by Vincenzo Bellini

Oper Frankfurt

  • Pianist Vincenzo Scalera
  • May 2023
    19:30 > 22:30
    3 hours

soprano Jessica Pratt accompanist Vincenzo Scalera Her voice shines, her agile coloratura gleams with lyrical grace. Jessica Pratt, who was born in Australia and started off on the trumpet, is one of the world's leading belcanto sopranos. After singing the title role in Lucia di Lammermoor for the first time, while making her European debut in 2007, she has enjoyed great success with it in more than thirty productions in leading houses all over the world. She sings the title role in a new production of Mercadante's Francesca da Rimini at Oper Frankfurt in early 2023. Her discography includes Rossini's Otello, Vaccais La sposa di Messina and DVD/Blu-Ray recordings of Giovanna d‘Arco from the Festival Valle d’Itria and Rossini's Adelaide di Borgogna, Ciro in Babilonia and Aureliano in Palmira at the Rossini Opera Festival. Her first solo album was released by Opus arte in 2016, which was followed by DVDs of Lucia di Lammermoor (dir: Luca Ronconi) and Donizetti's Rosmonda d’Inghilterra. Now you can hear her giving her first recital in Frankfurt, with her accompanist Vincenzo Scalera.

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



Press & Reviews

Connessi all'Opera
Francesco Bertini
Gala lirico L’Opera per la vita
This review refers to L'Opera per la Vita at Associazione Lirica Trevigiana.
Not available in English
La sua prova appare maiuscola, in particolare per quanto attiene l’utilizzo sempre fluido e naturale dei registri acuto e sopracuto, la rotondità della zona centrale e l’attento dosaggio delle sfumature, tanto rilevanti in “Ah, non credea mirarti… Ah! Non giunge” da La sonnambula di Bellini e nell’ampio finale del primo atto della Traviata, dove il soprano investe appieno i propri mezzi per tornire compiutamente i cangianti stati d’animo di Violetta.
Opera Click
Federica Faldetta
Palermo - Teatro Massimo: "Delirio", recital di Jessica Pratt
This review refers to Delirio at Teatro Massimo.
her harmonics fill the great hall of the theatre inebriating us with the last fireworks and demonstrating until the end that an extreme mastery of the vocal technique combined with an intense interpretation generates a natural and spontaneous singing. "

The Composition

Ah! non credea mirarti... Ah! non giunge

Libretto written in italian by Felice Romani, was first premiered on a Sunday on March 06 of 1831
While sleepwalking, Amina prays for Elvino and then sings her sorrow. She remembers the engagement ring that he took from her when he believed she was unfaithful to him.
Ah,non credea mirarti si presto estinto, o fiore; passasti al par d'amore, che un giorno sol(o) duro. Potria novel vigore il pianto mio recarti ma ravvivar l'amore il pianto mio, ah no, non puo. Ah, non giunge uman pensiero al contento ond'io son piena: a miei sensi io credo appena; tu m'affida o mio tesor. Ah, mi abbraccia, e sempre insieme, sempre uniti in una speme, della terra, in cui viviamo ci formiamo un ciel d'amor.

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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