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flirtation with her, but runs out at the sound of people approaching, dropping her handkerchief which the Count picks up. He sees the approaching phantom whom he recognises as Amina. She enters the room, walking in her sleep, all the while calling for Elvino and asking where he is. Realising that her nocturnal wanderings have given rise to the story of the village phantom, Rodolfo is about to take advantage of her helpless state. But then he is struck by her obvious innocence and refrains: (Scene: first
Rodolfo:
321:
913:/ "Here the wood is thick and dark"). Amina and Teresa arrive and are on a similar mission, but Amina is despondent, although Teresa encourages her daughter to continue. They then see Elvino coming in the wood looking downcast and sad. He continues to reject Amina, even when the townspeople come in with the news that the count says that she is innocent. Elvino is not convinced and takes back the ring, though he is unable to tear her image from his heart: (Aria, then chorus:
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826:/ "You can't know how those dear eyes gently touch my heart, what adorable beauty".) He admits to having once stayed in the castle, whose lord has been dead for four years. When Teresa explains that his son had vanished some years previously, the stranger assures them that he is alive and will return. As darkness approaches the villagers warn him that it is time to be indoors to avoid the village phantom:
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832:/ "When the sky is dark at night, and the moon's rays are weak, at the gloomy thunder's sound a shade appears." Not being superstitious, he assures them that they will soon be free of the apparition. Elvino is jealous of the stranger's admiration of Amina; he is jealous even of the breezes that caress her, but he promises her he will reform. (Duet finale, Elvino and Amina:
950:/ "I had not thought I would see you, dear flowers, perished so soon".) Then as she reaches the other side safely, the distraught Elvino calls to her and she is taken into his arms. Rodolfo hands him the ring which he places on her finger, at which time she awakens and is amazed by what has happened. All rejoice. In an aria finale, Amina expresses her joy:
804:/ "Forgive me my beloved", and explaining that he had to stop on his way at his mother's grave to ask her blessing on Amina. As they exchange vows, the notary asks what she brings to the partnership: "Only my heart" she answers at which Elvino's exclaims: "Ah the heart is everything!". (Elvino's aria, then Amina, then all express their love and their joy:
301:
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being cared for by friends. It was not until the summer, when he went to stay near Lake Como, that the pressure to decide upon a subject for the following winter's opera became more urgent. That Pasta owned a house near Como and would be staying there over the summer was the reason that Felice Romani traveled to meet both her and
Bellini.
1036:
986:
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Learning of the impending marriage, Teresa confronts Lisa, who says that she has never been found alone in a man's room. Teresa produces the handkerchief Lisa had accidentally dropped in the Count's room. The Count is unwilling to say what he thinks of this, but continues to insist on Amina's virtue.
875:/ "Heaven keep you from feeling ever the pain that I feel now!"; then the people and Teresa, the former proclaiming her treachery, Teresa pleading for her to be allowed to explain. Elvino then exclaims that there will be no wedding, and each expresses his or her emotional reaction to this discovery.
927:
Lisa, Alessio, Elvino and the villagers are in the square. Elvino declares that he will renew his vows and proceed to marry Lisa. She is delighted. As they are about to go to the church, Rodolfo enters and tries to explain that Amina is innocent because she did not come to his room awake – she is a
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The opera's premiere performance took place on 6 March 1831, a little later than the original date. Its success was partly due to the differences between Romani's earlier libretti and this one, as well as "the accumulation of operatic experience which both and Romani had brought to its creation."
57:
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Then
Bellini experienced the re-occurrence of an illness which had emerged in Venice due to pressure of work and the bad weather, and which consistently recurred after each opera. The gastro-enteric condition—which he described as "a tremendous inflammatory gastric bilious fever"— resulted in his
846:
Lisa enters
Rodolfo's room to see if all is well. She reveals that his identity is known to all as Rodolfo, the long-lost son of the count. She advises him that the village is preparing a formal welcome; meanwhile she wishes to be the first to pay her respects. She is flattered when he begins a
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The sound of horses' hooves and a cracking whip is heard. A stranger arrives, asking the way to the castle. Lisa points out that it is getting late and he will not reach it before dark and she offers him lodging at her inn. When he says that he knows the inn, all are surprised. (Rodolfo's aria:
820:/ "O lovely scenes, again I see you, / where in serenity I spent the calm and happy days of my earliest youth".) The newcomer, who surprises the villagers by his familiarity with the locality, asks about the celebrations and admires Amina, who reminds him of a girl he had loved long ago. (
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Elvino demands proof and
Rodolfo, seeing the sleeping Amina walking across the high, dangerously unstable mill bridge, warns that to wake her would be fatal. All watch as she relives her betrothal and her grief at Elvino's rejection, taking the withered flowers in her hand. (Aria: Amina
786:/ "All is joy and merriment... I alone am miserable". She is consumed with jealousy for she had once been betrothed to Elvino and had been abandoned by him in favour of Amina. The lovelorn Alessio arrives, but she rejects his advances. All assembled proclaim the beauty of Amina:
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Amina continues to sleep on the sofa as the villagers arrive at the inn. Lisa enters and points to Amina, who wakes up at the noise. Elvino, believing her faithless, rejects Amina in fury. Only Teresa, her adoptive mother, believes in her innocence: Ensemble finale, first Amina
798:/ "How brightly this day dawned for me".) Additionally, she thanks Alessio, who tells her that he has composed the wedding song and organised the celebrations; she wishes him well in his courtship of Lisa, but Lisa cynically rejects the idea of love. Elvino arrives, exclaiming
792:/ "In Switzerland there is no flower sweeter, dearer than Amina". Then Amina comes out of the mill with her adoptive mother, Teresa, the mill owner. Amina thanks her, also expressing her thanks to her assembled friends for their kind wishes. (Aria:
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859:/ "How happy all the people are, accompanying us to the church"; then together.) Amina continues her sleepwalk and falls asleep on the sofa, but Rodolfo hears the sound of people approaching and, with no other way out, he climbs out of the window.
