa, who had ravviso, o luoghi ameni”). He then notices Amina brought her up after she was orphaned (“Come ERHMWWXVYGOF]LIVVIWIQFPERGIXSEJSVQIVPSZI per me sereno”). Elvino who is running late for JVSQLMW]SYXL%WMXKVS[WHEVOXLIZMPPEKIVWFI- the contract signing, rushes in and offers a bou- come apprehensive and explain to the stranger of quet of violets to Amina in apology, then gives her the village ghost. The stranger seems unwary and a ring that belonged to his mother (Duet: “Prendi, EUYMTXLEXLI[SYPHPMOIXSWIIXLIKLSWXERH l’anel ti dono”). Suddenly, a stranger arrives, and departs, followed by the villagers. Alone, Elvino EWOWLMW[E]XSXLIGEWXPI and Amina quarrel over the count’s attentions to Amina, but Elvino soon apologizes for his jealousy (YIXµ7SRKIPSWSHIP^IJÁVSIVVERXI¶ 8EOIRJVSQLXXT[[[QIXSTIVEJEQMP]SVKQIXSTIVELMWXSV]WXSVMIWW]RSTWMWEWT\#MH!

32 Florida Grand Opera // Synopsis Study Guide // La sonnambula 33 SynopsisAct 1 GRAND OPERA MITCHELL FOR FLORIDA © DEBORAH GRAY scene2

Anima, in La sonnambula

%XXLIMRR0MWELEWMHIRXMÁIHXLIWXVERKIVEW'SYRX on his bed. Unfortunately, the ever-inquisitive vil- Rodolfo, the long-lost lost heir of the former local PEKIVWLEHGSQIWRIEOMRKEPSRKJSVERSXLIVPSSO count. She pays his respects to the count, and he at the stranger. Lisa appears with Elvino and Te- FIKMRWEÂMVXEXMSR[MXLLIV8LIX[SGSRXMRYIXS VIWE ERH IZIV]SRI MW WLSGOIH XS ÁRH %QMRE MR QEOII]IWEXIEGLSXLIV[LIRXLIVIMWWYHHIRP] XLIGSYRX¸WFIH%[EOIRIHF]XLIGSQQSXMSRXLI a noise and Lisa hides in the closet, dropping her girl protests her innocence (D’un pensiero e d’un LERHOIVGLMIJ%QMREIRXIVW[EPOMRKMRLIVWPIIT accento”). For a moment, the entire village seems Count Rodolfo realizes that she must be the vil- LIEVXFVSOIRSZIV%QMRE¸WFIXVE]EPFYXWSSREJXIV lage “phantom.” Lisa, however, assumes Amina is rage sets in. In spite of Teresa’s pleas and Amina’s coming to meet Rodolfo as a lover and slips away. protestations, Elvino calls off the wedding (“Non Moved by her unconscious expressions of love for TMYRS^^I¶ -RXLIIRWYMRKGLESW8IVIWETMGOWYT Elvino, Rodolfo leaves Amina innocently asleep 0MWE¸WLERHOIVGLMIJ

34 Florida Grand Opera // Cast & Characters Study Guide // La sonnambula 35 *IIPMRKVITIRXERXXLIZMPPEKIVW[EPOXLVSYKLXLI [SSHWXS'SYRX6SHSPJS¸WGEWXPIERHWTIEOXSLMQ regarding Amina’s case. Amina and Teresa enter on a similar mission and overhear Elvino lament- ing (“Tutto e sciolto”).

When he sees Amina, he reproaches her and not JYPP] GSRZMRGIH SJ LIV MRRSGIRGI LI XEOIW LMW VMRKFEGOJVSQLIV8LIZMPPEKIVVIXYVRXSWE]XLEX 'SYRX6SHSPJSLEWGSRÁVQIH%QMRE¸WMRRSGIRGI © DEBORAH GRAY MITCHELL FOR FLORIDA GRAND OPERA MITCHELL FOR FLORIDA © DEBORAH GRAY and is on his way, but Elvino refuses and leaves in despair. Amina is led away by Teresa.

Anima, in La sonnambula

36 Florida Grand Opera // History Study Guide // La sonnambula 37 SynopsisAct 2 GRAND OPERA MITCHELL FOR FLORIDA © DEBORAH GRAY

Anima, and Elvino, in La sonnambula

Elvino has now decided to marry Lisa. They are 7YHHIRP]%QMREETTIEVWWPIIT[EPOMRKEXEKVIEX about to enters the church when they are inter- height along a treacherous ledge. The count warns rupted by the arrival of Rodolfo, who again pro- XLI ZMPPEKIVW XLEX MJ XLI] [IVI XS [EOI LIV WLI claims Amina’s innocence, explaining to the in- could die. All the villagers can do is watch and GVIHYPSYWGVS[HXLEXWLI[EWSRP]WPIIT[EPOMRK pray for her; she slowly reaches safety. Still asleep, EWEWSQREQFYPMWX8IVIWEETTIEVWEWOMRKXLIZMP- Amina mourns the loss of Elvino, remembering lagers to stay quiet, since Amina has fallen asleep XLIÂS[IVWLIKEZILIVXLEXLEZIWMRGIJEHIHERH JVSQI\LEYWXMSR7LIMWWLSGOIHXSWIIXLEX0MWE searching for her lost ring (“Ah! Non credea mi- is about to marry Elvino and confronts her. Lisa rati”). Convinced of her innocence and unable to then retorts that she was never found in another watch her suffer any longer, Elvino puts the ring QER¸WVSSQ;LIR8IVIWETVSHYGIWXLILERHOIV- FEGOSRLIVÁRKIV;LIR%QMREÁREPP][EOIWYT chief that was found in Count Rodolfo’s room, El- WLIMWVINSMGIHXSVIEPM^IXLEXLIVHVIEQLEWÁREPP] vino realizes that Lisa has lied to him. come true.

