La Sonnambula

by Vincenzo Bellini

Teatro San Carlo

Naples, Italy
  • January 2022
    17:00 > 20:00
    3 hours
Find out more about the Cast , the Composition , the Composer

La Sonnambula


Press & Reviews

GB Opera
Roberto Campanella
This review refers to La Sonnambula at Teatro "La Fenice".
Not available in English
Quanto agli interpreti vocali, Jessica Pratt (Amina) ha sfoggiato una bellissima voce di soprano lirico-leggero dalla pasta omogenea, evidenziando un’ottima padronanza tecnica, che le consentiva facilità negli acuti come nelle mezze voci, nei filati e nei trilli. Il suo canto era particolarmente elegante e lieve per l’abilità nell’affrontare salti anche estesi senza portamento e per la dizione chiara e suggestiva come in «Come per me sereno» (che Ferro ha accompagnato con un ritmo riposato e meditativo e un bel legato dell’orchestra) e nella successiva cabaletta «Sovra il sen la man mi posa», resa con grande agilità nelle colorature e ottima intonazione, a rendere una gioia quasi presaga dell’imminente dolore. Meraviglioso l’acuto finale. Amina si è rivelata molto espressiva anche nel recitativo – mai banale in Bellini – insieme a Teresa presso il podere di Elvino. Ma il momento culminante della sua interpretazione si è realizzato nella scena del sonnambulismo del secondo atto, dove ha fatto sentire un declamato bellissimo per fraseggio e colori senza eccessi né portamenti, sullo sfondo di un’orchestra dalle sonorità soavi. Veramente sublime poi si è rivelata in «Ah, non credea mirati», assecondata dal misurato accompagnamento degli archi, che metteva in valore un canto caratterizzato da assoluto controllo della voce per esprimere un’Amina ora infiammata d’amore ora sconsolata per la perdita dell’amato, meritandosi acclamazioni e applausi a scena aperta. Appassionata e precisa nelle colorature anche nell’impervia cabaletta finale «Ah, non giunge uman pensiero» dal piglio energico e festoso, siglata da uno sfavillante fa sovracuto.
Opera Chaser
An evening of outstanding bel canto bliss with Victorian Opera's La sonnambula in concert
This review refers to La Sonnambula at Victorian Opera.
When Pratt took to the stage wearing a black bodiced gown of evening blue and long-draped smokey shawl, then catapulted her recitative and cavatina, "Care compagne - Come per me sereno", to extraordinary heights, a palpable change took hold that seemed to guarantee the magnificent night it was to become. Assured, relaxed and commanding a sense of effortless freedom, Pratt embodied the stupendous beauty of voice that places her as a leader in her art and gives the 21st century a new bel canto star. Every smoothly shaped phrase came with an emotively expressed and engaged magnetism that aided in deflecting attention away from her and onto the first joyous, then innocent, wrongly accused and aching-hearted Amina. Pratt's consummate professionalism shone through via her rapport with her colleagues and commitment to her understated acting while exuding soft and natural elegance befitting her presence as both a star performer and role interpreter. As Act 1 headed towards a colossal finale in which Elvino rejects Amina, Pratt's prowess with the most fragile pianissimo and ability to sustain length of note was a moving experience. From there, Pratt embarked on a blazing display of coloratura fireworks big enough to stun the city. Then, returning in a long black fitted gown in Act 2, Pratt maintained the perfection and natural warmth all the way to the jubilant finale.
Platea Magazine
Javier del Olivo
Jessica Pratt Stars in "La Sonnambula" with ABAO
This review refers to La Sonnambula at ABAO.
You have to doff your hat when a singer proves onstage that she dominates as emblematic a role as the title role of Bellini’s Sonnambula. A role sung by such legendary singers as Giuditta Pasta and Maria Malibran, and, in the 20th century, Maria Callas and Joan Sutherland. Jessica Pratt, who made her ABAO (Bilbao Association of Friends of the Opera) debut on Saturday with Amina, gave a perfectly canonical, fully belcantista interpretation of the role. Her intentions and deep understanding of the role were already clear in her excellent interview with Yolanda Quincoces for this magazine. On Saturday she confirmed everything, proving herself a singer technically well prepared for the difficult agility that the part requires. But not only was her coloratura beautiful, all her singing was full of intent, delicacy, emotion. Though not a voice of extraordinary power, she is yet always heard clearly above the chorus and orchestra. Her pianissimi were delicious, sweet, spectacular. Neither in her devilish opening aria ‘Come serene per me’ nor in any of her other interventions did her line falter or her beautiful singing fail to dazzle the audience. Her tender sleepwalking scene and the cabaletta ‘Ah, non Giunge,’ was topped by a pristine and beautiful top note, the best that the author has heard in eleven years of regularly attending performances at this venue. Her theatrical approach to the role avoids cloying fussiness or overplayed innocence. As she says in the interview alluded to above, Amina is a young woman who has taken the lover over another woman, the resentful Lisa, and knows exactly what she wants: Elvino’s love. And that's what we saw, a woman in love, firmly insisting on her innocence when she is unjustly treated and nobly forgiving when the mess of convoluted argument is clear. A brilliant singer and convincing actress.

