Reserved concert.
Teatro alla Scala Academy Orchestra
Soloists of La Scala Academy of Lyric Opera
Conductor Massimo Zanetti
PROGRAMME AND SOLOISTS
from Guglielmo Tell
Ouverture
from La Cenerentola
Nacqui all'affanno... Non più mesta
from Faust
Ô sainte médaille... Avant de quitter ces lieuxÔ sainte médaille... Avant de quitter ces lieux
from Werther
Pourquoi me réveiller
from Il Matrimonio segreto
Le faccio un inchino
- Sergej Vasil'evič Rachmaninov
from Aleko
Ves' tabor spit
from La Favorita
Quando le soglie paterne varcai
from Romeo et Juliette
Je veux vivre
from Guillaume Tell
Asile héréditaire... Amis, amis, secondez ma vengeance
from Macbeth
Come dal ciel precipita
from Samson et Dalila
Amour, viens aider ma faiblesse
from La bohème
Dunque è proprio finita?... Addio, dolce svegliare
from Ernani
Infelice, e tuo credevi
from Un ballo in maschera
Forse la soglia attinse… Ma se m'è forza perderti
from I Pagliacci
Nedda!... Silvio! A quest’ora
William Tell (French: Guillaume Tell, Italian: Guglielmo Tell) is a French-language opera in four acts by Italian composer Gioachino Rossini to a libretto by Victor-Joseph Étienne de Jouy and L. F. Bis, based on Friedrich Schiller's play William Tell, which, in turn, drew on the William Tell legend. The opera was Rossini's last, although he lived for nearly 40 more years. Fabio Luisi said that Rossini planned for William Tell to be his last opera even as he composed it. The often-performed overture in four sections features a depiction of a storm and a vivacious finale, the "March of the Swiss Soldiers."
Paris Opéra archivist Charles Malherbe discovered the original orchestral score of the opera at a secondhand book seller's shop, resulting in its being acquired by the Paris Conservatoire.
La Cenerentola, ossia La bontà in trionfo (Cinderella, or Goodness Triumphant) is an operatic dramma giocoso in two acts by Gioachino Rossini. The libretto was written by Jacopo Ferretti, based on the fairy tale Cendrillon by Charles Perrault. The opera was first performed in Rome's Teatro Valle on 25 January 1817.
Faust is an opera in five acts by Charles Gounod to a French libretto by Jules Barbier and Michel Carré from Carré's play Faust et Marguerite, in turn loosely based on Johann Wolfgang von Goethe's Faust, Part One. It debuted at the Théâtre Lyrique on the Boulevard du Temple in Paris on 19 March 1859, with influential sets designed by Charles-Antoine Cambon and Joseph Thierry, Jean Émile Daran, Édouard Desplechin, and Philippe Chaperon.
Werther is an opera (drame lyrique) in four acts by Jules Massenet to a French libretto by Édouard Blau, Paul Milliet and Georges Hartmann (who used the pseudonym Henri Grémont). It is loosely based on the German epistolary novel The Sorrows of Young Werther by Johann Wolfgang von Goethe, which was based both on fact and on Goethe's own early life. Earlier examples of operas using the story were made by Kreutzer (1792) and Pucitta (1802).
Il matrimonio segreto (The Secret Marriage) is an opera in two acts, music by Domenico Cimarosa, on a libretto by Giovanni Bertati, based on the play The Clandestine Marriage by George Colman the Elder and David Garrick. It was first performed on 7 February 1792 at the Imperial Hofburg Theatre in Vienna in the presence of Emperor Leopold II.
Cimarosa's only work still to be regularly performed, it is arguably one of the greatest 18th century opera buffa apart from those by Mozart. Its premiere was the occasion of the longest encore in operatic history; Leopold II was so delighted that he ordered supper served to the company and the entire opera repeated immediately after.
The Italian premiere of the opera was given at La Scala in Milan on 17 February 1793 with Maria Gazzotti as Carolina and Vincenzo Del Moro as Paolino. England saw the work for the first time on 11 January 1794 at The King's Theatre in London and the following 6 August it was performed for the first time in Portugal at the Teatro Nacional de São Carlos in Lisbon with Domenico Caporalini as Carolina and Luigi Bruschi as Paolino. The French premiere was given by the Théâtre-Italien in Paris on 10 May 1801 with Teresa Strinasacchi Avogadro as Carolina and Gustavo Lazzarini as Paolino.
Il matrimonio segreto was first performed in the United States at the Italian Opera House in New York City on 8 January 1834. The Metropolitan Opera presented the work for the first time on 25 February 1937 with Muriel Dickson as Carolina, George Rasely as Paolino, Natalie Bodanya as Elisetta, Julius Huehn as Robinson, and Ettore Panizza conducting.
Aleko (Russian: Алеко) is the first of three completed operas by Sergei Rachmaninoff. The Russian libretto was written by Vladimir Nemirovich-Danchenko and is an adaptation of the poem The Gypsies by Alexander Pushkin. The opera was written in 1892 as a graduation work at the Moscow Conservatory, and it won the highest prizes from the conservatory judges that year.[citation needed] It was first performed in Moscow 19 May 1892.
La Favorite (The Favourite, sometimes referred to by its Italian title: La favorita) is a grand opera in four acts by Gaetano Donizetti to a French-language libretto by Alphonse Royer and Gustave Vaëz, based on the play Le comte de Comminges by Baculard d'Arnaud. The opera concerns the romantic struggles of the King of Castile, Alfonso XI and his mistress, the "favourite" Leonora, against the backdrop of the political wiles of receding Moorish Spain and the life of the Catholic Church. It premiered on December 2, 1840 at the Académie Royale de Musique (Salle Le Peletier) in Paris, France.
Roméo et Juliette: de la Haine à l'Amour is a French musical based on William Shakespeare's play Romeo and Juliet, with music and lyrics by Gérard Presgurvic. It premiered in Paris on January 19, 2001. The production was directed and choreographed by Redha, with costumes by Dominique Borg and settings by Petrika Ionesco. The producers were Gérard Louvin, GLEM, and Universal Music. ! Since then, the musical has been performed in Verona, Rome, Canada, Antwerp, London, Amsterdam, Budapest, Szeged, Moscow, Vienna, Bucharest, Seoul, Pusan (South Korea), Taipei, Monterrey, Japan and Shanghai and has been translated into several languages, including Dutch, Italian, Hungarian, Russian, English, German, Spanish, Romanian, Japanese, Korean, Portuguese, and Slovak.
Macbeth (Italian pronunciation: [ˈmakbet; makˈbɛt]) is an opera in four acts by Giuseppe Verdi, with an Italian libretto by Francesco Maria Piave and additions by Andrea Maffei, based on William Shakespeare's play of the same name. Written for the Teatro della Pergola in Florence, it was Verdi's tenth opera and premiered on 14 March 1847. Macbeth was the first Shakespeare play that Verdi adapted for the operatic stage. Almost twenty years later, Macbeth was revised and expanded in a French version and given in Paris on 19 April 1865.
After the success of Attila in 1846, by which time the composer had become well established, Macbeth came before the great successes of 1851 to 1853 (Rigoletto, Il trovatore and La traviata) which propelled him into universal fame. As sources, Shakespeare's plays provided Verdi with lifelong inspiration: some, such as an adaption of King Lear (as Re Lear) were never realized, but he wrote his two final operas using Othello as the basis for Otello (1887) and The Merry Wives of Windsor as the basis for Falstaff (1893).
The first version of Macbeth was completed during the time which Verdi described as his "galley years," which ranged over a period of 16 years, and one which saw the composer produce 22 operas. By the standards of the subject matter of almost all Italian operas during the first fifty years of the 19th century, Macbeth was highly unusual. The 1847 version was very successful and it was presented widely. Pleased with his opera and with its reception, Verdi wrote to Antonio Barezzi, his former father-in-law and long-time supporter about two weeks after the premiere:
“ I have long intended to dedicate an opera to you, who have been father, benefactor, and friend to me. It was a duty I should have fulfilled sooner if imperious circumstances had not prevented me. Now, I send you Macbeth which I prize above all my other operas, and therefore deem worthier to present to you. ”
The 1865 revision, produced in a French translation and with several additions was first given on 19 April of that year. It was less successful, and the opera largely faded from public view until the mid-20th century revivals.
