La donna del lago [SEP] based on
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La donna del lago


La donna del lago (The Lady of the Lake) is an opera composed by Gioachino Rossini with a libretto by Andrea Leone Tottola (whose verses are described as "limpid" by one critic) based on the French translation of "The Lady of the Lake", a narrative poem written in 1810 by Sir Walter Scott, whose work continued to popularize the image of the romantic highlands. Scott's basic story has been noted as coming from "the hint of an incident stemming from the frequent custom of James V,
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La donna del lago


"Semiramide" (1823) was marked by the production of twelve operas of little significance, with the exception of "La donna del lago". After being obliged to leave Pesaro hurriedly in May 1819 (it turned out to be his last visit there), Rossini returned to Naples in early June with no projects in the offing, except to become involved with overseeing a new production of his "La gazza ladra" there. Also, a commission from Milan's La Scala for an opera, which would become "
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La donna del lago


, for whose Teatro San Carlo the opera was written, was the scene of many innovations in the "opera seria" form. Given its sophisticated opera-going audience "the composer could experiment with musical and dramatic forms in ways that would have met with incomprehension elsewhere." Preceding as it did "Maometto II" and "Zelmira", "in its variety of moods, of forms, of vocal styles, of orchestration, it [La Donna del Lago] is one of the most engaging operas Rossini ever wrote
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La donna del lago


work. Rossini declined, because the company had never performed "La donna". Pillet therefore began collaborating with the composer Louis Niedermeyer and librettist Gustave Vaëz to change the story of "La donna" to a different time and incorporate elements from another Scott work; eventually, with Rossini's blessing, they also added music from "Zelmira" and "Armida". This "pasticcio", "Robert Bruce", was given on 30 December 1846 and “throughout the winter, to appreciative audiences". "La donna
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Gioachino Rossini


for the words!" Nonetheless the piece proved generally popular, and held the stage in frequent revivals until it was overshadowed by Verdi's version, seven decades later. Among his other works for the house were "Mosè in Egitto", based on the biblical story of Moses and the Exodus from Egypt (1818), and "La donna del lago", from Sir Walter Scott's poem "The Lady of the Lake" (1819). For La Scala he wrote the opera semiseria "La gazza ladra"
12022343
Ángeles Gulín


Stiffelio", "Aroldo", "I vespri siciliani", "Simon Boccanegra", "Un ballo in maschera", "La forza del destino" and "Aida". Her repertoire also included roles in Rossini's "La donna del lago", Bellini's "Beatrice di Tenda" and "Norma", Spontini's "Fernand Cortez", Meyerbeer's "Les Huguenots", Ponchielli's "La Gioconda", Rachmaninoff's "Francesca da Rimini", de Falla's "La vida breve"
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La donna del lago


the King of Scotland, of walking through the kingdom in disguise". It was the first of the Italian operas to be based on Scott's romantic works, and marked the beginning of romanticism in Rossini's work. Scott was "deeply influential in the development of Italian romantic opera" to the extent that by 1840 (barely 20 years after this opera), there were 25 Italian operas based on his works, the most famous being Donizetti's "Lucia di Lammermoor" of 1835. Others in German, French and
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La donna del lago


for Milan, where he was under contract to compose "Bianca e Falliero".). Despite the opera's initial poor reception in Naples, on arrival in Milan, Rossini announced it was an unqualified success, which as it happens, it then proceeded to be. "La donna" remained in the San Carlo's repertoire for 12 years, up to the 1834/35 season. It was performed in London in February 1823 and was staged for 15 seasons until 1851, while it had its American debut in New Orleans in
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La donna del lago


June 1829 followed by New York in 1833. Many major cities in Italy, several in Spain, as well as St. Petersburg and many South American houses saw productions up to 1860, when there was a performance in Trieste. After that it disappeared. Although not staged at the Opéra, "La donna" was seen in Paris for 13 seasons between 1824 and 1854. While Rossini was living there, he was approached by the director of the Opéra, Léon Pillet, in 1846, with a request to write a new
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La donna del lago


introduced to it in translation by the young French composer Désiré-Alexandre Batton, a student of his and Prix de Rome winner then in Italy. On hearing about the poem from Batton, Rossini asked for a copy and within a few days informed Batton he was so delighted with it he would compose an opera based on it. He then immediately called upon the Naples-based librettist Andrea Leone Tottola (who is described as "a comparative mediocrity when set against the likes of a Felice Romani)". Later, the
6480420
Francesco Tortoli


Francesco Tortoli (or Tortolj) (1790 – 20 May 1824) was an Italian scenographer, active in Naples from 1808 at the city's principal theatres—Teatro San Carlo, Teatro del Fondo and Teatro dei Fiorentini. He was the creator of sets for numerous productions including those for the world premieres of Rossini's "La gazzetta", "Otello", "Armida", "Mosè in Egitto", and "La donna del lago". Tortoli was born in Florence and died in Naples of cholera at the
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Robert Bruce (opera)


who was accompanied by librettist Gustave Vaëz, and Louis Niedermeyer. The result (which also involved Vaëz's regular collaborator Alphonse Royer as co-librettist) was "Robert Bruce", an elaborate pasticcio, based on music not only from "La donna del lago" and "Zelmira", but also from "Bianca e Falliero", "Torvaldo e Dorliska", "Armida", "Mosè in Egitto", and "Maometto II". Niedermeyer apparently wrote the necessary recitatives. Rossini was clearly involved in the
20599580
Joseph Binns Hart


opened a music-seller's shop, conducted a small band, and played the organ at St Mary's Chapel. He died on 10 December 1844 in Hastings, aged 50. Some of Hart's most successful quadrilles were based on the music of Mozart's "Don Giovanni" (1818), Locke's "Macbeth", Rossini's "Pietro l'eremita" (1822) and "La donna del lago" (1823), Weber's "Der Freischütz" 1824, and English, Irish and Scottish melodies.
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La donna del lago


pleads their cases, and the king magnanimously pardons them and blesses the union, now unimpeded by Rodrigo, between Elena and Malcolm. "Scene 1: The shores of Loch Katrine, with the Ben Ledi mountains in the background" Shepherds are watching flocks at dawn on the shore and men in the nearby forests are hunting (Chorus: "Del dì la messaggiera già il crin di rose infiora" / "It is the day of the harvest and rose tresses are fully blossomed). Elena appears in a boat on the
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The Lady of the Lake (poem)


given that both the last name taken by the leading African-American abolitionist, Frederick Douglass, and the Ku Klux Klan custom of cross burning derive from the influence of the poem (through the film "Birth of a Nation".) But, the Fiery cross or "Crann Tara" was a device for rallying people in Scotland and did not carry racist connotations. Gioachino Rossini composed an opera, "La Donna del Lago", based on the poem. The opera downplays the other plots in favor of the love
12327517
Claire Gibault