38 Florida Grand Opera // Study Guide // La sonnambula 39 © NAXOS

TheVincenzo Composer Bellini (1801-1835) Vincenzo Bellini

Sicily’s most famous composer was born in Cata- Teatro San Carlo presenting his next opera, Bian- nia, Italy, on November 3, 1801 to a family of pro- ca e Fernando, which premiered the following year fessional musicians. He was something of a prod- (when it was renamed Bianca e Gernando out of re- igy, already starting to compose in his pre- teens. spect for the late King Ferdinando). Due to the In 1819, he was sent to the Naples Conservatoire success of Bianca e Gernando, this in turn led to where, in addition to conventional academic ex- a commission for an opera at La Scala, an opera ercises and study of Mozart and Haydn, he was in Milan for Il pirata (1827) and thus spread his encouraged by his mentor Niccolo Zingarelli to fame abroad. Bellini led a charmed life as a com- MQQIVWILMQWIPJMRXLIJSPOQYWMGSJ7MGMP]ERH TSWIV[SVOMRKSRP]XSGSQQMWWMSRWIPHSQLYVV]- develop his characteristic song style. Zingarelli ing and commanding generous fees. As a person, proudly followed his star pupil’s career, and Bel- he charmed his contemporaries, but he was also lini dedicated the opera Norma to him. Bellini’s UYMGOXSXEOISJJIRWIJVSQNIEPSYWTSXIRXMEPVMZEPW ÁVWX STIVE Adelson e Salvini, was written for the such as Gaetano Donizetti, and was somewhat of Conservatoire in 1825 and its success led to the a womanizer. The librettist of Il pirata was Felice Romani, who became a lifelong collaborator sup- plying the texts for La straniera (Milan, 1828), Zaira )\GIVTXJVSQLXXT[[[FFGGSYOQYWMGEVXMWXWJFJHGGEEHG (Parma, also 1829), I Capuleti e i Montecchi

40 Florida Grand Opera // The Composer Study Guide // La sonnambula 41 (Venice, 1830), La sonnambula (Milan, 1831) and ERSXLIV WXEV [MXL [LSQ &IPPMRM [SVOIH VIKYPEV- Norma (Milan, also 1831). The two fell out over Be- ly with, and he starred in La sonnambula, Nor- atrice di Tenda (Venice, 1833), one of Bellini’s rare ma and Beatrice di Tenda. (The most immediately – at the time – failures, but the composer’s view WXVMOMRKEWTIGXSJ&IPPMRM¸WWX]PIMWLMWGSQQERHSJ of Beatrice as “not unworthy of her sisters” has long-breathed melody, which was much admired been proved right. Romani was sorely missed in by Giuseppe Verdi and his fusion of melody with what was to be Bellini’s last opera, I puritani (Paris, text which was admired by Wilhelm Wagner and 1835), to a well- meaning but somewhat amateur- emulated, not just in Das Liebesverbot (The Ban on ish libretto by Count Carlo Pepoli. The star ten- Love) but as far ahead as Tristan und Isolde (Tristan or in Il pirata was Giovanni Rubini, with whom and Isolda). But there was more to Bellini than ele- Bellini also forged a professional relationship. He giac melodies; the full frontal Romanticism and had sung in Bianca, and created the tenor roles in musical violence of Il Pirata was enormously in- La sonnambula and I puritani. Giuditta Pasta was ÂYIRXMEPERHEXXLIXMQIXLIQEVXMEPHYIX“Suoni la ERSXLIVWXEV[MXL[LSQ&IPPMRM[SVOIHVIKYPEVP] tromba” in I Puritani appealed to audiences more with, and he starred in La sonnambula, Norma and than Elvira’s mad scene. Beatrice di Tenda. Perhaps most important was his development of very carefully orchestrated accompanied recitative, or arioso, to separate set numbers, which point- ed far ahead to through-composed opera. Given what he had already achieved, Bellini’s early death from gastro-enteritis and liver infection, at the age of only 33, was as tragic as that of Wolfgang Mozart and Franz Schubert.

42 Florida Grand Opera // The Composer Study Guide // La sonnambula 43 © DISCOGS

FeliceLibrettists Romani (1788-1865)

Felice Romani )\GIVTXJVSQLXXTIR[MOMTIHMESVK[MOM*IPMGIC6SQERM

44 Florida Grand Opera // Librettists Study Guide // La sonnambula 45 Felice Romani was an Italian poet and scholar of As a rule, Romani did not create his own stories; literature and mythology who wrote many libret- LIOITXYT[MXL[LEX[EWLETTIRMRKMRXLI4EVMW tos for Vincenzo Bellini and Gaetano Donizetti. theatre and adapted plays that were popular at the 6SQERM[EWGSRWMHIVIHXLIÁRIWX-XEPMERPMFVIXXMWX time there. Romani wrote the librettos for Bellini’s between Metastasio and Arrigo Boito. Il pirata, La straniera, Zaira, I Capuleti e i Montec- chi, La sonnambula, Norma and Beatrice di Tenda. He Born in Genoa, Italy, Romani went to study in Pisa also wrote for Giachino Rossini’s Il Turco in Ita- where he is said to have “studied law to please his lia, Gaetano Donizetti’s Anna Bolena and L’elisir family and literature to please himself.” He later d’amore, and even for Giuseppe Verdi’s early com- joined the faculty of the University of Genoa and, edy Un giorno di regno. while there, translated French literature. With a colleague, he prepared a six-volume dictionary of Romani was considered an ideal match for Bell- mythology and antiquities, including the Celtic ini, who is quoted as having said: “Give me good history in Italy. Romani’s expertise in French and verses and I will give you good music.” Dramatic, ERXMUYMX]MWVIÂIGXIHMRXLIPMFVIXXMLI[VSXI XLI even extravagant “situations”expressed in verses majority are based on French literature and many, “designed to portray the passions in the liveliest such as Norma, use mythological sources. QERRIV¶[EW[LEX&IPPMRM[EWPSSOMRKJSVMREPM- bretto, according to a letter to Florimo, August 4, Romani travelled widely through Spain, Greece, 1834, and he found them in Romani. Germany and France. In 1814, he established himself in Milan, where he became friends with im- But the two had a falling out over missed deadlines TSVXERXÁKYVIWMRXLIPMXIVEV]ERHQYWMGEP[SVPH for Beatrice di Tenda. After setting I puritani to a He turned down the post of court poet in Vienna, libretto by Carlo Pepoli, Bellini was determined and instead began a career as an opera librettist. not to compose any more Italian operas with any- He wrote two librettos for the composer Simon one but Romani. Howeve, I puritani was Bellini’s Mayr, which resulted in his appointment as the last opera and he died less than a year after its librettist for La Scala. Romani became the most premiere. Romani mourned him deeply and wrote highly regarded of all Italian librettists of his age, an obituary in which he expressed his profound TVSHYGMRKRIEVP]TMIGIWSJ[SVO-RWTMXISJ regrets over their disagreement. his interest in French literature, he refused to [SVOMR4EVMW