Simon Parris: Man in Chair
Simon Parris
Victorian Opera: La Sonnambula review
This review refers to La Sonnambula at Victorian Opera.
Besides the divine quality of her singing, a key facet of Pratt’s success is the meticulously considered control of her vocals. After opening aria “Care compagne” Pratt had already blown the audience away with her exquisite voice, and yet she had clearly held back as fitted the character and situation as part of a calibrated performance across the entire evening. In much the same way as in Lucia di Lammermoor last year, Pratt paid tribute to the great Dame Joan Sutherland, largely using the same ornamentations. Amina’s singing reaches a climax at the finale, with a pair of arias, one sorrowful, one joyful. Despite the dramatic moment, Pratt could not help but permit a sweet smile after “Ah! non credea mirarti,” such was the unbridled enthusiasm of the audience’s response. An interpolated high F at end of “Ah! non giunge uman pensiero” helped to bring the opera to a stunning close.
Limelight Magazine
Ben Wilkie
Review: La Sonnambula (Victorian Opera)
This review refers to La Sonnambula at Victorian Opera.
Which brings us to Jessica Pratt, who captivated from the moment she appeared on stage. It seemed improbable that she might surpass her rousing opening aria, Care compagne, yet as the evening progressed the audience grew increasingly rapturous, and Pratt led the opera to a spectacular close, reaching phenomenal heights in the final sections of Ah! non giunge uman pensiero. There is little more to say about Pratt that has not already been said many times before, and so I simply note that the rumours are true: her voice is exquisite, and Victorian Opera put on a damned good show.
EK Lektika
Frederik Verbeke
Bellini's Sonnambula in Bilbao: a superb Jessica Pratt in Callas' gift
This review refers to La Sonnambula at ABAO.
Last Saturday was the debut for the Anglo-Australian soprano Jessica Pratt in Bilbao, starring the premiere of Bellini's La Sonnambula. In the unanimous opinion of public and the critics present, her magnificent performance will leave an unforgettable memory of an evening of which she was the revelation. This bel canto type is very difficult, requiring the mastery of vocal variations on almost three octaves: her powerful stage presence combines with extreme delicacy and remarkable technique.

Stage Whispers
Graham Ford
La Sonnambula
This review refers to La Sonnambula at Victorian Opera.
Exquisite! There was no other word for it... ...Although I own a number of recordings, I don’t have one in which the soprano would match what I heard from Jessica. Showing a restraint that is unusual in opera, the voice displayed was unfailingly beautiful. She only opened up in the big ensembles and nailed a beautiful high F at the end. It was a very special night. one who was there will ever forget it.
Maurice Salles
A great conduction and a great Amina
This review refers to La Sonnambula at ABAO.
From the first notes attacked softly to those thrown triumphantly in the finale, Jessica Pratt seems always perfectly at ease: Exemplary pianissimi, brilliant high notes devoid of stridence, soft agilities, this Amina is obviously on par with her illustrious predecessors, combining expressiveness to beautiful sound that makes, for example, "Ah non credea mirarti" really heartbreaking aria.
The Australian
Peter Burch
Victorian Opera’s La Sonnambula: energetic portrayal of a sleepwalker
This review refers to La Sonnambula at Victorian Opera.
In the title role of Amina, ­acclaimed international diva Jessica Pratt returned to Melbourne to head a superb cast...