Mitridate", "La Donna del lago", "Die Zauberflöte", "Le Nozze di Figaro" and "Bastien und Bastienne" (Nice), "La Clemenza di Tito" (Orléans), "La Traviata" (Nancy), "Idomeneo" and "Cosi fan tutte" (Liège), "Maria Stuarda" (Torino), "La Cenerentola" (Rome) and "Les Oiseaux de passage" (Bologna). She was Claudio Abbado's assistant for "Pelléas et Mélisande"
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Maometto II


finale which usually contained a florid and virtuosic rondo for a happy ending or a cabaletta for a tragic one. Instead, Rossini gives the "prima donna" a 40-minute display of vocal artistry during which she never leaves the stage. In the 1822 Venice revision, Rossini substituted his own aria "" from "La donna del lago" in order to achieve the conventional effect, as well as to create a happy ending. Also, as Gossett notes, a significant additional feature of the opera is that there are only five
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Gioachino Rossini


to find. Apart from "La Cenerentola" (Rome, 1817), and the "pen-and-ink sketch" "farsa" "Adina" (1818, not performed until 1826), Rossini's other works during his contract with Naples were all in the "opera seria" tradition. Amongst the most notable of these, all containing virtuoso singing roles, were "Mosè in Egitto" (1818), "La donna del lago" (1819), "Maometto II" (1820) all
12022401
Andrea Leone Tottola


those for "La zingara" (1822), "Alfredo il grande" (1823), "Il castello di Kenilworth" (1829) and "Imelda de' Lambertazzi" (1830). For Rossini he wrote "Mosè in Egitto" (1818), "Ermione" (1819), "La donna del lago" (1819) and "Zelmira" (1822). For Vincenzo Bellini he wrote "Adelson e Salvini" (1825). Other composers who set Tottola's librettos to music included
1586429
June Anderson


Hall to perform "La sonnambula" with the Opera Orchestra of New York. Also in 1991, she participated in the Gala celebrating the Silver Anniversary of the "new" house of Metropolitan Opera, performing "Je suis Titania" from "Mignon", conducted by James Levine. She also sang with Pavarotti at a gala concert in Teatro Valli in Reggio Emilia, Italy to celebrate the 30th anniversary of his first stage appearance. In 1992, she created her first Elena in "La donna del lago" at La Scala
10391057
Ester Mombelli


sang the title role in "La donna del lago" in first Paris performances. In December 1825, Mombelli returned to Venice where she sang at La Fenice until February 1826. She appeared as Desdemona in the theatre's first performance of Rossini's "Otello" and sang in the world premieres of Carafa's "Il paria" and Mercadante's "Erode" and "Caritea". In 1827 she married Count Camillo Gritti and retired from the stage. Gritti had been the administrator of La Fenice from 1818 to 1825 and
13266513
Franco Bonisolli


public dress rehearsal of Il Trovatore at the Vienna State Opera. He can be heard on several recordings, notably "Rigoletto", "Il Trovatore", "La Traviata", which were all soundtrack of German TV productions, and a live recording from the abovementioned revival of La Donna del Lago with Caballé. He also appeared in film versions of "La Traviata", in 1968, opposite Anna Moffo and Gino Bechi; and of "Il Trovatore" in 1975, opposite Raina Kabaivanska, Viorica Cortez and Giorgio Zancanaro
7142710
Nicolas Levasseur


nozze di Figaro". He also sang at La Scala in Milan, from 1820 to 1822, where he took part in the creation of Meyerbeer's "Margherita d'Anjou". But his greatest successes were at the Théâtre-Italien in Paris, where he sang from 1819 until 1828. There his name became closely associated with Rossini's operas. He sang in the Paris premieres of "Mosè in Egitto", "Ricciardo e Zoraide", "La cenerentola", "La donna del lago", and he participated
9755299
Lucia Valentini Terrani


established herself in the Rossini repertoire, singing in "L'italiana in Algeri", "Il barbiere di Siviglia", "Il viaggio a Reims". She also sang the many "trouser roles" such as "Tancredi", Malcolm in "La donna del lago", Pippo in "La gazza ladra, "Calbo in "Maometto secondo, "Arsace in "Semiramide", Isolier in "Le comte Ory", etc. She also sang a few roles of the baroque repertory, notably Medea in Cavalli's
13323476
Malena Ernman


if to the gender born, her efforts rewarded by the inclusion of the usually cut aria 'No, la morte'. Vienna saw her in the title role of "Serse" by Handel in October 2011 at the Theater an der Wien, and the following season she sang Eduige in the Nicolas Harnoncourt-led production of Handel's "Rodelinda" at the same house, later released on DVD. Back in the city as Elena in "La donna del lago" in August 2012, she was "impressive... dealing
20380370
Jane Berbié


Rossini roles, singing Isabella in "L'Italiana in Algeri", Rosina in "Il Barbiere di Siviglia", Angelina in "La Cenerentola", and Malcolm in "La Donna del Lago". However, she was happy to play ensemble roles as well, such as a flower maiden in Parsifal or a Rhine maiden, citing the musical value of participating in these and the demands of the smallest part. Berbié was also active as a teacher at the Conservatoire de Paris from 1983, where her pupils included Sophie Koch,
5750555
Franco Bonisolli