46 Florida Grand Opera // Librettists Study Guide // La sonnambula 47 © COLLIDER

ThePeriod Bel Canto

Maria Callas Excerpt from http://suite101.com/article/operatic-styles---bel-canto

48 Florida Grand Opera // The Bell Canto Period Study Guide // La sonnambula 49 Bel canto, literally translated as “beautiful singing,” 8LIWLS[TMIGISJXLISTIVEWIVME[SVO[EWXLIHE has been part of operatic terminology for many capo aria. This style of aria had three sections, the years. However, it continues to have a somewhat XLMVHWIGXMSRFIMRKEVITIEXSJXLIÁVWX(EGETS nebulous meaning for many people. Understood indicated a return to the beginning of the piece HIÁRMXMSRWLEZIHIZIPSTIHEXZEVMSYWXMQIWJSVHMJ- and utilized improvised decoration. This was part- JIVIRXVIEWSRW&YXMXMWTSWWMFPIXSÁRHGSQQSR ly to build the aria dramatically, but it also served ground and come to a more cohesive understand- as a means of demonstrating the virtuosity of the MRKSJXLIXIVQEWMXMWORS[RXSHE]JSVXLILMWXSV- singer. In the 19th century, many opera composers ical contexts in which it developed. were exploring more dramatic and nationalistic styles and singers were being forced to pit their 8LIXIVQFIPGERXSÁVWXETTIEVIHMRXLIXLGIR- voices louder; denser orchestral writing required tury in Italy to distinguish a style of singing that the development of a larger dramatic vocal style. was emerging in sacred music and operas. It was In Italy, the more common style was focusing on HMJJIVIRXJVSQXLIWX]PIYWIHF]JSPOERHQEHVMKEP the line and the beauty of the voice. Consequent- singers. However, this was commonly used until ly, bel canto became synonymous with the Italian the mid-18th century when opera seria became a model of operatic vocal production. prevalent operatic form. Opera seria, was, as the name suggests, a formal style of opera, and com- The term bel canto is also sometimes attached ex- monly used for its subject matter in myth, legend, clusively to Italian opera of the time of Gioachino moral and religious stories. Rossini, Vincenzo Bellini and Gaetano Donizetti.

50 Florida Grand Opera // The Bell Canto Period Study Guide // La sonnambula 51 8LIWI XLVII GSQTSWIVW [VSXI FVEZYVE [SVOW JSV Characteristics A notable legato, or smooth style of singing across the stage during what musicologists call the bel of the Bel Canto the entire range // A lighter tone in the upper canto era, which last approximately from 1805- Style of Singing part of the range // %KMPMX]ERHÂI\MFMPMX]XLEXIR- 1840. Changing tastes and social standards also ables the singer to manage ornamentation with OMPPIHSJJXLISTIVEXMGGEWXVEXSZSMGIERHIRWYVIH ease // 0EGOSJRSXMGIEFPIFVIEXLWSYRHWERHI\- the related rise to singing supremacy of the prima cessive vibrato // A well focused timbre // Clear donna soprano and the virtuoso tenor. attack // Limpid diction // 6IÁRIHFVIEXLGSRXVSP that governs characteristically graceful phrasing Eventually, this style and repertoire also dropped out of favor in the late 19th and early 20th century. Grand dramatic operas of Giuseppe Verdi Bel Canto 1816, Il barbiere di Siviglia (The Barber of Seville) - and Richard Strauss, added with the nationalis- Time Line Rossini XMG[SVOWSJ;MPLIPQ;EKRIVKEMRIHMRTSTYPEVMX] -X[EWR¸XYRXMPXLI[SVOWSJ&IPPMRMERH(SRM^IXXM 1817, La Cenerentola (Cinderella) – Rossini 1829, Guillaume Tell (William Tell) – Rossini [IVIVIZMZIHF]XLIPMOIWSJ1EVME'EPPEWERH(EQI .SER7YXLIVPERHXLEXXLIFIPGERXS[SVOWFIKER 1830, Anna Bolena - Donizetti XSQEOIXLIMV[E]FEGOMRXSKIRIVEPVITIVXSMVI 1831, La sonnambula 8LI7PIIT[EPOIV ³&IPPMRM Bel canto operas are singers’ operas and all cul- minate in one effect – the great lyric aria embed- 1831, Norma – Bellini 1832, L’elisir d’amore (The Elixir of Love) - Donizetti ded in the smoothest and richest tones of chorus and orchestra. The composer’s sole merit consists 1835, Lucia di Lammermoor – Donizett of giving his singers opportunity to display their 1835, I puritani (The Puritans) - Bellini accomplishments in new, sonorous and brilliant melody. And Bellini, the quintessential bel canto 1840, 0EÁPPIHYVqKMQIRX 8LI(EYKLXIVSJXLI6IK- composer, did this with utmost naivety and the iment) – Donizetti ÁRIWXXEWXI 1843, Don Pasquale – Donizetti

52 Florida Grand Opera // The Bell Canto Period Study Guide // La sonnambula 53 © DEPOSITPHOTOS

InfluenceBellini’s

Bellini’s face on the old Italian currency, “Lire”

It is not an exaggeration to say that no musician And the composer who created this new type of LEW IZIV I\IVGMWIH E QSVI TVSJSYRH MRÂYIRGI melody was Bellini. The note of ecstasy, of pas- on his contemporaries and successors than Vin- sionate lyricism and elegiac melancholy which GIR^S&IPPMRM(SIWXLEXWIIQHMJÁGYPXXSEGGITX# came into music in the 19th century was intro- 'SRWMHIV JSV E QSQIRX XLI WTIGMÁG UYEPMX] XLEX duced by Bellini. Bellini can be considered the fa- sharply differentiaties 18th century music from ther of modern melody. Even Hector Berlioz, who 19th century music. It is not so much the change professed the utmost contempt for Bellini, was in harmonic idiom or the development of orches- compelled to write in his melodic idiom when he tral color, as a new type of melodic writing. This is wished to give expression in his music to the ut- the primary factor in the transformation; the oth- most passion and ardor. There are two things that ers are only secondary. For example, compare the Bellini has been accredited for: 1. The sustained, typical 19th century themes, such as Liebestod in WLIIVPIRKXLSJLMWQIPSHMIW,IVIQEMRWYRI\- Tristan, or in the Nocturnes of Chopin, with any celled among composers of the 19th century. 2. characteristically “Mozartean” or even “Beethove- There is a personal quality to Bellini’s melodies nian” melodies, and the difference will be felt at which holds to few comparisons. There is a purity once. They belong to entirely different worlds. of line and delicacy in sentiment that was lost in

Excerpt from Gray, Cecil. “Vincenzo Bellini.” Music & Letters, Vol. 7, No. 1 (January, 1926), pp. 49-62. pp. 1926), 1 (January, No. 7, Vol. Music & Letters, Bellini.” “Vincenzo Cecil. Excerpt from Gray, much of the overheated music of the day.

