HMR Project: History of Music & Modern Recording

Italian Romantic Operas by Vincenzo Bellini

Vincenzo Bellini

Born on 3 November 1801 in Catania, Sicily, Vincenzo Bellini could sing an aria at eighteen months, studied music theory at age two, played piano at age three and began composing at age six, according to one dubitable anonymous hand-written source. Bellini was, however, more certainly composing by age fifteen, including nine 'Versetti da cantarsi il Venerdi Santo' produced in 1816, and was, anyway, main rival in Italian opera, of which he premiered eleven, to Donizetti and Rossini in whose shadows he pursued his career. In addition to songs Bellini wrote sacred music such as masses, works for keyboard and eight symphonies. We will address his operas only herein.

Well to set the stage with a little of the zeitgeist into which romantic Bellini was born: British colonies had fought the American Revolution from 1775 to 1783, the Declaration of Independence signed by Congress on 4 July, 1776. In 1800 the capital in Philadelphia would be moved to Washington in what became the District of Columbia in 1801. The Library of Congress was founded in 1800 as well [Wikipedia]. Things fell together in the United States in such a way that its growth in the century to come could well seem manifest destiny. Turmoil in France saw to the Louisiana Purchase in 1803, nearly doubling the size of U.S. possession in America, requiring the expedition of Louis and Clark in 1804-05 to explore it from St. Louis to unclaimed territories beyond at the Pacific shore. In the meantime, George III had been King of Ireland and Great Britain from 1760 to 1801 when he became King of Ireland and the United Kingdom upon the merging of England and Scotland. It would take some time for Americans to arrive to some of the miseries common in Europe, such as the hell into which London had long been developing where crime, malnutrition and poor sanitation meant the death by age two of nearly every other child.

In Germany meanwhile, 1 April 1777 had seen the Leipzig premiere of Friedrich Maximilian Klinger's play, 'Sturm und Drang' ('Storm and Stress'). Expressive of a movement that had been developing for several years, though the movement itself would soon pass it was spark enough to help kindle the Romantic period. Of good breeding the Enlightenment held the door open for passion to burst in. Largely the brainchild of philosopher, Johann Georg Hamann, Sturm und Drang was an inevitable dialectic aroused of the Enlightenment that coincided with the Classical period. Juxtaposed to rationality and reason in a pleasant world of logic and perfect manners came address of the subjective and emotional. In 1798 the practical philosopher, Immanuel Kant, thought it needful to examine the bodily temperaments of Galen (b 129 AD) in a psychological perspective in 'Anthropology from a Pragmatic Point of View'. Georg Hegel published 'Phenomenology of Spirit' in 1807 in which he described the dialectical process of thesis and antithesis arriving to synthesis, an idealistic theory applicable to agitations like revolutions and with parallels from Tao to what happens to the development of humankind, or only a campfire story, without differences or conflict between one and an other. The Romantic period flared up in tempestuous times in departure from the classical world of Mozart now viewed (not Mozart but that world) as so much matching of furniture and proper table settings become staid in polite society where "Nothing bad ever happens to me" (Oingo Boingo). Thus nothing happened . . . until revolution everywhere.

The French Revolution had run its course from 1789 to the establishment of the five-member Directory and a bicameral legislature in 1899, yet to which Napoleon put an end when he declared himself Emperor on 18 May of 1804. The French Revolution of anti-monarchical sentiment was further dampened after Napoleon's defeat at Waterloo when Bourbon, Louis XVIII, was made King of France and dissolved an experimental parliament in 1816. The Holy Roman Empire that had begun in Charlemagne's France in the 9th century, only to eventually become its adversary upon its becoming a German power, had been dissolved by Napoleon in 1806.

Little Haiti in the Caribbean had declared its independence from France in 1804 after a revolutionary war since 1791 [Wikipedia]. Neither England nor France the only, the Spanish American Wars of Independence were just around corner as the Americas underwent decolonization from old New Spain. Argentina won independence from Spain on July 9, 1816 [Wikipedia]. Mexico followed on 27 Sep 1821 [Wikipedia]. Brazil won independence from Portugal the next year on 7 September 1822 [Wikipedia], followed by Bolivia on 6 August 1825 [Wikipedia]. See also the Revolutions of 1848. Revolutions from Continental sovereignty differed from that of the United States, however, insofar as they usually resulted in an exchange of one big monarchical power like Spain for smaller monarchical powers rather than the democratic federation that George Washington had denied the glories of becoming king to guide toward a republic.

In the meantime, already as weary of Napoleon as Bellini's Italy, Bourbon Spain saw no relief upon the Peninsular War of 1807 to 1814 against France. Bellini's life coincides as well with the Italian Restoration as of the Congress of Vienna in 1814-15 during which the Bourbons were restored to Naples by the four major allies against Napoleon that were Britain, Austria, Prussia and Russia. In the meanwhile Pius VII had become Pope in 1800, he the 251st over the last nigh 1800 centuries.