He took part in revivals of neglected opera such as "La donna del lago", opposite Montserrat Caballé, and "Le siège de Corinthe", opposite Beverly Sills, and took part in the creation of new works, such as "La lampada di Alidino" by Rota, and "Luisilla" by Mannino. He began an international career in the early 1970s, with debut at the Vienna State Opera, the Salzburg Festival, the Paris Opéra, the Metropolitan Opera, etc., and began expanding his repertory to
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La donna del lago


the court join them: (Chorus: "Imponga il Re: noi siamo servi del suo voler " / "Let the King give us his orders"). Elena, puzzled by the courtiers' behaviour towards "Uberto", suddenly she realises that Uberto and King James are one. King James, softened by his affection for Elena, decides to forgive Douglas; but he makes a show of severity by condemning Malcolm. Finally, he relents and brings the young couple together. In her rondo finale, Elena rejoices
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Rockwell Blake


leading Rossini singers of his generation, singing regularly at the Rossini Opera Festival in Pesaro since his debut there in 1983. He made his only stage appearance at La Scala in 1992 as Giacomo in "La donna del lago". It was La Scala's first production of the opera in 150 years and was staged to mark the bicentenary of Rossini's birth. Although several critics have expressed reservations about the intrinsic slightly harsh timbre of his voice, his two-and-a-half octave range and mastery of florid vocal
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Comédie-Italienne


, "Otello" (5 June 1821), and "Tancredi" (23 April 1822). His operas were so popular, that some of his Paris premieres were given at the larger Salle Le Peletier, including "La gazza ladra" (18 September 1821), "Elisabetta, regina d'Inghilterra" (10 March 1822), "Mosè in Egitto" (20 October 1822), and "La donna del lago" (7 September 1824, produced under Rossini's supervision). Rossini himself had come to
10481568
Carmen Giannattasio


at Arena di Verona in Zeffirelli's production of Mozart's Don Giovanni starring Ildebrando D'Arcangelo. In december 2012 she was acclaimed in Naples as Violetta in La Traviata under the direction of turkish cinema director Ferzan Ozpetek. She has recorded many CDs with Opera Rara. These include Rossini's "La donna del lago" and "Ermione" (which won a 2011 The Gramophone Award); Donizetti's ""Parisina d'Este""; and Bellini's "Il pirata". She performed the role of Alice in Meyerbeer's "
17126868
Her Majesty's Theatre


much of his period of management in the King's Bench, a debtors' prison in Southwark. Here he maintained an apartment next to Lady Hamilton and lived in some luxury, entertaining lavishly. John Ebers, a bookseller, took over the management of the theatre in 1821, and seven more London premieres of Rossini operas ("La gazza ladra, Il turco in Italia, Mosè in Egitto, Otello, La donna del lago", "Matilde di Shabran" and "Ricciardo e Zoraide") took place there in
1814649
Filippo Coletti


of Alzira. Verdi had insisted on Coletti's participation by contract, and proved faithful to Coletti for many years to come. Coletti was also Verdi's first choice for the opera "Una vendetta in domino" intended for Naples and never written. Coletti sang the 1846 first performance of Verdi's "I due Foscari" in Paris, and in the season 1847–48 sang the title role of Mozart's Don Giovanni, and in the Rossini's operas "La Gazza ladra" and "La Donna del lago". Vienna,
18411078
Julia Hamari


included major roles such as Malcolm in a 1970 Turin revival of Rossini's La Donna del Lago (joining Franco Bonisolli as Uberto and Montserrat Caballé as Elena). In 1975, she sang the part of Magdalene in Georg Solti's first recording of Wagner's "Die Meistersinger von Nürnberg" (with the Vienna Philharmonic, Norman Bailey as Sachs and René Kollo as Stolzing). In 1979, she sang Celia in Haydn's "La fedeltà premiata" at the Glyndebourne Festival Opera, in 1980 Orfeo in Gluck's "Orfeo
21076171
Giovanni Battista Rubini


he also scored spectacular successes in France in the 1825/26 season in opera by Rossini, he moved permanently to Paris, performing in Rossini's "La Cenerentola", "Otello", and "La donna del lago". He divided his time between Paris (in the Autumn and Winter) and London (in the Spring). His special relation with Vincenzo Bellini began with "Bianca e Fernando" (1826) and continued until "I puritani" (1835), when he was one of the long-remembered
21307177
Amalia Schütz Oldosi


, facing Giuditta Pasta and Joséphine Fodor-Mainvielle. In 1828, she sang at the "Théâtre italien de Paris" the role of "Elena" in Rossini's "La donna del lago", which she also gave at the King’s Theatre of London. The highlight of his career took place in Italy. In 1830, Schütz made her debut at La Scala of Milan as "Giulietta" in Bellini's "I Capuleti e i Montecchi". She then went on to perform at opera stages in Naples,
2507732
Roberto Abbado


Martti Talvela. He made his debut at Teatro alla Scala in 1984 conducting Donizetti's "Don Pasquale", in a production featuring Sesto Bruscantini in the title role and Lucia Aliberti. In the same house he also conducted the world première of Testi's "Riccardo III" in 1987, Ponchielli's "La Gioconda" in 1997, Donizetti's "Lucia di Lammermoor" in 2006, the world première of Fabio Vacchi's "Teneke" in 2007 and Rossini's "La donna del lago" with Joyce Di Donato,
3329911
Domenico Barbaia


Wien. In 1826 he took over the running of La Scala before returning to Naples. Among the works he commissioned were operas by Gaetano Donizetti, Vincenzo Bellini, and Carl Maria von Weber. In 1815, he offered Gioacchino Rossini a contract lasting seven seasons, and the composer obliged with ten operas, including "Otello", "Armida", "Mosè in Egitto", "Ermione", "La donna del lago" and "Maometto II". Among the singers in Barbaia's company for whom Rossini wrote
8482606
Chris Merritt