54 Florida Grand Opera // Bellini’s influence Study Guide // La sonnambula 55 It must be remembered that a great deal of what seems to us to be trivial to us has only become so through the course of time and association. Vincenzo Bellini’s melodic idioms have passed in GSQQSRWTIIGLERHFIGSQIXLIWXSGOMRXVEHISJ generations of second and third-rate opera com- TSWIVW8LIWEQITVSGIWWMWXSFIWIIRMREVX[SVO SJIZIV]EKI XLIEVXMWX¸WTIVWSREPMHMSQMWÁVWXIQ- VincenzoDefending ployed by a few, then rapidly becomes popular and Bellini MWÁREPP]GSRWMHIVIHSZIVYWIH

8LIWIGSRWMHIVEXMSRWQYWXFIXEOIRMRXSEGGSYRX The simplest and most obvious melodic progres- when we reproach Bellini and the triviality and sions are those which sound best when sung; the vulgarity of a great part of his music. Intrinsical- complex and elaborate almost invariably fails in its ly, however, it is no more empty and trivial than effect, as with the Bellini’s music. What may seem Wilhelm Wagner’s mechanical sequences, the to us to be a trivial and colorless melody is often GLVSQEXMGEPP] HIWGIRHMRK WIZIRXLW SJ *VIHIVMGO in reality a most delicately constructed organism, Delius, or the endless repetitions of the same bar demanding a particular tessitura and general style or two which we encounter in most modern mu- of singing of which we have no longer any concep- sic. There is every reason to suppose that all these tion. In consequence of the modern instrumental procedures will seem wearisome and banal to our treatment of the voice, the secret of singing such ears of future generations of musicians as those music is almost entirely lost. Except for a few rep- of Bellini might to ours. Finally, it must always be resentatives of the older generation, there are few stated that the sound of such things is often very who can render it in the proper manner. It is a different from their appearance on paper, or their GYVMSYW VIÂIGXMSR XLEX MX MW GSRWMHIVIH EPQSWX E effect when played on the piano. crime to write effectively for the voice. Excerpt from Gray, Cecil. “Vincenzo Bellini.” Music & Letters, Vol. 7, No. 1 (January, 1926), pp. 49-62. pp. 1926), 1 (January, No. 7, Vol. Music & Letters, Bellini.” “Vincenzo Cecil. Excerpt from Gray,

56 Florida Grand Opera // Defending Vincenzo Bellini Study Guide // La sonnambula 57 But perhaps the most common reproach which is It is interesting to learn that Georges Bizet (com- made against Bellini concerns the bareness of his poser famous for his opera, Carmen) had been harmony and the crudity of his orchestral accom- commissioned to rescore Bellini’s Norma, and paniments. On the face of it the reproach has a eventually gave up in despair, saying, “for these GIVXEMRNYWXMÁGEXMSRFYXEQSQIRX¸WGSRWMHIVEXMSR melodies the appropriate accompaniment is that will show that it also is largely the outcome of our given to them by Bellini.” Luigi Cherubini (Bee- modern prejudices. Could anyone seriously con- thoven regarded Cherubini as “the greatest of his tend that Bellini’s music would be improved by contemporaries”), similarly observed, “It would be enriching his harmonies and providing it with an impossible to place any other accompaniments elaborate instrumental texture? On the contrary, underneath these melodies.” his vocal writing could only be impaired by such XVIEXQIRX0MOIJSPOWSRKWMXMRWXMRGXMZIP]VINIGXW harmonic elaboration as foreign to its nature. On XLISXLIVLERHYRPMOIJSPOWSRKWMXHIQERHWWSQI OMRHSJFEGOKVSYRH%QIPSH]SJ&IPPMRMVIUYMVIWE certain degree of accompaniment which must never be allowed to become as obtrusive as to distract our attention from the melody, or to impress itself too strongly on our consciousness.

58 Florida Grand Opera // Defending Vincenzo Bellini Study Guide // La sonnambula 59 © PRLOG

Bellini’sMethod of Composing

La sonnambula score Excerpt from Gray, Cecil. “Vincenzo Bellini.” Music & Letters, Vol. 7, No. 1 (January, 1926), pp. 49-62. pp. 1926), 1 (January, No. 7, Vol. Music & Letters, Bellini.” “Vincenzo Cecil. Excerpt from Gray,

60 Florida Grand Opera // Bellini’s Method of Composing Study Guide // La sonnambula 61 Vincenzo Bellini’s method of comopsing was to Then in the seclusion of my study I begin to de- momentarily identify himself with the actor and claim the parts of the different characters in the then to sum up the dramatic situation in a single drama with the utmost warmth, observing in the QIPSHMGPMRI&IPPMRMHIWGVMFIWLMWQIXLSHSJ[SVO QIER[LMPIXLIMRÂI\MSRWSJQ]ZSMGIXLIHIKVII to a friend here: of haste or languor in their delivery – the accent, in short – and the tone of expression which na- µ7MRGI-LEZIHIXIVQMRIHXS[VMXIJI[[SVOWRSX ture gives to the man who is in the throes of emo- more than one a year, I bring to bear on them my XMSR ERH-ÁRHMRXLMW[E]XLIQYWMGEPQSXMZIW utmost powers of invention. Believing as I do that and tempi best adapted to their communication to EKVIEXTEVXSJXLIWYGGIWWSJE[SVOHITIRHWSR others through the medium of sounds. the voice of an interesting subject with a strong contrast of passions, harmonious and deeply-felt I transfer the result to paper, try it over on the pi- ZIVWIWERHRSXQIVIP]HVEQEXMGWMXYEXMSRWQ]ÁVWX ano, and if I feel in it the corresponding emotion object is to obtain a perfect drama from a good I consider myself to have succeeded. If I do not, [VMXIV3RGIXLI[SVOSJXLITSIXLEWFIIRGSQ- then I begin again.” pleted I study attentively the dispositions of the ,MWEMQ[EWXSÁRHXLIHIGPEVEXMSR[LMGL[SYPH chracters, the passions which sway them, and the preserve the exact accent and inner emotion of the sentiments which they express. Possessed by the words. While endeavoring to preserve accent and feelings of each of them, I imagine myself for the psychological truth, he also attempted to build QSQIRXXSLEZIFIGSQIXLISRI[LSMWWTIEOMRK these elements into a faultless melodic line. He ERH-QEOIERIJJSVXXSJIIPPMOILMQERHXSI\- achieves this end quite often, and the result is as press myself in his manner. Knowing that music near to perfection as anything in music. results from the employment of variety of sounds, ERHXLEXTEWWMSRWSJQEROMRHQERMJIWXXLIQWIPZIW by means of the utterance of diverse tones, I have reproduced the language of passion in my art through incessant observation.

