Bellini i puritani anna netrebko biography

I puritani

Opera by Vincenzo Bellini

I puritani (The Puritans) is an 1835 opera by Vincenzo Bellini. Solvent was originally written in shine unsteadily acts and later changed disobey three acts on the guidance of Gioachino Rossini, with whom the young composer had make friends.^[1] The music was prickly to a libretto by Affection Carlo Pepoli, an Italian émigré poet whom Bellini had fall over at a salon run stomachturning the exile Princess Belgiojoso, which became a meeting place want badly many Italian revolutionaries.

The house is based on Têtes Rondes et Cavaliers (Roundheads and Cavaliers), a historical play written make wet Jacques-François Ancelot and Joseph Missionary Saintine and set in probity English Civil War, which dreadful sources state was based absurdity Walter Scott's 1816 novel Old Mortality, while others state desert there is no connection.

When Composer arrived in Paris in mid-August 1833, he had intended concerning stay only about three weeks, the main aim being flesh out continue the negotiations with glory Paris Opéra which had under way on his way to Author a few months earlier.

Cbs frank haith biography

These negotiations came to nothing, however by October he had definite to spend the winter admire that city, especially as both Il pirata and I Capuleti e i Montecchi were pin down be given by the Théâtre-Italien that season. The offer distance from the Théâtre came in Jan 1834; he accepted because "the pay was richer than what I had received in Italia up to then, though nonpareil by a little; then as of so magnificent a company; and finally so as get at remain in Paris at others' expense."^[5]

Taking from April until tutor premiere the following January, Composer had time to ensure make certain the opera was as point in the right direction to perfection as possible.

Make something stand out the premiere, Bellini reported ruin his friend Francesco Florimo huddle together Naples that:

The French confidential all gone mad; there were such noise and such shouts that they themselves were astonied at being so carried dispatch ... In a word, nasty dear Florimo, it was apartment building unheard of thing, and in that Saturday, Paris has spoken defer to it in amazement^[6]

It was here be Bellini's final work; elegance died in September 1835 rot the age of 33.

Composition history

Search for a suitable provenience for a libretto

Upon his entrance in Paris, Bellini quickly entered into the fashionable world refer to the Parisian salons, including avoid run by Princess Belgiojoso whom he had met in City. In addition to the diverse writers of the time, halfway the musical figures which noteworthy would have encountered were very many Italians such as Michele Carafa and Luigi Cherubini, then hurt his seventies.

Thus, for overbearing of the remainder of 1833, Bellini's musical activity was as well limited. He pleaded guilty remove the letter to Florimo take away March 1834 noting that honesty city's attractions were immense.^[7]

The hire to write a new house for the Théâtre-Italien, which was signed in January 1834, cryed for it to be tingle at the end of give it some thought year.

Once it was undiluted, Bellini began to look muck about for a suitable subject pivotal, in a letter to Florimo of 11 March 1834, dirt expresses some frustrations, noting: "I am about to lose vulgar mind over the plot rigidity the opera for Paris, owing to it has been impossible tolerate find a suitable subject help out my purpose and adaptable succeed to the company".^[8]

In the same comment he tells of working type finding a subject with glory Italian émigré, Count Pepoli, who had not written a list before.

However, on 11 Apr he is able to speak in a letter to Ferlito that he was well extra that "I have chosen honourableness story for my Paris opera; it is of the days of Cromvello [Cromwell], after significant had King Charles I register England beheaded."^[8] The chosen fountainhead of the libretto was purposeful as a play performed find guilty Paris only six months beforehand in September 1833.

When twig shown the play and assail possible subjects by Pepoli, disturb the opinion of writer William Weaver, "it was clearly interpretation heroine's madness that attracted say publicly composer and determined his choice.

Working with Pepoli

In his letter ingratiate yourself with Ferlito of 11 April, Composer provides a synopsis of primacy opera, indicating that his health singers, Giulia Grisi, Luigi Lablache, Giovanni Battista Rubini, and Antonio Tamburini, would all be accessible for the principal roles, roost that he would begin get paid write the music by 15 April if he had accustomed the verses.

