I masnadieri
Encyclopedia
I masnadieri is an opera
in four acts by Giuseppe Verdi
to an Italian libretto
by Andrea Maffei
, based on Die Räuber
by Friedrich von Schiller.
The first performance was given at Her Majesty's Theatre
in London
on July 22, 1847 with Verdi conducting.
took over the management of Her Majesty's Theatre
, the traditional home of Italian opera in London. Three years later Verdi's Ernani
received its first British production at his theatre to great public acclaim which convinced Lumley that he should commission an opera from Verdi, who was by then emerging as Italy's leading composer, for a world premiere in London. Verdi accepted Lumley's proposal and production was scheduled for the summer of 1846. Unfortunately, however, Verdi's health deteriorated and the premiere of the new work had to be postponed until 1847.
During his period of recovery, one of Verdi's close friends, Andrea Maffei, a distinguished poet who had translated both Shakespeare and Schiller into Italian, suggested that Macbeth
and Schiller's Die Rãuber might provide suitable operatic subjects. Maffei himself worked on the libretto for the Schiller opera, which in Italian became I masnadieri, while one of Verdi's regular librettists Francesco Piave
was engaged to provide a suitable text from Macbeth.
Verdi originally intended I masnadieri to be produced during the 1847 carnival season in Florence with the premiere of Macbeth being in London later in the year. Unfortunately, however, no suitable tenor was available in Florence for the taxing role of Carlo, and so Verdi decided to complete Macbeth first for performance in Florence and then produce I masnadieri in London.
Verdi left Italy at the end of May 1847 with his work for London completed, except for the orchestration, which he left until the opera was in rehearsal. The cast assembled for the premiere on 22 July 1847 was of the highest international standard. In particular, as the highlight of her first season in England, the great Swedish coloratura
soprano Jenny Lind
was engaged to create the role of Amalia, the opera's heroine.
Queen Victoria and Prince Albert attended the first performance, together with the Duke of Wellington
and every member of the British aristocracy and fashionable society that was able to gain admission.
After considerable persuasion Verdi agreed to conduct the premiere, which was a triumphant success, and the press was for the most part generous in its praise. Unfortunately this initial success was not to be repeated elsewhere; perhaps (at least in part) for the inconsistencies and excesses of its libretto.
presented it during their "Verdi Festival" in summer 1984 with Joan Sutherland
in the role of Amalia. It is claimed that Vincent La Selva
(now of the New York Grand Opera) gave the first US presentation in 127 years in 1994. It appeared in 1996 as part of the NYGO's "Viva Verdi" series of all of the composer's operas presented in chronological order.
The Sarasota Opera
, a company which plans to present all of Verdi's operas before 2013, presented I masnadieri in 2006. Additionally, concert performances have been given by the Opera Orchestra of New York
in February 1975 and in March 1999 with Russian baritone Dmitri Hvorostovsky
. More recently, it was presented by the Zurich Opera
in December 2010, with Fabio Sartori, Thomas Hampson, and Isabel Rey
, in the leading roles, and by the Frankfurt Opera in November 2008 and again in June 2011
throughout his life.
However, even in Italy it has never found a regular place in the repertoire, possibly because it requires a soprano and tenor of the highest calibre which makes it a too demanding work for routine repertory production, or it may be that the libretto is regarded as too outrageous for modern audiences.
I masnadieri is exactly the type of opera that W. S. Gilbert
had in mind when he wrote The Pirates of Penzance
in 1879, his glorious parody of the absurdities of mid-19th century Italian Grand Opera
. Nevertheless, overall it remains one of Verdi's most unjustly neglected works, with at best much to be admired, and at worst never a dull moment.
.
During a break from his studies at Dresden University, Carlo, the elder and favourite son of Count Massimiliano Moor has fallen amongst thieves, literally. He has become a member of a notorious gang of highwaymen and cut-throats who terrorise the local community by robbery, extortion and rowdy singing at all hours of the day and night.
But already Carlo has tired of living a life of depravity and longs to return home to be with Amalia, his gentle cousin and lifelong sweetheart (O mio castel paterno / "O castle of my fathers"). He is awaiting the reply to a letter he has sent to his father begging for forgiveness for his recent misdemeanors.