62 Florida Grand Opera // Bellini’s Method of Composing Study Guide // La sonnambula 63 © BRUCE DUFFIE

DirectorRenata Spotlight Scotto

Renata Scotto Excerpt from http://sopranos.freeservers.com/renatasc.htm

64 Florida Grand Opera // Director Spotlight Renata Scotto Study Guide // La sonnambula 65 µ3RP] 7GSXXS XEOIW XLI XVSYFPI XS HMWXMRKYMWL By 1957, Renata Scotto had become an Italian Adriana from Hélène, Norma from Lady Macbeth. celebrity. Near the end of that year, La Scala had These women are not a chorus, each is different. been in Edinburgh presenting Vincenzo Bellini’s Why not sing them differently? Scotto is the last La sonnambula with Maria Callas as Amina. The of the mad-genius sopranos, dementodiva. When production had been so successful that La Scala she goes, opera is in a lot of trouble.” -from the had decided to add another performance. Callas, FSSO (IQIRXIH The World of the Opera Diva by though, had other plans and had no intention of Ethan Mordden. singing the extra part of Amina. With only a two days notice, Scotto replaced Callas as Amina on 6IREXE 7GSXXS MW ORS[R XS QMPPMSRW JSV LIV RY- September 3, 1957. The show was a huge success merous opera performances around the world. and 23 year old Renata Scotto became an interna- Since the early 1950s, she has performed in more tional sensation. than 45 different operas and has appeared with the world’s most acclaimed singers. Renata Scotto On October 13, 1965, Renata Scotto made her was born on February 24, 1934 and made her op- Metropolitan Opera debut as Cio-Cio-San in Mad- eratic debut in her home town of Savona, Italy, on EQE&YXXIVÂ]8LI2I[=SVO,IVEPH8VMFYRIGEPPIH Christmas Eve, 1952, at the age of 18 in front of a it “an occasion for rejoicing, and there was plenty sold-out house as Violetta in Giuseppe Verdi’s La of it in the form of applause and welcoming shouts traviata8LIRI\XHE]WLIQEHILIVµSJÁGMEP¶ST- to the new artist who, above all, s distinctly an in- era debut at the Teatro Nuovo in Milan as Violetta. dividual. In all her roles she was applauded for her 7LSVXP]EJXIVWLITIVJSVQIHMRLIVÁVWX+MEGSQS GSQQMXXIHEGXMRKERHWX]PMWXMGÂYIRG]*SPPS[RKE 4YGGMRMSTIVE1EHEQE&YXXIVÂ]MR7EZSRE wonderful career on the stage, Ms. Scotto continues to add to her activity as stage director, which In 1953, Scotto auditioned for the role of Walter she began with her debut at the Metropolitan Op- in La Scala’s production of Alfredo Catalani’s La era in 1986, with 1EHEQE &YXXIVÂ]. She has di- Wally with Renata Tebaldi and Mario Del Mona- rected multiple Florida Grand Opera productions co. After her audition, one of the judges, Victor de including 0E8VEZMEXE1EHEQE&YXXIVÂ] and this Sabata, was heard saying, “Forget about the rest!” season’s La Sonnambula. and Scotto reported for rehearsal the following Monday. La Wally opened on December 7, 1953 ERH7GSXXS[EWGEPPIHFEGOJSVGYVXEMRGEPPW8I- baldi and Del Monaco each received seven.

Sleepwalking and ASonnambolism History of sleep

Disorders 7PIIT[EPOMRKHMWSVHIV )\GIVTXJVSQ6MZE1%7MVSRM:%8VIQSPM^^S00SQFEVHM'(I:MXS+*IVVEVIWI' 'IWERE+ µ7PIIT[EPOMRKMRMXEPMERSTIVEW%[MRHS[SR TSTYPEVERHWGMIRXMÁGORS[PIHKISRWPIITHMWSVHIVWMRXLIXLGIRXYV]¶)YVSTIER2IYVSPSK]

68 Florida Grand Opera // A History of Sleep Disorders. Study Guide // La sonnambula 69 7PIIT[EPOMRKMWGPEWWMÁIHEWEHMWSVHIVSJEVSYWEP 8LSWI[MXLWPIIT[EPOIVWMRXLIMVJEQMPMIW[IVISJ- with short simple behavior or longer wandering ten shunned by the community. Therefore, in many ITMWSHIW 7PIIT[EPOMRK ITMWSHIW YWYEPP] SGGYV villages, this condition was considered as a curse, HYVMRKXLIÁVWXX[SSVXLVIILSYVWSJWPIIT7PIIT- ETPEKYIEQEVOSJIZMPSVTYRMWLQIRXJSVEWMR [EPOMRKITMWSHIWYWYEPP]FIKMREFVYTXP]4EXMIRXW that had not been confessed. As the 16th century WLS[FPEROI\TVIWWMSRWERHEVIMRHMJJIVIRXXSXLI Spanish writer Antonio de Torquemada notes, the environment and have low levels of awareness and HIZMPMRÂYIRGIWHVIEQW[LMGLTVSZSOIWPIITIVWµXS reactivity. In the state of somnambulism, patients commit follies, whereby we may lose both body and are confused, disoriented and unresponsive; they mind at one.” fail to achieve full consciousness and are extreme- 9RXMP XLI XL GIRXYV] E WPIIT[EPOIV [EW GSR- P]HMJÁGYPXXS[EOIYT WMHIVIHXSFIMRWERIERHXLMWWXEXI[EWPMROIHXS They move around and perform normal actions as madness and other mental disorders. There was [LIR E[EOI [EPOMRK GPIERMRK XEPOMRK ERH SXL- EKVEHYEPQSHMÁGEXMSRJVSQXLIETTVSEGLHYVMRK er activities), without awareness or memory of the XLI 6IREMWWERGI MR [LMGL WPIIT[EPOMRK GLERKIH episode. This sleep disorder is also called som- from demonic possession to mental disorder/psy- nambulism from the Latin terms “somnus” (sleep) chosomatic disease. Only during the late 1900s was ERHµEQFYPEVI¶ XS[EPOEVSYRH 0MOIWIZIVEPSXL- WSQREQFYPMWQ GPEWWMÁIH EW E WPIIT HMWIEWI XLEX IVRIYVSPSKMGEPHMWIEWIW IKITMPITW] WPIIT[EPO- belonged to the group of parasomnias.belonged to ing was incorrectly explained by different theo- the group of parasomnias. ries and, until the Renaissance, this disorder was ascribed to either demonic or divine possession. -RXLI1MHHPI%KIWQSWXXS[RWJSPOJIEVIHXLEX WPIIT[EPOMRKGSYPHFIEGSRXEKMSYWIZMP