Samson and Delilah (French: Samson et Dalila), Op. 47, is a grand opera in three acts and four scenes by Camille Saint-Saëns to a French libretto by Ferdinand Lemaire. It was first performed in Weimar at the Grossherzogliches (Grand Ducal) Theater (now the Staatskapelle Weimar) on 2 December 1877 in a German translation.
The opera is based on the Biblical tale of Samson and Delilah found in Chapter 16 of the Book of Judges in the Old Testament. It is the only opera by Saint-Saëns that is regularly performed. The second act love scene in Delilah's tent is one of the set pieces that define French opera. Two of Delilah's arias are particularly well known: "Printemps qui commence" ("Spring begins") and "Mon cœur s'ouvre à ta voix" ("My heart opens itself to your voice", also known as "Softly awakes my heart"), the latter of which is one of the most popular recital pieces in the mezzo-soprano/contralto repertoire.
La bohème (French pronunciation: [la bɔ.ɛm], Italian: [la boˈɛm]) is an opera in four acts, composed by Giacomo Puccini to an Italian libretto by Luigi Illica and Giuseppe Giacosa, based on Scènes de la vie de bohème by Henri Murger. The world premiere of La bohème was in Turin on 1 February 1896 at the Teatro Regio,conducted by the 28-year-old Arturo Toscanini. Since then, La bohème has become part of the standard Italian opera repertory and is one of the most frequently performed operas worldwide.
In 1946, fifty years after the opera's premiere, Toscanini conducted a commemorative performance of it on radio with the NBC Symphony Orchestra. A recording of the performance was later released by RCA Victor on vinyl record, tape and compact disc. It is the only recording ever made of a Puccini opera by its original conductor (see Recording history below).
Hernani (Full title: Hernani, ou l'Honneur Castillan) is a drama by the French romantic author Victor Hugo.
Ernani is an operatic dramma lirico in four acts by Giuseppe Verdi to an Italian libretto by Francesco Maria Piave, based on the play Hernani by Victor Hugo.
The title originates from Hernani, a Spanish town in the Southern Basque Country, where Hugo’s mother and her three children stopped on their way to General Hugo’s place of residence.
The play was given its premiere on 25 February 1830 by the Comédie-Française in Paris. Today, it is more remembered for the demonstrations which accompanied the first performance and for being the inspiration for Verdi's opera Ernani than it is for its own merits. Hugo had enlisted the support of fellow Romanticists such as Hector Berlioz and Théophile Gautier to combat the opposition of Classicists who recognised the play as a direct attack on their values.
It is used to describe the magnitude and elegance of Prince Prospero's masquerade in Edgar Allan Poe's short story, "The Masque of the Red Death". Gillenormand in Les Misérables criticizes Hernani.
Giuseppe Verdi's opera Ernani, with an Italian libretto by Francesco Maria Piave, was based on the play, and first performed in Venice in 1844.
Un ballo in maschera (A Masked Ball) is an 1859 opera in three acts by Giuseppe Verdi. The text by Antonio Somma was based on Eugène Scribe's libretto for Daniel Auber's 1833 five act opera, Gustave III, ou Le bal masqué.
The plot concerns the assassination in 1792 of King Gustav III of Sweden who was killed as the result of a political conspiracy against him. He was shot while attending a masked ball and died of his wounds thirteen days later.
It was to take over two years between the time of the commission from Naples and planned for a production there and its premiere performance at the Teatro Apollo in Rome on 17 February 1859. In order to become the Un ballo in maschera which we know today, Verdi's opera (and his libretto) was forced to undergo a significant series of transformations and title changes. Based on the Scribe libretto and begun as Gustavo III set in Stockholm, it became Una vendetta in domino set in Stettin, and finally Un ballo in maschera set in Boston during the colonial era. These changes were caused by a combination of censorship regulations in both Naples and Rome, as well as by the political situation in France in January 1858. It became one of the most frustrating experiences of Verdi's career.
From the mid-20th century, it has become more common for the setting to revert to its original 18th-century Stockholm location. A re-creation of the original Gustavo III has been staged in Sweden.
Pagliacci (Italian pronunciation: [paʎˈʎattʃi]; literal translation, "Clowns") is an Italian opera in a prologue and two acts, with music and libretto by Ruggero Leoncavallo. It is the only Leoncavallo opera that is still widely performed. Opera companies have frequently staged Pagliacci with Cavalleria rusticana by Mascagni, a double bill known colloquially as 'Cav and Pag'.
Pagliacci premiered at the Teatro Dal Verme in Milan on 21 May 1892, conducted by Arturo Toscanini, with Adelina Stehle as Nedda, Fiorello Giraud as Canio, Victor Maurel as Tonio, and Mario Ancona as Silvio. Nellie Melba played Nedda in London in 1893, soon after the Italian premiere, and it was given in New York on 15 June 1893, with Agostino Montegriffo as Canio.
William Tell (opera)
It was first performed by the Paris Opéra at the Salle Le Peletier on 3 August 1829, but within three performances cuts were being made and after a year only three acts were performed. The opera's length, roughly four hours of music, and casting requirements, such as the high range required for the tenor part, have contributed to the difficulty of producing the work. When performed, the opera is often cut. Performances have been given in both French and Italian. Political concerns have also contributed to the varying fortunes of the work.
In Italy, because the work glorified a revolutionary figure against authority, the opera encountered difficulties with the Italian censors, and the number of productions in Italy was limited. The Teatro San Carlo produced the opera in 1833, but then did not give another production for around 50 years. The first Venice production, at the Teatro La Fenice, was not until 1856. By contrast, in Vienna, in spite of censorship problems there, the Vienna Court Opera gave 422 performances over the years 1830–1907. As Hofer, or the Tell of the Tyrol, the opera was first performed at Drury Lane in London on 1 May 1830 (in English), with a production in Italian following in 1839 at Her Majesty's, and in French at Covent Garden in 1845. In New York, William Tell was first presented on 19 September 1831. It was revived at the Metropolitan Opera in 1923 with Ponselle and Martinelli, and there were revivals during the 1930s in Milan, Rome, Paris, Berlin and Florence. When the opera was performed at Gran Teatre del Liceu (Barcelona) in 1893, an anarchist threw two Orsini bombs in the theatre.
In the later 20th century there were major productions in Florence (1972), Geneva (1979, 1991), La Scala (1988), Théâtre des Champs-Élysées (1989), Covent Garden (1990), and then Opéra Bastille (2003)[3] as well as at the Sportspalace in Pesaro (lasting over 5 hours, 1995). In 2010 there was an important revival of the opera, when it opened the Accademia Nazionale di Santa Cecilia's season, under Antonio Pappano. This performance was of the French version, with some cuts to particularly the fourth act (which Pappano noted had been approved by Rossini himself). A live recording of this concert performance was released in 2011, and the production was transferred to The Proms in July of that year, with Michele Pertusi [fr] taking on the title role, Patricia Bardon as Hedwige, Nicolas Courjal as Gessler, and Mark Stone as Leuthold. The performance was very well reviewed, and marked the first full performance of the work in the history of the Proms.
A co-production by the Dutch National Opera and the Metropolitan Opera New York of the opera in the original French opened at the Met in October 2016 with Gerald Finley in the title role.
According to an anecdote, when an admirer told the composer that he had heard his opera the previous night, Rossini replied "What? The whole of it?". Another version of the story refers only to Act II. In 1864 Offenbach quoted the patriotic trio from Act 2, "Lorsque la Grèce est un champ de carnage" in La Belle Hélène.
La Cenerentola
The genesis of this work - whose literary and musical aspects were both created with surprising speed – deserves to be told, according to the account given by librettist Jacopo Ferretti. In December 1816, Rossini was in Rome and tasked with writing a new opera for the Teatro Valle, to be staged on St. Stephen's Day. An existing libretto, Francesca di Foix, had unexpectedly been vetoed by the papal censor, leaving no time to amend the text so that it might satisfy all parties involved (censorship, impresario, and authors). A replacement would have to be found.
