Linda Di Chamounix

by Gaetano Donizetti

Opera di Firenze

Florence, Italy
  • September 2021
    20:00 > 23:00
    3 hours
  • September 2021
    20:00 > 23:00
    3 hours
  • September 2021
    20:00 > 23:00
    3 hours
  • October 2021
    18:00 > 21:00
    3 hours

When Donizetti composed Linda di Chamounix in 1841, his name was internationally famous, so much so that in Vienna he was commissioned to perform the opera that would have represented the most important of the program of the Porta Carinzia Theater of that Season. The subject, put into verse by Gaetano Rossi, is inspired by the Grâce de Dieu ou la nouvelle Fanchon by Adolphe d'Ennery and Gustave Lemoine, a rather unlikely feuilleton even to Donizetti but which is perfectly suited to its purpose: to please the Habsburg court with a work devoid of political implications but based exclusively on good feelings and the celebration of the virtue of the protagonist. Linda di Chamounix is ​​a semi-serious work, a genre that mixes, between pathos and irony, elements and characters characteristic of the two major genres with the inevitable happy ending. At the center of the action is a beautiful and virtuous girl, Linda, in love with Viscount Charles but threatened by his uncle, the Marquis of Boisfleury. As tradition has it, there is are misunderstandings, acknowledgments and twists (among them also a scene of madness, a Donizetti specialty), but in the end, as the saying goes, "all is well that ends well" and the peace found among the two young people reunited joyfully closes the opera.

Find out more about the Cast , the Composition , the Composer

Linda Di Chamounix


Press & Reviews

Corriere della sera
Jessica Pratt, crazy and in love
This review refers to Linda di Chamounix at Teatro dell'Opera di Roma.
In love and lost in the twists and turns of her mind but ultimately determined to achieve a radiant destiny of love: Jessica Pratt's talent shone on the stage of the Teatro dell'Opera of Rome in the title role of Linda di Chamounix by Gaetano Donizetti, in a mise en scène by Spanish director Emilio Sagi, with performances running through the 28th of June. After Bernstein's Candide in 2014 and last season's Lucia di Lammermoor, the Anglo-Australian soprano lent her voice and soul to the delineation of a complex and fascinating character, imbued with emotional contrasts and significant frailties: an unforgettable heroine whom the artist was able to bring to life in front of an audience filled to capacity, which rewarded her with enthusiastic applause
Francesco Rapaccioni
Linda, rare and superb
This review refers to Linda di Chamounix at Teatro dell'Opera di Roma.
Jessica Pratt's musical line is luminous and her musicianship excellent: her Linda displays virtuosismo with no difficulty whatsoever, with chiseled and round extreme high notes while still maintaining a good expressivity and investing her character with a true human nature (particularly convincing were the duet with the Marquis in Act II and the final reconciliation with her beloved Carlo), with a singing that remains creamy even in the coloratura
Connessi all'opera
Giancarlo Arnaboldi
Firenze, Teatro del Maggio – Linda di Chamounix
This review refers to Linda di Chamounix at Opera di Firenze.
Not available in English
Jessica Pratt ha tutto per essere vocalmente una Linda eccezionale. Bel legato, sopracuti limpidi e fiammeggianti, dizione accurata. Eseguendo per esteso la scena della pazzia (che Donizetti considerava fra le migliori che avesse mai composto), compresa la sensazionale cavatina presente nell’edizione viennese “Nel silenzio della sera” di solito tagliata nelle esecuzioni tradizionali, raggiunge vertici espressivi commoventi.

la Repubblica
Dino Villatico
Sober tones for a semi serious Donizetti
This review refers to Linda di Chamounix at Teatro dell'Opera di Roma.
But above everyone else towers Jessica Pratt, of whom one does not know which to admire more, the precision of her performance or the warmth of her interpretation. This while displaying an always flawless, extraordinary mastery of her instrument. She received an ovation, a true triumph
La voce d'Italia
Claudio Listanti
Linda di Chamounix sweetness and melancholy
This review refers to Linda di Chamounix at Teatro dell'Opera di Roma.
a cast of undisputed quality where above everyone else towered the voice of Jessica Pratt, a singer gifted with a remarkable vocal technique showing a definite predisposition, albeit not preponderantly so, to vocal fireworks enabling her to effortlessly overcome the hurdles of a role written for one of the most celebrated singers of the time, Eugenia Tadolini.
Francesco Lora
Porta socchiusa su Linda
This review refers to Linda di Chamounix at Opera di Firenze.
Not available in English
Jessica Pratt, nella parte eponima, è un lampasso di seta a ogni tornitura di frase e un diamante all’interpolazione di ogni nota sopracuta; possiede il segreto della vera primadonna romantica all’italiana: quanto più esibisce risorse sovrumane, tanto più sa apparire cordiale, radiosa, virginale, semplice, come se tanto bendidìo fosse un’ovvietà.

