La Sonnambula (Vincenzo Bellini): Synopsis, Libretto, Highlights, MIDI, Noten, Sheet Music. di Felice Romani ; musica di Vincenzo Bellini. (Statement Of Responsibility). U.S. RISM Libretto Project. Two acts; “Elenco dei libretti “–back cover. Libretto. Sheet Music – £ – Bellini, Vincenzo – La Sonnambula (Libretto) Opera.

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ALL Innocent Amina, so dear to us, made lovelier by your grief, come to the church and there, at the alter, begin your joy. Teresa nimmt Amina mit sich fort.

Have you brought my ring? Only I repeat, I insist that Amina’s innocent. Di fronte una finestra: LISA Ich verzeihe alles.

La Sonnambula (Libretto) Opera

Io ne impegno l’onor mio. 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. She is the owner of the mill and had adopted Amina many years before. Tutto gioia, tutto festa Views Read Edit View history.

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When he says that he knows it, all are surprised. But she hadn’t come in awake.


Wohin geht ihr in dieser Aufmachung? That music which he was beginning to use for Ernani was transferred to Sonnambbula is not in doubt, and, as Weinstein comments, “he was as ready as most other composers of his era to reuse in a bellink situation musical passages created for a different, earlier one”.

ALL Come to the church. CORO A tai fole non crediamo. With both men having various other commitments, by the end of November nothing had been achieved in the bellino of writing either the libretto or the score of Ernani [4] but, by January, the situation and the subject had changed. O beltade a me funesta, Che m’involi il mio tesoro, Mentre io soffro, mentre moro, Pur ti deggio accarezzar! Quanto infelice io sono Felice ei sia Roles ; Act One ; Act Two.

La sonnambula – Wikipedia

Si toglie dal seno i fiori ricevuti da Elvino. Ich rate euch, bis morgen hier zu bleiben. ALL Can it be?

Lisa and Elvino arrive to denounce Amina as an adulteress. He admits to having once stayed in the castle, whose lord has been dead for four years. Parole il labbro trovar non sa.

Amina si avanza in mezzo al palco. Saria questo Il notturno fantasma? LISA dal gabinetto Amina! Can you doubt my truthfulness? Ah non credea, ecc. Odesi il suono delle cornamuse che riducono gli armenti all’ovile. Dear mother, embrace sobnambula Die Liebe ist erloschen auf der Welt, es gibt keine Treue, keine Ehre mehr.


La sonnambula

Non ho l’anello tuo? The title role of Amina the sleepwalker with its high tessitura is renowned for its difficulty, requiring a complete command of trills and florid technique, [7] but it fitted Pasta’s vocal capabilities, her soprano also having been described as a soprano sfogatoone which designates a contralto who is capable—by sheer industry or natural talent—of extending her upper range and being able to encompass the coloratura soprano tessitura.

In fondo al belluni si scorge il mulino di Teresa: The role of Amina was originally written for the soprano sfogato Giuditta Pasta and the tenor Giovanni Battista Rubinibut during Bellini’s lifetime another soprano sfogato, Maria Malibranwas a notable exponent of the role.