Gölün_Hanımı_(opera)
Hazırlanma, içerik ve temsiller
With the original September deadline missed, the new opera was presented in October and "was an enormous success",[16] although it was not without some early disruptions from the audience. The opera received its première on 24 September 1819,[4][5] with a debut cast of seasoned singers who regularly worked together, including Isabella Colbran as Elena, Benedetta Rosmunda Pisaroni as Malcolm and Giovanni David as Uberto/King James.[17] Initial reactions were mixed, with the conservative faction displeased by its seeming elaborateness and concerted numbers compared to the simplicity of Ricciardo e Zoraide the previous year.[18][19] A contemporary account of the evening's events reveals that, in the absence of members of the royal court, there were disruptions. A. Azevedo, in his 1864 book on the composer, notes that "the public found itself free of all restraint [....] the audience whistled and booed, and challenged both artists and composer throughout almost the entire evening."[20] However, he does state that after the brilliance of Colbran's rondo finale, they were very enthusiastic and called her onto the stage many times, as they did Rossini (who had refused to appear and had already left for Milan, where he was under contract to compose Bianca e Falliero.).[21] 19th century[edit] 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,[2] up to the 1834/35 season.[22] It was performed in London in February 1823 and was staged for 15 seasons until 1851,[22] while it had its American debut in New Orleans in June 1829 [17] followed by New York in 1833.[22] 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.[22] After that it disappeared. Although not staged at the Opéra, La donna was seen in Paris for 13 seasons between 1824 and 1854.[22] 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 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".[23] 20th century and beyond[edit] La donna went unperformed for almost a century until 1958, when a revival took place in Florence,[17] where it was also recorded in performance at the Teatro della Pergola during the Maggio Musicale on 9 May. Ten years later, it was presented at the 1969 Camden Festival in London, with Kiri Te Kanawa in the lead role. In 1981, after an absence from America of almost 150 years, a production was mounted by the Houston Grand Opera, starring Frederica von Stade, Marilyn Horne, and Rockwell Blake, and conducted by Claudio Scimone.[24] The same production and cast were later presented at Covent Garden. In 1981, the Rossini Opera Festival at Pesaro presented the first staging of H. Colin Slim's new critical edition starring Lella Cuberli and Philip Langridge. The same production was revived in 1983 with Katia Ricciarelli, Lucia Valentini Terrani and Samuel Ramey. A variety of European and American companies - about 25 in all - performed the opera from the 1960s into the early 2000s, and recordings of many of these exist, including a concert performance in the Théâtre du Châtelet, Paris, on 2 March 1986.[25] 1990 saw Cecilia Gasdia and Rockwell Blake in a performance in the Teatro Regio di Parma in January 1990.[25] 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.[25] Juan Diego Flórez sang the role of Uberto in a performance in the Palafestival, Pesaro in August 2001, repeating that role in 2002 (with Malcolm sung by Daniela Barcellona) at the Opéra Berlioz-Le Corume on 23 July with the orchestra of the Rome Opera.[25] Both Florez and Barcellona appeared in the Kleines Festspielhaus in Salzburg in August, with Ruth Ann Swenson as Elena and Bruce Fowler (tenor) as Rodrigo.[25] 2003 saw a concert performance under Eve Queler given by the Opera Orchestra of New York on 19 May. Elena was sung by Ruth Ann Swenson, Malcolm by Stephanie Blythe and Rodrigo by Bruce Fowler (tenor).[25] A concert performance was also given as part of the Edinburgh Festival at Usher Hall, on 18 August 2006.[25] 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.[26] This production travelled from Paris to La Scala in October 2011, omitting the balletic elements.[27] 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.[28] 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 Douglas. [29] The Metropolitan Opera's première of this opera began on 16 February 2015 with a similar cast to La Scala, but a new production, including DiDonato as Elena and Juan Diego Flórez as Uberto.[30][31] The opera is best considered as a transitional work between baroque and classical forms and romanticism. It was the last en travesti opera he would write for Naples, as tenors were becoming the preferred voice for heroic roles.[19]