1035:
940:/ "Certain people when they sleep go about as if awake".) Elvino refuses to believe him and calls upon Lisa to leave, but at that moment Teresa begs the villagers to be quiet, because Amina has at last fallen into an exhausted sleep.
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performances in March 1830, little occurred until the latter part of April when
Bellini was able to negotiate a contracts with both the Milan house for the autumn of 1831 and another for the 1832 Carnival season at
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526:
Weinstock gave an account of performances starting in 1905. Stagings were presented as frequently as every two years in one
European or North American venue or another, and they continued through the 1950s
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is not in doubt, and, as
Weinstock comments, "he was as ready as most other composers of his era to reuse in a new situation musical passages created for a different, earlier one".
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Pasta and Rubini sang with the most evident enthusiasm to support their favourite conductor ; the second act the singers themselves wept and carried the audience along with them.
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As the betrothal procession of Amina and Elvino approaches, the villagers all proclaiming joy for Amina, Lisa, the proprietress of the inn, comes outside expressing her misery:
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revivals up to the publication of his book in 1971. The opera was rescued from the ornamental excesses and misrepresentations more similar to the baroque style than the
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in 1844. With both men having various other commitments, by the end of
November 1830 nothing had been achieved in the way of writing either the libretto or the score of
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On their way to ask the count to attest to Amina's innocence, the villagers rest in the woods and consider how they will express their support to him: (Chorus:
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However, there was also a contract for a second Milan house for the following winter season for as-yet an unnamed opera, but it had already been agreed that
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in 2004, the second in Paris in
January/February 2010, and the third at the Metropolitan Opera in 2009, a production which was revived in Spring 2014 with
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2008:
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provides a comprehensive year-by-year listing of performances following the premiere and then, with some gaps, all the way up to 1900.
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for Venice. Writing to his uncle in Sicily, the composer reported that "I shall earn almost twice as much as if I had composed ".
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By 15 July they had decided on a subject for early 1831, but it was uncertain as to whether Pasta was interested in singing a
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220:. The ballet had premiered in Paris in September 1827 at the height of a fashion for stage works incorporating somnambulism.
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270:("I did not believe I would see you fade so soon, oh flower") from Amina's final aria is inscribed on Bellini's tomb in the
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366:, who had achieved success in Milan in 1829 and 1830 appearing in several major operas, would be the principal artist.
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2242:"Vincenzo Bellini": Outline of his life (in English) and list of critical editions of his works published by Ricordi
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cast as Amina, usually with added top-notes and other changes according to tradition, although it was released in
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and florid technique, but it fitted Pasta's vocal capabilities, her soprano also having been described as a
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2391:, containing the Italian text, with an English translation, and the music of all the principal airs
2016:
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1782:
810:/ "Here, receive this ring that the beloved spirit who smiled upon our love wore at the altar".)
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is performed reasonably frequently in the 21st century. It has been given three productions with
888:
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but, by January, the situation and the subject had changed. Bellini wrote that " is now writing
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was an immediate success and is still regularly performed. The title role of Amina (the
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1992:
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903:'s set design for the act. 2 scene 2 sleepwalking scene for the premiere production
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Bellini to his Venetian friend Giovanni Battista Peruchinni, 3 January 1831, in
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Press reactions were universally positive, as was that of the Russian composer,
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1935:
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After its premiere, the opera was performed in London on 28 July 1831 at the
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1471:
869:/ "In my thought or in my words never, never have I sinned"; then Elvino:
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who is capable—by sheer industry or natural talent—of extending her upper
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838:/ "I envy the wandering breeze that plays with your hair, your veil..")
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in Munich in 2015/2016. The first mezzo-soprano to record the role was
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1996:
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in 1963, where the role become one of her most significant successes.
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Cast, synopsis (Italian, English, German), libretto (Italian, German)
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377:, that of the protagonist, Ernani, in an adaptation of Victor Hugo's
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The majority of twentieth-century recordings have been made with a
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956:/ "Human thought cannot conceive of the happiness that fills me".
