Weeks 8-9 | I Puritani | Maria Callas: The Complete Studio Recordings
Composed by Vincenzo Bellini (1801-1835) in 1835. Libretto by Carlo Pepoli.
Setting: A fortress near Plymouth at the time of war between the Royalists and Puritans ~1650.
Act 1: A Puritan fortress near Plymouth
Act 2: Elvira’s room in the fortress
Act 3: A garden near Elvira’s home
Cast:
Elvira (daughter of Lord Walton) 1st Soprano
Arturo Talbot (Cavalier and supporter of the Stuarts (Royalists)) 1st Tenor
Riccardo Forth (Puritan counsel) Baritone
Giorgio (brother of Lord Walton) 1st Bass
Bruno (an officer & Riccardo's friend) 2nd Tenor
Gualtiero Valton (Elvira's father and commander of a Puritan garrison) 2nd Bass
Henrietta (widow of Charles I) 2nd Soprano
A synopsis from The Met: https://www.metopera.org/user-information/synopses-archive/i-puritani
It’s hard to describe the joy I experience in this listening project and the surprises that arise each week. Here are a few of the top moments from exploring this opera:
1. Getting to know Bellini. I Puritani was Bellini’s last opera, started when he was just 32 years only. It was commissioned while he was living in Paris where he was part of the Salons and creative surroundings that overlapped with Delacroix, Chopin, and Liszt. I Puritani premiered at the Théâtre des Italiens in January 1835. Bellini died suddenly later that year in September.
2. The libretto. I love one of the opening songs of the first act, O di Cromvel guerrieri, a solemn hymn with organ and voices singing from a distance. When I read the libretto, I fell in love with the words (especially in the original Italian) about the moon and sun and stars, the darkness and the light, the Earth. So much of this libretto feels like poetry to me.
La luna, il sol, le stelle,
le tenebre, il fulgor,
dan gloria al Creator
in lor favelle.
La terra e i firmamenti
esaltano il Signor;
a lui dien laudi e onore
tutte le genti.
---
The moon, the sun, the stars,
the darkness and the light,
give glory to the Creator
in all they bespeak.
The earth, the firmament
exalt our holy Lord.
Let honour and praise be given
to Him by all peoples.
3. Discovering that Chopin was a fan of Bellini and of opera. I found a book, Evenings at the Opera by Jeffrey Langford, that has a chapter on I Puritani. In it, he describes how some of Chopin’s Nocturnes (Op. 9 No. 2 & Op. 27 No. 2) have similar melodic lines as the tuneful A te, o cara, amor talora aria from this opera. I went back and listened to some of Chopin’s Nocturnes and now that I understand the concept of mad scenes in opera, I cannot help but hear the “madness” in some of the Nocturnes. I am having a completely new experience of the Nocturnes now.
4. Discovering that Chopin transcribed Bellini’s Casta Diva (an aria from the opera Norma) for piano. It is just stunning to me to learn that he must have been moved by this song too. Listz also transcribed parts of Bellini’s operas I Puritani and Norma to paino.
Here are some of my favorites songs from I Puritani. Listening to this opera has made me see Bellini as a master of song and a master of bel canto opera. The music is so good in this opera and there are so many memorable tunes that stick with you after listening to them a few times.
ACT 1
O di Cromvel guerrieri [ O warriors of Cromwell ]: Part of the opening scene where the singers pay homage to the rising sun at dawn. It’s like a blessing to the day, to the Earth, to life.
A te, o cara, amor talora [ To you, beloved, once before ]: A classic song expressing the joy of Elvira and Arturo’s love. The melody from this song returns in other scenes of this opera. The libretto is also so poetic in the way it personifies the dawn — from the opening songs to “this never-ending dawn” reference in this song.
Son vergin vezzosa [ I’m a pretty maiden, in bridal dress ]: Elvira preparing for her marriage to Arturo.
Ah vieni al tempio - fedele Arturo [ Come to the church, my faithful Arturo ]: Elvira falls into insanity and imagines the wedding is still happening even after Arturo has fled the fortress.
ACT 2
Cinta di fiori e col bel crin disciolto [ Decked with roses, her fine hair undone ]: A gorgeous song in the deep voice of Elvira’s uncle Giorgio. To me, this is a song about familial love.
O rendetemi la speme... [ Oh, let me hope again; or let me die…] / Qui la voce sua soave mi chiamava [Here his gentle voice ]: A great lament by Elvira.
Vien, diletto, è in ciel la luna! [ Come, beloved, the moon’s in heaven! ]: Another part of Elvira’s lament. This is Bellini’s mad scene in this opera where Elvira has clearly lost her mind.
ll rival salvar tu dêi [ You must save your rival ]: A gorgeous duet of bass and baritone voices where Giorgio tries to persuade Riccardo to save Arturo for Elvira’s sake.
ACT 3
Qual suon! Alcun s'appressa [ A noise! Someone’s coming ]: There are so many catchy tunes in this opera. This one has a patriotic, march-like quality to it that I quite like. It’s so interesting to imagine what the times were like in Paris and Europe in the late 1800s!
Vieni, fra queste breccia [ Come to my arms, my love ]: The reunion of Elvira and Arturo.
Credeasi, misera! [ The poor girl believed I had betrayed her ]: The second to closing tuneful song where Elvira, Arturo, Riccardo, Giorgio and the Chorus come together to sing of hope even in the face of doom. “Still through our tears there springs a hope…”.