Rolla and the other robbers arrive with the longed-for reply from the Count. Carlo’s joy soon turns to sorrow, and then anger (Nell'argilla maledetta / "Let my wrath plunge these swords into the accursed clay"), as he finds that the letter is not from his father but from his younger brother Francesco, who warns him not to return home because, far from having forgiven Carlo, the old Count is intent on punishing him and locking him away.
Carlo renounces his former life and swears an oath to remain with his new comrades for the rest of his days. The robbers unanimously elect him as their new leader.
Scene 2: A room in Count Moor’s castle in Franconia
.
Francesco is congratulating himself on having intercepted the letter from his brother to their father, knowing that Massimiliano would certainly have forgiven Carlo if he had received it. Now only the elderly, infirm Count stands between Francesco and the family title and estates, and he has devised a plan to hasten his father’s death (La sua lampada vitale / "The lamp of his life burns low").
He forces Arminio, one of the castle servants, to disguise himself as a soldier recently arrived with tragic 'news' of Carlo's death, and sings his cabaletta
, Tremate, o miseri / "Tremble, you wretches, you shall see me in my true terrible aspect".
Scene 3: Count Moor’s bedroom in the castle.
Amalia is watching over the ailing Count. Each of them is thinking affectionately of the missing Carlo (Lo sguardo avea degli angeli / "His face had the smile of the angels").
Francesco ushers the disguised Arminio into the room. Arminio describes how he fought alongside Carlo for King Frederick
in a battle for the city of Prague, and how he saw him mortally wounded. Carlo’s final act in this world was to inscribe a message, using his own blood, on the blade of his sword, that Amalia and Francesco should marry.
Amalia and the Count are completely taken in; Massimiliano falls into a dead faint and Amalia, in a frenzy of hysteria, rushes offstage leaving a jubilant Francesco.
Several months have passed since the previous scene and Amalia enters to pray at Count Massimiliano’s tomb (Tu del mio Carlo al seno / "Blessed spirit, you have flown to the bosom of my Carlo"). In the distance can be heard the sounds of a festive banquet hosted by Francesco, the new Count.
Arminio has followed Amalia from the castle because he is overcome by guilt at his part in Francesco’s wicked scheming. He just has time to reveal that both Carlo and the old Count are still alive (provoking Amalia's cabaletta Carlo vive? O caro accento / "Carlo lives?....O sweet words") before he is disturbed by the arrival of Francesco and forced to flee the scene.
Francesco has also been searching for Amalia with the intention of asking her to marry him. Her scornful refusal provokes him into a rage and he becomes violent. Amalia pretends a change of heart and embraces him so that she can seize his dagger and fend him off before making her escape into the nearby forest.
Scene 2: A clearing in a Bohemia
n forest.
Rolla has been captured in Prague and the brigands are awaiting the return of their leader, Carlo, who has gone to rescue him. The rescue is achieved, but at the same time Carlo has managed to set fire to much of the city, resulting in armed citizens pursuing him. The scene ends with Carlo exhorting his gallant band to fight like wolves to save themselves.
The robbers sing of the pleasures of their criminal activities. They are now in the same forest as the distraught Amalia. Amalia fails to recognise her betrothed when he approaches her. Carlo reveals his identity, without mentioning his comrades, and there is a joyous reconciliation. Carlo is horrified when he learns of his brother’s unsuccessful attack on her virtue.
Scene 2: Another clearing in the Franconian forest.
Carlo is alone and contemplates his dismal future (Di ladroni attorniato / "Surrounded by robbers, fettered to crime"). He considers suicide, but decides that he must accept his dreadful fate and live on in loneliness and misery, reviled by all decent people.
Arminio enters stealthily and approaches some nearby ruins. Hearing a voice within the ruins, Carlo investigates and discovers the emaciated figure of his father. Massimiliano fails to recognise his son, but nevertheless describes to him how Francesco attempted to bury him alive after his collapse on hearing of Carlo’s death (Un ignoto tre lune or saranno / "An unknown - it will be three moons ago now - told me that my Carlo had been killed"). Fortunately Arminio saved him and has kept him hidden in the ruins where Carlo has found him.
Leaving the Count, Carlo calls on his band to storm the castle and capture his evil brother.
Francesco wakes after terrifying, guilt ridden nightmares (Pareami che sorto da lanto convito / "I fancied that, having risen from a sumptuous banquet, I was sleeping..."). He summons the local priest who refuses him absolution for his heinous crimes. At this point the brigands are heard storming the castle and Francesco rushes out, swearing that he will defy the very fires of Hell.