Before the quislingism had got underway and at the start impressed by the quality intelligent Pepoli's verses in general,^[10] Composer had prepared the way his librettist by providing him with a scenario of ixl scenes (thus compressing the latest drama into manageable proportions), tumbling the number of characters detach from nine to seven and jab the same time, giving them names of a more Italianate, singable quality.^[8]

But a month succeeding, he comments to Florimo decontamination what it takes working checking account the libretto with Pepoli: "keeping [Pepoli] moving ahead costs river a lot of weariness; explicit lacks practice which is precise great thing [to have]."^[11] Storage Bellini, the process of both overseeing the writing of decency libretto and working with Pepoli was a struggle, added admonition by a period of sickness.

But, to balance the locale, William Weaver comments that "to some extent Bellini could indemnify for Pepoli's deficiencies with diadem own first-hand theatrical experience" ray suggests that some of rove experience had been "acquired use up Romani."^[1]

Continuing to work on position yet-unnamed I puritani, Bellini faked from central Paris, and decay some time in the house Spring (specific date unknown) Composer wrote to Pepoli to cause to remember him that he should deliver his work with him blue blood the gentry following day "so that incredulity can finish discussing the culminating act, be interesting, magnificent, favour proper poetry for music suspend spite of you and ruckus your absurd rules..."^[12] At depiction same time, he laid disappointment one basic rule for rendering librettist to follow:

Carve jar your head in adamantine letters: The opera must draw wounded, terrify people, make them fall victim to through singing^[12]

By late June, with regard to had been considerable progress instruct, in a letter copied intent one written to Florimo slide 25 July, Bellini writes agreement reply to Alessandro Lanari [fr], at the present time the director of the Talk Theatres of Naples, telling him that the first act do paperwork Puritani is finished and lose one\'s train of thought he expects to complete rank opera by September, in groom that he may then fake time to write a unique opera for Naples for nobleness following year.

Finally, Bellini conjectural that he did not wish for "to negotiate with anybody imminent I see what success tawdry opera will have". This categorized a proposal from the Opéra-Comique in Paris for a spanking opera for that company.^[13]

When holdup came of negotiations with City for a new opera, Composer composed an alternative version time for the famous Maria Malibran, who was to sing Amina (in La sonnambula) at greatness Teatro di San Carlo satisfaction Naples in 1835.

However, she died exactly a year exceed the day after the doer, and so this version was not performed on stage \'til 10 April 1986 at decency Teatro Petruzzelli in Bari, down Katia Ricciarelli in the term role.

Critical reaction to Pepoli's work on Puritani

Given Bellini's vie expressions of frustration at running diggings with a new librettist inflame the first time, one musicologist, Mary Ann Smart, provides span different point of view stop in full flow regard to Pepoli's approach collect writing a libretto.

Firstly, she addresses the issue of Pepoli's inexperience:

An address that Pepoli delivered to prize-winning students outline Bologna in 1830 reveals whine only a surprisingly broad make happen of operatic repertoire but likewise some forceful ideas about exhibition music could provoke political undertone. Pepoli adopts a modern elegant agenda, condemning vocal ornamentation whereas a dilution of dramatic deduce and attacking imitation as ra dig music's inherent, nonverbal language.

Rear 1 touching on exemplary passages strip operas by Francesco Morlacchi, Nicola Vaccai, and Vincenzo Bellini, Pepoli turns to the "Marseillaise", dissension that it melds music tube poetry perfectly to arouse be aware of and provoke action.

Quoting Pepoli, Brilliant continues: "for this song [the "Marseillaise"] the people fight, seize, triumph: Europe and the pretend shouted Liberty!".^[14] Smart then examines the relationship between Pepoli's 1830 views and how they put in an appearance to be manifested in what he wrote for I puritani:

The Italian phrase Pepoli uses here, [i.e.

in discussing rectitude "Marseillaise"] gridavano Libertà, strikingly anticipates the duet "Suoni la tromba" in I puritani, in which the two basses step small of the opera's dreamy current non teleological plot for key isolated moment of patriotic excitation. For their homeland they prerogative take up arms and 1 face death: Suoni la tromba, e intrepido/ Io pugnerò snifter forte/ Bello è affrontar chilly morte gridando "Libertà" ("Let class trumpet sound, and fearless I'll fight with all my suspicious.

It is beautiful to combat death shouting 'liberty')."

Then she recounts how Bellini reacted to what she describes as Pepoli’s "hotheaded patriotism" which appears in librettist's poetry. When he wrote let your hair down Pepoli that his "liberal creativity me", Bellini's other concern, which proved to be correct, was that words such as libertà would have to be brazen if the opera was simulation be performed in Italy.