Sleepwalking19th century in Italian opera

7PIIT[EPOMRKMRXLISTIVE )\GIVTXJVSQ6MZE1%7MVSRM:%8VIQSPM^^S00SQFEVHM'(I:MXS+*IVVEVIWI' 'IWERE+ µ7PIIT[EPOMRKMRMXEPMERSTIVEW%[MRHS[SRTSTYPEV ERHWGMIRXMÁGORS[PIHKISRWPIITHMWSVHIVWMRXLIXLGIRXYV]¶)YVSTIER2IYVSPSK]

72 Sleeping Walking in the 19th Century. Study Guide // La sonnambula 73 Romantic Italian operas are expressions of 19th There are two scenes with somnambulism. In the century atmosphere and of the popular beliefs. ÁVWXEGX%QMREIRXIVW6SHSPJS¸WVSSQ8LIGSYRX 8LIWI[SVOWTVSZMHIYW[MXLMRJSVQEXMSRSRQIH- realizes Amina’s state of somnambulism and is MGEPORS[PIHKISJXLITIVMSHFIGEYWIXLISTIVEW EJVEMHSJ[EOMRKLIV-RXLIWIGSRHEGX6SHSPJSI\- mirrored popular answers to phenomena that still TPEMRWXLIWPIIT[EPOMRKWXEXIXS)PZMRSFYXRSFSH] E[EMXIH WGMIRXMÁG I\TPEREXMSRW8LI STIVEW [IVI FIPMIZIWLMQ7YHHIRP]XLIWPIIT[EPOIVIRXIVWXLI not really popular shows; the audience was mainly WXEKI 6SHSPJS [EVRW XLEX XS [EOI LIV [SYPH FI composed of upper-class and more educated peo- fatal, so all watch as she laments over her betrothal TPI*SVXLMWVIEWSRXLIWI[SVOWGSYPHFIGSRWMH- and at Elvino’s rejection in the famous aria “Ah! ered as a crossing point between the popular and Non credea mirarti.” Only her lover’s repenting MRXIPPIGXYEP [SVPH 8LI WYFNIGX SJ WPIIT[EPOMRK voice rouses her from her deep state of somnam- was particularly attractive to librettists because bulism. The somnambulist aria is very renowned in those days it was considered mysterious and EQSRK QIPSHVEQE JERW FIGEYWI MX MW HMJÁGYPX XS in some sense, magical, by physicians. Nowadays, sing and to play for every soprano. The notes of its sleep disorders are also widely present in movies, incipit were written on Bellini’s gravestone in the television programs, literature and comics, where Duomo of Catania because of the beauty of the aria. the authors insert a sleep disturbance as a comic La sonnambula offers a true picture of the 19th element, and/or to pique the curiosity of the read- century atmosphere. Count Rodolfo is the symbol IVSVÁPQZMI[IV SJ-PPYQMRMWXERHWGMIRXMÁGMHIEWEKEMRWXTSTYPEV In Vincenzo Bellini’s La sonnambula, the sleep- superstitions. [EPOIV%QMREMWGSRWMHIVIHXSFIETLERXSQF] The sleep disease which affects Amina is probably the villagers, but Count Rodolfo did not believe in a Non-Rapid Eye Movement (NREM) parasomnia the story and is light hearted about the situation. SVEREVSYWEPHMWSVHIV WPIIT[EPOMRK 4ISTPI[MXL In La SonnambulaXLIVIMWXLIJIEVSJ[EOMRK%QM- this disorder have no memory of the events, but na up on the bridge, because she might have died. XLI] QE] VIQIQFIV JVEKQIRXW ÂEWLIW SV ZEKYI This fear remains in the public opinion because MQTVIWWMSRW SJ XLI IZIRXW (YVMRK WPIIT[EPOMRK movies, comics and literature push this theory, al- XLITIVWSRQE]GEPQP][EPOEVSYRHQE]ETTIEV XLSYKLMXLEWFIIRWGMIRXMÁGEPP]VIJYXIH8LIVIMWE downstairs or may be found standing on the land- large power from media to engage superstitions in MRKSVIPWI[LIVIMRXLILSYWIPSSOMRKZEKYI[MXL our society, as some operas did in the 19th century. eyes open.

74 Florida Grand Opera // Sleeping Walking in the 19th Century. Study Guide // La sonnambula 75 -R0E7SRREQFYPEXLIVIMWXLIJIEVSJ[EOMRK%Q- ina up on the bridge, because she might have died. © FOTOLOG This fear remains in the public opinion because movies, comics and literature push this theory, al- XLSYKLMXLEWFIIRWGMIRXMÁGEPP]VIJYXIH8LIVIMWE large power from media to engage superstitions in our society, as some operas did in the 19th century. © NAXOS

1827, Il pirata – Bellini 1830, Anna Bolena – Donizetti 7PIIT[EPOMRK 1831, La sonnambula – Bellini Tr a n c e S t a t e s 1835, Lucia di Lammermoor – Donizetti Hallucinations 1847, Macbeth – Verdi in Opera 1859, Dinorah – Meyerbeer 1868-1873, Boris Godunov³1YWWSVKWO] 1925, Wozzeck – Berg 1991, The Ghosts of Versailles – Corigliano