Scene 2: The second clearing in the Franconian forest.
Massimiliano bewails Carlo's death, although he still does not recognise that the man standing in front of him is his favourite son. He blesses the "unknown stranger" for saving his life.
The robbers reappear and report that they did not manage to capture Francesco. This pleases Carlo who intends to change his ways. At this moment Amalia is dragged in by the brigands. Carlo is forced to admit to her, and to his father, his role as leader of the robbers. Massimiliano expresses his horror and despair, but Amalia declares that despite everything she still loves Carlo and wants to stay with him.
Although Carlo has sworn to change his ways, he has also given his oath of lifelong allegiance to his band of robbers. He cannot allow the woman he loves to be dragged down into his world of degradation and disgrace and he cannot escape his own evil fate; he resolves this paradox by stabbing Amalia to death. Carlo rushes offstage claiming he is going in search of his own death.
Opera
Opera is an art form in which singers and musicians perform a dramatic work combining text and musical score, usually in a theatrical setting. Opera incorporates many of the elements of spoken theatre, such as acting, scenery, and costumes and sometimes includes dance...
in four acts by Giuseppe Verdi
Giuseppe Verdi
Giuseppe Fortunino Francesco Verdi was an Italian Romantic composer, mainly of opera. He was one of the most influential composers of the 19th century...
to an Italian libretto
Libretto
A libretto is the text used in an extended musical work such as an opera, operetta, masque, oratorio, cantata, or musical. The term "libretto" is also sometimes used to refer to the text of major liturgical works, such as mass, requiem, and sacred cantata, or even the story line of a...
by Andrea Maffei
Andrea Maffei
Andrea Maffei was an Italian poet, translator and librettist.-Life:Maffei was born in Molina di Ledro, Trentino.A follower of Vincenzo Monti, he formed part of the 19th century Italian classicist literary culture. Gaining laurea in jurisprudence, he moved for some years to Verona, then to Venice...
, based on Die Räuber
Die Räuber
The Robbers was the first drama by German playwright Friedrich Schiller. The play was published in 1781 and premiered on January 13, 1782 in Mannheim, Germany. It was written towards the end of the German Sturm und Drang movement and has been considered by many critics, such as Peter Brooks, to...
by Friedrich von Schiller.
The first performance was given at Her Majesty's Theatre
Her Majesty's Theatre
Her Majesty's Theatre is a West End theatre, in Haymarket, City of Westminster, London. The present building was designed by Charles J. Phipps and was constructed in 1897 for actor-manager Herbert Beerbohm Tree, who established the Royal Academy of Dramatic Art at the theatre...
in London
London
London is the capital city of :England and the :United Kingdom, the largest metropolitan area in the United Kingdom, and the largest urban zone in the European Union by most measures. Located on the River Thames, London has been a major settlement for two millennia, its history going back to its...
on July 22, 1847 with Verdi conducting.
Composition history
In 1842 Benjamin LumleyBenjamin Lumley
Benjamin Lumley, opera manager and solicitor, was born Benjamin Levy, in 1811, the son of a Jewish merchant Louis Levy, and died 17 March 1875 in London.-Beginnings at His Majesty's Theatre:...
took over the management of Her Majesty's Theatre
Her Majesty's Theatre
Her Majesty's Theatre is a West End theatre, in Haymarket, City of Westminster, London. The present building was designed by Charles J. Phipps and was constructed in 1897 for actor-manager Herbert Beerbohm Tree, who established the Royal Academy of Dramatic Art at the theatre...
, the traditional home of Italian opera in London. Three years later Verdi's Ernani
Ernani
Ernani is an operatic dramma lirico in four acts by Giuseppe Verdi to an Italian libretto by Francesco Maria Piave, based on the play Hernani by Victor Hugo. The first production took place at La Fenice Theatre, Venice on 9 March 1844...
received its first British production at his theatre to great public acclaim which convinced Lumley that he should commission an opera from Verdi, who was by then emerging as Italy's leading composer, for a world premiere in London. Verdi accepted Lumley's proposal and production was scheduled for the summer of 1846. Unfortunately, however, Verdi's health deteriorated and the premiere of the new work had to be postponed until 1847.