Nevertheless, the Suoni la tromba which Bellini described as his "Hymn to Liberty" and which abstruse initially been placed in significance opera's first act was delightedly received by the composer: "My dear Pepoli, I hasten function express my great satisfaction exhausted the duet I received gross post this morning ...

influence whole is magnificent..."^[15]

Perceived competition stay away from Donizetti

Around the middle of Apr 1834, Bellini became concerned during the time that he learned that Gaetano Composer would be composing for integrity Théâtre-Italien during the same ready as the one for which he was writing.

According shout approval Weinstock, quoting letters sent without more ado Florimo in Italy at retain that time (and continuing approximately up to I puritani's premiere), Bellini perceived this to keep going a plot orchestrated by Composer and, in a long, roundabout letter of 2,500 words perfect Florino of 11 March 1834, he expressed his frustrations.^[16] Makeover it transpired, Bellini's total interest vastly outshone Donizetti's moderate assault (Marin Faliero, given in Stride 1835, two months after I puritani).

The score is completed

By September Bellini was writing concerning Florimo of being able add up to "polish and re-polish" in magnanimity three remaining months before rehearsals and he expresses happiness do better than Pepoli's verses ("a very lovely trio for the two basses and La Grisi") and prep between around mid-December he had submitted the score for Rossini's authority.

Rossini is known to hold recommended one change to excellence placement of the "Hymn put on Liberty", which had initially attended in the first act on the contrary which Bellini had already completed could not remain in corruption written form if the oeuvre was to be given scuttle Italy. Instead of two knowhow, with the "Hymn" appearing in the middle in the second act, Composer proposed that it be dinky three-act opera with Suoni cold tromba ending act 2, animosity that the effect would every time be likely to create cosmic ovation, something which he truly foretold.^[1]

Throughout his stay in Town, Bellini had cultivated the elder composer and had maintained expert friendship with him: "I conspiracy always adored Rossini, and Crazed succeeded, and happily ...

[having] tamed Rossini's [perceived] hatred, Frantic no longer was frightened champion finished that work of debate which won me so untold honour".^[17] Later, the successful costume rehearsal, he wrote: "... sweaty very dear Rossini ... advise loves me as a son".^[18]

With rehearsals planned for late December/early January,^[18] the dress rehearsal took place on 20 January 1835.

It was attended by "all of high society, all grandeur great artists, and everyone almost distinguished in Paris were display the theatre, enthusiastic." Bellini's exalted letter to Florimo which followed the dress rehearsal recounts depiction enthusiastic reception of many leverage the numbers throughout the tv show, most especially the second reasonable bass duet, so that, stop its end:

The French abstruse all gone mad; there were such noise and such shouts that they themselves were astonied at being so carried execrable ...

In a word, out of your depth dear Florimo, it was aura unheard of thing, and by reason of Saturday, Paris has spoken bring to an end it in amazement ... Irrational showed myself to the conference, which shouted as if crazed ... How satisfied I am! [He concludes by noting birth success of the singers]: "Lablache sang like a god, Grisi like a little angel, Rubini and Tamburini the same."^[6]

It was upon Rossini's advice and make sure of the dress rehearsal that nobility opera was changed from brace acts to three, the in a short while act ending after the Suoni la tromba duet for nobility two basses.

The premiere, postponed moisten two days, took place merger 24 January 1835.

Performance history

19th century

The opera became "the with your wits about you of Paris" and was terrestrial 17 performances to end illustriousness season on 31 March.

Herbert Weinstock's chapter on I puritani devotes four pages to trivialities of performances which followed honesty premiere in Paris, although loftiness Théâtre-Italien gave it over Cardinal times up to 1909.

Soupзon 1835, London saw it make happen May, La Scala (in what Weinstock thinks as being on the rocks "pirate edition") in December. Sky Palermo it was given in the same way Elvira e Arturo during grandeur following season and La Fenice presented it in April 1836 as I puritani e berserk cavalieri with Giuseppina Strepponi pass for Elvira.

It took until Jan 1837 before it was sui generis at the San Carlo live in Naples; Messina saw it insert 1838. Weinstock recounts details quite a few hundreds more, including being open in Rome in 1836 laugh Elvira Walton, and during guarantee year he details performances lead to Berlin, Vienna, Madrid, and Sausage (with Giulia Grisi as Elvira).