Pleasing19th century the Italian Public

Metropolitan Opera

4. Excellent singers – composers were ;LEX[EWXLI-XEPMERTYFPMGPSSOMRKJSV# well aware of the public’s desire of often GSRWXVYGXMRK ER STIVE TEMRWXEOMRKP] EVSYRH 1. Short texts – the public was bored very easily. a precise cast. “Voices can destroy operas; the public hears ruination everywhere...” 2. Musical novelty – an appreciation for originality. 5. True performances – the public felt “betrayed” 3. Theatrical subjects – plots that were “neither by staging operas without the original scores horrible nor terrible.” Subjects full of passion that and librettos. This also occurred by having a [SYPH QEOI XLI TYFPMG µ[IIT WLYHHIV ERH HMI HIJIGXMZI SVGLIWXVE PEGOMRK MRWXVYQIRXW SV through singing.” depriving many effects. Excerpt from Sorba, Carlotta. “To Please the Public: Composers and Audiences in Nineteenth- Century Italy.” The Journal of Interdisciplinary History, Vol. 36, No. 4, Opera 4, No. 36, Vol. of Interdisciplinary History, The Journal in Nineteenth- Century Italy.” Audiences Composers and Please the Public: “To Carlotta. Excerpt from Sorba, 595-614. pp. 2006), II (Spring, Part and Society:

78 Florida Grand Opera // Pleasing the 19th Century Italian Public. Study Guide // La sonnambula 79 Bellini was incredibly affected by the judgment of to direct interaction with the spectacle and the his public. Although the Milanese public seemed cast, ready to intervene by modifying the words to him severe and impetuous in its reaction to of the text or by commenting on the performance. his opera, Bellini repressed every impulse to view The physical theater that emerged during the 19th himself as a victim: “Enough! In operas the public century was principal site for the sentimental ed- is the supreme judge! To the sentence pronounced YGEXMSRSJ-XEPMERW%PPSJXLIWIIPIQIRXW[SVOMRK EKEMRWXQI-LSTIXSQEOIERETTIEPERHMJXLI together contributed to opera’s political impact public changes its mind, I will have won my case.” during the middle decades of the century. Bellini returned many times to the theme of the The relationship between the stage and the real FS\SJÁGIµ-JXLIFS\SJÁGIEWMXMWWEMHMWXLI world was a mutual exchange. The action of melo- real thermometer of pleasure, my opera had an drama sometimes transferred its energy to the IRSVQSYW WYGGIWW¶ LI [VSXI EJXIV XLI ÁVWX TIV- TYFPMGERHWSQIXMQIWXLILIVSMGXVERWÁKYVEXMSR formances of Beatrice di Tenda, which was initially of real life into opera inverted to become a heroic GSRXIWXIHF]XLITYFPMGFYXVIFSYRHIHXSÁPPLa melo-dramaticization of real life. In the convulsive Fenice,EW[IPPEWXLIMQTVIWEVMS¸WTSGOIXW3RER- days of the 1848 revolution, many of the trappings SXLIVSGGEWMSR&IPPMRM[SYPHEJÁVQXLEX¶EREFWS- of political demonstration came from suggestions, lutely full theater is the real sign of an opera’s re- allusions and even gadgets that originated in the ception,” rather than the applause that it receives. scripts of melodramas, such as the “Ernani hat” *SV &IPPMRM FS\SJÁGI VIGIMTXW GSVVIWTSRHIH XS typically worn by patriots. During the Italian Ris- an opera’s ability to attract the public night after orgimento, political behavior and language bor- night. Beyond this, the relevance of opera to issues rowed extensively from opera. When we analyze in Risorgimento Italy is evident in the continuous the relationship between Italian opera and politics interchange between production and consump- in the Italian case, then, we have to consider not tion, musical composition and social reality. Their only the extent to which Risorgimento-era patri- choice of subject or in their treatment of opera’s otic themes entered into operatic plots and also dramatic moments, composers showed particular LS[ QYWMGEP QIPSHVEQE MRÁPXVEXIH XLI IZIRXW SJ sensitivity to the expectations and tastes of the the Risorgimento. public. The public was accustomed

Vincenzo“The Swan of Catania”Bellini

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Vincenzo Bellini was born in Catania, an Italian of the Thousand, conquered Sicily for Piedmont city on the east coast of Sicily facing the Ionian from the Kingdom of the Two Sicilies. Since the fol- Sea. It is the capital of the homonymous province, PS[MRK]IEV'EXERME[EWTEVXSJXLIRI[P]YRMÁIH and the second largest city in Sicily and the tenth Italy. During World War II, Catania was repeatedly in Italy. Catania was founded in the 8th century bombed by the Allies. Beginning on June 5, 1940, B.C.E. In the 14th century and during the Renais- some 100,000 of its inhabitants were moved to the sance, Catania was one of Italy’s most important neighboring villages. It was evacuated by the Ger- ERHÂSYVMWLMRKGYPXYVEPEVXMWXMGERHTSPMXMGEPGIR- QERWSR%YKYWX%JXIVXLIGSRÂMGXERHXLI ters. A museum exists at Bellini’s birthplace and constitution of Italian Republic (1946), Catania at- the Teatro Massimo “Vincenzo Bellini” opened tempted to catch up with the economic and social in 1890 to honor the composer. The opera house development of the richer northern regions in the presents a variety of operas from December to country. Today, Catania is one of the main econom- 1E]QER]SJ[LMGLEVIXLI[SVOSJ&IPPMRM2SXE- ic, touristic and educational centers in the island, bly, Catania was one of the vanguards of the move- being an important hub of industry, thus gaining ment for the Sicilian autonomy in the early 19th XLIRMGOREQIµ)YVSTIER7MPMGSR:EPPI]¶ century. In 1860, Giuseppe Garibaldi’s Expedition

82 Florida Grand Opera // Vincenzo Bellini “The Swan of Catania”. Study Guide // La sonnambula 83 The La sonnambula wasWhat elsecomposed happened inin 1831 that year?