835:
Son geloso del zefiro errante / che ti scherza col crin e col velo
776:
Elisa Taccani, who created the role of Lisa, by Giuseppe Cornienti
934:/ "I cannot deny, my lord, what my eyes have seen"; then Rodolfo
665:
246:
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is renowned for its difficulty, requiring a complete command of
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Tutto è gioia, tutto è festa...Sol per me non non v'ha contento
1223:(Recorded at the Basilica di Sant'Eufemia, Milan, 3–9 March)
829:
A fosco cielo, a notte bruna,/ al fioco raggio d'incerta luna
823:
Tu non sai con quei begli occhi / come dolce il cor mi tocchi
680:
30:
This article is about the Bellini opera. For other uses, see
2683:
2417:(review of Cecilia Bartoli's performance in the title role,
1861:
Bellini to Vincenzo Ferlito , late May/early June 1830, in
953:
Ah! non giunge uman pensiero / al contento ond'io son piena
483:, who attended and wrote overwhelmingly enthusiastically:
1868:
817:
Vi ravviso, o luoghi ameni, / in cui lieti, in cui sereni
421:, was to become a notable exponent of the role of Amina.
234:, but during Bellini's lifetime another soprano sfogato,
2310:: Giuditta Pasta and the Idea of Operatic Performance",
148:("I did not believe you would fade so soon, oh flower").
2266:
The Bel Canto Operas of Rossini, Donizetti, and Bellini
1677:(Video recording of a black and white television film)
919:/ "Why cannot I despise you, faithless, as I should?")
789:
In Elvezia non v'ha rosa / fresca e cara al par d'Amina
581:
singing the role of Amina. A production was mounted by
1917:
1893:
1830:
931:
Signor Conte, agli occhi miei / negar fede non poss'io
397:...It must go on stage on 20 February at the latest."
2672:
1949:
916:
Ah! Perché non posso odiarti, infedel, com'io vorrei!
514:
and—in the early 20th century—for Lina Pagliughi and
892:
Alessandro Sanquirico's set design for act 2 scene 1
853:/ "God! What am I doing?"; then, separately, Amina:
2282:(The Master Musicians Series), London: J. M. Dent.
1905:
947:
Ah! non credea mirarti / sì presto estinto, o fiore
267:
Ah! non credea mirarti / Sì presto estinto, o fiore
144:
Ah! non credea mirarti / Sì presto estinto, o fiore
1991:(London), Vol. 102, No. 1415, January 1961, p. 36
1712:(Video recording made at performances in January)
1177:Recording of a performance at La Scala on March 5
928:somnambulist, a sleepwalker: (Duet, first Elvino
807:Prendi: l'anel ti dono / che un dì recava all'ara
223:The role of Amina was originally written for the
217:La somnambule, ou L'arrivée d'un nouveau seigneur
96:La somnambule, ou L'arrivée d'un nouveau seigneur
2696:
2324:Thiellay, Jean; Thiellay, Jean-Philippe (2013),
1808:(Video recording made at performances in April)
1760:(Video recording made at performances in March)
257:, nonexistent at the time) who sang soprano and
2453:
2220:, vol. 4. London: Macmillan Publishers, Inc.
2206:; Forbes, Elizabeth; Maguire, Simon (1998), "
2191:The Complete Dictionary of Opera and Operetta
1848:Bellini to Vincenzo Ferlito , April 1830, in
951:
945:
935:
929:
914:
908:
870:
864:
854:
848:
833:
827:
821:
815:
805:
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793:
787:
781:
412:
400:That music which he was beginning to use for
394:La sonnambula, ossia I Due Fidanzati svezzeri
392:
265:
142:
768:Scene 1: A village, a mill in the background
2078:
2076:
1442:(Recording of a concert performance in the
495:and in New York on 13 November 1835 at the
2460:
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2244:on ricordi.it. Retrieved 13 December 2013.
1966:
1964:
565:While not part of the standard repertory,
521:
296:Giuditta Pasta as Amina, May 1831 premiere
55:
2371:International Music Score Library Project
2160:
1971:
1943:
1923:
1899:
1887:
1874:
1862:
1849:
1836:
795:Come per me sereno / oggi rinacque il di!
2296:, New York: Cambridge University Press.
2073:
1983:A.P.,"London Music": reviews, including
895:
887:
771:
608:
319:
311:
299:
291:
281:
137:
2137:
1961:
1955:
872:Voglia il cielo che il duol ch'io sento
506:Later, it was a vehicle for showcasing
343:in Venice; these operas were to become
253:voice (not be confused with the modern
14:
2725:Operas based on works by Eugène Scribe
2697:
2249:Bellini: Life, Times, Music: 1801–1835
424:
277:
2441:
2344:Vincenzo Bellini: A Guide to Research
2115:
2054:Notes in literature accompanying the
1911:
1855:
539:in the now-famous 1955 production by
316:Maria Malibran as Amina – London 1833
167:
2467:
2087:on operadis-opera-discography.org.uk
154:appears on Bellini's tomb in Catania
2268:, Portland, Oregon: Amadeus Press.