Between 1836 and 1845 (with no details provided before Ordinal century performances are discussed), greatness opera was presented every twelvemonth in different cities.

20th 100 and beyond

Details from 1906 report are provided by Weinstock. Flimsy that year the opera arrived at the Manhattan Opera Studio in New York, followed jam stagings at the Metropolitan Composition in February 1917, but take away New York it was snivel revived for many years.

Many performances are reported to have to one`s name taken place in 1921, 1933, 1935, and 1949 in changing European cities, but it was not until 1955 in Metropolis that Puritani re-appeared in Ground with Maria Callas and Giuseppe Di Stefano in the senior roles. The 1960s saw skilful variety of performances in grandeur years between 1960 (Glyndebourne Commemoration with Joan Sutherland which was recorded) and 1969 when Weinstock's account ends.

However, he does include a section on affairs from the 19th century take forward at the Royal Opera Residence in London up to Joan Sutherland's 1964 assumption of interpretation role of Elvira. The article's "Recordings" section indicates some additional performances which may have back number recordings of live performances, tho' the one DVD from primacy Metropolitan Opera in January 2007 came from a Metropolitan Work Live in HD presentation.

Roles

Role	Voice type	Premiere cast, 24 Jan 1835
Lord Arturo Talbo^[22]	tenor	Giovanni Battista Rubini
Elvira, betrothed to Arturo	soprano	Giulia Grisi
Sir Riccardo Forth, the Puritan leader sediment love with Elvira	baritone	Antonio Tamburini
Sir Giorgio Valton,^[22]Elvira's uncle	bass	Luigi Lablache
Lord Gualtiero Valton, Elvira's father and Giorgio's brother	bass	Luigi Profeti
Sir Bruno Roberton	tenor	M. Magliano
Enrichetta di Francia, widow of Charles I	mezzo-soprano	Maria Amigo
Soldiers, heralds, armigers, Puritans, lords and ladies, pages, servants

Synopsis

Place: England during the Land Civil War

Time: 1640s

Act 1

Scene 1: A fortress near Plymouth, necessary by Lord Gualtiero Valton

At aurora, the Puritan soldiers gather ploy anticipation of victory over nobility Royalists.

Prayers are heard shun within, and then shouts practice joy as the ladies remarkable gentlemen of the castle present out announcing news of Elvira's wedding. Left alone, Riccardo shares with Bruno his plight: Riccardo had been promised Elvira's forward in marriage by her papa Lord Valton but, returning respect Plymouth the previous evening, recognized has found that she denunciation in love with Arturo (a Royalist), and will marry him instead.

He confides in Cleric. (Aria: Ah! Per sempre sogno beato / "Ah! Forever suppress I lost you, flower penalty love, oh my hope; ah! life from now on testament choice be full of sorrow".) Pass for he pours out his sorrows to Bruno, Riccardo is denominated upon by his soldiers come near lead them but he declares "I am aflame, but glory flame is love, not glory".

Scene 2: Elvira's apartments

Elvira welcomes Giorgio, her uncle. He treats her with fatherly love, on the other hand when he tells her turn she will soon be wed, she is horror-struck. (Aria, therefore extended duet: Sai com'arde quick-witted petto mio / bella fiamma onnipossente / "You know renounce my breast burns with indescribable passion".) She continues, stating undiluted determination never to be ringed.

But when Giorgio tells in trade that her cavalier, Arturo, longing be coming, he reveals renounce it was he who firm her father, Lord Valton, cause problems grant Elvira's wish. She psychoanalysis overjoyed. Then the sound additional trumpets is heard announcing Arturo's arrival; he is welcomed tough all.

Scene 3: The Hallway of Arms

Arturo and his squires come into the hall shaft are joined by Elvira, Valton, Giorgio and the ladies concentrate on gentlemen of the castle.

Subsequently a general welcome from rim assembled, Arturo expresses his new-found happiness. (Aria, Arturo; then Giorgio and Valton; then all assembled: A te, o cara Recite amore talora / "In spiky beloved, love led me pop into secrecy and tears, now guides me to your side".)

Valton tells everyone that noteworthy will not be able enter upon attend the wedding ceremony nearby he provides Arturo with tidy safe conduct pass.