During his period of recovery, one of Verdi's close friends, Andrea Maffei, a distinguished poet who had translated both Shakespeare and Schiller into Italian, suggested that Macbeth
Macbeth
The Tragedy of Macbeth is a play by William Shakespeare about a regicide and its aftermath. It is Shakespeare's shortest tragedy and is believed to have been written sometime between 1603 and 1607...
and Schiller's Die Rãuber might provide suitable operatic subjects. Maffei himself worked on the libretto for the Schiller opera, which in Italian became I masnadieri, while one of Verdi's regular librettists Francesco Piave
Francesco Maria Piave
Francesco Maria Piave was an Italian opera librettist who was born in Murano in the lagoon of Venice, during the brief Napoleonic Kingdom of Italy. His career spanned over twenty years working with many of the significant composers of his day...
was engaged to provide a suitable text from Macbeth.
Verdi originally intended I masnadieri to be produced during the 1847 carnival season in Florence with the premiere of Macbeth being in London later in the year. Unfortunately, however, no suitable tenor was available in Florence for the taxing role of Carlo, and so Verdi decided to complete Macbeth first for performance in Florence and then produce I masnadieri in London.
Verdi left Italy at the end of May 1847 with his work for London completed, except for the orchestration, which he left until the opera was in rehearsal. The cast assembled for the premiere on 22 July 1847 was of the highest international standard. In particular, as the highlight of her first season in England, the great Swedish coloratura
Coloratura
Coloratura has several meanings. The word is originally from Italian, literally meaning "coloring", and derives from the Latin word colorare . When used in English, the term specifically refers to elaborate melody, particularly in vocal music and especially in operatic singing of the 18th and...
soprano Jenny Lind
Jenny Lind
Johanna Maria Lind , better known as Jenny Lind, was a Swedish opera singer, often known as the "Swedish Nightingale". One of the most highly regarded singers of the 19th century, she is known for her performances in soprano roles in opera in Sweden and across Europe, and for an extraordinarily...
was engaged to create the role of Amalia, the opera's heroine.
Queen Victoria and Prince Albert attended the first performance, together with the Duke of Wellington
Arthur Wellesley, 1st Duke of Wellington
Field Marshal Arthur Wellesley, 1st Duke of Wellington, KG, GCB, GCH, PC, FRS , was an Irish-born British soldier and statesman, and one of the leading military and political figures of the 19th century...
and every member of the British aristocracy and fashionable society that was able to gain admission.
After considerable persuasion Verdi agreed to conduct the premiere, which was a triumphant success, and the press was for the most part generous in its praise. Unfortunately this initial success was not to be repeated elsewhere; perhaps (at least in part) for the inconsistencies and excesses of its libretto.
Performance history
The opera has been rarely performed in the twentieth century and beyond. In the US, the San Diego OperaSan Diego Opera
The San Diego Opera Association is a professional opera company located in the city of San Diego, California and is a member of OPERA America. It was founded in 1950 to present productions by San Francisco Opera in the San Diego area...
presented it during their "Verdi Festival" in summer 1984 with Joan Sutherland
Joan Sutherland
Dame Joan Alston Sutherland, OM, AC, DBE was an Australian dramatic coloratura soprano noted for her contribution to the renaissance of the bel canto repertoire from the late 1950s through to the 1980s....
in the role of Amalia. It is claimed that Vincent La Selva
Vincent La Selva
Vincent La Selva is an American conductor. Born in Cleveland, Ohio, he began performing at the age of 8, and by the age of 12, he was conducting student performances. He received his bachelor's degree from the Juilliard School, where he has served on the faculty since 1969...
(now of the New York Grand Opera) gave the first US presentation in 127 years in 1994. It appeared in 1996 as part of the NYGO's "Viva Verdi" series of all of the composer's operas presented in chronological order.
The Sarasota Opera
Sarasota Opera
Sarasota Opera is a professional opera company in Sarasota, Florida, USA, which owns and performs in the now-renovated 1,119-seat Sarasota Opera House. The 2011-2012 season is currently featuring Puccini’s Madama Butterfly in the fall...
, a company which plans to present all of Verdi's operas before 2013, presented I masnadieri in 2006. Additionally, concert performances have been given by the Opera Orchestra of New York
Opera Orchestra of New York
The Opera Orchestra of New York specializes in the performance of opera in concert form. It is particularly known for its work in presenting rarely performed repertory...
in February 1975 and in March 1999 with Russian baritone Dmitri Hvorostovsky
Dmitri Hvorostovsky
Dmitri Aleksandrovich Hvorostovsky , is a leading baritone opera singer from Russia.Hvorostovsky was born in Krasnoyarsk in Siberia. He studied at the Krasnoyarsk School of Arts under Yekatherina Yofel and made his debut at Krasnoyarsk Opera House, in the role of Marullo in Rigoletto...