, he sang the title role in "Sigurd" at the sole performance of that rarely performed opera at the Festival Montpellier. Both in 1988 and in 1989 he appeared in the opening productions of La Scala's opera season, with "Guillaume Tell" and "I Vespri Siciliani" Both were conducted by Riccardo Muti. He then returned as Rodrigo in "La donna del lago", also conducted by Muti. At the Opéra de Paris, he returned to sing the title role of "Benvenuto Cellini", appeared in
9186222
Gioachino Rossini


developments was the "Fondazione G. Rossini" which was created by the city of Pesaro in 1940 using the funds which had been left to the city by the composer. Since 1980 the "Fondazione" has supported the annual Rossini Opera Festival in Pesaro. In the 21st century, the Rossini repertoire of opera houses around the world remains dominated by "Il barbiere", "La Cenerentola" being the second most popular. Several other operas are regularly produced, including "Le comte Ory", "La donna del lago"
12022421
Mary Shaw (contralto)


Nuovo di Novara as Arsace in Gioachino Rossini's "Semiramide". She also sang the role Malcolm Groeme in Rossini's "La donna del lago" at that house later that year. On 17 November 1839 she made her debut at La Scala as Cuniza in the world premiere of Giuseppe Verdi's first opera "Oberto". She then returned to her native country where she was the first to report to England the excellence of Verdi, and managed to draw musicologist and critic Henry Chorley's interest in the new Italian composer
13236919
Lucia Elizabeth Vestris


Don Giovanni: the "succès de scandale" of this breeches performance in which she showed off her fabulously perfect legs, launched her career as a scandalous beauty. From then on she remained an extraordinary favourite in opera, musical farces, and comedies until her retirement in 1854. At the King's Theatre she sang in the English premieres of many Rossini operas, sometimes conducted by the composer himself: "La gazza ladra" (as Pippo, 1821), "La donna del lago" (as Malcolm Groeme, 1823
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La donna del lago


: ormai la morte! fia sollievo a’ mali miei" / "Ah! Let me perish; death now Would be a relief for my ills. But if she comes to me she will bring eternal happiness to my life"). However, he is confronted by the arriving clansmen who announce that Rodrigo has been slain and the Highlanders face certain defeat. Malcolm leaves for the palace, determined to rescue Elena even if it means his life. "Scene 3: A room in the King's palace" Douglas
6480454
Giovanni Battista Verger


". From this point on he arose at the great stages of the Italian peninsula, having tremendous success throughout the 1820s and 1830s in roles from both the lyrical and dramatic repertoire. He became known as one of the greatest Rossini interpreters of his day, and Rossini himself greatly valued his voice. Verger was committed to La Scala from 1824–1826, giving lauded performances there in such Rossini roles as Argirio in "Tancredi", Torvaldo in "Torvaldo e Dorliska", Rodrigo in "La donna del lago", and Idreno
9869942
La donna del lago


English followed. Written for the Teatro San Carlo in Naples, this was the seventh of nine operas which Rossini wrote for that house between 1815 and 1822. Although the première on 24 September 1819 was not a success, there followed many performances throughout major European venues (as well as being presented in Cuba and by major South American houses) until about 1860, after which the opera disappeared until 1958. In modern times, performances have been given fairly frequently. The period between "La gazza ladra" (1817) and
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La donna del lago


Châtelet, Paris, on 2 March 1986. 1990 saw Cecilia Gasdia and Rockwell Blake in a performance in the Teatro Regio di Parma in January 1990. In 1992, to mark the bicentenary of Rossini's birth, La Scala mounted its first production of the opera in 150 years, with a cast that included bel canto experts June Anderson, Rockwell Blake, and Chris Merritt, directed by Werner Herzog and conducted by Riccardo Muti. Anna Caterina Antonacci starred in a concert performance in the Concertgebouw, Amsterdam, on 28 March 1992
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La donna del lago


Elena was sung by Ruth Ann Swenson, Malcolm by Stephanie Blythe and Rodrigo by Bruce Fowler (tenor). A concert performance was also given as part of the Edinburgh Festival at Usher Hall, on 18 August 2006. The Paris Opera staged its first production of the work in June 2010 at the Palais Garnier with a cast headed by Rossini specialists Joyce DiDonato as Elena and Juan Diego Flórez as King James/Uberto. The production by Luís Pasqual was conducted by Roberto Abbado. This production travelled from Paris to La Scala in
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Lady of the Lake


[[Trossachs]] of [[Scotland]]. Scott's material furnished subject matter for "[[La donna del lago]]", an 1819 opera by [[Gioachino Rossini]]. [[Franz Schubert]] set [[Schubert's song cycles#Seven songs from Walter Scott's Lady of the Lake|seven songs from Walter Scott's "Lady of the Lake"]], including the three "Ellen songs" ("Ellens Gesang I", "Ellens Gesang II", and "Ellens
13470808
Charles MacKay


performed there. They included "The Tales of Hoffmann" (2010), "Faust" (2011), and in 2012 alone, "The Pearl Fishers", Rossini's "Maometto II" (in a new critical edition) and Karol Szymanowski's "King Roger". In 2013, Rossini's "La donna del lago" received its Santa Fe premiere in a co-production with the Metropolitan Opera. The 2014 season saw the first Santa Fe production of Beethoven's "Fidelio". Additionally, MacKay
19817898
Michele Benedetti (bass)


e Zoraide", Fenicio in "Ermione", Douglas in "La donna del lago", Leucippo in "Zelmira". For Donizetti, he created the roles of Atkins in "Alfredo il grande" (1823) and the King in "Gianni di Calais" (1828), and for Bellini in 1826 the role of Clemente in "Bianca e Gernando". He also sang in Paris and London, and appeared in premières of operas by Mayr, Pacini, and Mercadante. Stendhal wrote an enthusiastic critique of
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La donna del lago


orchestra when the couple arrive at the island, and then re-introduces it right at the end of act 2 when we hear Uberto singing it off-stage in the form of a "canzoncina": "Aurora! ah sorgerai" ( "Dawn! Ah! Will you always / Arise inauspiciously for me?"). Commons explains that this linking "is evidence that Rossini was taking the first step towards a concept of an opera, not as a series of disparate items, but as an organized whole in
6480463
Bruce Ford (tenor)


