La straniera

"La straniera" ("English: The Stranger") is an opera in two acts by Vincenzo Bellini, from a libretto by Felice Romani, based on "L'étrangère" (1825) by Charles-Victor Prévot, vicomte d'Arlincourt. It was composed in the autumn of 1828 and premiered in February 1829 in Milan.

Performance history

The opera was first performed at the Teatro alla Scala, Milan on 14 February 1829, with Henriette Méric-Lalande and Domenico Reina in the leading roles. Alessandro Sanquirico designed the stage sets, and it was presented on a triple bill, along with the ballets "Buondelmonte" and "L'avviso ai maritati". [Stelios Galatopoulos, "Bellini: Life, Times, Music", Biddles Ltd, 2002, pp. 192-130.] It was first presented in Vienna (1831), Paris, (1832), London (June 23, 1832), New York (November 10, 1834), and Lisbon (1835). [J. Warrack and E. West, "The Oxford Dictionary of Opera", 1992.] [Stelios Galatopoulos, "Bellini: Life, Times, Music", Biddles Ltd, 2002, p. 141.]

Few performances occurred after its presentation in Palermo in 1840. [Stelios Galatopoulos, "Bellini: Life, Times, Music", Biddles Ltd, 2002, p. 141.] The opera was revived in 1954 in Bellini's hometown of Catania. It was revived again in 1968 at the Teatro Massimo in Palermo, with Renata Scotto in the title role. Scotto performed it again in Venice in 1970 with conductor Ettore Gracis, while in 1969 a concert performance at Carnegie Hall featured Montserrat Caballé under the baton of Anton Guadagno. Recordings exist of all three of these presentations. The opera was performed again in concert in 1993, again at Carnegie Hall, with Renee Fleming. [ [http://query.nytimes.com/gst/fullpage.html?res=9F0CE6D71E3BF933A25751C0A965958260 Bernard Holland, "Opera/Review: How Bellini's Second Thoughts Were Really First" , "The New York Times", February 10, 1993] .] A complete concert performance was given in November 2007 in London, with Patriza Ciofi (as Alaide), Dario Schmunck (Arturo), and Mark Stone (Valdeburgo) in the principal roles, conducted by David Parry with the London Philharmonic Orchestra; a complete studio recording was made with these forces the same week, scheduled for release in 2008. [London Philharmonic Orchestra programme book, November 3, 2007.]

Roles and original cast

Historical background

The back story of this opera's plot is a complicated series of historical events beginning at the end of the twelfth century. King Philip Augustus of France (Philip II of France) married the Danish princess Ingeborg in 1193. For unknown reasons, he separated from her the day after the wedding and sought an annulment from Pope Celestine III. Ingeborg, however, insisted that the marriage had been consummated, and that she was his wife and the rightful Queen of France. Philip ultimately obtained an annulment through an assembly of French bishops. He then sought to marry Marguerite, daughter of William I, Count of Geneva, but she was kidnapped on the way to Paris by Thomas I of Savoy, who married her instead. Ultimately, in 1196 Philip married Agnes of Merania ("la straniera"), the daughter of a nobleman, Bertold IV of Dalmatia. Denmark continued to complain about Philip's treatment of Ingeborg and in 1200 Pope Innocent III required Philip to take her back, rendering him essentially a bigamist and subject to excommunication. Agnes died in 1201, however, ending the threat of excommunication.

Bellini and librettist Romani took tremendous liberties with this already unusual story and devised a plot where the King, in order to resolve the problem of his double marriage, sends Agnes to live at a cottage on Lake Montolino. Philip then sends her brother to watch over her secretly, masquerading under the name Valdeburgo. Agnes has assumed the name of Alaide and hides under a veil. Count Arturo has fallen in love with her, in spite of his engagement to Isoletta, daughter of the Duke of Montolino. And so begins the opera.