Farther off on Bellini's globe, Catherine the Great of Russia had had a stroke while bathing in 1796 and died the next day. Her son, Paul I, would be murdered in 1806 by his brother, Alexander. Though portions of Georgia were incorporated into Russia during Paul's brief reign, he was a pacifist whom Russian nobility deemed to be too interested in the welfare of the peasantry to let around. The Russo-Turkish Wars that had begun between Ukrainian Cossacks and Crimean Tatars in the 17th century continued into Bellini's lifetime, the Ottoman Empire beginning to lose its grip upon Greek independence in 1829, the struggle in which poet, Lord Byron, had taken such an interest. That was 34 years after the first daily newspaper in Istanbul was founded in 1795 by French ambassador, Raymond de Verninac Saint-Maur.

As for Bellini, he had been instructed in music by his grandfather until going to Naples in 1818 to study at the Conservatorio di San Sebastiano. Upon witnessing his first opera by Rossini, 'Semiramide' (1823), Bellini thought it pointless to attempt a better music, then took the challenge with his own initial opera, 'Adelson e Salvini', appearing on 12 February 1825 at his college theatre (the Teatro del Conservatorio di San Sebastiano) in Naples while yet a student. With a libretto set in 17th century Ireland by Andrea Leone Tottola, 'Adelson e Salvini' is a romantic intrigue between two friends, Adelson and Salvini, in competition for the hand of orphan Nelly while Salvani, an Italian painter, is meanwhile loved by his Irish art student, Fanny. Enter the villain in league with Salvani, one Struley who attempts to kidnap Nelly from Adelson's care.

'Dopo l'oscuro nembo' from Act 1 of 'Adelson e Salvini' Opera 1st Vincenzo Bellini

'After the dark cloud'

Premiere 17 Feb 1825 in Naples

Libretto: Andrea Leone Tottola

Mezzo-soprano: Elīna Garanča

Filarmonica del Teatro Comunale di Bologna / Roberto Abbado

Teatro Manzoni in Bologna 2008

This album ('Bel Canto' by Elīna Garanča / 2009)

Bellini's first commercially performed opera was 'Bianca e Gernando' at Teatro di San Carlo on 30 May 1826. The original title of 'Bianca e Fernando' was changed because Fernando was a name shared by Ferdinand II, heir to the throne of Two Sicilies. It's said that King Francis I of Two Sicilies who was in the audience broke the custom of applause generally disallowed at performances attended by royalty. This opera was then revised to premiere as 'Bianca e Fernando' at the Teatro Carlo Felice in Genoa on 7 April 1828. This revision so differs from the original as to count as a separate work. With a libretto by Domenico Gilardoni, 'Bianca' is set in 14th century Sicily concerning long-separated brother and sister, Fernando and Bianca, up against evil Filippo who devises a plot to take Bianca as his wife.

Excerpts from 'Bianca e Gernando' Opera 2nd Vincenzo Bellini

Premiere 30 May 1826 in Naples

Libretto: Domenico Gilardoni

Direction: Antonino Fogliani Wilbald Rossini Festival in Germany 2016

Bellini had begun to base himself in Milan in 1827, producing 'Il Pirata' at the Teatro alla Scala on 27 October that year. 'Il Pirata' is a story set in 13th century Sicily of Imogene who is in love with Gualtiero, one of the surviving crew of a shipwreck whose adversary, Ernesto, is in love with Imogene. This was the first of eight libretti supplied to Bellini by Felice Romani. Bellini then visited Genoa in 1828 to stage 'Bianca e Fernando', the revision of 'Bianca e Gernando' per above. Bellini never married, not wishing distraction from his work, though he did begin an affair in 1828 of several years while in Genoa with a married woman, one Giuditta Turina.

'Il Pirata' Opera 3rd Vincenzo Bellini

Premiere 27 Oct 1827 in Milan

Libretto: Felice Romani

Wexford Opera Festival Chorus & Orchestra Leone Magiera

Wexford Opera Festival Ireland 1972

'Bianca e Fernando' Opera 4th Vincenzo Bellini

Premiere 7 April 1828 in Genoa

Libretto: Domenico Gilardoni

Coros & Orquesta del Teatro Massimo Bellini

Direction: Andrea Licata Catania, Sicily 26 Sep, 1991

Bellini's opera, 'La Straniera' ('The Foreign Woman'), followed at the Teatro alla Scala in Milan on 14 February 1829. With libretto by Felice Romani, la straniera is 12th century Agnes of Merania who married King Philip II of France in 1196. The problem is that Philip was already married to Ingeborg of Denmark as of 1193. Philip regretted his betrothal to Ingeborg but couldn't obtain an annulment from either Pope Celestine III or his successor, Innocent III. Philip thus faced excommunication from the Church for bigamy until Agnes died in 1201.

