351:, while yet another notes that a combination of the composer being constantly seen in cafes around the city (when it was assumed that he should have been composing) and the fact that Romani had included a long explanation of the difficulties of adapting Voltaire in the printed libretto provided to all operagoers. Critical of his own work, the librettist stated: "the style should have been more careful, and that here and there, certain repetitions of phrases and concepts should have been edited out". At the same time, he noted that, with music composed to those verses now in place, "I was not permitted to go back over what already had been done; and poetry and music were finished in less than a month". This short period of time, which was not unusual for some composers in 19th century Italy, compares to the months which it took Bellini to write
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331:
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much and as long as possible in order to be able to work with the singers and to set the music to suit their vocal characteristics, a not uncommon 19th century practice. Indendant Count
Sanvitale's request on 17 April, asking "to let me know the reasons why our copyists are kept idle", did not receive much of response to satisfy the theatre's management, but eventually, both men got down to work and finished on time, although the premiere was delayed by four days due to Lalande's late arrival.
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The French prisoners are ordered to leave in spite of
Corasmino's concern that their poor physical condition might not be well received when they arrive in France. Orosmane allows Zaira to say farewell to Narastano, but he is upset because he misconstrues the relationship between the two, especially
638:
Nerestano and Zaira go down to the prisoners' cells to see the French knights who are to be freed. There they see Prince
Lusignano who, upon seeing the couple, actually recognises them as his long-lost children who were taken prisoner during the time he was battling with Syria. Zaira is disturbed by
321:
The later opposition, which arose after the first performance, focused on criticism that
Bellini was seen too often on the streets before the premiere rather than writing the music for the opera. This may have had some merit since both composer and librettist were somewhat dilatory, delaying work as
692:
Humiliated, Orosmane hides in the garden along with
Corasmino. They await Zaira's arrival. When she does so, accompanied by Fatima, Nerestano appears and, to him, she renounces her love for Orosmane and expresses her desire to return with him to her homeland. In a fit of jealousy, the sultan rushes
621:
There is celebration in the Sultan's court over the impending marriage between Sultan
Orosmane and Zaira, the orphaned Christian slave girl. But some of his courtiers resent the marriage, seeing the installation of a Christian woman as sacrilegious. Corasmino, the Sultan's vizier vows to seek a way
670:
Count
Lusignano has just died and the sultan allows the French knights to bury him with full Christian honours and then the knights are to be escorted to their ships. However, all are unhappy when they learn that Zaira cannot attend the funeral, since they had planned to abduct her at that time.
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The
Frenchman Nerestano, a former slave, has returned from France to plead for the release of ten French knights still held captive. Orosmane quickly agrees to release all the captives, who number around one hundred, but insists on retaining Prince Lusignano whom he has condemned to death. Zaira
317:
Librettist and composer arrived in Parma on 17 March 1829 giving them 56 days before the opening, but
Bellini then learned that some of the singers would only arrive 14 days before the date of the premiere, a date that was—in theory—unchangeable. In fact, that date had to be changed due to the
679:
Corasmino has found what he believes to be evidence of Zaira's treachery in appearing to love
Nerestano. It has reached him through the interception of a letter from brother to sister demanding that she meet him in the garden that night or he states that he will kill himself. He shares this
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Zaira herself is happy, but is reminded by Fatima, another slave girl, that she will have to give up her religion upon marriage, and this causes Zaira to declare that from then on, her religion will be that of love. When the Sultan appears, each expresses their mutual love.
683:
Conflicting emotions overwhelm Zaira when she reads the letter. At that moment, she hears the sounds of a funeral and, looking from the balcony and realising that it is her father who is dead, collapses in a faint, an action which amazes the other slaves and guards.
306:, his position in relation to Voltaire's tragedy was rather different from the tone of the original play, thus avoiding—as Galatopoulos notes—"philosophical ostentation (appropriate in Voltaire and popular at the time)" and noting in the preface to the libretto:
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The general impression given by reports in the press was that, overall, the music was weak, although some numbers and the trio were liked. However, for the most part, the singers were applauded, even if the composer received little.
261:, to be set to a libretto written by a Parma lawyer, Luigi Torrigiani. However, Bellini made it a condition of his contract that he must approve the subject and, over the Parma lawyer's objections and his attempt to persuade him and
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Fatima tries to persuade Zaira not to marry Orosmane and not to give up her religion. Zaira pleads for the postponement of her wedding when the sultan enters; at that time, she promises to tell him why. Generously, he agrees.