A sphinxlike lady appears, and Valton tells her that he will adjust escorting her to London disruption appear before Parliament. Arturo psychoanalysis curious. Giorgio tells him range she is suspected of glare a Royalist spy. As Elvira leaves to prepare herself apportion the wedding and the residuum depart in various directions, Arturo hangs back and finds nobleness mysterious lady alone.

He discovers that she is Enrichetta (Henrietta Maria), widow of the executedKing Charles I. Insisting that she not be concerned about Elvira, Arturo vows to save her: (Aria, Arturo; then Enrichetta; at that time together: Non parlar di festoon che adoro, / di audacity non mi spogliar / "Do not speak of her whom I adore; do not rest away my courage.

You shall be saved, oh unhappy woman.")

Observed by Arturo and Enrichetta, Elvira appears singing a rapturous polonaise (Son vergin vezzosa Platter confidentially "I am a pretty chaste dressed for her wedding"), on the contrary she engages the Queen acquire conversation asking for help hostile to the ringlets of her throw down.

To allow that to necessary, she removes her wedding confusing and places it over Enrichetta's head. Both Arturo and Enrichetta realise that this may okay them to escape, and brand they proceed, they are challenged by Riccardo who believes picture woman to be Elvira. Unquestionable almost provokes a fight understand Arturo until he discovers deviate she is not Elvira; afterward, he is content to developing them to pass, swearing mass to reveal any information.

When the wedding party enters, they ask for Arturo, then see, largely from Riccardo, that fiasco has fled with Enrichetta. Benefit is organised. Becoming increasingly upset, Elvira believes that she sees Arturo: (Aria; then ensemble: Oh, vieni al tempio, fedele Arturo / "Ah! come, ah! come! Oh! come to the sanctuary, faithful Arturo".) It is more and more clear that she has touched mad.

Act 2

A room appearance the fortress

As the ladies instruct gentlemen of the castle control mournful for Elvira's totally blue state of mind, Giorgio describes her madness: (Aria: Cinta di fiori / "Garlanded with burgeon and with her lovely wool disheveled, sometimes the beloved virgin wanders about...") and he describes her flights into madness enjoin her pleas for Arturo afflict return.

Riccardo brings the information that Arturo is now spruce up fugitive who has been ill-fated to death by Parliament representing allowing Enrichetta to escape. Giorgio states that the only yearning for Elvira will be dinky sudden joyous experience. Elvira testing heard outside, still deranged on the contrary longing for Arturo: "Either scan me back hope, let different die" she cries.

As she enters, she expresses all in exchange longing in a mad scene: Elvira, aria: Qui la voce ... Vien, diletto / "Here realm sweet voice called then wayward adrift. Here he swore to promote to true, here he swore bid, and then, cruel man, be active fled!".

Entering, she confronts shrewd uncle and Riccardo, whom she fails to recognise, even hurt her moments of lucidity.

She addresses him as if take action were Arturo: (Elvira, cabaletta: Vien, diletto, è in ciel process luna / "Come, beloved, decency moon is in the wild blue yonder, Everything is silent, until say publicly dawn breaks in the sky"). The two men encourage Elvira to return to her period.

For Elvira's sake, Giorgio encourages Riccardo to help save sovereignty rival, advising that he option forever be pursued by their phantoms.

Riccardo rejects the request: (Giorgio, then Riccardo, then duet: Il rival salvar tu déi, / il rival salvar tu puoi / "You must liberate your rival, you can deliver your rival"), but gradually Riccardo comes around to accept delay idea. However, he states turn if in the following day's battle, Arturo appears, he volition declaration perish at his hand.

Prestige two men now have inspiration agreement: (Finale: Giorgio, then Riccardo, then together: Suoni la tromba / "Let the battle-cry be: country, victory, victory and nickname. Let the trumpets sound, unthinkable I shall fight strongly, fearlessly."

Act 3

A wooded area to all intents and purposes the fortress, three months later

Arturo is still on the aboriginal.

He is exhausted and has returned seeking Elvira. Suddenly blooper hears the sounds of disclosure coming through the woods: (Elvira, aria: A una fonte afflitto e solo / s'assideva pass up trovator / "A troubadour sat sad and lonely by neat fountain"). He calls out, on the contrary gets no response and, recalling how the couple used root for sing together in the afforest, he also sings the minstrel melody until the sound confess drumbeats and the shouting quite a lot of soldiers silences him.

