I Puritani

by Vincenzo Bellini

Ente Concerti Marialisa de Carolis http://www.enteconcertidecarolis.it/opera.asp?id=104

  • November 2008
    20:00 > 23:00
    3 hours
  • November 2008
    20:00 > 23:00
    3 hours
  • November 2008
    20:00 > 23:00
    3 hours
Find out more about the Cast , the Composition , the Composer

I Puritani


Press & Reviews

Riitta-Leena Lempinen-Vesa
Opera review: Jessica Pratt dazzles with her singing
This review refers to I Puritani at Savonlinna Opera Festival.
Similarly high is the vocal level. Jessica Pratt is a world-class coloratura soprano with powerful notes and a natural vibrato. Very high quality of sound on both high and dramatically low notes. The protagonists depict love and madness, the audience holds their breath at every vocal virtuosity. … Pratt is also a great actress and a brilliant performer.
Helsingin Sanomat
Hannu-Ilari Lampila
The Madrileni Puritan elevate Belcanto to intoxicating heights
This review refers to I Puritani at Savonlinna Opera Festival.
Jessica Pratt shined in the female part of the Puritians as the center of all emotions. ... The english soprano Jessica Pratt is a top level, exhilarating and passionate Elvira. Ardent with joy and heartbreaking when hit by sorrow. The famous and spectacular mad scene lasts for almost half an hour. The bright and radiant Jessica Pratt has an extraordinary ability to project on the long range, ecstatic coloratura and delicate temperament. Elvira is not alone. In this as in other scenes, the chorus is actively involved in an collective emotional resonance chamber. When the empathy from chorus and orchestra support the passion of the soloist, the spell of the show raises to intoxicating heights.
Natalia Di Bartolo
I PURITANI - directed by Pier'Alli
This review refers to I Puritani at Teatro Massimo.
Not available in English
La britannica naturalizzata australiana Jessica Pratt è stata capace di fiondarsi da New York, dopo due recite di Lucia di Lammermoor al Met, arrivare a Palermo il 16 aprile, ovvero la sera prima della recita, provare per modo di dire e scaraventarsi in scena senza rete l'indomani pomeriggio. Professionalità ai massimi livelli: si è andata ambientando in corso di recita ed ha saputo delineare un personaggio Elvira credibile, aggraziato nelle movenze e soprattutto vocalmente delizioso, creando un "merletto" di corretta emissione, facilità nella zona acuta, misura e gran tecnica di bel canto che evocava antichi splendori e filati d'oltreoceano delle sue parti, ma con una marcia in più di modernità e tanta capacità di autocontrollo emozionale e vocale da creare brividi in sala. Favorita all'ascolto dell'appassionato dalle cadenze dell'edizione critica priva di tagli a cura di Fabrizio Della Seta, la Pratt ha emesso sovracuti e snocciolato agilità e abbellimenti, in un'opera che, così eseguita, nel complesso è durata oltre tre ore: si pensi quindi a quanti tagli aperti di cui tener conto. Chapeau.

Jan Granberg
Belcanto, hypnotic beauty
This review refers to I Puritani at Savonlinna Opera Festival.
The madness scene was once the emotional culmination of the romantic operas. There's three of them in I Puritani, among the most beautiful of the genre. Here in this production the protagonist, Elvira, runs around with a shining crescent in her arms. Jessica Pratt played enthusiastically and was brilliant both in the delicate and the virtuoso music.
Pierre Waline
Bellini's "I Puritani" in fresh form at the Arts Palace in Budapest
This review refers to I Puritani at Müpa Budapest.
...the soprano Jessica Pratt was absolutely admirable in the role of Elvira, in which, it is true, she has much experience. Elvira is a particularly challenging and demanding role that she managed brilliantly. Notably in acute stances without any aggressiveness, quite the contrary, all sung with nuances and apparently with ease.
Mikko Ojajärvi
Opera I Puritani bewitches the audience
This review refers to I Puritani at Savonlinna Opera Festival.
Similar story to Romeo and Juliette with the difference that Elvira of the Puritans (il soprano Jessica Pratt) and Arturo (il tenore Celso Albelo) survive in the end. The Olavinlinna audience was stunned by the opera and above all by Jessica Pratt. She sang like a nightingale, long phrases and apparently without any effort.

The "Teatro Real" invades Finland
This review refers to I Puritani at Savonlinna Opera Festival.
Soprano Jessica Pratt (highly acclaimed with a resounding stamping of feet, here considered a symbol of triumph) and tenor Celso Albelo have been the protagonists of this Finnish transfer of I Puritani.
La Platea
Fabio Montemurro
This review refers to I Puritani at Opéra de Toulon.
Intense (and in the appropriate moments) at times transfigured was the interpretation of Jessica Pratt, who was able to seamlessly switch from drama to comedy and viceversa
El Mundo
'I Puritani' conquer Savonlinna
This review refers to I Puritani at Savonlinna Opera Festival.
The Canary Islands tenor Celso Albelo and the British soprano Jessica Pratt collected the greatest ovations for their interpretation of the protagonists of the love drama between Arturo and Elvira in the context of the civil war between the Puritans who supported Cromwell and the monarchists for the Stuarts.

The Composition

I Puritani

Libretto written in italian by Carlo Pepoli, was first premiered on a Sunday on January 25 of 1835

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.


General Management

Ariosi Management

Alessandro Ariosi

Press and Public Relations

Fidelio Artists

Ph. +34 616 76 08 66