Ferretti, despite harboring some ill-will against Rossini (the maestro had refused a libretto of his for The Barber of Seville), nonetheless met with the composer and the impresario Cartoni and agreed to join the project. However, when he began to suggest topics for the new work, one after another was rejected: too serious for the Carnival season in which the opera would premiere; too frivolous; too expensive and difficult to stage. Ferretti proposed more than two dozen subjects without success.
Finally, between yawns, and with Rossini half asleep on a sofa, the poet mentioned Cinderella. At this, Rossini roused himself sufficiently to challenge Ferretti on whether he dared write a libretto for the tale; Ferretti retorted with a dare for Rossini to clothe it in music. Rossini then asked the librettist if he had some verses ready to start working on. Ferretti replied, "despite my tiredness, tomorrow morning!" The composer nodded, wrapped himself in his clothes, and fell asleep.
Ferretti worked through the night and had the first parts of the work ready as promised in the morning. He finished the libretto in twenty-two days of breakneck work, and Rossini completed the score in an equally hectic twenty-four days. The poet had serious doubts about the success of this opera; Rossini, on the other hand, predicted that it would conquer Italy in a year and spread to France and England in another: "the impresarios will fight for staging it, as well as the primadonnas for being able to sing it".
La Cenerentola premiered on Jan. 25, 1817 and quickly gained popularity, both in Italy and internationally, despite a cold initial reception by the critics. In short, Rossini's prediction came entirely true, and Cenerentola soon overshadowed even Barber throughout the nineteenth century. Nonetheless, the collaboration between composer and librettist got no easier, and Ferretti wrote only one more libretto for Rossini, the Matilde di Shabran, in 1821.
Faust (opera)
The original version of Faust employed spoken dialogue, and it was in this form that the work was first performed. The manager of the Théâtre Lyrique, Léon Carvalho cast his wife Marie Miolan-Carvalho as Marguerite and there were various changes during production, including the removal and contraction of several numbers. The tenor Hector Gruyer was originally cast as Faust but was found to be inadequate during rehearsals, being eventually replaced by a principal of the Opéra-Comique, Joseph-Théodore-Désiré Barbot, shortly before the opening night.
After a successful initial run at the Théâtre Lyrique the publisher Antoine Choudens, who purchased the copyright for 10,000 francs, took the work (now with recitatives replacing the spoken dialogue) on tour through Germany, Belgium, Italy and England, with Marie Miolan-Carvalho repeating her role.
Performances in Germany followed, with Dresden Semperoper in 1861 being the first to bill the work as Margarethe rather than Faust. For many years this custom - or alternatively, staging the opera as Gretchen - continued in Germany. Some sources claim this was out of respect for Part I of Goethe's poetic drama, which the opera follows closely. Others claim the opposite: that the retitling was done to emphasise Gounod's opera's reliance on Goethe's characters, and to differentiate it from Spohr's Faust, which had held the stage for many years in Germany and had recently appeared (1851) in a three-act revision. It is also possible that the 1861 Dresden title change was out of respect for Spohr's close and long association with the city.
The opera was given for the first time in Italy at La Scala in 1862 and in England at Her Majesty’s Theatre, London (in Italian) in 1863. In 1864, when the opera was given at the same venue in English, Gounod took a theme from the prelude to the opera and wrote a new aria for the star baritone Charles Santley in the role of Valentin, 'Even bravest heart may swell' (with words by Henry Chorley). This number was then translated into French for subsequent productions as ‘Avant de quitter ces lieux’ and has become one of the most familiar pieces from the opera.
In 1869 a ballet had to be inserted (into the first scene of the final act) before the work could be played at the Opéra: it became the most frequently performed opera at that house. With the change from spoken dialogue to sung recitatives, plus the musical and balletic additions, the opera was thus finally transformed into a work following the conventions of grand opera.
Although the opera is still frequently performed, it no longer regularly sits in the "top twenty" performed worldwide.
It was Faust with which the Metropolitan Opera in New York City opened for the first time on 22 October 1883. It is the eighth most frequently performed opera there, with 753 performances through the 2012-2013 season. It was not until the period between 1965 and 1977 that the full version was performed (and then with some minor cuts), and all performances in that production included the Walpurgisnacht ballet.
Werther
Act 1
In July, the widowed Bailiff (a Magistrate, rather than one who comes to seize property), is teaching his six youngest children a Christmas carol ("Noël! Jésus vient de naître"). His drinking companions, Johann and Schmidt, arrive as Charlotte, the eldest daughter, dresses for a ball. Since her fiancé Albert is away, she is to be escorted by Werther, whom the Bailiff and his companions find gloomy. Werther arrives ("O Nature, pleine de grâce"), and watches as Charlotte prepares her young siblings' supper, just as her mother had before she died. He greets her and they leave for the ball. Albert returns unexpectedly after a six-month trip. He is unsure of Charlotte's intentions and disappointed not to find her at home, but is reassured and consoled by Charlotte's younger sister Sophie. He leaves after promising to return in the morning. After an orchestral interlude, Werther and Charlotte return very late; he is already enamoured of her. His declaration of love is interrupted by the announcement of Albert's return. Charlotte recalls how she promised her dying mother she would marry Albert. Werther is in despair.
Act 2
It is three months later, and Charlotte and Albert are now married. They walk happily to church to celebrate the minister's 50th wedding anniversary, followed by the disconsolate Werther ("Un autre est son époux!"). First Albert and then Sophie ("Du gai soleil, plein de flamme") try to cheer him up. When Charlotte exits the church, he speaks to her of their first meeting. Charlotte begs Werther to leave her, though she indicates that she would be willing to receive him again on Christmas Day. Werther contemplates suicide ("Lorsque l'enfant revient d'un voyage"). He encounters Sophie but the tearful girl does not understand his distressing behavior. Albert now realizes that Werther loves Charlotte.
Act 3
Charlotte is at home alone on Christmas Eve. She spends time rereading the letters that she has received from Werther ("Werther! Qui m'aurait dit ... Ces lettres!"), wondering how the young poet is and how she had the strength to send him away. Sophie comes in and tries to cheer up her older sister ("Ah! le rire est béni"), though Charlotte is not to be consoled ("Va! laisse couler mes larmes"). Suddenly Werther appears, and while he reads to her some poetry of Ossian ("Pourquoi me réveiller?"), he realizes that she does indeed return his love. They embrace for a moment, but she quickly bids him farewell. He leaves with thoughts of suicide. Albert returns home to find his wife distraught. Werther sends a messenger to Albert, requesting to borrow his pistols, explaining he is going on an extended trip. After the servant has taken them, Charlotte has a terrible premonition and hurries to find Werther. An orchestral intermezzo ("La nuit de Noël") leads without a break into the final Act.
Act 4
"The death of Werther": At Werther's apartment, Charlotte has arrived too late to stop him from shooting himself; he is dying. She consoles him by declaring her love. He asks for forgiveness. After he dies, Charlotte faints. Outside children are heard singing the Christmas carol.
Il matrimonio segreto
Synopsis
We are in the household of Geronimo, a wealthy citizen of Bologna; he has two daughters, Elisetta and Carolina, and a sister Fidalma, who runs the household. He also has a young secretary, Paolino, who is secretly married to the younger daughter, Carolina.
Act I
Paolino is working to arrange a marriage contract between Elisetta and his patron, Count Robinson, hoping that as soon as Geronimo's older daughter is well married, his marriage to the younger one will be acceptable. Count Robinson has written a letter expressing interest - tempted by Elisetta's substantial dowry - and Geronimo is thrilled to think that his daughter will be a Countess. Fidalma confesses to her niece that she is in love, too, but only reveals in an aside to the audience that she has her eye on Paolino.