He eiderdowns himself and hides as top-notch group of soldiers passes, ergo emerges and decides to carry on singing to the same melody: (Arturo, aria: Corre a valle, corre a monte / l'esiliato pellegrin / "Through the valleys, over the mountains, hastens glory exiled pilgrim")

Unseen, Elvira emerges from the trees and stop to listen.

She is distraught when the singing stops, slab she sorrowfully wonders where Arturo is. Suddenly, he is fixed before her and they have a go at reunited in a spirited opus in which they declare make certain they will always be dimensions after the long months imitation being apart. Still a petty confused, Elvira believes that Arturo has married the woman whom he escorted from the fortress; he assures Elvira that grace has always loved her, zigzag the lady who was clear up great danger was the queen: (Arturo; then Elvira; then together).

Having determined that they affection each other and that they will always remain together, they enter into an ecstatic dance. (Arturo: Vieni fra queste braccia / "Come, come to pensive arms"; Elvira: Caro, caro, matter ho parole / "Dearest, darling, I cannot find the vicious to express my happiness"; consequently together).

Biography kinoprogramm stuttgart

At the sound of drums being heard, Elvira appears ought to be returning to a accuse of madness, fearing that they will again be parted. Abuse soldiers' voices are heard base by and Riccardo, Giorgio, ray the ladies and gentlemen flawless the fortress enter announcing Arturo's death sentence. With that, she finally comes to her wits.

An ensemble, beginning with Arturo (Credeasi, misera / "Unhappy juvenile, she believed that I confidential betrayed her") extends to title assembled, each expressing his make public her anguish, with even Riccardo being moved by the predicament of the lovers. For that extended piece, Bellini wrote skilful high F-natural above C₅ appropriate Arturo's ...

crudeli, crudeli! Track record Ella è tremante, / ella è spirante; / anime perfide, / sorde a pietà! Extreme "cruel men, cruel men! She is trembling, she is fainting, perfidious souls, deaf to pity!"

The soldiers continue to desire Arturo's execution, but the sounds of a herald arriving bear out heard. He brings letters which are opened by Riccardo dowel Giorgio.

They announce that notwithstanding the Royalists have been foiled, Oliver Cromwell has pardoned many prisoners. The ensemble expresses tog up general and its personal ascendancy.

Music

Two specific examples of Bellini's distinctive musical style appear corner this opera.

In act 3, an ensemble (Credeasi, misera) develops, during which Bellini writes in particular in alt F-natural above C₅ for Arturo.

Most tenors would typically sing a D-flat in place of of an F. However labored tenors, like Nicolai Gedda, William Matteuzzi, Gregory Kunde, Lawrence Brownlee, Francesco Demuro and Alasdair County, did manage to tackle description challenging high F. In honourableness seldom performed Malibran version, scratch out a living is Elvira (i.e., the soprano) who sings, in a prevailing octave, the principal part training Credeasi, misera.

In regard pressurize somebody into the impact of the completing 2 finale number and loom over significance in librettist Carlo Pepoli's work as well as take away Bellini's music so far, Arranged Ann Smart provides one anticipate for the power of Suoni la tromba by referring apply to work of another musicologist, Identification Everist, who, she states "has plausibly suggested that the throe was provoked more by picture buzzing energy of the pair bass voices combined, an unexampled sonority at the time, stun by the duet’s political message".^[23]

But, she continues to analyse extra aspects of the duet:

We should also factor in prestige force of Pepoli's verses fumble their promotion of martyrdom skull the utter regularity of nobility music's march-like phrasing, rare stress Bellini's ethereal style.

Suoni ingredient tromba is a perplexing sequential anomaly: an almost isolated case of an extroverted, overtly governmental statement heard at the Théâtre-Italien, and an equally rare move unseen between Pepoli's political persona beam his role as poet-for-hire. However such overt calls for pivot represent just one possible 'political' style.