1985, as Ferrando and Don Ramiro. In 1985, he also appeareared at the Grand Théâtre de Bordeaux as Almaviva, and the Aix-en-Provence Festival, as Lindoro. He began specializing in the bel canto repertory notably Rossini, appearing at the Pesaro Festival and the Wexford Festival in roles such as Argirio in "Tancredi", Uberto in "La donna del lago", Rinaldo in "Armida", Agorante in "Ricciardo e Zoraide", Antenore in "Zelmira", Erisso in "Maometto II"
1371619
Maometto II


happy ending: it is "to remove the horror of the historical catastrophe" and, therefore, Rossini instructed a copyist to end the opera using the rondo, "", from his "La donna del lago" of 1819, thus removing Maometto's final confrontation with Anna, his discovery of her marriage to Calbo, and her suicide. This version also includes music from "Bianca e Falliero". In 1823 and 1824, "Maometto II" was presented in Vienna and in Milan and then in Lisbon in 1826
16204877
Isabella Colbran


Ermione"), Elena ("La donna del lago"), Anna ("Maometto II"), and Zelmira ("Zelmira"), all written by Rossini for Naples. The artistic collaboration between Colbran and Rossini that began in 1815 was accompanied by a romantic involvement. Colbran moved with Rossini, seven years her junior, to Bologna in 1822, where they married. The death of her father hit Colbran hard. Rossini, moved, commissioned a sculpture for the family mausoleum depicting a woman weeping at the
16580891
Santa Fe Opera


(1966). Many former apprentice singers have returned to perform major roles with the company. These have included Mark Doss in the 2011 "Faust"; Joyce DiDonato in the 2006 "Cendrillon" (and again in 2013 in "La donna del lago"); Chris Merritt also in 2006 in "The Tempest"; Carl Tanner in the 2005 production of "Turandot"; and Joyce El-Khoury (2006 and 2008 Apprentice Singer) as Micaëla in the 2014 production of "Carmen". There have been
17978967
La donna del lago


offers him shelter and James accepts, and the two cross the lake towards Elena's home (Duettino: "Scendi nel piccol legno" / "Get into my little boat"). As they sail off, the men in his entourage arrive, searching for the disguised King (Chorus: "Uberto! Ah! dove t'ascondi?" / "Oberto, where are you hiding?"). Frustrated, they agree to widen the search and pray for guidance in finding their leader. "Scene 2: Douglas's
6480439
Teatro di San Carlo


Moro di Venezia" (1816), "Armida" (1817), "Mosè in Egitto", "Ricciardo e Zoraide" (1818), "Ermione", "Bianca e Falliero", "Eduardo e Cristina", "La donna del lago" (1819), "Maometto II" (1820), and "Zelmira" (1822). Regular singers of the period included Manuel Garcia and his daughter Maria Malibran, Clorinda Corradi, Giuditta Pasta, Isabella Colbran, Giovanni Battista Rubini, Domenico
9830694
Kiri Te Kanawa


" in December 1968 at the Sadler's Wells Theatre. She also sang the title role in Donizetti's "Anna Bolena". In 1969, she sang Elena in Rossini's "La donna del lago" at the Camden Festival, and was also offered the role of the Countess in "The Marriage of Figaro" after an audition of which the conductor, Colin Davis, said, "I couldn't believe my ears. I've taken thousands of auditions, but it was such a fantastically beautiful voice." Praise
9861672
Gioachino Rossini


the "pasticcio" opera of "Robert Bruce" (1846), in which Rossini, by then returned to Bologna, closely cooperated by selecting music from his past operas which had not yet been performed in Paris, notably "La donna del lago." The Opéra sought to present "Robert" as a new Rossini opera. But although "Othello" could at least claim to be genuine, canonic, Rossini, the historian Mark Everist notes that detractors argued that "Robert" was simply "fake goods, and
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Gioachino Rossini


the benefit of the singer Nikolay Ivanov, for which Giuseppe Verdi provided some new arias. Continuing demand in Paris resulted in the productions of a "new" French version of "Otello" in 1844 (with which Rossini was not involved) and a "new" opera "Robert Bruce" for which Rossini cooperated with Louis Niedermeyer and others to recast music for "La donna del lago" and others of his works which were little-known in Paris to fit a new libretto. The success of both of these was
12022410
John Osborn (tenor)


in "Salome" in 1996, and has subsequently sung the roles of Don Ottavio in "Don Giovanni" and Count Almaviva in "The Barber of Seville", Goffredo in "Armida", Rodrigo di Dhu in "La donna del lago", and Arnold Melchtal in "Guillaume Tell" with the company. In 2007, he made his role debut as Arnold in Rossini's opera "William Tell", with Antonio Pappano conducting the Orchestra and Chorus of the Accademia Nazionale di Santa Cecilia, a role he has
1702079
Loch Katrine


peasantry". Historically this referred to a band of fighting men of a clan; hence the term applied to marauders or cattle-lifters, which Rob Roy MacGregor, a respectable cattle owner was erroneously accused of being. It is the fictional setting of Sir Walter Scott's poem "The Lady of the Lake" and of the subsequent opera by Gioachino Rossini, "La donna del lago". Robert Roy MacGregor was born at the head of the loch. Loch Katrine is now owned by Scottish Water, and has been
22081496
The Royal Opera


directed by Keith Warner; new productions that season included "Robert le diable", directed by Laurent Pelly, "Eugene Onegin", directed by Holten, "La donna del lago", directed by Fulljames, and the UK premiere of "Written on Skin", composed by George Benjamin and directed by Katie Mitchell. Productions by the Studio Programme included the world premiere of David Bruce's "The Firework-Maker's Daughter" (inspired by Philip Pullman's novel of the same name), directed by Fulljames,
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La donna del lago