. More recently, it was presented by the Zurich Opera
Zurich Opera
Oper Zürich is an opera company based in Zurich, Switzerland. The company gives performances in the Opernhaus Zürich which has been the company’s home for fifty years.-History:...
in December 2010, with Fabio Sartori, Thomas Hampson, and Isabel Rey
Isabel Rey
Isabel Rey is a Spanish operatic soprano who has performed leading roles in the opera houses of Europe and appears on many recordings.- Discography :*Handel: Semele – Conductor: William Christie; Rey, Bartoli, Workman...
, in the leading roles, and by the Frankfurt Opera in November 2008 and again in June 2011
Reception
I masnadieri is undoubtedly one of the most interesting and inspired operas of Verdi's early period. The work abounds with glorious melodies and musically shows significant technical advances over the composer's earlier operas. It remained a particular favourite of playwright and music critic George Bernard ShawGeorge Bernard Shaw
George Bernard Shaw was an Irish playwright and a co-founder of the London School of Economics. Although his first profitable writing was music and literary criticism, in which capacity he wrote many highly articulate pieces of journalism, his main talent was for drama, and he wrote more than 60...
throughout his life.
However, even in Italy it has never found a regular place in the repertoire, possibly because it requires a soprano and tenor of the highest calibre which makes it a too demanding work for routine repertory production, or it may be that the libretto is regarded as too outrageous for modern audiences.
I masnadieri is exactly the type of opera that W. S. Gilbert
W. S. Gilbert
Sir William Schwenck Gilbert was an English dramatist, librettist, poet and illustrator best known for his fourteen comic operas produced in collaboration with the composer Sir Arthur Sullivan, of which the most famous include H.M.S...
had in mind when he wrote The Pirates of Penzance
The Pirates of Penzance
The Pirates of Penzance; or, The Slave of Duty is a comic opera in two acts, with music by Arthur Sullivan and libretto by W. S. Gilbert. The opera's official premiere was at the Fifth Avenue Theatre in New York City on 31 December 1879, where the show was well received by both audiences...
in 1879, his glorious parody of the absurdities of mid-19th century Italian Grand Opera
Grand Opera
Grand opera is a genre of 19th-century opera generally in four or five acts, characterised by large-scale casts and orchestras, and lavish and spectacular design and stage effects, normally with plots based on or around dramatic historic events...
. Nevertheless, overall it remains one of Verdi's most unjustly neglected works, with at best much to be admired, and at worst never a dull moment.
Roles
| Role | Voice type | Premiere Cast, 22 July 1847 (Conductor: Giuseppe Verdi Giuseppe Verdi Giuseppe Fortunino Francesco Verdi was an Italian Romantic composer, mainly of opera. He was one of the most influential composers of the 19th century... ) |
|---|---|---|
| Massimiliano, Count Moor | bass | Luigi Lablache Luigi Lablache Luigi Lablache was an Italian opera singer of French and Irish heritage. He was most noted for his comic performances, possessing a powerful and agile bass voice, a wide range, and adroit acting skills: Leporello in Don Giovanni was one of his signature roles.-Biography:Luigi Lablache was born in... |
| Carlo, elder son of Massimiliano | tenor Tenor The tenor is a type of male singing voice and is the highest male voice within the modal register. The typical tenor voice lies between C3, the C one octave below middle C, to the A above middle C in choral music, and up to high C in solo work. The low extreme for tenors is roughly B2... |
Italo Gardoni Italo Gardoni Italo Gardoni was a leading operatic tenore di grazia singer from Italy who enjoyed a major international career during the middle decades of the 19th century... |
| Francesco, younger son of Massimiliano | baritone Baritone Baritone is a type of male singing voice that lies between the bass and tenor voices. It is the most common male voice. Originally from the Greek , meaning deep sounding, music for this voice is typically written in the range from the second F below middle C to the F above middle C Baritone (or... |
Filippo Coletti |
| Amalia, orphaned niece of Massimiliano | soprano Soprano A soprano is a voice type with a vocal range from approximately middle C to "high A" in choral music, or to "soprano C" or higher in operatic music. In four-part chorale style harmony, the soprano takes the highest part, which usually encompasses the melody... |
Jenny Lind Jenny Lind Johanna Maria Lind , better known as Jenny Lind, was a Swedish opera singer, often known as the "Swedish Nightingale". One of the most highly regarded singers of the 19th century, she is known for her performances in soprano roles in opera in Sweden and across Europe, and for an extraordinarily... |
| Arminio, servant to the Count | tenor | Leone Corelli |
| Rolla, senior member of the band of robbers | baritone | |
| Moser, a priest | bass | Lucien Bouché |
| chorus of robbers | ||
Act 1
Scene 1: A tavern on the borders of SaxonySaxony
The Free State of Saxony is a landlocked state of Germany, contingent with Brandenburg, Saxony Anhalt, Thuringia, Bavaria, the Czech Republic and Poland. It is the tenth-largest German state in area, with of Germany's sixteen states....