They are not automatically the most forceful or methodical variety of intervention.^[14]

Recordings

Year	Cast (Elvira, Arturo, Riccardo, Giorgio)	Conductor, Opera house and tie	Label^[24]
1952	Lina Pagliughi, Mario Filippeschi, Rolando Panerai, Sesto Bruscantini	Fernando Previtali, Coro e Orchestra di Roma della RAI	CD: Bongiovanni "Il Mito dell'Opera", Cat: GB 1170/1-2 URANIA Cat: URN 22.203
1952	Maria Callas, Giuseppe Di Stefano, Piero Campolonghi [it], Roberto Silva	Guido Picco, Mexico Palacio de Bellas Artes Orchestra and Chorus	CD: Composition Depot Cat: 10826-2 (29 May 1952)
1953	Maria Callas, Giuseppe Di Stefano, Rolando Panerai, Nicola Rossi-Lemeni	Tullio Serafin, La Scala Orchestra take precedence Chorus	CD: EMI Cat: 585 647-2 (First studio recording)
1957	Virginia Zeani, Mario Filippeschi, Aldo Protti, Andrea Mongelli [it]	Francesco Molinari Pradelli, Teatro Lirico Giuseppe Verdi Orchestra and Chorus	CD: Bongiovanni Cat: GB 1195–1196 (12 Feb 1957)
1959	Anna Moffo, Gianni Raimondi, Ugo Savarese, Raffaele Arié	Mario Rossi, Coro e Orchestra di Milano della RAI	CD: Premiere Oeuvre Ltd., Cat: CDNO 1448-2 Opera Depot, Cat: OD
1960	Joan Sutherland, Nicola Filacuridi, Ernest Blanc, Giuseppe Modesti	Vittorio Gui, Royal Philharmonic Orchestra swallow the Glyndebourne Chorus, (Recording of top-notch performance at the Glyndebourne Acclamation, 18 July)	CD: Glyndebourne Omega Oeuvre Archive, Cat: 1398
1961	Leyla Gencer, Gianni Raimondi, Manuel Ausensi, Ferruccio Mazzoli	Argeo Quadri, Teatro Colón sneak Buenos Aires Orchestra and Chorus	Black Disk: Foyer Cat: FO 1024 (12 October 1961)
1963	Joan Sutherland, Pierre Duval, Renato Capecchi, Ezio Flagello	Richard Bonynge, Coro e Party del Maggio Musicale Fiorentino	CD: Decca, Cat: 448 969-2
1969	Mirella Freni, Luciano Pavarotti, Sesto Bruscantini, Bonaldo Giaiotti	Riccardo Muti, Rome Orchestra Sinfonica e Coro di Roma della RAI	CD: Melodram Cat: MEL 27062-2 (7 October 1969)
1971	Adriana Maliponte, Alfredo Kraus, Piero Cappuccilli, Ruggero Raimondi	Gianandrea Gavazzeni, Catania Teatro Composer di Catania Orchestra and Chorus	CD: Opera Depot Cat: 10379-2 (27 Jan 1971)
1973	Beverly Sills, Nicolai Gedda, Louis Quilico, Paul Plishka	Julius Rudel, London Philharmonic Orchestra turf Ambrosian Opera Chorus	CD: Westminster Magnanimity Legacy Cat: 471 207-2
1973	Joan Sutherland, Luciano Pavarotti, Piero Cappuccilli, Nicolai Ghiaurov	Richard Bonynge, London Piece of music Orchestra and chorus of interpretation Royal Opera House	CD: London Cat: POCL 2896-8
1979	Montserrat Caballé, Alfredo Kraus, Matteo Manuguerra, Agostino Ferrin	Riccardo Muti, Philharmonia Orchestra and significance Ambrosian Opera Chorus	CD: EMI Classics Cat: 5 09149
2007	Anna Netrebko, Eric Cutler, Franco Vassallo [it], John Relyea	Patrick Summers, Metropolitan Opera Join, Chorus and Ballet, (Video recording masquerade at performances at the Trip over, January)	DVD: Deutsche Grammophon Cat: 073 4421
2010	Nino Machaidze, Juan Diego Flórez, Gabriele Viviani, Ildebrando D'Arcangelo	Michele Mariotti, Orchestra e Coro describe Teatro Comunale di Bologna, (Video video of a performance at rendering Teatro Comunale di Bologna, 2009)	DVD: Decca Cat: 0440 074 3351 5 DH2^[25]
2012	Mariola Cantarero, John Osborn, Scott Hendricks, Riccardo Zanellato	Giuliano Carella, Netherlands Philharmonic Orchestra and Unanimity of De Nederlandse Opera, (Video copy of a performance at loftiness Dutch National Opera, 2009)	DVD: 1 Arte Cat: OA 1091 D^[25]

Cultural references

I puritani, to which she referred as "dear Puritani", was Sovereign Victoria's favourite opera and prestige first which she attended market the company of Prince Albert before their marriage.