1440:Netherlands Radio Chamber Orchestra
1277:Cat: 448 966-2; 455 823-2 (France)
910:Qui la selva è più folta ed ombrosa
24:
2378:, Opera Glass, Stanford University
2183:
1061:Problems playing these files? See
966:
642:Conductor: Nicola Zamboni Petrini
550:Contributing to the revivals were
411:During Bellini's lifetime another
150:This text from act 2, scene 2, of
25:
2756:
2358:
2217:The New Grove Dictionary of Opera
923:Scene 2: The village, as in act 1
626:Roles, voice types, premiere cast
2682:
2658:
2657:
2544:
2251:. London, Sanctuary Publishing.
2166:Bellini: His Life and His Operas
2055:
1680:DVD: Video Artists International
1522:Orchestra of Eastern Netherlands
1128:RAI Torino Orchestra and Chorus
1032:
1007:
982:
468:and being able to encompass the
61:The sleepwalker in act 2, sc. 2,
2630:Teatro Massimo Bellini, Catania
2401:Libretto in Italian and English
2091:
2061:
2048:
2022:
2002:
1977:
1670:RAI Milano Orchestra and Chorus
1352:Slovak Radio Symphony Orchestra
1316:National Philharmonic Orchestra
554:'s taking the role of Amina at
535:of Bellini when it was sung by
429:
180:in two acts, with music in the
2247:Galatopoulos, Stelios (2002),
2121:Opera Production 1: A Handbook
1929:
1880:
1842:
1708:RAI Maggio Musicale Fiorentino
32:La sonnambula (disambiguation)
13:
1:
2341:Willier, Stephen Ace (2002),
2037:Staatstheater am Gärtnerplatz
1819:
959:
591:Staatstheater am Gärtnerplatz
589:in Salzburg 2015, and by the
332:Returning to Milan after the
2146:. New York: Penguin Putnam.
1753:Orchestra, Chorus and Ballet
1560:Orchestra and Chorus of the
1044:Francisca Pomar de Maristany
866:D'un pensiero e d'un accento
7:
2397:, Boston, 1900, archive.org
2306:Rutherford, Susan (2007), "
2144:The New Penguin Opera Guide
2070:(accessed 27 December 2011)
1710:Directed by Federico Tiezzi
1381:Francesco Ellero d'Artegna,
1355:Slovak Philharmonic Chorus
746:
640:Premiere cast, 6 March 1831
10:
2761:
2705:Operas by Vincenzo Bellini
2308:La cantante delle passioni
1635:Opera house and orchestra
1489:Munchner Rundfunkorchester
1424:Francesco Ellero d'Artegna
1267:Maggio Musicale Fiorentino
1092:Opera house and orchestra
937:V'han certuni che dormendo
856:Oh! come lieto è il popolo
842:Scene 2: A room in the inn
614:Fanny Tacchinardi Persiani
585:in London in 2011, by the
242:in Milan on 6 March 1831.
29:
2745:Libretti by Felice Romani
2654:
2638:
2617:
2589:
2571:
2475:
2419:Festspielhaus Baden-Baden
737:
711:Felicita Baillou-Hilaret
460:, one which designates a
110:
90:
82:
72:
65:William de Leftwich Dodge
54:
46:
39:
27:Opera by Vincenzo Bellini
2604:Vaga luna, che inargenti
2580:Meco all'altar di Venere
2524:I Capuleti e i Montecchi
2189:Anderson, James (1999),
2058:. Retrieved 3 June 2010.
2017:Salzburger Landestheater
1806:Directed by Bepi Morassi
1790:Giovanni Battista Parodi
1613:
1070:
1028:"Ah! non credea mirarti"
1003:"Ah! non credea mirarti"
978:"Ah! non credea mirarti"
878:
762:
686:Giovanni Battista Rubini
604:
587:Salzburger Landestheater
383:, later set to music by
335:I Capuleti e i Montecchi
232:Giovanni Battista Rubini
2710:Italian-language operas
2314:, Vol. 19, No. 2, July
2312:Cambridge Opera Journal
2292:Rosselli, John (1996),
2138:Kimbell, David (2001).
1970:"Performance data", in
1598:Orchestra La Scintilla
522:20th and 21st centuries
169:[lasonˈnambula]
2625:Teatro Bellini, Naples
2598:Composizioni da Camera
2405:Testament Records (UK)
2278:Orrey, Leslie (1973),
2103:, Met Opera on Demand.
1587:Ildebrando D'Arcangelo
1432:Alexandra Papadjiakou
1042:Act 2, sc. 2, sung by
1017:Act 2, sc. 2, sung by
992:Act 2, sc. 2, sung by
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801:Perdona, o mio diletta
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413:
393:
329:
317:
309:
297:
289:
266:
165:Italian pronunciation:
155:
143:
115:6 March 1831
2720:Operas based on plays
1801:Orchestra e Coro del
1596:Alessandro De Marchi,
1395:Deutschen Oper Berlin
1269:Orchestra and Chorus
1221:Orchestra and Chorus,
970:
901:Alessandro Sanquirico
899:
891:
775:
612:
597:in 1980, followed by
323:
315:
303:
295:
285:
210:and choreographed by
141:
2740:Works about weddings
2434:, Metropolitan Opera
2328:, Paris: Actes Sud.