.
During a break from his studies at Dresden University, Carlo, the elder and favourite son of Count Massimiliano Moor has fallen amongst thieves, literally. He has become a member of a notorious gang of highwaymen and cut-throats who terrorise the local community by robbery, extortion and rowdy singing at all hours of the day and night.
But already Carlo has tired of living a life of depravity and longs to return home to be with Amalia, his gentle cousin and lifelong sweetheart (O mio castel paterno / "O castle of my fathers"). He is awaiting the reply to a letter he has sent to his father begging for forgiveness for his recent misdemeanors.
Rolla and the other robbers arrive with the longed-for reply from the Count. Carlo’s joy soon turns to sorrow, and then anger (Nell'argilla maledetta / "Let my wrath plunge these swords into the accursed clay"), as he finds that the letter is not from his father but from his younger brother Francesco, who warns him not to return home because, far from having forgiven Carlo, the old Count is intent on punishing him and locking him away.
Carlo renounces his former life and swears an oath to remain with his new comrades for the rest of his days. The robbers unanimously elect him as their new leader.
Scene 2: A room in Count Moor’s castle in Franconia
Franconia
Franconia is a region of Germany comprising the northern parts of the modern state of Bavaria, a small part of southern Thuringia, and a region in northeastern Baden-Württemberg called Tauberfranken...
.
Francesco is congratulating himself on having intercepted the letter from his brother to their father, knowing that Massimiliano would certainly have forgiven Carlo if he had received it. Now only the elderly, infirm Count stands between Francesco and the family title and estates, and he has devised a plan to hasten his father’s death (La sua lampada vitale / "The lamp of his life burns low").
He forces Arminio, one of the castle servants, to disguise himself as a soldier recently arrived with tragic 'news' of Carlo's death, and sings his cabaletta
Cabaletta
Cabaletta describes the two-part musical form particularly favored for arias in 19th century Italian opera, and is more properly the name of the more animated section following the songlike cantabile. It often introduces a complication or intensification of emotion and/or plot. Some sources...
, Tremate, o miseri / "Tremble, you wretches, you shall see me in my true terrible aspect".
Scene 3: Count Moor’s bedroom in the castle.
Amalia is watching over the ailing Count. Each of them is thinking affectionately of the missing Carlo (Lo sguardo avea degli angeli / "His face had the smile of the angels").
Francesco ushers the disguised Arminio into the room. Arminio describes how he fought alongside Carlo for King Frederick
Frederick II of Prussia
Frederick II was a King in Prussia and a King of Prussia from the Hohenzollern dynasty. In his role as a prince-elector of the Holy Roman Empire, he was also Elector of Brandenburg. He was in personal union the sovereign prince of the Principality of Neuchâtel...
in a battle for the city of Prague, and how he saw him mortally wounded. Carlo’s final act in this world was to inscribe a message, using his own blood, on the blade of his sword, that Amalia and Francesco should marry.
Amalia and the Count are completely taken in; Massimiliano falls into a dead faint and Amalia, in a frenzy of hysteria, rushes offstage leaving a jubilant Francesco.
Act 2
Scene 1: A graveyard near the castle.Several months have passed since the previous scene and Amalia enters to pray at Count Massimiliano’s tomb (Tu del mio Carlo al seno / "Blessed spirit, you have flown to the bosom of my Carlo"). In the distance can be heard the sounds of a festive banquet hosted by Francesco, the new Count.