Synopsis

Act 1

"Scene 1"

A wedding chorus proclaims the upcoming wedding of Isoletta, daughter of Montolino, to Count Arturo of Ravenstal. Isoletta fears her Arturo's changed attitude toward her. She tells Baron Valdeburgo that she believes Arturo has fallen in love with a mysterious woman living as a hermit in a hut by the lake. In the distance a crowd is heard following "la straniera" on the lake shore, cursing her as a witch. Count Montolino shares his daughter Isoletta's concerns, but is reassured by his friend Osburgo who promises to bring Arturo to his senses.

"Scene 2"

Arturo is at the hut of "la straniera" Alaide. He desires to know the identity of this mysterious woman. Inside the hut he sees a portrait of her dressed in royal robes, wearing jewels. Alaide enters and chastises Arturo for entering her hut. She tells him she will reveal nothing about her past and begs him never to return. She does, however, admit to an attraction to Arturo. She sends him away, warning that his persistence will be their ruin. "Scene 3"

During a hunting expedition, Osburgo and Valdeburgo encounter Arturo. Osburgo begs him to return for his wedding to Isoletta. Arturo refuses, asking Valdeburgo to meet his true love. Arturo promises he will never see her again if Valdeburgo judges her unworthy. Valdeburgo, upon seeing Alaide, hails her and almost calls out her real name, but Alaide stops him. Valdeburgo tells Arturo that -- for reasons he cannot reveal -- Arturo must renounce any intentions toward Alaide. She cannot ever marry Arturo. Thinking Valdeburgo is his rival for Alaide's affections, Arturo attacks him with his sword. Alaide intervenes and begs Arturo to leave. She agrees to see him again -- if for the last time.

"Scene 4"

Arturo, still mistakenly crazy with jealousy directed at Valdeburgo, is further infuriated when Osburgo tells him that he has overheard Valdeburgo and Alaide planning to flee together. Arturo duels with Valdeburgo who is wounded by Arturo's sword and falls in the lake. Alaide then appears and Arturo curses her. Alaide reveals that Valdeburgo is actually her brother. Arturo jumps in the lake in an effort to save Valdeburgo. A crowd attracted by the shouting finds Alaide standing with Arturo's bloody sword. They accuse her of murdering Valdeburgo and drag her off as a prisoner.

Act 2

"Scene 1"

Alaide is brought to trial. Osburgo testifies against her. The presiding Priore (Prior) asks her name, and she responds only "la straniera." The Prior feels that he has heard her voice before. Arturo rushes in and proclaims her innocence and confesses his own guilt. However, Valdeburgo suddenly appears as well to announce that Arturo is innocent. The Prior again demands Alaide's name, which she refuses to reveal. But she does agree to lift her veil for the Prior. He gasps upon seeing her face and sends her off with Valdeburgo. Arturo is left alone, while the Prior chastises Osburgo for his false testimony against Alaide.

"Scene 2"

Arturo comes to beg Alaide's forgiveness and confess his love. But he encounters Valdeburgo outside her hut. Valdeburgo again pleads with Arturo to desist in his attentions toward Alaide. Arturo reluctantly agrees to return to marry Isoletta, but asks that Alaide attend his wedding so he can see her one last time. Valdeburgo agrees.

"Scene 3"

Isoletta, truly unhappy and understandably feeling ignored and unloved, prepares for her wedding. The wedding party appears. Valdeburgo tells Arturo that Alaide is present, but hidden. Arturo behaves badly toward Isoletta who threatens to stop the wedding. Alaide, Valdeburgo, Arturo and Isoletta all weep over their respective torments. Isoletta finally renounces Arturo. Alaide suddenly reveals herself and begs Isoletta to continue with the wedding, and starts to rush out of the church. Arturo abandons Isoletta at the altar and begs Alaide to run off with him. The Prior then announces to all that Alaide is in fact Queen Agnes. What's more, the Prior has just learned that the Queen's rival for the throne has died and she must now return to Paris. Arturo, rendered mad by this news, throws himself on his sword. Isoletta falls on his dead body. La Straniera/Alaide/Agnes must now return to fulfill her duty as Queen, abandoning all hope of personal happiness.

References