2056:Bartoli CD recording
1319:London Opera Chorus
1180:CD: Warner Classics
1175:Orchestra and Chorus
1109:Ferruccio Tagliavini
2294:The Life of Bellini
2168:. New York: Knopf.
1813:Cat: 0814337011390
1773:Met Opera on Demand
1601:CD: L'Oiseau-Lyre (
1566:CD: Virgin Classics
1476:Roberto Scandiuzzi,
1164:Gabriella Carturan
758:Time: Indeterminate
628:
595:Frederica von Stade
573:, the first at the
558:in 1961 and at the
438:setting and story,
425:Performance history
404:was transferred to
288:by Natale Schiavoni
278:Composition history
2590:Other compositions
2421:, 10 April 2008),
2409:Shelton, Francis,
2376:Libretto (Italian)
2162:Weinstock, Herbert
2042:2016-03-31 at the
1974:, pp. 327–332
1751:Metropolitan Opera
1663:Anna Maria Anelli
1593:Liliana Nikiteanu
1591:Gemma Bertagnolli,
1517:Stefania Donzelli
1480:Gloria Banditelli
1363:Cat: 9356 1928/29
1120:Anna Maria Anelli
972:
905:
894:
778:
739:Villagers – Chorus
624:
622:
560:Metropolitan Opera
470:coloratura soprano
330:
318:
310:
298:
290:
261:roles unmodified.
190:set to an Italian
156:
2670:
2669:
2553:Beatrice di Tenda
2492:Bianca e Fernando
2484:Adelson e Salvini
2423:Musical Criticism
2334:978-2-330-02377-5
2257:978-1-86074-405-1
2123:. Da Capo Press.
2117:Eaton, Quaintance
1999:(by subscription)
1989:The Musical Times
1877:, pp. 93–94.
1817:
1816:
1731:Juan Diego Flórez
1701:Nicoletta Curiel
1697:Gemma Bertagnolli
1611:
1610:
1582:Juan Diego Flórez
1520:Gabriele Bellini,
1509:William Matteuzzi
1458:Cat: 8.660042/43
1391:Jesús López Cobos
1291:Luciano Pavarotti
1209:Fiorenza Cossotto
1168:Leonard Bernstein
1037:
1012:
987:
850:O ciel! che tento
744:
743:
501:Herbert Weinstock
356:Beatrice di Tenda
272:Catania Cathedral
212:Jean-Pierre Aumer
136:
135:
105:Jean-Pierre Aumer
16:(Redirected from
2752:
2687:
2686:
2678:
2661:
2660:
2548:
2469:Vincenzo Bellini
2462:
2455:
2448:
2439:
2438:
2369:: Scores at the
2338:
2262:Osborne, Charles
2179:
2157:
2134:
2104:
2095:
2089:
2080:
2071:
2065:
2059:
2052:
2046:
2026:
2020:
2006:
2000:
1981:
1975:
1968:
1959:
1953:
1947:
1933:
1927:
1921:
1915:
1909:
1903:
1897:
1891:
1884:
1878:
1872:
1866:
1859:
1853:
1852:, pp. 87–88
1846:
1840:
1834:
1803:Teatro La Fenice
1791:
1698:
1694:Giacomo Prestia,
1674:Mario Lanfranchi
1667:Bruno Bartoletti
1618:
1617:
1513:Petteri Salomaa,
1494:CD: Nightinggale
1425:
1296:Nicolai Ghiaurov
1228:Cat: B000002RXR
1226:CD: EMI Classics
1155:Giuseppe Modesti
1075:
1074:
1052:
1039:
1038:
1014:
1013:
989:
988:
969:
955:
949:
939:
933:
918:
912:
874:
868:
858:
852:
837:
831:
825:
819:
809:
803:
797:
791:
785:
629:
627:
623:
541:Luchino Visconti
446:) with its high
416:
396:
286:Vincenzo Bellini
269:
204:ballet-pantomime
188:Vincenzo Bellini
171:
166:
146:
130:
122:
120:
59:
49:Vincenzo Bellini
37:
36:
21:
2760:
2759:
2755:
2754:
2753:
2751:
2750:
2749:
2715:Opera semiseria
2695:
2694:
2693:
2681:
2673:
2671:
2666:
2650:
2634:
2613:
2585:
2567:
2471:
2466:
2361:
2336:
2193:. Wings Books.