When the Count arrives he is disappointed to find that it is not Carolina who has been offered to him. He tells Paolino that he will be content with a smaller dowry and sends him off to arrange the match. Carolina doesn't dare tell the count that she is married, so when she admits she has no lover it excites him further; she tries to convince him she has no desire or qualification to be a countess, but he continues to pursue her. Elisetta accuses them both of betraying her, and the commotion attracts Fidalma who joins Carolina in trying to calm Elisetta; everyone tries at once to explain his or her feelings to the confused and exasperated Geronimo.
Act II
Geronimo insists that the Count must honor his contract and marry Elisetta, but the Count refuses. When he offers to accept a smaller dowry with Carolina's hand instead, Geronimo is delighted to save face and money - as long as Elisetta agrees.
Paolino is distraught, and throws himself on Fidalma's mercy, but is stunned to find that she hopes to marry him; he faints, giving her the idea that she returns his emotion and making Carolina think she has been betrayed, but he promises that they will leave the house at dawn and take refuge in the house of a relative.
The Count tells Elisetta all his bad habits and physical defects, hoping she'll reject him, but she stands firm - and he finally confesses that he cannot abide her. Geronimo can't persuade her either. Fidalma suggests sending Carolina to a convent, and Geronimo agrees. Carolina is broken-hearted and tries to confess her predicament to the Count, but they are interrupted by her sister, her aunt and her father who are gleeful at having caught them together, and Geronimo sends Paolino off with a letter to the Mother Superior.
After a brilliant and farcical finale Paolino and Carolina finally confess they have been married for two months; Geronimo and Fidalma are furious, but the Count and Elisetta advise them to forgive the newlyweds, adding that they themselves will marry after all.
Aleko (Rachmaninoff)
The Bolshoi Theatre's premiere took place on 9 May (O.S. 27 April) 1893 in Moscow.
The composer conducted another performance in Kiev on 18/30 October 1893. (Tchaikovsky had attended the Moscow premiere of Aleko, and Rachmaninoff had intended to hear the premiere of Tchaikovsky's Pathétique Symphony on 16/28 October, but had to catch a train for Kiev to fulfill his Aleko conducting engagement.) A Pushkin centenary celebration performance on 27 May 1899 at the Tauride Palace in Saint Petersburg featured Feodor Chaliapin in the title role, and utilized the chorus and ballet of the Mariinsky Theatre.
The opera had its first performance in England on 15 July 1915 at the London Opera House under the direction of Vladimir Rosing.
The New York City Opera's 2016/17 season opened in Jazz at Lincoln Center's Rose Hall with a double bill of Aleko and Pagliacci, an opera that also premiered in May 1892. James Meena conducted and Stefan Szkafarowsky sang the title role.
La Favorite
Synopsis
Time: 1340
Place: Royaume de Castille
A love triangle involving the King of Castile, Alfonso XI, his mistress ('the favourite') Leonora, and her lover Fernando, the story unfolds against the background of the Moorish invasions of Spain and power struggles between church and state.
Act 1
Scene 1
In the Monastery of St James, the monks are making their way to worship. Superior Balthazar (bass), father of the Queen of Castile, enters with Fernand (tenor). Balthazar knows that Fernand is preoccupied by something. Fernand confesses that he has fallen in love with a beautiful, but as yet unknown, lady. His faith in God remains, but he wishes to leave the monastery in search of her. Balthazar angrily sends Fernand out of the monastery, warning him of the dangers of the outside world. He predicts that Fernand will one day return to the cloisters, a disappointed if wiser man.
Scene 2
Fernand has found his lady, Léonor (mezzo-soprano), declared his love and received it in return, but he is still unaware of her real identity. She has arranged to meet him on the island of Leon, to which he is brought blindfolded by boat. He is met by Inès (soprano), her companion, who impresses upon him the need for secrecy. Léonor enters. She tells him that they can never marry and that they must not meet again, but nevertheless hands him a document to help him in his future. Shortly afterwards the arrival of the King is announced and Léonor leaves. Fernand is left to speculate about her elevated social position. Reading the document she has left him, he finds a commission in the army — an opportunity for advancement.
Act 2
Alfonse (baritone) has defeated the Moors and taken Alcazar. In conversation with the courtier Don Gaspar (tenor), the King expresses his pleasure at Fernand's bravery. Alone, the King expresses his love for Léonor and his desire to divorce the Queen and marry her. He realizes that this will provoke the opposition of his powerful father-in-law Balthazar who is ultimately backed by the Pope. Léonor enters and expresses her anguish at remaining his mistress rather than his Queen. The King suspects that he is losing her affection. Don Gaspar enters with news that a letter has been discovered revealing that Léonor has a lover. She makes no denial, but at that moment Balthazar enters intent on forcing the King to abandon his plans for the royal divorce.
Act 3
Alfonse is to honour Fernand for his role in the war. He asks Fernand what reward he would like and Fernand asks to marry the woman who has inspired him in his bravery. Alfonse asks who she is and Fernand points to Léonor. The King is astonished to learn that Fernand is his successful rival. In an abrupt change of mind, he orders Fernand and Léonor to marry within one hour. Léonor is left with mixed feelings of apprehension and delight. She decides that Fernand must be informed about her past and sends Inès to him. However, unknown to Léonor, Inès is arrested before she can see him. Fernand only learns the truth after the wedding ceremony. Considering himself dishonoured by the King he breaks his sword, leaves Léonor and entrusts himself to Balthazar.
Act 4
Balthazar's daughter, the Queen, has died of jealousy and grief, and her body has been sent to him at the Monastery of St James. Prayers are being said for her repose. Fernand is preparing to enter his new religious life. Léonor enters in a state of exhaustion and faints before the cross. At first Fernand rejects her, but eventually moved by her love and sincerity, he is willing to give himself to her again, but it is too late, Léonor collapses once more and dies in his arms.
Arrangements
In 1840, Richard Wagner made arrangements of the work for piano, for flute, and for a violin duo.
Antonio Pasculli composed a concerto on themes from the opera for oboe and piano/orchestra (c. 1879).
Roméo et Juliette
Plot
Differences from Shakespeare's plot include that the nature of the lovers' deaths is different, depending on the production. New characters such as Death (French, Belgian, Japanese, Netherlands, and Moscow productions only) and the Poet (French production only) appear for dramatic effect. Lady Capulet has a greatly increased role and in the case of the Hungarian version, has an affair with her servant. The role of Tybalt has changed slightly from being purely dark to a more pitiful character because of his growing up with the hate and a dark childhood, as well as an unrequited attraction to Juliet.
Synopsis
Act 1
A long-standing feud between the two leading families of the city of Verona, the Montagues and the Capulets, regularly erupts into violence on the city's streets. Irritated, the Prince of Verona decrees, on pain of death, the absolute prohibition on fighting in the city (Vérone). While Lady Capulet and Lady Montague denounce the violence of the two clans (La haine), Romeo (the sole heir of the Montagues) and Juliet (the daughter of the Capulets) are hopelessly in search for love (Un jour).
At the Capulets, a ball is being held so that Juliet can meet Count Paris, who asked Lord Capulet for her hand (La demande en mariage, Tu dois te marier). In Verona, Romeo and his friends, Benvolio and Mercutio, hang about the streets (Les rois du monde, La folie). Romeo is afraid of... he doesn't really know, but he's afraid (J'ai peur). In the hope of distracting him, Benvolio and Mercutio, persuade him to accompany them, in disguise, to a ball being held at the house of the Capulets (Le bal). At his first sight of Juliet, the daughter of the Capulets, Romeo instantly falls in love with her, without knowing who she is (L'amour heureux). Tybalt recognize Romeo and informs Juliet's parents. Romeo and Juliet learn from the Nurse who they are (Le bal 2). Tybalt, broken (he loves Juliet in secret), acknowledges that he is the son of hate and contempt (C'est pas ma faute).
After the ball, Juliet takes refuge in her room and dreams of Romeo (Le poète), who woos her at great personal risk in the Capulets' garden. They exchange lovers' vows and plan to marry in secret as soon as possible (Le balcon). Knowing that their families will never agree to their marriage, Romeo meets Friar Lawrence and asks him to marry them. He accepts hoping that this union will reconcile the two families (Par amour).