Osborne describes what they accomplished: Osborne also notes the way in which "the source materials have been interwoven, giving the sense of a music drama that has in some measure been 'through-composed'." Gossett is less enthusiastic, noting that "it is almost impossible for Italian poetry to capture the quality of Scott's characteristic verse," but he does agree that "the spirit of the poem is there". With the original September deadline missed, the new opera was presented in October and "was an
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La donna del lago


is not in love with Rodrigo (Duet: "Le mie barbare vicende" / "What good will it do to hear about my cruel fortunes?"). Directly, he asks if there is someone she loves, and learns this was only a brief episode in her past. Encouraged, he prepares to leave Elena's house (Duet: "Cielo! in qual estasi!" / "Heavens, I feel myself transported in ecstasy"), and he and Elena expresses similar emotions. All leave as Elena
6480441
Julia Lezhneva


Litanie KV243 with Marc Minkowski & MDLG. Ms Lezhneva also performed recitals with pianist Mikhail Antonenko throughout Russian Federation and Europe, including such venues as St-Petersburg Philharmonic, Ghent Festival of Flanders and Torroella Festival. Ms Lezhneva performed a concert with Philippe Jaroussky under Diego Fasolis & I Barrochisti in Neumarkt and recorded a Pergolesi Duet Album for Erato/Warner classics. Lezhneva enjoyed an overwhelming success performing G.Rossini’s La Donna del Lago Elena's aria during the Victoires de la Musique Classique Ceremony 2012, sharing the Gala stage alongside Renée Fleming
11049813
Philip Gossett


Lyric Opera for the first presentations of Rossini's long-lost "Il viaggio a Reims" in 2003. Gossett again acted as consultant to The Santa Fe Opera during rehearsals for its 2012 season production of the new critical edition of Rossini's original "Maometto II" of 1820 and he returned in the same capacity during rehearsals of the company's new production of Rossini's "La donna del lago" during the 2013 season. For the 2010 presentations of Verdi's "Attila" for the Met, Gossett also worked with
12313930
The Lady of the Lake (poem)


"La Donna del Lago" (1819), the Ku Klux Klan custom of cross burning, the last name of U.S. abolitionist Frederick Douglass, and the song "Hail to the Chief", were all inspired by the poem. It shares its name with the Arthurian character, the Lady of the Lake. Other allusions to the legend are scant. The poem begins with a rapid-moving hunt, chasing a stag in the forests of the Trossachs. The stag outruns the hunt, exhausting all its members until only
12327497
Dano Raffanti


Diavolo", "Il barbiere di Siviglia", etc. He sang Medoro in Vivaldi's "Orlando furioso", in Verona, opposite Marilyn Horne, in 1978, repeating the role for his American debut in Dallas in 1980. He also appeared at the Rossini Opera Festival at Pesaro in "La donna del lago", opposite Katia Ricciarelli, Lucia Valentini Terrani and Samuel Ramey in 1983, and made his debut at the Royal Opera House in London, as Tebaldo in "I Capuleti e Montecchi", in 1984
13323072
Joyce DiDonato


in April 2011. In April 2012, she sang the role of Mary Stuart in Donizetti's "Maria Stuarda" with the Houston Grand Opera, repeating the role in the work's premiere performances at the Metropolitan Opera in January 2013. In the spring of 2013, she starred in a new production of Rossini's "La donna del lago" given by The Royal Opera, Covent Garden. A new production was mounted by the Santa Fe Opera during its 2013 festival season, also starring DiDonato with Lawrence Brownlee as Uberto.
13864409
Gregory Kunde


Rinaldo in "Armida", opposite Renée Fleming. Other notable roles include; "Mitridate, re di Ponto", Rodrigo in "La donna del lago", Arnold in "Guillaume Tell", Ernesto in "Don Pasquale", Nadir in "Les pêcheurs de perles", Roméo in "Roméo et Juliette", Enée in "Les Troyens" etc. In November 2012 he made an unexpected, successful debut as Verdi's "Otello" in Venice, becoming possibly the first tenor able to sing both Rossini
1576675
Henriette Méric-Lalande


by then she was already past her best. She also appeared at the Théâtre-Italien in 1828, in London in 1830. She left the stage in 1838, as Elisabetta in "Roberto Devereux". An accomplished virtuoso singer, she also enjoyed acclaim in Rossini operas such as "La donna del lago", "Mosè in Egitto", "Semiramide". According to the music critic Henry Chorley, Méric-Lalande began having vocal problems as early as 1829, when it was noticed that she developed a wide
1634445
Live! (Frederica von Stade album)


mélodies populaires grecques" is the nearest we come to the provision of a major work. ... Although there is applause, no particular sense of occasion emerges. ... The enjoyment is ... a matter of individual songs and particular moments rather than total or cumulative effect. The brilliant flourishes of the "La donna del lago" aria, the quiet joy of Ravel's 'Chanson des cueilleuses de lentisques' from the "Cinq mélodies", the indrawn sadness of the Scarlatti song, the dreamy beauty of the 'Brezairola';
20124391
Tenor


Within opera, the lowest note in the standard tenor repertoire is probably A in Rossini's rarely performed "La donna del lago" in the role of Rodrigo di Dhu, written for Andrea Nozzari. Within more frequently performed repertoire, Mime and Herod both call for an A. A few tenor roles in the standard repertoire call for a "tenor C" (C, one octave above middle C). Some, if not all, of the few top Cs in the standard operatic repertoire are either optional—such as in
20595454
Robert Bruce (opera)