2186:
2184:Further reading
2176:
2154:
2131:
2107:
2101:, 21 March 2009
2096:
2092:
2081:
2074:
2066:
2062:
2053:
2049:
2044:Wayback Machine
2027:
2023:
2007:
2003:
1982:
1978:
1969:
1962:
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1918:
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1822:
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1805:
1800:
1799:Gabriele Ferro,
1795:
1793:
1789:
1788:
1787:Shalva Mukeria,
1786:
1771:
1766:
1765:Cat: B002Y5FKUE
1764:
1759:
1754:
1749:
1741:
1740:Jennifer Black,
1739:
1736:Michele Pertusi
1734:
1729:
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1700:
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1654:Plinio Clabassi
1652:
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1634:
1629:
1627:
1626:(Amina, Elvino,
1625:
1616:
1606:
1597:
1592:
1590:
1585:
1580:
1577:Cecilia Bartoli
1568:Cat: 3 95138 2
1567:
1559:
1555:Jael Azzaretti
1554:
1549:
1546:Carlo Colombara
1544:
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1484:Marcello Viotti
1479:
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1467:Edita Gruberová
1457:
1441:
1439:
1431:
1427:
1423:
1422:
1417:
1414:Ľuba Orgonášová
1404:
1397:Live recording
1396:
1394:
1386:Iris Vermillion
1384:
1382:
1380:
1375:
1362:
1354:
1350:
1342:
1341:Eva Antolicová,
1340:
1338:
1336:
1335:Jana Valášková,
1327:Cat: 417 424-2
1326:
1318:
1314:
1311:Richard Bonynge
1304:
1301:Isobel Buchanan
1299:
1294:
1289:
1286:Joan Sutherland
1276:
1265:
1262:Richard Bonynge
1257:Margreta Elkins
1255:
1252:Sylvia Stahlman
1250:
1247:Fernando Corena
1245:
1240:
1237:Joan Sutherland
1227:
1222:
1217:
1207:
1202:
1199:Nicola Zaccaria
1197:
1192:
1176:
1171:
1163:
1158:
1153:
1150:Cesare Valletti
1148:
1135:
1133:Preiser Records
1127:
1119:
1117:
1112:
1107:
1091:
1086:
1084:
1083:(Amina, Elvino,
1082:
1073:
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983:
980:
973:
967:
962:
884:Scene 1: A wood
881:
765:
749:
733:Antonio Crippa
722:Lorenzo Biondi
656:Luciano Mariani
641:
625:
607:
599:Cecilia Bartoli
583:The Royal Opera
552:Joan Sutherland
524:
457:soprano sfogato
432:
427:
307:
306:Battista Rubini
305:
287:
280:
251:soprano sfogato
225:soprano sfogato
178:opera semiseria
174:The Sleepwalker
164:
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132:
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35:
28:
23:
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2573:
2572:Opera excerpts
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2504:
2496:
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2360:
2359:External links
2357:
2356:
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2322:
2304:
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2259:
2245:
2235:
2204:Budden, Julian
2201:
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2180:
2174:
2158:
2152:
2140:Holden, Amanda
2135:
2129:
2106:
2105:
2090:
2083:Recordings on
2072:
2060:
2047:
2021:
2001:
1976:
1972:Weinstock 1971
1960:
1948:
1944:Weinstock 1971
1928:
1924:Weinstock 1971
1916:
1914:, p. 135.
1904:
1900:Weinstock 1971
1892:
1888:Weinstock 1971
1879:
1875:Weinstock 1971
1867:
1863:Weinstock 1971
1854:
1850:Weinstock 1971
1841:
1837:Weinstock 1971
1828:
1821:
1818:
1815:
1814:
1809:
1797:
1780:
1776:
1775:
1761:
1757:Mary Zimmerman
1743:
1726:Natalie Dessay
1723:
1719:
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1713:
1702:
1688:
1684:
1683:
1678:
1664:
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1640:
1639:
1636:
1631:
1628:Rodolfo, Lisa,
1622:
1615:
1612:
1609:
1608:
1607:Cat: 478 1084
1599:
1594:
1574:
1570:
1569:
1564:
1556:
1541:Francesco Meli
1536:Natalie Dessay
1533:
1529:
1528:
1524:
1518:
1515:Sonia Ganassi,
1501:
1497:
1496:
1492:
1481:
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1451:
1433:
1411:
1407:
1406:
1405:Cat: RD 69242
1398:
1388:
1372:Lucia Aliberti
1369:
1365:
1364:
1356:
1344:
1339:Peter Mikuláš,
1337:Josef Kundlák,
1333:
1329:
1328:
1320:
1308:
1283:
1279:
1278:
1270:
1259:
1234:
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1214:Antonino Votto
1211:
1186:
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1178:
1165:
1142:
1138:
1137:
1129:
1124:Franco Capuana
1121:
1118:Wanda Ruggeri,
1104:Lina Pagliughi
1101:
1097:
1096:
1093:
1088:
1085:Rodolfo, Lisa,
1079:
1072:
1069:
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700:
699:
698:Elisa Taccani
696:
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688:
683:
678:
674:
673:
671:Giuditta Pasta
668:
663:
659:
658:
653:
648:
647:Count Rodolfo
644:
643:
638:
633:
606:
603:
575:Santa Fe Opera
571:Natalie Dessay
523:
520:
516:Toti Dal Monte
493:King’s Theatre
489:
488:
481:Mikhail Glinka
431:
428:
426:
423:
419:Maria Malibran
385:Giuseppe Verdi
364:Giuditta Pasta
324:Jenny Lind in
304:Tenor Giovanni
279:
276:
240:Teatro Carcano
236:Maria Malibran
230:and the tenor
228:Giuditta Pasta
134:
133:
127:Teatro Carcano
124:
114:
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107:
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2647:
2644:
2643:
2641:
2637:
2631:
2628:
2626:
2623:
2622:
2620:
2616:
2610:
2609:Oboe Concerto
2607:
2605:
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2600:
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2555:
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2550:
2547:
2542:
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2537:
2534:
2533:
2532:La sonnambula
2529:
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2440:
2433:
2432:
2431:La sonnambula
2427:
2424:
2420:
2416:
2414:
2413:La sonnambula
2408:
2406:
2402:
2399:
2396:
2392:
2390:
2389:La sonnambula
2386:
2384:, Opera Guide
2383:
2380:
2377:
2374:
2372:
2368:
2367:
2366:La sonnambula
2363:
2362:
2354:
2353:0-8153-3805-8
2350:
2347:. Routledge.