In the morning, Romeo meets his friends and tells the Nurse, whom everyone makes fun of (Les beaux, les laids), that Friar Lawrence will marry them the following afternoon. The Nurse, who deeply loves Juliet as her own daughter, announces the good news to Juliet (Et voilà qu'elle aime). Finally, Romeo and Juliet are married (Aimer).
Act 2
The next day, Benvolio and Mercutio meet Romeo: they accuse him of betrayal (On dit dans la rue). Out on the streets of Verona, Tybalt - unaware of his new blood tie to Romeo - searches for Romeo (C'est le jour) and when he finds him, challenges him to a fight, which Romeo refuses (Le duel). Mercutio takes up the challenge and is mortally wounded. Driven by guilt, vengeance and youthful-hotheadedness, Romeo kills Tybalt (Mort de Mercutio). The two families, plunged into mourning, ask the Prince for revenge (La vengeance). Finally, he banishes Romeo from Verona and thinks about the political power (Le pouvoir). In her bedroom, Juliet learns the bad news from the Nurse. She is torn between the love for her cousin and for her husband. Romeo goes to Friar Lawrence's. He thinks banishment is worse than death (Duo du désespoir).
Romeo and Juliet spend their wedding night together and Romeo makes his escape to Mantua (Le chant de l'alouette). Shortly after her husband has left, Juliet is informed by her parents that she is to be married to Paris. She refuses and they threaten to disown her (Demain). Upset, Lord Capulet sings about the love he has for his daughter (Avoir une fille). In her room, Juliet asks why she has to obey (Pourquoi). In Mantua, Romeo thinks of Juliet. In desperation, she turns to Friar Lawrence, who devises an ingenious plan, which he hopes will ultimately bring a happy ending for both the lovers and their two families (Sans elle).
Juliet appears to go along with the marriage plans but, in the night before the wedding, she takes the drug prepared by Friar Lawrence which makes her appear dead (Le poison). Juliet is duly laid in the family vault, hoping to wake up to find Romeo waiting for her. Unfortunately, The Friar's message telling Romeo of the plan somehow goes astray, and instead he hears only from Benvolio that his wife Juliet is dead (Comment lui dire).
Grief-stricken, he breaks into the Capulet vault, finds what he believes to be the mortal remains of his beloved, and takes poison to be reunited with her in death (Mort de Roméo). Soon afterwards, Juliet awakes to find her husband dead and she stabs herself with Romeo's dagger (La mort de Juliette). Friar Lawrence enters the vault and finds the two lovers dead. He complains to God (J'sais plus). When the whole story is told, the two devastated families agree henceforward to live in peace (Coupables).
Macbeth (opera)
Synopsis
Act 1
Scene 1: A heath
Groups of witches gather in a wood beside a battlefield, exchanging stories of the "evils" they have done. The victorious generals Macbeth and Banco enter. The witches hail Macbeth as Thane of Glamis (a title he already holds by inheritance), Thane of Cawdor, and king "hereafter." Banco is greeted as "lesser than Macbeth, but greater", never a king himself, but the progenitor of a line of future kings. The witches vanish, and messengers from the king appear naming Macbeth Thane of Cawdor. Macbeth protests that the holder of that title is still alive, but the messengers reply that the former Thane has been executed as a traitor. Banco, mistrusting the witches, is horrified to find that they have spoken the truth. In a duet, Macbeth and Banco muse that the first of the witches' prophecies has been fulfilled. Macbeth ponders how close he is to the throne, and whether fate will crown him without his taking action, yet dreams of blood and treachery: while Banco ponders on whether the minions of Hell will sometimes reveal an honest truth in order to lead one to future damnation.
Scene 2: Macbeth's castle
Lady Macbeth reads a letter from her husband telling of the encounter with the witches. She is determined to propel Macbeth to the throne - by fair means or foul.
Lady Macbeth is advised that King Duncan will stay in the castle that night; she is determined to see him killed (Or tutti, sorgete / "Arise now, all you ministers of hell"). When Macbeth returns she urges him to take the opportunity to kill the King. The King and the nobles arrive and Macbeth is emboldened to carry out the murder (Mi si affaccia un pugnal? / "Is this a dagger which I see before me?"), but afterwards is filled with horror. Disgusted at his cowardice, Lady Macbeth completes the crime, incriminating the sleeping guards by smearing them with Duncan's blood and planting on them Macbeth's dagger. Macduff arrives for an appointment with the King, while Banco stands guard, only for Macduff instead to discover the murder. He rouses the castle while Banco also bears witness to the fact of Duncan's murder. The chorus calls on God to avenge the killing (Schiudi, inferno, . . / "Open wide thy gaping maw, O Hell").
Act 2
Scene 1: A room in the castle
Macbeth is now king: Duncan's son Malcolm has fled the country, suspicion having conveniently fallen on him for his father's murder: but Macbeth is still disturbed by the prophecy that Banco, not he, will found a great royal line. To prevent this he tells his wife that he will have both Banco and his son murdered as they come to a banquet.
[1865 revised version: In her aria, La luce langue / "The light fades", Lady Macbeth exults in the powers of darkness]
Scene 2: Outside the castle
A gang of murderers lie in wait. Banco, sensing danger shares his misgivings with his son. (Come dal ciel precipita / "O, how the darkness falls from heaven"). The murderers attack and stab him to death, but his son escapes.
Scene 3: A dining hall in the castle
Macbeth receives the guests and Lady Macbeth sings a brindisi (Si colmi il calice / "Fill up the cup"). The assassination is reported to Macbeth, but when he returns to the table the ghost of Banco is sitting in his place. Macbeth raves at the ghost and the horrified guests believe he has gone mad. Lady Macbeth manages to calm the situation once - and even mocks it by calling for a toast to the absent Banco (whose death is not yet public knowledge), only for the ghost to appear a second time and terrify Macbeth into insanity again. Macduff resolves to leave the country, saying it is ruled by a cursed hand and only the wicked may remain: the other guests are terrified by Macbeth's talk of ghosts, phantoms and witches. The banquet ends abruptly with their hurried, frightened departure.
Act 3
The witches' cave
The witches gather around a cauldron in a dark cave. Macbeth enters and they conjure up three apparitions for him. The first advises him to beware of Macduff. The second tells him that he cannot be harmed by a man 'born of woman'. The third that he cannot be conquered till Birnam Wood marches against him. (Macbeth: O lieto augurio / "O, happy augury! No wood has ever moved by magic power")
Macbeth is then shown the ghost of Banco and his descendants, eight future Kings of Scotland, verifying the original prophecy. (Macbeth: Fuggi regal fantasima / "Begone, royal phantom that reminds me of Banco"). He collapses, but regains consciousness in the castle.
[Original 1847 version: The act ends with Macbeth recovering and resolving to assert his authority: Vada in fiamme, e in polve cada / "Macduff's lofty stronghold shall / Be set fire....".]
A herald announces the arrival of the Queen (Duet: Vi trovo alfin! / "I've found you at last"). Macbeth tells his wife about his encounter with the witches and they resolve to track down and kill Banco's son, as well as Macduff and his family (whom they do not yet know has already fled the country). (Duet: Ora di morte e di vendetta / "Hour of death and of vengeance").
Act 4
Scene 1: Near the border between England and Scotland
Scottish refugees stand near the English border (Chorus: Patria oppressa / "Down-trodden country"):
[Original 1847 version: While each version uses the same libretto, the music of this chorus is different. It begins with a less ominous, much shorter orchestral introduction and is sung straight through by the entire chorus.]
[1865 revised version: the music is divided into sections for the male and female members, then it unites them towards the end. The revised version is 2 minutes longer than the original.]
In the distance lies Birnam Wood. Macduff is determined to avenge the deaths of his wife and children at the hands of the tyrant (Ah, la paterna mano / "Ah, the paternal hand"). He is joined by Malcolm, the son of King Duncan, and the English army. Malcolm orders each soldier to cut a branch from a tree in Birnam Wood and carry it as they attack Macbeth's army. They are determined to liberate Scotland from tyranny (Chorus: La patria tradita / "Our country betrayed").