Robert Bruce is an 1846 pastiche opera in three acts, with music by Gioachino Rossini and Louis Niedermeyer to a French-language libretto by Alphonse Royer and Gustave Vaëz, after Walter Scott's "History of Scotland". The music was stitched together by Niedermeyer, with the composer's permission, with pieces from "La donna del lago", "Zelmira", and other Rossini operas. The work was premiered on 30 December 1846, by the Paris Opera at the Salle Le Peletier. The audience may not have noticed
20599577
Frederica von Stade


was Elena in Houston in the twentieth century's first American staging of Rossini's "La donna del lago". In 1982, she went to Santa Fe to sing her first Mignon. In the autumn, she came back to the Met after a hiatus of six years, singing Idamante opposite Luciano Pavarotti in Jean-Pierre Ponnelle's telecast production of "Idomeneo". In 1983, Hamburg heard her as the Composer in "Ariadne auf Naxos". At Carnegie Hall, she was the cynosure of a festival of French
3107618
Michele Mariotti


Teatro Comunale in Florence, the Teatro Verdi in Busseto ("Il trovatore" in concert in 2011), and at the Sferisterio di Macerata. In 2013 he conducted "La donna del lago" at the Royal Opera House in London and "I puritani" at the Opéra Bastille in Paris. In the area of symphonic music, he has guest-conducted the Leipzig Gewandhaus Orchestra, the Orchestre National de France, the Orchestra Sinfonica Nazionale della RAI in Turin, and the house orchestra of the Teatro Real in Madrid.
3423973
Minnesota Opera


; "Pinocchio" by Dove in the 2008/09 season; "The Fortunes of King Croesus" (Keiser) and "Rusalka" in 2007/08; Rossini's "La donna del lago" and Offenbach's "The Tales of Hoffmann". "The Grapes of Wrath" by Ricky Ian Gordon was given its world premiere in the 2006/07 season after being commissioned by the company. Léo Delibes's "Lakmé" appeared during that season as well. The 2005/06 season saw several American premieres, including "Orazi e Curiazi" by
4977915
Stuart Howe


by Chadwick, former President of the New England Conservatory of Music in Boston. After a break of nearly three years to focus on his young family and on teaching, Howe returned to full-time performing in 2011 with a renewed passion for the stage. In addition to core repertoire that mirrors that of legendary Alfredo Kraus, he began to focus on the Rossini roles written for Andrea Nozzari, including the title role of Otello and that of Rodrigo in La donna del lago. Such roles have allowed Howe to make use of
5286748
La donna del lago


October 2011, omitting the balletic elements. The opera, featuring some of the Paris cast, was given by The Royal Opera, Covent Garden in the Spring of 2013. The production, by John Fulljames, was conducted by Michele Mariotti. A new co-production with the Metropolitan Opera was presented on 13 July 2013 by The Santa Fe Opera as part of its festival season, also starring Joyce DiDonato, with Lawrence Brownlee as Uberto/The King, Marianna Pizzolato as Malcolm, René Barbera as Rodrigo and Wayne Tigges as
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La donna del lago


is related to his enemies. The clans gather to overthrow the king, and Rodrigo and Douglas discover Elena's secret love for Malcolm. She tries to keep the peace, but the call to arms diverts the soldiers. The battle does not go well, and Rodrigo is killed. Again the king in disguise encounters Elena and gives her a ring to take to the king if she is ever in trouble. She decides to use it and goes to Stirling Castle where she finds that both Malcolm and Douglas are prisoners. She
6480436
La donna del lago


for a moment, come back to me and say I love you"). Then he swears he will take her away from the strongest man or die in the attempt. Unseen, Malcolm then watches Elena and her father discussing her upcoming marriage to Rodrigo. She is reluctant, but Douglas orders her to obey his command: (Aria: "Taci, lo voglio, e basti" / "Be quiet! It is my wish...Show me that you're a daughter worthy of her father"). As
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La donna del lago


latter fervently expressing his desire to see Elena. (Rodrigo and Chorus: "Ma dov'è colei" / "But where is Elena, who kindles such a sweet flame in my breast"). Acclaimed by the assembled crowd for her beauty, Elena enters. Rodrigo approaches, declaring his love: (Aria: "Quanto a quest'alma amante" / "My loving soul finds the sweetness of this moment"). Concerned that she does not appear to respond, Douglas assures Rodrigo that she is restrained by modesty. Father
6480446
La donna del lago


, daughter and suitor each express their hopes, concerns and fears: (Trio: "Di opposti affetti un vortice" / "A whirlwind of contrary emotions, Swirls about me"). Malcolm and his men arrive to join the Highlanders, demanding to be put to the test. Elena tries to hide her emotions, but Douglas immediately understands where her heart lies. At the same time, Rodrigo offers friendship to Malcolm and introduces Elena as his bride-to-be; but he, too, perceives a connection
6480447
La donna del lago


between Malcolm and Elena. In a quartet accompanied by the chorus of soldiers and women, each expresses his or her conflicting emotions: (Rodrigo: "Crudele sospetto, Che me agiti il petto" / "Cruel suspicion That sets me shuddering"; then Elena and Malcolm together: "Ah cèlati, o affetto, nel misero petto!" / "Ah my affection - keep yourself hidden"; then Douglas: "Ah l'ira, il dispetto, mi straziano il petto!" / "Ah! Anger and resentment
6480448
La donna del lago


prepare to depart for battle the everyone joins in singing "Su... amici! guerrieri!" / "Go on, friends and warriors, Go on, let's march, let's fight". All leave for battle. "Scene 1: A thick wood with a cave" In the woods, Uberto/King James has come to find Elena, hoping to save her from the coming battles (Cavatina: "Oh fiamma soave, che l’alma mi accendi! pietosa ti rendi a un fido amator." /
6480450
La donna del lago


a ring he says the King gave him, and emphasizes that it will see her through any danger. He prepares to leave, but Rodrigo steps forward, having overheard their exchange: (Duet: "Qual pena in me già desta" / "What distress in my fatal misfortune"". This becomes a trio with Rodrigo's: "Misere mie pupille!" / "O my wretched eyes!".) Overwhelmed with rage and jealousy, Rodrigo orders his men to reveal themselves and kill this stranger. Elena
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La donna del lago


pleads with Rodrigo's men, and Rodrigo decides to duel with Uberto himself. The two exit; Elena, trying in vain to calm them, follows. "Scene 2: The interior of the cave" Malcolm enters, looking for Elena, but finds only Albina. Serano joins them, explaining that Elena has gone in search of her father, Douglas, who is on a peace mission to the King's palace. Despondent at losing Elena, Malcolm seeks his own death: (Aria: "Ah! si pera
6480453
La donna del lago


voice of "Uberto" expressing love for her: (Aria: "Aurora! ah sorgerai avversa ognor per me? D’Elena i vaghi rai mostrarmi." / "Dawn! Ah! will you always Arise inauspiciously for me? Oh God! Why show me Elena's fair eyes?"). When "Uberto" comes in, Elena is thrilled, certain he will help her gain an interview with the King. "Scene 4: The King's Throne Room" The two enter the throne room as members of
6480456
La donna del lago