Arminio has followed Amalia from the castle because he is overcome by guilt at his part in Francesco’s wicked scheming. He just has time to reveal that both Carlo and the old Count are still alive (provoking Amalia's cabaletta Carlo vive? O caro accento / "Carlo lives?....O sweet words") before he is disturbed by the arrival of Francesco and forced to flee the scene.
Francesco has also been searching for Amalia with the intention of asking her to marry him. Her scornful refusal provokes him into a rage and he becomes violent. Amalia pretends a change of heart and embraces him so that she can seize his dagger and fend him off before making her escape into the nearby forest.
Scene 2: A clearing in a Bohemia
Bohemia
Bohemia is a historical region in central Europe, occupying the western two-thirds of the traditional Czech Lands. It is located in the contemporary Czech Republic with its capital in Prague...
n forest.
Rolla has been captured in Prague and the brigands are awaiting the return of their leader, Carlo, who has gone to rescue him. The rescue is achieved, but at the same time Carlo has managed to set fire to much of the city, resulting in armed citizens pursuing him. The scene ends with Carlo exhorting his gallant band to fight like wolves to save themselves.
Act 3
Scene 1: A clearing in a Franconian forest.The robbers sing of the pleasures of their criminal activities. They are now in the same forest as the distraught Amalia. Amalia fails to recognise her betrothed when he approaches her. Carlo reveals his identity, without mentioning his comrades, and there is a joyous reconciliation. Carlo is horrified when he learns of his brother’s unsuccessful attack on her virtue.
Scene 2: Another clearing in the Franconian forest.
Carlo is alone and contemplates his dismal future (Di ladroni attorniato / "Surrounded by robbers, fettered to crime"). He considers suicide, but decides that he must accept his dreadful fate and live on in loneliness and misery, reviled by all decent people.
Arminio enters stealthily and approaches some nearby ruins. Hearing a voice within the ruins, Carlo investigates and discovers the emaciated figure of his father. Massimiliano fails to recognise his son, but nevertheless describes to him how Francesco attempted to bury him alive after his collapse on hearing of Carlo’s death (Un ignoto tre lune or saranno / "An unknown - it will be three moons ago now - told me that my Carlo had been killed"). Fortunately Arminio saved him and has kept him hidden in the ruins where Carlo has found him.
Leaving the Count, Carlo calls on his band to storm the castle and capture his evil brother.
Act 4
Scene 1: Another room in Count Moor’s castle.Francesco wakes after terrifying, guilt ridden nightmares (Pareami che sorto da lanto convito / "I fancied that, having risen from a sumptuous banquet, I was sleeping..."). He summons the local priest who refuses him absolution for his heinous crimes. At this point the brigands are heard storming the castle and Francesco rushes out, swearing that he will defy the very fires of Hell.
Scene 2: The second clearing in the Franconian forest.
Massimiliano bewails Carlo's death, although he still does not recognise that the man standing in front of him is his favourite son. He blesses the "unknown stranger" for saving his life.
The robbers reappear and report that they did not manage to capture Francesco. This pleases Carlo who intends to change his ways. At this moment Amalia is dragged in by the brigands. Carlo is forced to admit to her, and to his father, his role as leader of the robbers. Massimiliano expresses his horror and despair, but Amalia declares that despite everything she still loves Carlo and wants to stay with him.
Although Carlo has sworn to change his ways, he has also given his oath of lifelong allegiance to his band of robbers. He cannot allow the woman he loves to be dragged down into his world of degradation and disgrace and he cannot escape his own evil fate; he resolves this paradox by stabbing Amalia to death. Carlo rushes offstage claiming he is going in search of his own death.