2346:
2345:
2340:
2335:
2331:
2327:
2323:
2321:
2317:
2313:
2309:
2305:
2303:
2302:0-521-46781-0
2299:
2295:
2291:
2289:
2288:0-460-02137-0
2285:
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2275:
2274:0-931340-71-3
2271:
2267:
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2258:
2254:
2250:
2246:
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2239:
2236:
2234:
2233:1-56159-228-5
2230:
2227:
2226:0-333-73432-7
2223:
2219:
2218:
2213:
2212:Stanley Sadie
2209:
2208:La sonnambula
2205:
2202:
2200:
2199:0-517-09156-9
2196:
2192:
2188:
2187:
2177:
2175:0-394-41656-2
2171:
2167:
2163:
2159:
2155:
2153:0-14-029312-4
2149:
2145:
2141:
2136:
2132:
2130:0-306-70635-0
2126:
2122:
2118:
2114:
2113:
2112:
2111:
2110:Cited sources
2102:
2100:
2099:La sonnambula
2094:
2088:
2086:
2085:La sonnambula
2079:
2077:
2069:
2064:
2057:
2051:
2045:
2041:
2038:
2034:
2032:
2031:La sonnambula
2025:
2018:
2014:
2012:
2011:La sonnambula
2005:
1998:
1994:
1990:
1986:
1985:La sonnambula
1980:
1973:
1967:
1965:
1958:, p. 50.
1957:
1952:
1945:
1941:
1937:
1932:
1926:, p. 95.
1925:
1920:
1913:
1908:
1902:, p. 94.
1901:
1896:
1889:
1883:
1876:
1871:
1864:
1858:
1851:
1845:
1839:, p. 89.
1838:
1833:
1829:
1827:
1826:
1810:
1804:
1798:
1796:Julie Mellor
1784:
1783:Jessica Pratt
1781:
1778:
1777:
1774:
1769:
1762:
1758:
1752:
1747:
1744:
1742:Jane Bunnell
1737:
1732:
1727:
1724:
1721:
1720:
1715:DVD: TDK DVWW
1714:
1706:
1703:
1689:
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1600:
1595:
1588:
1583:
1578:
1575:
1572:
1571:
1565:
1563:
1562:Opéra de Lyon
1558:Evelino Pido,
1557:
1552:
1551:Sara Mingardo
1547:
1542:
1537:
1534:
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1530:
1525:
1519:
1510:
1505:
1502:
1499:
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1482:
1478:Dawn Kotoski,
1473:
1468:
1465:
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1456:
1452:
1449:
1445:
1444:Concertgebouw
1437:
1436:Alberto Zedda
1434:
1430:
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1415:
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1347:Ondrej Lenárd
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1204:Eugenia Ratti
1200:
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1160:Eugenia Ratti
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994:Adelina Patti
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275:
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252:
248:
243:
241:
237:
233:
229:
226:
221:
219:
218:
213:
209:
208:Eugène Scribe
205:
201:
198:, based on a
197:
196:Felice Romani
193:
189:
186:tradition by
185:
184:
179:
175:
170:
162:
161:
160:La sonnambula
153:
152:La sonnambula
145:
140:
128:
113:
109:
106:
102:
101:Eugène Scribe
98:
97:
93:
89:
85:
81:
78:
77:Felice Romani
75:
71:
66:
58:
53:
50:
45:
42:
41:La sonnambula
38:
33:
19:
18:La Sonnambula
2656:
2596:
2559:
2551:
2538:
2531:
2530:
2522:
2514:
2508:La straniera
2506:
2498:
2490:
2482:
2430:
2429:Synopsis of
2422:
2412:
2388:
2365:
2343:
2325:
2311:
2307:
2293:
2279:
2265:
2248:
2238:Casa Ricordi
2215:
2207:
2190:
2165:
2143:
2120:
2109:
2108:
2098:
2093:
2084:
2068:worldcat.org
2063:
2050:
2030:
2024:
2010:
2004:
1988:
1984:
1979:
1956:Kimbell 2001
1951:
1946:, p. 97
1939:
1931:
1919:
1907:
1895:
1890:, p. 94
1882:
1870:
1865:, p. 88
1857:
1844:
1832:
1824:
1823:
1755:Directed by
1746:Evelino Pidò
1672:Directed by
1659:Gianna Galli
1651:Danilo Vega,
1429:Dilber Yunus
1419:Raúl Giménez
1242:Nicola Monti
1194:Nicola Monti
1189:Maria Callas
1145:Maria Callas
1114:Cesare Siepi
1060:
942:
926:
922:
921:
906:
883:
882:
861:
845:
841:
840:
812:
779:
767:
766:
738:
616:as Amina by
579:Diana Damrau
566:
564:
549:
537:Maria Callas
532:
528:
525:
505:
497:Park Theatre
490:
477:
455:
439:
433:
430:19th century
410:
405:
401:
399:
388:
378:
372:
368:
361:
354:
344:
333:
331:
325:
263:
244:
222:
215:
203:
181:
173:
159:
158:
157:
151:
94:
40:
2730:1831 operas
2337:(in French)
1811:DVD: Cmajor
1794:Anna Viola,
1705:Daniel Oren
1306:Della Jones
1136:Cat: 20038
1047: [
754:Switzerland
512:Emma Albani
444:sleepwalker
308:sang Elvino
274:in Sicily.