Scene 2: Macbeth's castle
A doctor and a servant observe the Queen as she walks in her sleep, wringing her hands and attempting to clean them of blood (Una macchia è qui tuttora! / "Yet here's a spot"). She raves about the deaths of both Duncan and Banco, and even about the deaths of Macduff's family, and that all the perfumes of Arabia would not clean the blood off her hands: all are things that the horrified witnesses would never dare to repeat to any living man.
Scene 3: The battlefield
Macbeth has learned that an army of Scottish rebels backed by England is advancing against him, but is reassured by remembering the words of the apparitions, that no man born of woman can harm him. However, in an aria (Pietà, rispetto, amore / "Compassion, honour, love") he contemplates the fact that he is already hated and feared: there will be no compassion, honour and love for him in his old age even if he wins this battle, nor kind words on a royal tomb, only curses and hatred. He receives the news of the Queen's death with indifference. Rallying his troops he learns that Birnam Wood has indeed come to his castle. Battle is joined.
[Original 1847 version's ending: Macduff pursues and fights Macbeth who falls. He tells Macbeth that he was not "born of woman" but "ripped" from his mother's womb. Fighting continues. Mortally wounded, Macbeth, in a final aria - Mal per me che m'affidai / "Trusting in the prophecies of Hell" - proclaims that trusting in these prophecies has caused his downfall. He dies on stage, while Macduff's men proclaim Malcolm to be the new King.]
Macduff pursues and fights Macbeth who falls wounded. He tells Macbeth that he was not "born of woman" but "untimely ripped" from his mother's womb. Macbeth responds in anguish (Cielo! / "Heaven") and the two continue fighting, then disappear from view. Macduff returns indicating to his men that he has killed Macbeth. He then turns to Malcolm, hailing him as King. The scene ends with a hymn to victory sung by bards, soldiers, and Scottish women (Salve, o re!/ "Hail, oh King!). Malcolm as King, and Macduff as hero, together swear to restore the realm to greatness.
Samson and Delilah (opera)
Synopsis
Act 1
A square in Gaza at night
In a square outside the temple of Dagon, a group of Hebrews beg Jehovah for relief from their bondage to the Philistines in a melancholy chorus ("Dieu d'Israël – God of Israel"), which leads into a fugue ("Nous avons vu nos cités renversées – We have seen our cities overturned"). Samson tries to revive the Israelites' morale and faith in God ("Arrêtez, ô mes frères – Stop, O my brothers") in a rousing aria set against the chorus's continuous prayer. Abimelech, the Philistine governor, appears and taunts the Israelites, saying that they are helpless because their god has abandoned them. He further states that his god, Dagon, is far superior ("Ce Dieu que votre voix implore – This God that your voice implores"). The Hebrews cower in fear before Abimelech until Samson incites them into defiant action. Enraged, Abimelech attacks an unarmed Samson with his sword. Samson manages to wrest the sword from Abimelech and kills him.
Afraid of what might now happen, the Hebrews flee, abandoning Samson. The High Priest of Dagon comes from the Philistine temple and curses the Hebrews and Samson's prodigious strength. A messenger arrives and informs the High Priest that the Hebrews are destroying the harvest. He responds with a further curse that alludes to his plot to utilize Dalila's beauty to outwit Samson's strength ("Qu'enfin une compagne infâme trahisse son amour! – Finally an infamous companion betray his love!").
As dawn breaks the Hebrews lift up a humble prayer to God in a style reminiscent of plainchant. Out of the temple emerges Dalila along with several priestesses of Dagon. As they walk down the temple steps, they sing of the pleasures of spring. Dalila engages seductively with Samson proclaiming that he has won her heart and bids him to come with her to her home in the valley of Sorek. As she tries to charm him, a trio forms as an old Hebrew warns of the danger this woman presents and Samson prays for God's protection from Dalila's charms. In an attempt to seduce Samson away from his leadership of the Israelite uprising, Dalila and the priestesses begin a sexually charged dance for him accompanied by a tambourine. After the dance, Dalila sings how spring is blossoming all around her yet, in her heart, she feels like it is still winter ("Printemps qui commence – Spring begins"). As Samson struggles with his desire for Dalila, the old Hebrew repeats his cautionary plea. His warning, however, is made in vain and the curtain closes as Samson meets Delilah's gaze with every intention of going to her nearby dwelling.
Act 2
Delilah's retreat in the Valley of Sorek
Dalila knows that Samson is entranced with her and will come to her instead of leading the revolution against the Philistines. Sitting on a rock outside the entrance to her retreat, she sings triumphantly about her power to ensnare Samson. She says that all of his strength is hopeless to withstand love's onslaught ("Amour! viens aider ma faiblesse – Love! come help my weakness").
Distant lightning is seen as the High Priest arrives to report that Samson and the Hebrews have conquered the Philistines. He attempts to achieve Samson's capture by offering Dalila gold, but she refuses saying she cares not for money but only for revenge. Her desire to hurt Samson is motivated solely by her loyalty to her gods and her hatred for the Hebrews. Dalila and the High Priest sing a duet expressing their mutual abhorrence for Samson and the Hebrews. Dalila vows to discover the secret of Samson's strength.
Now alone, Dalila contemplates her chances of success. Samson, intent on taking his place as the leader of the Hebrew revolt, emerges to say his last farewell as distant lightning is once again seen. In an attempt to close the trap which she has set for Samson, Dalila tells Samson seductively that she is completely his if he wants her. She begs him to respond to her caresses, hoping that he will finally let go of all other things and concentrate completely on her. His admission Je t'aime! introduces her main aria "Mon cœur s'ouvre à ta voix – My heart opens to your voice", which becomes a duet on the second verse when Samson joins her in song. Now that Dalila has him in her power, she feigns disbelief in his constancy and demands that he show his love by confiding in her the secret of his strength. Samson hears rolling thunder again which now seems like a warning from God and refuses. Dalila weeps and scorns Samson and runs into her dwelling. Samson is momentarily torn but then follows Dalila inside. Not long afterward, having finally learned that the secret of Samson's strength is his long hair, she calls to hidden Philistine soldiers, who rush in to capture and blind Samson.
Act 3
Samson destroys the Temple of Dagon (Gustave Doré, ca. 1860)
The city of Gaza
Scene 1: In a dungeon at Gaza
His hair shorn and now blind and shackled, Samson is turning a mill-wheel and praying for his people, who will suffer for his sin. He hears their voices, echoing the Hebrews' lament from act 1. Overcome with remorse, Samson offers his life in sacrifice, while the Hebrews are heard in the distance lamenting his fate.
Scene 2: In the Temple of Dagon
A musical interlude is played as the scene changes to the temple of Dagon, where the Philistines are preparing a sacrifice to commemorate their victory. The priests and priestesses of Dagon sing softly, reprising the song to spring from act 1. The music turns savage as the priests dance a wild Bacchanale. Following the dance, Samson enters led by a boy. He is ridiculed by the High Priest and the crowd. Dalila taunts Samson further by recounting to him the details of her devious plot in a variant of her love song. When the priests try to force him to kneel before Dagon, he asks the boy to lead him to the two main pillars of the temple, then telling the child to flee. Samson prays to God to restore his strength, and pushes down the pillars and the temple with them, crushing himself and his enemies. The curtain falls.
La bohème
Act 1
Marcello is painting while Rodolfo gazes out of the window. They complain of the cold. In order to keep warm, they burn the manuscript of Rodolfo's drama. Colline, the philosopher, enters shivering and disgruntled at not having been able to pawn some books. Schaunard, the musician of the group, arrives with food, wine and cigars. He explains the source of his riches: a job with an eccentric English gentleman, who ordered him to play his violin to a parrot until it died. The others hardly listen to his tale as they set up the table to eat and drink. Schaunard interrupts, telling them that they must save the food for the days ahead: tonight they will all celebrate his good fortune by dining at Cafe Momus, and he will pay.