The Composition

La Sonnambula

Libretto written in italian by Felice Romani, was first premiered on a Sunday on March 06 of 1831
La sonnambula (The Sleepwalker) is an opera semiseria in two acts, with music in the bel canto tradition by Vincenzo Bellini set to an Italian libretto by Felice Romani, based on a scenario for a ballet-pantomime written by Eugène Scribe and choreographed by Jean-Pierre Aumer called La somnambule, ou L'arrivée d'un nouveau seigneur. The ballet had premiered in Paris in September 1827 at the height of a fashion for stage works incorporating somnambulism.
Act 1 Scene 1: A village, a mill in the background As the betrothal procession of Amina and Elvino approaches, the villagers all proclaiming joy for Amina, Lisa, the proprietress of the inn, comes outside expressing her misery: Tutto è gioia, tutto è festa...Sol per me non non v'ha contento / "All is joy and merriment... I alone am miserable". She is consumed with jealousy for she had once been betrothed to Elvino and had been abandoned by him in favour of Amina. The lovelorn Alessio arrives, but she rejects his advances. All assembled proclaim the beauty of Amina: In Elvezia non v'ha rosa / fresca e cara al par d'Amina / "In Switzerland there is no flower sweeter, dearer than Amina". Then Amina comes out of the mill with her foster-mother, Teresa. She is the owner of the mill and had adopted Amina many years before. Amina thanks her, also expressing her thanks to her assembled friends for their kind wishes. (Aria: Come per me sereno / oggi rinacque il di! / "How brightly this day dawned for me".) Additionally, she thanks Alessio, who tells her that he has composed the wedding song and organised the celebrations; she wishes him well in his courtship of Lisa, but Lisa cynically rejects the idea of love. Elvino arrives, exclaiming Perdona, o mio diletta / "Forgive me my beloved", and explaining that he had to stop on his way at his mother's grave to ask her blessing on Amina. As they exchange vows, the notary asks what she brings to the partnership: "Only my heart" she answers at which Elvino's exclaims: "Ah the heart is everything!". (Elvino's aria, then Amina, then all express their love and their joy: Prendi: l'anel ti dono / che un dì recava all'ara / "Here, receive this ring that the beloved spirit who smiled upon our love wore at the altar".) The sound of horses' hooves and a cracking whip is heard. A stranger arrives, asking the way to the castle. Lisa points out that it is getting late and he will not reach it before dark and she offers him lodging at her inn. When he says that he knows it, all are surprised. (Rodolfo's aria: Vi ravviso, o luoghi ameni, / in cui lieti, in cui sereni / "O lovely scenes, again I see you, / where in serenity I spent the calm and happy days of my earliest youth".) The newcomer, who surprises the villagers by his familiarity with the locality, asks about the celebrations and admires Amina, who reminds him of a girl he had loved long ago. (Tu non sai con quei begli occhi / come dolce il cor mi tocchi / "You can't know how those dear eyes gently touch my heart, what adorable beauty".) He admits to having once stayed in the castle, whose lord has been dead for four years. When Teresa explains that his son had vanished some years previously, the stranger assures them that he is alive and will return. As darkness approaches the villagers warn him that it is time to be indoors to avoid the village phantom: A fosco cielo, a notte bruna,/ al fioco raggio d'incerta luna / "When the sky is dark at night, and the moon's rays are weak, at the gloomy thunder's sound [....] a shade appears." Not being superstitious, he assures them that they will soon be free of the apparition. Elvino is jealous of the stranger's admiration of Amina; he is jealous even of the breezes that caress her, but he promises her he will reform. (Duet finale, Elvino and Amina: Son geloso del zefiro errante / che ti scherza col crin e col velo / "I envy the wandering breeze that plays with your hair, your veil..") Scene 2: A room in the inn Lisa enters Rodolfo's room to see if all is well. She reveals that his identity is known to all as Rodolfo, the long-lost son of the count. She advises him that the village is preparing a formal welcome; meanwhile she wishes be the first to pay her respects. She is flattered when he begins a flirtation with her, but runs out at the sound of people approaching, dropping her handkerchief which the Count picks up. He sees the approaching phantom who he recognises as Amina. She enters the room, walking in her sleep, all the while calling for Elvino and asking where he is. Realising that her nocturnal wanderings have given rise to the story of the village phantom, Rodolfo is about to take advantage of her helpless state. But then he is struck by her obvious innocence and refrains: (Scene: first Rodolfo: O ciel! che tento / "God! What am I doing?"; then, separately, Amina: Oh! come lieto è il popolo / "How happy all the people are, accompanying us to the church"; then together.) As Amina continues her sleepwalk, Rodolfo hears the sound of people approaching and, with no other way out, he climbs out of the window. Amina continues to sleep on the sofa as the villagers arrive at the inn. Lisa enters and points to Amina, who wakes up at the noise. Elvino, believing her faithless, rejects her in fury. Only Teresa believes in her innocence: Ensemble finale, first Amina D'un pensiero e d'un accento / "In my thought or in my words never , never have I sinned"; then Elvino: Voglia il cielo che il duol ch'io sento / "Heaven keep you from feeling ever the pain that I feel now!"; then the people and Teresa, the former proclaiming her treachery, Teresa pleading for her to be allowed to explain. Elvino then exclaims that there will be no wedding, and each expresses his or her emotional reaction to this discovery. Act 2 Scene 1: A wood On their way to ask the count to attest to Amina's innocence, the villagers rest in the woods and consider how they will express their support to him: (Chorus: Qui la selva è più folta ed ombrosa / "Here the wood is thick and dark"). Amina and Teresa arrive and are on a similar mission, but Amina is despondent, although Teresa encourages her daughter to continue. They then see Elvino coming in the wood looking downcast and sad. He continues to reject Amina, even when the townspeople come in with the news that the count says that she is innocent. Elvino is not convinced and takes back the ring, though he is unable to tear her image from his heart: (Aria, then chorus: Ah! Perché non posso odiarti, infedel, com'io vorrei! / "Why cannot I despise you, faithless, as I should?") Scene 2: The village, as in act 1 Lisa, Alessio, Elvino and the villagers are in the square. Elvino declares that he will renew his vows and proceed to marry Lisa. She is delighted. As they are about to go to the church, Rodolfo enters and tries to explain that Amina is innocent because she did not come to his room awake – she is a somnambulist, a sleepwalker: (Duet, first Elvino Signor Conte, agli occhi miei / negar fede non poss'io / "I cannot deny, my lord, what my eyes have seen"; then Rodolfo V'han certuni che dormendo / "Certain people when they sleep go about as if awake".) Elvino refuses to believe him and calls upon Lisa to leave, but at that moment Teresa begs the villagers to be quiet, because Amina has at last fallen into an exhausted sleep. Learning of the impending marriage, Teresa confronts Lisa, who says that she has never been found alone in a man's room. Teresa produces the handkerchief Lisa had dropped. The Count is unwilling to say what he thinks of this, but continues to insist on Amina's virtue. Elvino demands proof and Rodolfo, seeing the sleeping Amina walking across the high, dangerously unstable mill bridge, warns that to wake her would be fatal. All watch as she relives her betrothal and her grief at Elvino's rejection, taking the withered flowers in her hand. (Aria: Amina Ah! non credea mirarti / sì presto estinto, o fiore / "I had not thought I would see you, dear flowers, perished so soon". Then as she reaches the other side safely, the distraught Elvino calls to her and she is taken into his arms. Rodolfo hands him the ring which he places on her finger, at which time she awakens and is amazed by what has happened. All rejoice. In an aria finale, Amina expresses her joy: Ah! non giunge uman pensiero / al contento ond'io son piena / "Human thought cannot conceive of the happiness that fills me".