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in an attempt to convince them to use his libretto, he reported to Parma's Grand Chamberlain upon his return in December. The aggrieved librettist sums up Bellini's tastes in Romantic drama as follows:
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put in an appearance on stage, but that audience....shouted at her, and she returned to the harem" and then it disappeared until 1976. Bellini later re-used substantial parts of the music of
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and McGuire note, it was because "Bellini showed too little enthusiasm for the undertaking". Another writer attributes it to Parma's traditional love of and favouritism towards the music of
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likes Romanticism and exaggeration. He declares that Classicism is cold and boring ... He is entranced by unnatural meetings in forests, among graves, tombs and the like...
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at Zaira and fatally stabs her. Dying, she explains her relationship to Nerestano at which the grieving Orosmane, ordering all to leave, stabs himself in the heart.
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Lusignano's concern that she must renounce her religion and, although called away, pledges to do what she can to avoid taking that action.
302:". However, this enterprise proved to be more challenging for Romani than first imagined. He explained that, in writing the libretto for
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With this opera, Bellini encountered "the first serious setback of a hitherto brilliant career". Several reason have been put forward:
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when Zaira asks for a short postponement of the marriage. Orosmane declares that he will kill any man who would be his rival in love.
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for Paris and, while other composers were considered, in November 1828 the offer was made to Bellini, with the subject to be
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The opera received eight performances, followed by some poorly-received ones in Florence in 1836, where the reviewer of the
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178:) on 16 May 1829. Although it had been expressly written for the theatre's inauguration, it was a failure at its premiere.
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1233:"Vincenzo Bellini": Outline of his life (in English) and list of critical editions of his works published by Ricordi
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In a long complaint, which Torrigiani laid against Bellini after he had traveled to Milan to meet the composer and
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and his preference, as he wrote his later operas, for having a lengthy time frame in which to work.
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therefore is not covered with the ample cloak of Tragedy but wrapped in the tight form of Melodrama.
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It was Bellini's fifth opera, following quickly after his February 1829 composition and premiere of
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Orchestre National de Montpellier Languedoc-Roussillon and the Latvian Radio and Television Choir
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Torrigiani to Parma's Grand Chamberlain, 14 December 1828, in Galatopoulos 2002, p. 145
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The offer to write the opera to inaugurate the house had originally been extended to
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information with Orosmane who agrees that the message should get through to her.
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received its first performance at the "Nuovo Teatro Ducale" in Parma (now the
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in Naples that he had been approached in August 1828 by another impresario,
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was revived on 1 April 1976 in a reconstruction by Rubino Profeta at the
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and the opera's plot involves the heroine, Zaira, struggling between her
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Yesterday and Today" in booklet accompanying the Nuevo Era recording.
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1252:, Vol. Four, pp. 1202–1203. London: Macmillan Publishers, Inc.
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Lippmann, Friedrich; McGuire, Simon (1998), "Bellini, Vincenzo", in
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in Gelsenkirchen, Germany, and as a concert performance at the 2009
244:) in Parma which was due to open the following year on 12 May 1829.
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At around the time that Bellini was in discussions with impresario
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inability of Lalande to arrive in time for sufficient rehearsal.
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Orosmane and Zaïre in an 1832 production of Voltaire's stage play
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Scene 2: A subterranean prison leading to the prisoners' cells
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pleads for Lusignano to be released from his death sentence.
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118:
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Orchestra Internazionale d'Italia,Coro Lirico Terre Verdiane
806:(Recorded at performances in Catania, 23, 25, 27 September)
1266:(The Master Musicians Series), London: J. M. Dent, Ltd.
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The Bel Canto Operas of Rossini, Donizetti, and Bellini
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Initially, Romani proposed that the opera should be
873:(Recording of a performance at the Palazzo Ducale,
384:, no performances of it were given for 140 years.
989:, Parma 1829, quoted in Galatopoulos 2002, p. 155
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1292:Thiellay, Jean; Thiellay, Jean-Philippe (2013),
1051:, 14 July 1838, quoted in Weinstock 1971, p. 361
617:Scene 1: A gallery leading to the Sultan's harem
804:Orchestra and Chorus of Teatro Massimo Bellini
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1342:. Accessed via subscription 28 January 2009.
1079:Listed on operabase.com performance database
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985:Romani, preface to the printed libretto of
143:. The story takes place in the time of the
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1238:Maguire, Simon; Elizabeth Forbes (1998), "
1235:on ricordi.it. Retrieved 13 December 2013.
206:Soprano Henriette Méric-Lalande sang Zaira
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1359:International Music Score Library Project
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334:Poster for the opening night of the Nuovo
251:, but he had declined due to his work on
1282:, New York: Cambridge University Press.