The friends are interrupted by Benoît, the landlord, who arrives to collect the rent. They flatter him and ply him with wine. In his drunkenness, he begins to boast of his amorous adventures, but when he also reveals that he is married, they thrust him from the room—without the rent payment—in comic moral indignation. The rent money is divided for their evening out in the Quartier Latin.
Marcello, Schaunard and Colline go out, but Rodolfo remains alone for a moment in order to finish an article he is writing, promising to join his friends soon. There is a knock at the door. It is a girl who lives in another room in the building. Her candle has blown out, and she has no matches; she asks Rodolfo to light it. She is briefly overcome with faintness, and Rodolfo helps her to a chair and offers her a glass of wine. She thanks him. After a few minutes, she says that she is better and must go. But as she turns to leave, she realizes that she has lost her key.
Her candle goes out in the draught and Rodolfo's candle goes out too; the pair stumble in the dark. Rodolfo, eager to spend time with the girl, to whom he is already attracted, finds the key and pockets it, feigning innocence. He takes her cold hand (Che gelida manina—"What a cold little hand") and tells her of his life as a poet, then asks her to tell him more about her life. The girl says her name is Mimì (Sì, mi chiamano Mimì—"Yes, they call me Mimì"), and describes her simple life as an embroiderer. Impatiently, the waiting friends call Rodolfo. He answers and turns to see Mimì bathed in moonlight (duet, Rodolfo and Mimì: O soave fanciulla—"Oh lovely girl"). They realize that they have fallen in love. Rodolfo suggests remaining at home with Mimì, but she decides to accompany him to the Cafe Momus. As they leave, they sing of their newfound love.
Act 2
A great crowd, including children, has gathered with street sellers announcing their wares (chorus: Aranci, datteri! Caldi i marroni!—"Oranges, dates! Hot chestnuts!"). The friends arrive; Rodolfo buys Mimì a bonnet from a vendor, while Colline buys a coat and Schaunard a horn. Parisians gossip with friends and bargain with the vendors; the children of the streets clamor to see the wares of Parpignol, the toy seller. The friends enter the Cafe Momus.
As the men and Mimì dine at the cafe, Musetta, formerly Marcello's sweetheart, arrives with her rich (and elderly) government minister admirer, Alcindoro, whom she is tormenting. It is clear she has tired of him. To the delight of the Parisians and the embarrassment of her patron, she sings a risqué song (Musetta's waltz: Quando m'en vo'—"When I go along"), hoping to reclaim Marcello's attention. The ploy works; at the same time, Mimì recognizes that Musetta truly loves Marcello. To be rid of Alcindoro for a bit, Musetta pretends to be suffering from a tight shoe and sends him to the shoemaker to get her shoe mended. Alcindoro leaves, and Musetta and Marcello fall rapturously into each other's arms.
The friends are presented with their bill. However, Schaunard's purse has gone missing and no one else has enough money to pay. The sly Musetta has the entire bill charged to Alcindoro. The sound of a military band is heard, and the friends leave. Alcindoro returns with the repaired shoe seeking Musetta. The waiter hands him the bill and, dumbfounded, Alcindoro sinks into a chair.
Act 3
Peddlers pass through the barriers and enter the city. Mimì appears, coughing violently. She tries to find Marcello, who is currently living in a little tavern where he paints signs for the innkeeper. She tells him of her hard life with Rodolfo, who abandoned her the night before, and of Rodolfo's terrible jealousy (O buon Marcello, aiuto!—"Oh, good Marcello, help me!"). Marcello tells her that Rodolfo is asleep inside, and expresses concern about Mimì's cough. Rodolfo wakes up and comes out looking for Marcello. Mimì hides and overhears Rodolfo first telling Marcello that he left Mimì because of her coquettishness, but finally confessing that his jealousy is a sham: he fears she is slowly being consumed by a deadly illness (most likely tuberculosis, known by the catchall name "consumption" in the nineteenth century). Rodolfo, in his poverty, can do little to help Mimì and hopes that his pretended unkindness will inspire her to seek another, wealthier suitor (Marcello, finalmente—"Marcello, finally").
Out of kindness towards Mimì, Marcello tries to silence him, but she has already heard all. Her weeping and coughing reveal her presence, and Rodolfo hurries to her. Musetta's laughter is heard and Marcello goes to find out what has happened. Mimì tells Rodolfo that she is leaving him, and asks that they separate amicably (Mimì: Donde lieta uscì—"From here she happily left"); but their love for one another is too strong for the pair to part. As a compromise, they agree to remain together until the spring, when the world is coming to life again and no one feels truly alone. Meanwhile, Marcello has found Musetta, and the couple quarrel fiercely about Musetta's flirtatiousness: an antithetical counterpoint to the other pair's reconciliation (quartet: Mimì, Rodolfo, Musetta, Marcello: Addio dolce svegliare alla mattina!—"Goodbye, sweet awakening in the morning!").
Act 4
Marcello and Rodolfo are trying to work, though they are primarily talking about their girlfriends, who have left them and found wealthy lovers. Rodolfo has seen Musetta in a fine carriage and Marcello has seen Mimì dressed like a queen. The men both express their nostalgia (duet: O Mimì, tu più non torni—"O Mimì, will you not return?"). Schaunard and Colline arrive with a very frugal dinner and all parody eating a plentiful banquet, dance together and sing, before Schaunard and Colline engage in a mock duel.
Musetta suddenly appears; Mimì, who took up with a wealthy viscount after leaving Rodolfo in the spring, has left her patron. Musetta found her that day in the street, severely weakened by her illness, and Mimì begged Musetta to bring her to Rodolfo. Mimì, haggard and pale, is assisted onto a bed. Briefly, she feels as though she is recovering. Musetta and Marcello leave to sell Musetta's earrings in order to buy medicine, and Colline leaves to pawn his overcoat (Vecchia zimarra—"Old coat"). Schaunard leaves with Colline to give Mimì and Rodolfo some time together. Mimì tells Rodolfo that her love for him is her whole life (aria/duet, Mimì and Rodolfo: Sono andati?—"Have they gone?").
To Mimì's delight, Rodolfo presents her with the pink bonnet he bought her, which he has kept as a souvenir of their love. They remember past happiness and their first meeting—the candles, the lost key. Suddenly, Mimì is overwhelmed by a coughing fit. The others return, with a gift of a muff to warm Mimì's hands and some medicine. Mimì gently thanks Rodolfo for the muff, which she believes is a present from him, reassures him that she is better and falls asleep. Musetta prays. Schaunard discovers that Mimì has died. Rodolfo rushes to the bed, calling Mimì's name in anguish, weeping helplessly as the curtain falls.
Hernani
Plot
Set in a fictitious version of the Spanish court of 1519, it is based on courtly romance and intrigues. Three men — two noblemen and a mysterious bandit — are in love with the same woman. What follows in the ensuing chaos of action prompted the biographer of Hugo, J.P. Houston, to write "... and a résumé will necessarily fail, as in the case of Notre-Dame de Paris, to suggest anything like the involution of its details".
Act I
In the first scenes Hugo introduces Don Carlos, King of Spain (the future Charles V, Holy Roman Emperor) sneaking into the bedchamber of Doña Sol. He forces her maid to help conceal him within the room. Shortly thereafter, Doña Sol enters to welcome her lover Hernani. Hernani and Sol discuss their situation − Doña Sol is about to be forced to marry her elderly uncle, and Hernani is a bandit whose father was executed by the previous King. Hernani and Doña Sol plot to run away together, but Don Carlos emerges from the cabinet where he was hiding, disrupting them. The two men clash swords, but are interrupted by Sol's uncle and fiancé Don Ruy Gomez de Silva. He demands to know why both men are in Sol's private chambers. Don Carlos reveals his identity, and asserts that he had come hoping to meet Ruy Gomez to discuss the recent death of Emperor Maximilian, and claims that Hernani is a member of his entourage, thereby allowing everyone to leave peacefully.