Vincenzo Bellini

Short biography of the composer
Vincenzo Salvatore Carmelo Francesco Bellini (3 November 1801 – 23 September 1835) was an Italian opera composer, who was known for his long-flowing melodic lines for which he was named "the Swan of Catania". Many years later, in 1898, Giuseppe Verdi "praised the broad curves of Bellini's melody: 'there are extremely long melodies as no-one else had ever made before' " A large amount of what is known about Bellini's life and his activities comes from surviving letters—except for a short period—which were written over his lifetime to his friend Francesco Florimo, whom he had met as a fellow student in Naples and with whom he maintained a lifelong friendship. Other sources of information come from correspondence saved by other friends and business acquaintances. Bellini was the quintessential composer of the Italian bel canto era of the early 19th century, and his work has been summed up by the London critic Tim Ashley as: ... also hugely influential, as much admired by other composers as he was by the public. Verdi raved about his "long, long, long melodies ..." Wagner, who rarely liked anyone but himself, was spellbound by Bellini's almost uncanny ability to match music with text and psychology. Liszt and Chopin professed themselves fans. Of the 19th-century giants, only Berlioz demurred. Those musicologists who consider Bellini to be merely a melancholic tunesmith are now in the minority. In considering which of his operas can be seen to be his greatest successes over the almost two hundred years since his death, Il pirata laid much of the groundwork in 1827, achieving very early recognition in comparison to Donizetti's having written thirty operas before his major 1830 triumph with Anna Bolena. Both I Capuleti ed i Montecchi at La Fenice in 1830 and La sonnambula in Milan in 1831 reached new triumphal heights, although initially Norma, given at La Scala in 1831 did not fare as well until later performances elsewhere. "The genuine triumph" of I puritani in January 1835 in Paris capped a significant career. Certainly, Capuleti, La sonnambula, Norma, and I puritani are regularly performed today. After his initial success in Naples, most of the rest of his short life was spent outside of both Sicily and Naples, those years being followed with his living and composing in Milan and Northern Italy, and—after a visit to London—then came his final masterpiece in Paris, I puritani. Only nine months later, Bellini died in Puteaux, France at the age of 33.
Jessica has also performed in the following operas from the same composer:


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