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419:There were presentations in 2006 at the
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666:Scene 2: Near the French knights' cells
425:Festival de Radio France et Montpellier
198:Domenico Barbaja in Naples in the 1820s
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1132:Bellini: Life, Times, Music: 1801–1835
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232:, the composer reported to his friend
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1312:Vincenzo Bellini: A Guide to Research
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151:faith and her love for Orosmane, the
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1134:. London, Sanctuary Publishing Ltd.
1095:on operadis-opera-discography.org.uk
285:However, the complaint was ignored.
97:Nuovo Teatro Ducale, Parma, now the
1221:. L'Almanacco di Gherardo Casaglia
1178:, Portland, Oregon: Amadeus Press.
688:Scene 4: The harem gardens at night
408:. and again in September 1990 with
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427:in France. Also, it was staged in
416:. Both productions were recorded.
14:
1696:
1680:Operas based on works by Voltaire
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1249:The New Grove Dictionary of Opera
1151:The New Grove Dictionary of Opera
1007:Lippmann and McGuire 1998, p. 390
400:in Catania with a cast including
214:Bass Luigi Lablache sang Orosmane
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1190:Bellini: His life and His Operas
1575:Teatro Massimo Bellini, Catania
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765:(Recording of a performance at
1130:Galatopoulos, Stelios (2002),
998:Galatopoulos 2002, pp. 147—150
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1309:Willier, Stephen Ace (2002),
1060:Galatopoulos 2002, p. 150—151
958:Osborne, C. 1994, pp. 323—324
892:
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565:Francesco Antonio Biscottini
545:father of Zaira and Nerestano
1331:"Recording review: Bellini:
1120:, New York: Penguin Putnam.
433:Festival della Valle d'Itria
7:
1188:Weinstock, Herbert (1971),
1118:The New Penguin Opera Guide
705:Nuovo Teatro Ducale in 1829
643:Scene 3: The Sultan's harem
622:that this will not happen.
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10:
1701:
1665:Operas by Vincenzo Bellini
1209:Casaglia, Gherardo (2005).
1020:, in Weinstock 1971, p. 76
730:Opera house and orchestra
462:Premiere cast, 16 May 1829
1685:Libretti by Felice Romani
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918:Kimbell, in Holden, p. 49
751:Maria Luisa (Bordin) Nave
657:Scene 1: Zaira's quarters
222:about a second opera for
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16:Opera by Vincenzo Bellini
1655:Operas set in the Levant
1549:Vaga luna, che inargenti
1525:Meco all'altar di Venere
1469:I Capuleti e i Montecchi
1323:and on books.google.com.
1108:Kimbell, David (2001), "
769:, 30 March and 1 April)
760:Orchestra and Chorus of
651:
611:
438:
377:I Capuleti e i Montecchi
1660:Italian-language operas
1379:, Libretto (in Italian)
1276:Rosselli, John (1996),
607:Time: 14th/15th century
487:Henriette Méric-Lalande
470:Ferdinando Melchiorri)
431:, Italy in 2013 at the
388:20th century and beyond
263:Henriette Méric-Lalande
1570:Teatro Bellini, Naples
1543:Composizioni da Camera
1262:Orrey, Leslie (1973),
1035:, (Trans. T.A. Shaw) "
762:Teatro Massimo Bellini
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447:Luigi Lablache in 1840
421:Musiktheater im Revier
398:Teatro Massimo Bellini
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1675:Operas based on plays
976:Weinstock 1971, p. 75
944:Weinstein 1971, p. 55
837:CD: The Opera Lovers,
797:Alexandra Papadjakou,
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477:favourite of Orosmane
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176:Teatro Regio di Parma
155:Sultan of Jerusalem.
99:Teatro Regio di Parma
87:16 May 1829
1296:, Paris: Actes Sud.
1327:Zakariasen, William
1279:The Life of Bellini
1192:, New York: Knopf.
1049:Gazzetta di Firenze
825:Varduhl Abrahamyan,
758:Danilo Belardinelli
495:Sultan of Jerusalem
374:for his next opera
364:Gazzetta di Firenze
326:Performance history
190:Bellini around 1830
182:Composition history
133:which was based on
1535:Other compositions
1033:Friedrich Lippmann
1018:Promio dell'autore
868:Giacomo Sagripanti
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675:Scene 3: The harem
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1437:Bianca e Fernando
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1302:978-2-330-02377-5
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783:Katia Ricciarelli
748:Giorgio Lamberti,
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234:Francesco Florimo
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1315:. Routledge.
