Libretto by Ranieri de’ Calzabigi Libretto by Hugo von Hofmannsthal. I Capuleti e i Montecchi, Tragedia lirica in due atti e quattro parti. I Capuleti e i Montecchi (The Capulets and the Montagues) This concert He was to use an existing libretto by Felice Romani, the greatest librettist of the day. Pria che le porte s’apran all’orde loro atroci, sui Capuleti indomiti Verona Prende Ezzelino istesso all’ire nostre parte, e de’ Montecchi sostenitor si svela.
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Over the last decades this work has become popular on the continent, but it hasn’t been performed in a Swedish opera house since a German guest performance in Gothenburg The premiere will be audio recorded and presented in Swedish Radio, channel P2, on Libretho 18th 7.
At that point Rossini had gone to Paris and Donizetti was yet to break ii. His greatest rival was the fast-working Giovanni Pacini, who often supplied four to five operas a year to the various Italian opera houses. Bellini loathed this rival, whom he considered to be lirbetto and slapdash.
Unlike Rossini and Donizetti, Bellini was a precise composer, who preferred to take time over his work, and therefore often tried to get paid more for each piece.
Opera Today : BELLINI: I Capuleti e i Montecchi
When the successful Il Pirata was to be staged at the Teatro La Fenice in Venice at Christmasit transpired that Pacini had double-booked himself. He had signed a contract with La Fenice for an opera named Giulietta Capellio Juliet Capuletbut was under a commitment to write operas for Turin and Naples at the caphleti time. He would never be able to fulfil his contract.
La Fenice had not had a great success for several years, and the management was anxious that there monteccchi be one now.
He accepted the proposal, despite the fact that time was tight. He was to use an existing libretto by Felice Romani, the greatest librettist of the day. For cxpuleti model, Bellini also looked to yet another Giulietta e Romeo by his much respected teacher, Antonio Zingarelli, dating from Out of respect libretot him, Bellini opted not to give his opera the same title, but I Capuleti e i Montecchi Capulets and Montagues.
None of these operas are based on Shakespeare.
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The bard from Stratford was not especially well known in Italy at that time. It also explains why there is so much we do not recognise from Shakespeare; here there is no nurse and no Mercutio, and the sequence of events is somewhat different.
Bellini took stock of the singers at the theatre, who had also performed in his Il Pirata. He was extremely satisfied with the librettoo Giuditta Grisi, who sang the lead female role, but was considerably less so with the tenor and the baritone. As time was short, Bellini decided, for once, to re-use old material, something that was nothing new for Rossini or Donizetti.
But he was nevertheless happy with the musical concepts and wanted them to spread. He therefore based I Capuleti largely on this score, reworked and with the libretto adapted.
I Capuleti was enormously successful in Venice, and the work spread rapidly. It was particularly successful when she sang the role opposite her sister Giulia Grisi as Giulietta.
La sonnambulaNorma same year and I puritani After the last of these, this deeply gifted Sicilian Orpheus, with his beautiful flowing locks, tragically died during a cholera epidemic, at the age of just The whole of Italy mourned. Bellini was also admired by Wagner, although he despised bel canto opera as a genre. One example is the finale of the first act, when Romeo and Guilietta sing a unison melody, a phrase that lasts for as many as 31 bars, with only brief capileti for breath.
However, this does not feel constructed, but flows completely organically in a way that no composer was able to achieve after him. Naturally this demands a great deal of the monfecchi, including excellent breathing technique.
In truth the song is central. There is nothing about how the lovers speak of their love for one another, unlike in Shakespeare, where they incessantly revel in the bewitching power of love in poetic phrases. The long duet in the first cpuleti is mostly about flight and death, considerably less about love and the fact that they actually love each cspuleti.
Back to main site. Stress behind the scenes When the successful Il Pirata was to be staged at the Teatro La Fenice in Venice at Christmasit transpired that Pacini had double-booked himself.
Two women in the leading roles Bellini took stock of the singers at the theatre, who had also performed in his Il Pirata.