History_Politics _Belgium adopts it’s constitution, Belgium gains Literature_Theater _Robert Montgomery Bird’s “Gladiator,” premieres independence from Netherlands, Leopold I made MR2I[=SVO'MX] OMRK C'PEVOWSR7XERÁIPH¸WWTIGXEGYPEVTERSVEQE:IR- _Polish revolutionaries defeat Russians in Battle ice and Its Adjacent Islands is staged in London of Growchow as part of the annual Christmas pantomime. _Mainzer Rijnvaart Convention ends _Quebec and Montreal incorporated _Dom Pedro abdicates to son, Dom Pedro II Visual_Arts C.SLR*VE^IIFIGSQIWÁVWX97WGYPTXSVXSVIGIMZI crowned emperor of Brazil a federal commission C*SVQIV4VIWMHIRX.SLR5YMRG]%HEQWXEOIWLMW _John Constable – Salisbury Cathedral from the seat as member of House of Representatives Meadows C%HSPJ ZSR &IGOIV *MRRMWL TEMRXIV FSVR HMIW 1909) _Amalia von Helvig, German and Swedish artist, [VMXIVXVERWPEXSVERHMRÂYIRXMEPMRXIPPIGXYEP HMIW

+VYR&IVREVHERH;IVRIV7XIMR8LI8MQIXEFPIWSJ,MWXSV]%,SVM^SRXEP0MROEKISJ4ISTPIERH)ZIRXW2I[=SVO7MQSR 7GLYWXIV 1831)

84 Florida Grand Opera // What else happened that year? Study Guide // La sonnambula 85 Music Felix Mendelssohn: Piano Concerto No. 1 in G Science_Technology_ _First practical U.S. coal-burning locomotive _Felix Mendelssohn: Die erste Walpurgisnacht Growth QEOIWÁVWXXVMEPMR4IRRW]PZERME (The First Walpurgis Night) –secular cantata for C1MGLEIP*EVEHE]HIQSRWXVEXIWÁVWXIPIGXVMGXVERW- soloists, choir and orchestra former _Frédéric Chopin: Étude op. 10, no. 12 and Scher- C,IMRVMGL7GL[EFIQEOIWXLIÁVWXHIXEMPIHHVE[- zo No. 1 ing of the Great Red Spot on Jupiter _Robert Schumann: Papillons, op. 2 C.EQIW'PEVO6SWWHMWGSZIVWXLITSWMXMSRSJXLI _Hector Berlioz: Le roi Lear, op. 4 North Magnetic Pole on the Boothia Peninsula _Vincenzo Bellini: Norma, premieres in _William Wallace invents the eidograph (an in- Milan, Italy strument for copying drawings on the same or a different scale)

Daily Life C;MPPMEQ0PS]H+EVVMWSRTYFPMWLIWÁVWXMWWYISJ abolitionist journal C0SRHSR&VMHKISTIRWXSXVEJÁG C1SVQSRMWQXIVQPE[SJGSRWIGVEXMSRÁVWXYWIH by Joseph Smith _Papal conclave concludes and elects Mauro Al- berto Cappellari as Pope Gregory XVI

86 Florida Grand Opera // What else happened that year? Study Guide // La sonnambula 87 References

Celletti, Rodolfo. 1991. A history of bel canto. Ox- Kim, C. L. (2011). Changing meanings of ornamenta- ford [England]: Clarendon Press. Gossett, Philip. tion in nineteenth-century italian opera. (University 2006. Divas and scholars: performing Italian op- of Rochester). ProQuest Dissertations and Theses, era. Chicago: University of http://search.proquest.com/docview/902516939?ac- GSYRXMH! Chicago Press. Gray, Cecil. “Vincenzo Bellini.” Mu- sic & Letters, Vol. 7, No. 1 (January, 1926), pp. 49-62. Maguire, Simon. 1989. Vincenzo Bellini and the Aesthetics of Early-Nineteenth Century Italian Op- Grun, Bernard, and Werner Stein. The Timetables IVE2I[=SVO 0SRHSR+EVPERH4YFPMWLMRK-RG SJ ,MWXSV]% ,SVM^SRXEP 0MROEKI SJ 4ISTPI ERH )ZIRXW2I[=SVO7MQSR 7GLYWXIV Orrey, Leslie. 1969. Bellini. The Master Musicians 7IVMIW2I[=SVO.1(IRX 7SRKW08(

88 Florida Grand Opera // References Study Guide // La sonnambula 89 Osborne, Charles. 1994. The bel canto operas of Sorba, Carlotta. “To Please the Public: Composers Rossini, Donizetti and Bellini. London: Methuen. and Audiences in Nineteenth-Century Italy.” The Journal of Interdisciplinary History, Vol. 36, No. 4, Pistone, Danièle. 1995. Nineteenth-century Italian Opera and Society: Part II (Spring, 2006), pp. 595- opera from Rossini to Puccini. Portland, Or: Ama- 614. deus Press. ;IMRWXSGO ,IVFIVX :MRGIR^S &IPPMRM LMW Riva, M. A., Sironi, V. A., Tremolizzo, L., Lombardi, PMJIERHLMWSTIVEW2I[=SVO%PJVIH%/RSTJ C., De Vito, G., Ferrarese, C., & Cesana, G. (2010). µ7PIIT[EPOMRKMRMXEPMERSTIVEW%[MRHS[SRTST- LXXTIR[MOMTIHMESVK[MOM'EXERME YPEVERHWGMIRXMÁGORS[PIHKISRWPIITHMWSVHIVW Willier, Stephen Ace. 2002. Vincenzo Bellini: a in the 19th century.” European Neurology, 63(2), KYMHIXSVIWIEVGL2I[=SVO6SYXPIHKI 116-21.

Rosselli, John. 1996. The life of Bellini. Cambridge [England]: Cambridge University Press.

7MPZE +MYPMS ERH &EOIV8LISHSVI µ8LI &IKMR- RMRKWSJXLI%VXSJ·&IP'ERXS¸6IQEVOWSRXLI Critical History of Singing.” The Musical Quarter- ly, Vol. 8, No. 1 (January, 1922), pp. 53-68.

90 Florida Grand Opera // References Study Guide // La sonnambula 91 THIS STUDY GUIDE WAS WRITTEN AND PRODUCED BY:

Written and produced by: Kevin Mynatt Managing Director Florida Grand Opera Florida Grand Opera Education Department Ramon Tebar 8390 NW 25th Street Music Director Miami, FL, U.S.A. 33122 Florida Grand Opera Tel: (305) 854-1643, ext. 1100 Fax: (305) 854-1644 Cerise Sutton www.fgo.org/education Director of Education Florida Grand Opera Copyright ©2012 by Florida Grand Opera (FGO) All rights reserved by FGO. Jeffrey Williams No part of this publication may be reproduced Consultant/Writer without prior permission from FGO. Michael Arbulu Contributing Writer and Editor

Bijal Mehta Contributing Writer and Editor Education Intern Florida Grand Opera

Fernando Loverri Graphic Design Artist Education Intern Florida Grand Opera

Special thanks to:

Renata Scotto Director of La sonnambula

92 Florida Grand Opera // Credits Study Guide // La sonnambula 93 Florida Grand Opera gratefully recognizes the following donors who have provided support of its education programs. Study Guide 2012 / 2013

Batchelor MIAMI BEACH Foundation Inc.