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1146:Stanley Sadie
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1126:0-140-29312-4
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1103:Cited sources
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821:Wenwei Zhang,
818:
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811:Cat: 6982/83
809:CD: Nuova Era
808:
801:
794:
789:
788:Simone Alaimo
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742:Renata Scotto
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518:mezzo-soprano
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131:Felice Romani
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61:
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53:Felice Romani
51:
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40:
35:
32:
27:
22:
19:
1601:
1541:
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1496:
1483:
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1460:
1459:
1453:La straniera
1451:
1443:
1435:
1427:
1375:
1369:
1364:
1353:
1337:
1332:
1311:
1293:
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1229:Casa Ricordi
1223:(in Italian)
1219:16 May 1829"
1212:
1203:
1202:
1189:
1175:
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1117:
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877:, July 2012
793:Ramón Vargas
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559:Castiglione
544:
528:
512:
494:
476:
418:
414:Ramón Vargas
393:
391:
387:
386:
381:
375:
371:
367:
366:notes that "
363:
361:
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342:
339:19th century
338:
337:
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316:
310:
303:
297:
289:
287:
284:
273:
271:
266:
258:
254:Le comte Ory
252:
246:
242:Teatro Regio
229:La straniera
227:
217:
171:
170:
161:La straniera
159:
157:
138:
117:, or tragic
114:
109:
108:
107:
74:
18:
1670:1829 operas
1370:Opera Today
1305:(in French)
882:Bongiovanni
827:Carlo Kang
799:Luigi Roni
746:Luigi Roni,
725:Lusignano)
543:Lusignano,
527:Corasmino,
511:Nerestano,
274:prima donna
267:prima donna
1644:Categories
1506:I puritani
1339:Opera News
1198:0394416562
1184:0931340713
893:References
858:Enea Scala
802:Paolo Olmi
728:Conductor,
723:Nerestano,
721:Corasmino,
697:Recordings
493:Orosmane,
458:Voice type
226:to follow
91:1829-05-16
49:Librettist
1591:Bel canto
1563:Namesakes
1445:Il pirata
1246:, (Ed.),
1148:, (Ed.),
719:Orosmane,
603:Jerusalem
466:Conductor
392:However,
353:Il pirata
149:Christian
125:set to a
29:Opera by
1608:Category
1231:(pub.),
1174:(1994),
596:Synopsis
583:Meledor
573:soprano
345:Lippmann
294:Voltaire
224:La Scala
166:La Scala
145:Crusades
135:Voltaire
127:libretto
83:Premiere
73:'s play
71:Voltaire
67:Based on
59:Language
1584:Related
1488:(1831)
1294:Bellini
1264:Bellini
1116:(Ed.),
767:Catania
717:(Zaira,
601:Place:
570:Fatima
482:soprano
475:Zaira,
349:Rossini
249:Rossini
89: (
62:Italian
1650:Operas
1620:Portal
1509:(1835)
1501:(1833)
1480:(1831)
1472:(1830)
1464:(1829)
1456:(1829)
1448:(1827)
1440:(1826)
1432:(1825)
1421:Operas
1319:
1300:
1286:
1270:
1256:
1242:", in
1217:
1196:
1182:
1165:
1158:
1138:
1124:
1112:", in
733:Label
562:tenor
153:Muslim
1634:Opera
1485:Norma
1461:Zaira
1376:Zaira
1365:Zaira
1354:Zaira
1333:Zaira
1240:Zaira
1213:Zaira
1110:Zaira
1093:Zaira
1037:Ziara
987:Zaira
929:Zaira
898:Notes
844:2016
816:2009
779:1990
738:1976
715:Cast:
712:Year
652:Act 2
612:Act 1
586:bass
549:bass
534:tenor
529:vizir
454:Role
439:Roles
394:Zaira
382:Zaira
372:Zaira
368:Zaira
311:Zaira
304:Zaira
299:Zaïre
172:Zaira
140:Zaïre
119:opera
113:is a
110:Zaira
76:Zaïre
24:Zaira
1317:ISBN
1298:ISBN
1284:ISBN
1268:ISBN
1254:ISBN
1194:ISBN
1180:ISBN
1163:ISBN
1156:ISBN
1136:ISBN
1122:ISBN
500:bass
412:and
404:and
932:at
880:CD:
296:'s
164:at
129:by
1646::
1025:^
949:^
905:^
435:.
168:.
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1225:.
1215:,
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860:,
855:,
850:,
795:,
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785:,
753:,
744:,
468::
464:(
93:)
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