Recordings
| Year | Cast (Massimiliano, Carlo, Francesco, Amalia) |
Conductor, Opera House and Orchestra |
Label |
|---|---|---|---|
| 1972 | Boris Christoff Boris Christoff Boris Christoff was a Bulgarian opera singer... Gianni Raimondi Gianni Raimondi Gianni Raimondi was an Italian lyric tenor, particularly associated with the Italian repertory.Born in Bologna, Raimondi studied at the Music Conservatory of his native city with Antonio Melandri, and Gennaro Barra-Caracciolo and in Mantua with Ettore Campogalliani... Renato Bruson Renato Bruson Renato Bruson is an Italian operatic baritone. Bruson is widely considered one of the most important Verdi baritones of the late 20th and early 21st century. He was born in Granze near Padua, Italy.-Biography and career:... Ilva Ligabue Ilva Ligabue Ilva Ligabue was an Italian operatic soprano, best known for the role of Alice Ford in Falstaff, which she recorded twice, under Georg Solti and Leonard Bernstein .... |
Gianandrea Gavazzeni Gianandrea Gavazzeni Gianandrea Gavazzeni was an Italian pianist, conductor , composer and musicologist.Gavazzeni was born in Bergamo. For almost 50 years, starting from 1948, he was principal conductor at La Scala, Milan, in 1966-68 being its music and artistic director.He had his Metropolitan Opera debut on 11... , Rome Opera Orchestra and Chorus (Live recording of 29 Nov. performance) |
Audio CD: Opera D'Oro Cat: OPD 1346 |
| 1975 | Ruggero Raimondi Ruggero Raimondi Ruggero Raimondi is an Italian bass-baritone opera singer who has also appeared in motion pictures.-Early training and career:Ruggero Raimondi was born in Bologna, Italy, during World War II... Carlo Bergonzi Carlo Bergonzi Carlo Bergonzi is an Italian operatic tenor. Although he performed and recorded some bel canto and verismo roles, he is above all associated with the operas of Giuseppe Verdi, including a large number of the composer's lesser-known works that he helped revive... Piero Cappuccilli Piero Cappuccilli Piero Cappuccilli was an Italian operatic baritone, particularly associated with Verdi roles, especiallyMacbeth and Simon Boccanegra; he was renowned for his extraordinary breath control and smooth legato, and is widely regarded as one of the finest Italian baritones of the second half of the 20th... Montserrat Caballe Montserrat Caballé Montserrat Caballé is a Spanish operatic soprano. Although she sang a wide variety of roles, she is best known as an exponent of the bel canto repertoire, notably the works of Rossini, Bellini, Donizetti and Verdi.... |
Lamberto Gardelli Lamberto Gardelli Lamberto Gardelli was an Italian conductor, particularly associated with the Italian opera repertory, especially the works of Giuseppe Verdi.... , New Philharmonia Orchestra Philharmonia Orchestra The Philharmonia Orchestra is one of the leading orchestras in Great Britain, based in London. Since 1995, it has been based in the Royal Festival Hall. In Britain it is also the resident orchestra at De Montfort Hall, Leicester and the Corn Exchange, Bedford, as well as The Anvil, Basingstoke... and the Ambrosian Singers Ambrosian Singers The Ambrosian Singers are one of the best-known London choral groups, particularly appreciated for its great variety of recorded repertory.They were founded after World War II in England... |
Audio CD: Philips Cat: 475-8703 |
| 1982 | Samuel Ramey Samuel Ramey Samuel Edward Ramey is an American operatic bass with a long, distinguished career.During his best years, he was greatly admired for his range and versatility, having possessed a sufficiently accomplished bel canto technique to enable him to sing the music of Handel, Mozart, Rossini, yet power... Franco Bonisolli Franco Bonisolli Franco Bonisolli was an Italian operatic tenor, particularly associated with the Italian repertory, notably as Manrico and Calaf.-Life and career:... Matteo Manuguerra Matteo Manuguerra Matteo Manuguerra was a Tunisian-born French baritone, one of the leading Verdi baritones of the 1970s.Manuguerra was born in Tunis, Tunisia, to Italian parents, who later moved to Argentina. He came late to music, starting his vocal study at the age of 35, at the Buenos Aires Music Conservatory,... Joan Sutherland Joan Sutherland Dame Joan Alston Sutherland, OM, AC, DBE was an Australian dramatic coloratura soprano noted for her contribution to the renaissance of the bel canto repertoire from the late 1950s through to the 1980s.... |
Richard Bonynge Richard Bonynge Richard Alan Bonynge, AO, CBE is an Australian conductor and pianist.Bonynge was born in Sydney and educated at Sydney Boys High School before studying piano at the Royal College of Music in London. He gave up his music scholarship, continuing his private piano studies, and became a coach for... , Welsh National Opera Welsh National Opera Welsh National Opera is an opera company founded in Cardiff, Wales in 1943. The WNO tours Wales, the United Kingdom and the rest of the world extensively. Annually, it gives more than 120 performances of eight main stage operas to a combined audience of around 150,000 people... Orchestra and Chorus |
Audio CD: Decca Cat: 433 854-2 |