Act II
Don Carlos had overheard Sol and Hernani's plans to run away together, and accompanied with some aristocratic friends he appears at the rendezvous point, hoping to seduce Sol in Hernani's place. Doña Sol recognizes him and rejects him. Infuriated, Don Carlos attempts to abduct her. As Don Carlos and Doña Sol struggle over a dagger, Hernani arrives with his own sixty men having overtaken the king's three friends. He explains his hatred for the king over the death of his own father, and challenges Don Carlos to a duel. This time, the King is aware of Hernani's identity as a bandit, and he refuses a duel (as only noblemen could duel), but challenges Hernani to murder him. Hernani's sense of honor prevents him from attacking a man who won't fight back. The King escapes, and sends his men to arrest Hernani and his band of thieves. Hernani escapes after a farewell to Doña Sol.
Act III
Doña Sol and Ruy Gomez prepare for their wedding, and hear news that Hernani's men have all been murdered. Hernani arrives at the house in disguise, and Ruy Gomez takes him in as a guest. Hernani − apparently suicidal − reveals his identity and tries to provoke the servants to arrest him, but Ruy Gomez still insists on protecting him. Hernani admonishes Doña Sol for agreeing to the marriage, but when she reveals that she plans to kill herself on the wedding night, he has a change of heart and encourages her to accept the match. Ruy Gomez is appalled to learn of Sol and Hernani's relationship, considering it a betrayal of his hospitality, but he still continues his protection. The King arrives to arrest Hernani, but Ruy Gomez refuses to surrender him, citing laws of hospitality, which, he asserts, protect his guests even from the King. The King threatens Ruy Gomez, and Doña Sol intercedes for him. The King forgives Ruy Gomez but abducts Doña Sol. Alone, Ruy Gomez releases Hernani, initially intending to fight him to the death; but when Hernani learns of Doña Sol's abduction he insists on trying to rescue her and promises to surrender himself to Ruy Gomez after Sol is safe. Hernani secures his promise by giving Ruy Gomez a horn to blow to announce the moment when Hernani should die.
Act IV
Two months later, in June 1519, in Aachen (capital of the Holy Roman Empire), Don Carlos is awaiting the results of the imperial election while thwarting a conspiracy; among the conspirators are Don Ruy Gomez and Hernani. The latter, appointed to assassinate the king, refuses to give way to Don Ruy Gomez, who nevertheless asks him to break the pact. Don Carlos is elected emperor. He pardons the conspirators and announces the marriage of Doña Sol to Hernani. Hernani reveals his true identity: he is John of Aragon, noble but born in exile; and he abandons his idea of revenge.
Act V
Sol and Hernani are married, but, as they enjoy their wedding feast, Hernani hears the call of the horn blown by Ruy Gomez. As Hernani is about to drink poison, Doña Sol enters the room and tries to convince him that he is hers and he does not have to listen to her uncle. She is unable to persuade him otherwise. Doña Sol, shocked by Hernani's decision to kill himself, drinks half of the poison. Hernani drinks the other half and they die in each other's arms. Ruy Gomez de Silva kills himself.
Un ballo in maschera
Synopsis
Act 1
Scene 1: A public audience at Riccardo's palace, attended by his supporters, but also by his enemies who hope for his
Riccardo (Gustavo) reviews the list of guests who will attend an upcoming masked ball. He is elated to see the name of the woman he loves on the list – Amelia, the wife of his friend and advisor, Renato (Count Anckarström). (Aria: La rivedrà nell'estasi / "There I will be in ecstasy to see her again"). When Renato arrives, he tries to warn Riccardo about the growing conspiracy against him (aria: Alla vita che t'arride / "Your life, so full of joy and hope"), but Riccardo refuses to listen to his words.
Next, Riccardo is presented with a complaint against a fortune-teller named Ulrica (Madame Arvidson), accused of witchcraft. A magistrate calls for her banishment, but Oscar the page defends her (Aria: Volta la terrea / "Turning her eyes from the earth"). Riccardo resolves to investigate for himself and tells the members of the court to disguise themselves and to meet him at Ulrica's lodging later that day.
Scene 2: At Ulrica's dwelling
Ulrica summons her magical powers: Re dell'abisso, affrettati / "King of the abyss, make haste". Disguised as a fisherman, Riccardo arrives before the others. He makes the fortune of a sailor named Silvano come true by spiriting a document of promotion into his pouch, convincing the crowd of the truth of Ulrica's powers. When he realizes that Amelia is coming to see Ulrica, he hides and watches. Alone with Ulrica, Amelia confesses that she is tormented by her love for Riccardo, and asks for a means to bring peace to her heart. Ulrica tells her to gather a certain herb with magical powers; Riccardo resolves to be there when she does so. Amelia leaves.
Now Riccardo presents himself again, along with all of the courtiers, and asks to have his fortune told. (Aria: Di' tu se fedele / "Tell me if the sea awaits me faithfully"). Ulrica reveals that he will be killed by the next man who shakes his hand. He laughingly dismisses her prophecy and offers his hand to the courtiers, who refuse to take it. Renato arrives and shakes Riccardo's hand in greeting. Riccardo's true identity is now revealed and he is acclaimed by the people.
Act 2
On the outskirts of the town, at the gallows-place. Midnight
Amelia, conquering her fears, has come here alone to pick the herb of which Ulrica told her (Aria: Ma dall'arido stelo divulsa / "But when I have plucked the herb"). She is surprised by Riccardo, who has come to meet her, and the two finally declare their love for each other.
Unexpectedly, Renato arrives, and Amelia covers her face with her veil before he can recognize her. Renato explains to Riccardo that the conspirators are pursuing him, and his life is in danger. Riccardo leaves, making Renato promise to escort the veiled woman safely back to town, not asking her identity. When the conspirators arrive, they confront Renato; in the struggle, Amelia's veil drops. Renato assumes that Amelia and Riccardo have been involved in an adulterous love affair. He asks the two leaders of the conspiracy, Samuel and Tom, to meet him the next day.
Act 3
Scene 1: Renato's house
Renato has resolved to kill Amelia for the dishonor she has brought on him. She protests her innocence and begs to see her son one last time. (Aria: Morrò, ma prima in grazia / "I will die, but first, a kindness"). Renato relents, and declares that it is Riccardo, not Amelia, who deserves to die (Aria: Eri tu che macchiavi quell'anima / "You were the one who stained her soul").
Samuel (Count Ribbing) and Tom (Count Horn) arrive, and Renato asks to join their plot, pledging the life of his son as proof of his sincerity. They agree to draw lots to decide who will kill Riccardo. Amelia is forced to draw the winning name – Renato.
Oscar, the page, arrives with invitations to the masked ball; Samuel, Tom and Renato agree that this is where the assassination will take place.
Scene 2: The ball
Riccardo, torn between love and duty, has resolved to renounce his love for Amelia and send her and Renato back to England (Aria: Ma se m'è forza perderti / "But if I am forced to lose her").
At the ball, Renato tries to learn from Oscar what costume Riccardo is wearing. Oscar at first refuses to tell (Aria: Saper vorreste / "You want to know"), but he finally answers: a black cloak and a red ribbon. Riccardo manages to identify Amelia and tells her of the decision he has made. As they say goodbye, Renato stabs Riccardo. The wounded Riccardo discloses that though he loved Amelia, she never broke her marriage vows. He pardons all the conspirators, bidding farewell to his friends and his country as he dies.
Pagliacci
Synopsis
Act 1
At three o'clock in the afternoon, the commedia troupe enters the village to the cheering of the villagers. Canio describes the night's performance: the troubles of Pagliaccio. He says the play will begin at "ventitré ore", an agricultural method of time-keeping that means the play will begin an hour before sunset. As Nedda steps down from the cart, Tonio offers his hand, but Canio pushes him aside and helps her down himself.
The villagers suggest drinking at the tavern. Canio and Beppe accept, but Tonio stays behind. The villagers tease Canio that Tonio is planning an affair with Nedda. Canio warns everyone that while he may act the foolish husband in the play, in real life he will not tolerate other men making advances to Nedda. Shocked, a villager asks if Canio real
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