Final scene from 'La Straniera' Opera 5th Vincenzo Bellini

Premiere 14 Feb 1829 in Milan

Libretto: Felice Romani

C & O of the Teatro La Fenice / Ettore Garcis 7 June 1970

Bellini traveled to Parma to stage 'Zaira' at the Nuovo Teatro Ducale, now the Teatro Regio di Parma, on 16 May 1829. With another libretto by Romani, 'Zaira' was based on Voltaire's earlier 'Zaire' of 1732. Set in 15th century Jerusalem during Crusade, Zaira is an orphaned Christian slave girl scheduled to marry Sultan Orosmane. The twofold trouble is that marriage to a Christian is considered sacrilegious even as Zaira must renounce Christianity. Complications arise between Orosmane's vizier, Corasmino, and captive French knight, Nerestano, which ultimately lead to Zaira's murder by Orosmane followed by his suicide.

'Zaira' Opera 6th Vincenzo Bellini

Premiere 16 May 1829 in Parma

Libretto: Felice Romani

Direction: Paolo Olmi Teatro Massimo in Catania, Sicily 25 Sep 1990

It was in Venice that Bellini staged 'I Capuleti e i Montecchi' at the Teatro La Fenice on 11 March 1830. With another libretto by Romani, 'The Capulets and Montagues' is based on Italian versions of Shakespeare's 1597 'Romeo and Juliet'.

'I Capuleti e i Montecchi' Opera 7th Vincenzo Bellini

Premiere 11 March 1830 in Venice

Libretto: Felice Romani

Chorus & Orchestra of the American Opera Society / Arnold Gamson New York 14 Oct 1958

Bellini returned to Milan to stage 'La Sonnambula'. The sleepwalker in this tale located in Switzerland is beautiful Amina who leads the audience through her troubles due to loving Elvino who comes to falsely believe that she has been unfaithful to him during her roamings at night.

'La sonnambula' Opera 8th Vincenzo Bellini

Premiere 6 March 1831 in Milan

Libretto: Felice Romani

C & O of the Teatro del Opera di Roma / Francesco Lanzillotta 2024

Bellini's best-known work is probably 'Norma' which premiered on 26 December 1831 at La Scala in Milan, that containing the aria, 'Casta Diva' ('Chaste Goddess'). With another libretto by Romani, 'Norma' is set in Roman-occupied Gaul sometime 100-50 BC involving a love triangle between Pollione and the druidess, Norma, who is mother of two of his children, and younger Adalgisa for whom he has abandoned Norma. Events lead poor Adalgisa toward the predicament of being condemned to burn at the stake in Rome, though she is ultimately saved by Norma and Pollione who sacrifice themselves in her stead. Did somebody mention the romantic?

'Norma' Opera 9th Vincenzo Bellini

Premiere 26 Dec 1831 in Milan

Libretto: Felice Romani

Maestro chorus: Andres Maspero Maestro orchestra: Friedrich Haider

Direction: Jurgen Rose National Theater in Munich 2006

Bellini worked again in Venice in 1833, staging 'Beatrice di Tenda' at La Fenice on 16 March, this another tragedy with the death of its heroine to convey, and the last libretto written for Bellini by Romani. Bellini then journeyed to London to perform a few operas at the King's Theatre, also attending productions by Rossini, Maria Malibran, Felix Mendelssohn and Nicolo Paganini who were also in England at the time.

'Beatrice di Tenda' Opera 10th Vincenzo Bellini

Premiere 16 March 1833 in Venice

Libretto: Felice Romani

Orchestra e Coro dall Teatro Massimo Bellini / Tiziana Carlini

Direction: Antonio Pirolli Teatro Massimo Bellini di Catania, Sicily Dec 2010

Yet 1833 when Bellini arrived to Paris, he there performed his last opera, 'I Puritani', on 24 January 1835. 'The Puritans' is set during the English Civil War (1642-51), telling of the rivalry between Ricardo and Arturo for the hand of Elvira during the contest for Plymouth between Puritans and Royalists.

'I Puritani' Opera 11th (last) Vincenzo Bellini

Premiere 14 Jan 1835 in Paris

Libretto: Carlo Pepoli

Ambrosian Singers w the New Philharmonia Orchestra / Eve Queler 1974

Bellini was yet another composer whom some or other illness claimed young, dying on 23 September of 1835 not yet 34 years old. The doctor who did his autopsy thought he passed of dysentery. It was Rossini who handled his funeral and estate upon his death, and arranged the erection of a monument at his grave.

Sources & References for Vincenzo Bellini:

All Music

Music Academy Online

VF History (notes)

Wikipedia English

Associates:

Francesco Florimo (friend / author / librarian of the Naples Conservatory / 1800-88)

Audio of Bellini:

Casta Diva (aria by Felice Romani from Norma of 1831 sung by Montserrat Caballé)

Classical Archives

Hyperion

Naxos