Il Tempo
Lorenzo Tozzi
After more than a century Linda di Chamounix <>
This review refers to Linda di Chamounix at Teatro dell'Opera di Roma.
The rest is pure pleasure to the ear thanks to Donizetti's wonderful music entrusted to such a bel canto specliast as Jessica Pratt as the distressed Linda, whose candor illuminates the entire production
Fabiana Raponi
"Linda di Chamounix" by Donizetti, the triumph of bel canto at the Teatro dell'Opera di Roma A success at the Costanzi with a perfect Jessica Pratt in the title role and a great cast.
This review refers to Linda di Chamounix at Teatro dell'Opera di Roma.
A fabulous Jessica Pratt, the Lucia in the Ronconi production of 2015, towers above everyone: she is at all times irreproachable, rich with colours, nuances, showing no hesitation whatsoever.
Il Giornale della Musica
Mauro Mariani
The return of Linda. Success for Donizetti's opera, missing from Rome for over a century.
This review refers to Linda di Chamounix at Teatro dell'Opera di Roma.
her agility and extreme high notes are effortless and fluid, in a few words she is a perfect belcantista

The Composition

Linda di Chamounix

Libretto written in italian by Gaetano Rossi, was first premiered on a Wednesday on May 18 of 1842

Gaetano Donizetti

Short biography of the composer
Domenico Gaetano Maria Donizetti (29 November 1797 – 8 April 1848) along with Gioachino Rossini and Vincenzo Bellini, was a leading composer of the bel canto opera style during the first half of the nineteenth century. Born in Bergamo in Lombardy, was taken, at an early age, under the wing of composer Simon Mayr who had enrolled him by means of a full scholarship. Mayr was also instrumental in obtaining a place for the young man at the Bologna Academy, where, at the age of 19, he wrote his first one-act opera, the comedy Il Pigmalione. Over the course of his career, Donizetti wrote almost 70 operas. An offer in 1822 from Domenico Barbaja, the impresario of the Teatro di San Carlo in Naples, which followed the composer's ninth opera, led to his move to that city and his residency there which lasted until the production of Caterina Cornaro in January 1844. In all, Naples presented 51 of Donizetti's operas. Before 1830, success came primarily with his comic operas, the serious ones failing to attract significant audiences. However, his first notable success came with an opera seria, Zoraida di Granata, which was presented in 1822 in Rome. In 1830, when Anna Bolena was premiered, Donizetti made a major impact on the Italian and international opera scene and this shifted the balance of success away from primarily comedic operas, although even after that date, his best-known works included comedies such as L'elisir d'amore (1832) and Don Pasquale (1843). Significant historical dramas did appear and became successful; they included Lucia di Lammermoor (the first to have a libretto written by Salvatore Cammarano) given in Naples in 1835, and one of the most successful Neapolitan operas, Roberto Devereux in 1837. Up to that point, all of his operas had been set to Italian libretti. Donizetti found himself increasingly chafing against the censorial limitations which existed in Italy (and especially in Naples). From about 1836, he became interested in working in Paris, where he saw much greater freedom to choose subject matter, in addition to receiving larger fees and greater prestige. From 1838 onward, with an offer from the Paris Opéra for two new works, he spent a considerable period of the following ten years in that city, and set several operas to French texts as well as overseeing staging of his Italian works. The first opera was a French version of the then-unperformed Poliuto which, in April 1840, was revised to become Les martyrs. Two new operas were also given in Paris at that time. As the 1840s progressed, Donizetti moved regularly between Naples, Rome, Paris, and Vienna continuing to compose and stage his own operas as well as those of other composers. But from around 1843, severe illness began to take hold and to limit his activities. Eventually, by early 1846 he was obliged to be confined to an institution for the mentally ill and, by late 1847, friends had him moved back to Bergamo, where he died in April 1848.
Jessica has also performed in the following operas from the same composer:


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