264:The phrase
206:written by
2699:Categories
2561:I puritani
2411:"Bellini:
1912:Eaton 1974
1820:References
1763:DVD: Decca
1717:Cat: 4239
1692:José Bros,
1682:Cat: 4239
1647:Anna Moffo
1633:Conductor,
1343:Ján Gallo
1063:media help
960:Recordings
636:Voice type
508:Jenny Lind
406:Sonnambula
119:1831-03-06
73:Librettist
2646:Bel canto
2618:Namesakes
2500:Il pirata
2395:O. Ditson
2214:, (ed.),
1472:José Bros
1448:Amsterdam
1377:John Aler
1090:Conductor
1019:Anna Case
533:bel canto
529:bel canto
473:tessitura
462:contralto
448:tessitura
434:With its
341:La Fenice
259:contralto
183:bel canto
47:Opera by
2663:Category
2320:27607154
2264:(1994),
2240:(pub.),
2164:(1971).
2119:(1974).
2040:Archived
1940:Memoires
1768:HD video
1690:Eva Mei,
1630:Teresa)
1526:CD: Arts
1504:Eva Lind
1402:Eurodisc
1219:La Scala
1173:La Scala
1087:Teresa)
747:Synopsis
716:Alessio
695:soprano
545:La Scala
436:pastoral
351:La Scala
200:scenario
192:libretto
176:) is an
111:Premiere
91:Based on
83:Language
2639:Related
2543:(1831)
2326:Bellini
2280:Bellini
2142:(ed.).
2013:(2015)"
1053:in 1929
1021:in 1915
996:in 1906
752:Place:
727:Notary
703:Teresa
677:Elvino
666:soprano
414:sfogato
380:Hernani
328:, 1840s
247:soprano
214:called
129:, Milan
117: (
86:Italian
67:, 1899)
2735:Operas
2675:Portal
2564:(1835)
2556:(1833)
2535:(1831)
2527:(1830)
2519:(1829)
2511:(1829)
2503:(1827)
2495:(1826)
2487:(1825)
2476:Operas
2351:
2332:
2318:
2300:
2286:
2272:
2255:
2231:
2224:
2210:", in
2197:
2172:
2150:
2127:
1997:948692
1995:
1936:Glinka
1638:Label
1095:Label
730:tenor
662:Amina
620:, 1834
452:trills
402:Ernani
389:Ernani
202:for a
2689:Opera
2540:Norma
2516:Zaira
2316:JSTOR
1993:JSTOR
1942:, in
1825:Notes
1779:2013
1621:Year
1614:Video
1603:Decca
1455:Naxos
1324:Decca
1274:Decca
1078:Year
1071:Audio
1051:]
879:Act 2
763:Act 1
719:bass
692:Lisa
681:tenor
632:Role
605:Roles
466:range
346:Norma
255:mezzo
2349:ISBN
2330:ISBN
2298:ISBN
2284:ISBN
2270:ISBN
2253:ISBN
2229:ISBN
2222:ISBN
2195:ISBN
2170:ISBN
2148:ISBN
2125:ISBN
1722:2009
1687:2004
1643:1956
1624:Cast
1573:2008
1532:2006
1500:1999
1463:1998
1453:CD:
1410:1992
1400:CD:
1368:1990
1360:Opus
1358:CD:
1332:1987
1322:CD:
1282:1980
1272:CD:
1233:1962
1185:1957
1141:1955
1131:CD:
1100:1952
1081:Cast
651:bass
353:and
349:for
103:and
543:at
194:by
99:by
2701::
2403:,
2393:,
2075:^
2035:,
2015:,
1987:,
1963:^
1938:,
1450:)
1446:,
1049:es
601:.
547:.
518:.
510:,
499:.
475:.
417:,
172:;
2677::
2582:"
2578:"
2461:e
2454:t
2447:v
2425:.
2415:"
2178:.
2156:.
2133:.
2033:"
2029:"
2019:]
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1792:,
1785:,
1770::
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1733:,
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1111:,
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163:(
121:)
63:(
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20:)
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