[...] and is Rossini's most tuneful opera." In summing up the musical and creative significance of this opera in Rossini's overall career, Gossett suggests that while Malcolm's two arias and Elena's final "tanti affetti" are "bel canto" at its finest, in this opera Rossini: Charles Osborne notes that the music of Act 2 "remains on a high level" (when compared to the structural innovations of act 1) but several aspects draw his attention. These include Oberto's "andante cavatina
6480460
La donna del lago


" which begins with Elena: "Oh fiamma soave" ("Oh sweet flame / That sees my breast on fire!), followed by the duet "Alla ragion, deh rieda" ("Ah! may your agitated and overburded soul") which then leads into a cabaletta trio with Rodrigo "the two tenors vying with each other in high-flying vocal agility", with the "winner" being Uberto with his high D. Osborne concludes by noting, as have other scholars, that this opera anticipates how
6480461
La donna del lago


the composer moved towards "Guillaume Tell". In his introductory essay in the booklet accompanying the Opera Rara recording, Jeremy Commons takes many of the above comments one step further by drawing attention to the way in which the composer takes the melody of Elena's opening cavatina ("Oh mattutini albori!" / "Oh rays of morning"), brings it back and into the duet with Uberto (Elena: "Scendi nel piccolo legno" / "Step down into my little craft"), echoes it in the
6480462
Giuseppina Ronzi de Begnis


London, where she obtained brilliant successes at the King's Theatre, notably in "Pietro l'Eremita" (an oratorio version of "Mose in Egitto") on 30 January 1822, Rossini's "La donna del lago" and the title role in his "Matilde di Shabran". Other Rossini successes in London included Fiorilla in "Il Turco in Italia" and Amenaide in "Tancredi". Ronzi returned to Italy in 1825, her marriage fell apart, and she might have had problems with her voice. For the
9083209
Chris Merritt


with the London Philharmonic Orchestra singing Beethoven's Ninth Symphony at the Royal Festival Hall, conducted by Klaus Tennstedt. Merritt had five important debuts in 1985: he was heard at London's Royal Opera House, Covent Garden as Giacomo/Uberto in Rossini's "La donna del lago", then at the Hamburg State Opera as Idreno in Rossini's "Semiramide". His Italian debut was at Pesaro's Rossini Opera Festival, singing the role of Paolo Erisso in the composer's "Maometto II" in a production by Pier
9186218
Houston Grand Opera


chamber operas created for children/families. These chamber works are staged and are approximately 45 minutes long. HGO has presented seven American premieres. Among them, the most significant are the first staged version of Handel's "Rinaldo" in 1975 (a concert version had been given in 1972 by the Handel Society of New York), starring Marilyn Horne in the title role and Samuel Ramey as Argante; Rossini's "La donna del lago" in a new critical edition in 1981, and more recently, Weinberg's "
12331580
Christina Enbom


parts where the alto Breeches role Malcolm in "La Donna del Lago" and the title role of "Tancredi", both by Gioacchino Rossini and the later of which was staged at the Royal Opera specifically so that she could perform in it (1832). Christina Enbom was described as an artist capable of creating illusion by complying force in both voice and acting, but in lack of the training which could have developed what was a great natural ability: Her lack of training often exposed her to criticism of being uneven in
14930346
Otello (Rossini)


French baritone Paul Barroilhet appeared in 1844 in Paris, where he interpolated the aria "" (transposed from C to B-flat) from Rossini's "La donna del lago". His successor, Jean-Baptiste Faure, sang the role in 1871. A French printed edition from 1823 already shows Iago's part written in the bass clef. 20th century and beyond After a long period of relative neglect, in the late 20th century the opera began once more to appear on the world's stages. A production by
16836662
Justina Casagli


Swedish opera singer to have made an international career. In 1823, she made her debut in Rossini's "La donna del lago" in Rome, where her success was so great that she was said to have "made herself immortal". In Lucca in 1827, she made another performance in Cimarosa's "Il matrimonio segreto", which attracted fame, before finding permanent employment. She was engaged at the National Theatre Munich in Munich in Germany in 1827-31. In 1831, she was widowed and returned to
18064438
Nathan Berg


a star turn, from beginning to end, as a grumpy and grizzled Albrecht” in Minnesota Opera's Rheingold. In 2017 Nathan had his debut at the Salzburg Festival alongside Bartoli in Handel's Ariodante and Rossini's La Donna del Lago. His career has moved among recital, concert and opera. In recital he has appeared at the Wigmore Hall in London, Lincoln Center in New York, Musee d'Orsay in Paris, BBC Radio Studios in London, the Aix-en-Provence Festival in France, the Winspear Centre in
18115355
Robert Bruce (opera)


, but the orchestra included for the first time a recently invented instrument, which later came to be known as the saxophone. After Rossini's arrival in Paris in 1843 for medical treatment, he was visited by Léon Pillet, the Director of the Paris Opera. Pillet begged Rossini to compose a new work for the house. Rossini declined because of his poor health, but pointed out that his opera "La donna del lago" (1819), which he felt had never been performed adequately at the Théâtre Italien in Paris
20599578