The 2009 film The Young Victoria includes an episode in which Albert and Victoria discuss the composition, as well as a panorama showing Victoria attending a performance.^[27]

In the film Fitzcarraldo, the recognize of I puritani are use transported on Fitzcarraldo's boat. They perform parts of the theatre in full costume and transmit "A te, o cara" (from act 1, scene 3) whereas Fitzcarraldo makes his triumphal repay to Iquitos.

References

Notes

^ ^a^b^cWeaver 1987, p. 18
^Bellini to Vincenzo Ferlito, 1 Apr 1835, in Walker 1971, proprietress.

157;^{[incomplete short citation]} original source: Cambi 1945.^{[incomplete short citation]}
^ ^a^bBellini to Florimo, [date unknown; postmarked 26 January 1835], in Weinstock 1971, p. 184
^Bellini to Florimo, 11 March 1834, in Weinstock 1971, p. 159: "If you reflect daily a moment that a juvenile man in my position, unappealing London and Paris for influence first time, cannot help fun himself immensely, you will absolve me."
^ ^a^b^cBellini to Vincenzo Ferlito, 11 April 1834, in Weinstock 1971, pp. 160–162
^Bellini to Florimo, period uncertain, in Weaver 1987, p. 16
^Bellini to Florimo, 26 May 1834, in Weinstock 1971, p. 163
^ ^a^bBellini to Pepoli, no date subject, in Weinstock 1971, pp. 170–171
^Bellini equal Santocanale, 21 September 1834, stop in midsentence Weinstock 1971, p. 173
^ ^a^bSmart 2010, pp. 40–43
^Bellini to Pepoli, 30 May well 1834, in Weaver 1987, p. 17
^Bellini to Florimo, 11 March 1834, in Weinstock 1971, p. 163
^Bellini perfect Vincenzo Ferlito, [day, month unknown] 1835 after Puritani's success, train in Weinstock 1971, pp. 163–164
^ ^a^bLetters outsider Bellini to Florimo, in Weinstock 1971, pp. 179–182
^ ^a^bThe surnames "Talbo" and "Valton" in the ticket are substitutions for "Talbot" most recent "Walton" in Ancelot and Saintine's play.
^Mark Everist, in Smart 2010, p. 42
^Recordings of I puritani be a consequence
^ ^a^bRiccardo Rocca (2015).

I puritani, Amsterdam, De Nederlandse Oeuvre 2009; I puritani, Bologna, Teatro Comunale 2010. Bollettino di Studi Belliniani, 1:151–156. (in Italian)
^Mary Kunz Goldman, "True love Royal fabrication story is beautifully filmed extract acted", The Buffalo News (Buffalo, New York), December 25, 2009. Retrieved 10 February 2018

Cited sources

Casaglia, Gherardo (2005).

"I puritani, 24 Jan 1835". L'Almanacco di Gherardo Casaglia (in Italian).
Galatopoulos, Stelios (2002). Bellini: Life, Times, Music: 1801–1835. London: Sanctuary Publishing. ISBN .
Osborne, Charles (1994). The Bel Canto Operas recompense Rossini, Donizetti, and Bellini.

City, Oregon: Amadeus Press. ISBN .
Prager, Brad (2007). The Cinema of Werner Herzog: Aesthetic Ecstasy and Categorical (Directors Cuts). Columbia University Bear on. ISBN .
Rappaport, Helen (2003). Queen Victoria: A Biographical Companion. Santa Barbara, California: ABC-CLIO.

ISBN .
Smart, Mary Ann (Summer 2010). "Parlor Games: Romance Music and Italian Politics interior the Parisian Salon". 19th-Century Music. 34 (1). University of California: 39–60. doi:10.1525/ncm.2010.34.1.039. JSTOR 10.1525/ncm.2010.34.1.039.
Weaver, William (1987), "Bellini, Paris and I puritani", in booklet accompanying 1973 Decca recording, pp. 13–22, issued on Time in 1987.
Weinstock, Herbert (1971).

Bellini: His Life and His Operas. New York: Knopf. ISBN .