Giocchino Rossini: La Donna del Lago

Подробнее о видео

GIOACCHINO ROSSINI (1792-1868): LA DONNA DEL LAGO
Opera in two acts
Libretto by Andrea Leone Tottola, based on The Lady of the Lake by Walter Scott
First performance at the Teatro San Carlo, Naples, October 24, 1819

Elena Lena: Belkina
Malcolm: Max Emanuel Cencic
Giacomo V (Uberto): Daniel Behle
Rodrigo: Juan Francisco Gatell
Douglas of Angus: Daniel Golossov
Albina: Delphine Gillot
Serano: Tristan Blanchet
Bertram: Aurélien Reymond-Moret

Lausanne Chamber Orchestra
Choir of the Lausanne Opera conducted by Antonio Greco

George Petrou, conductor
Director: Max Emanuel Cencic
Sets and costumes: Bruno de Lavenère
Lights: David Debrinay
Video: Étienne Guiol
Assistant director: Constantina Psoma

After attending a performance of La Donna del Lago, the poet Giacomo Leopardi (1798-1837) wrote to his brother: “Executed by surprising voices, that is something prodigious; I could almost cry over it, if the gift of tears had not been taken away from me." It is certain that the work immediately stands out for the exceptional richness of its vocal writing, which demands an outstanding cast. Several Moments of rare beauty have established the opera's reputation for a long time: such as Rodrigo's grand entrance solo, Malcolm's cabaletta or the brilliant finale of Act 1 which brings together the main characters and a chorus of bards. , not forgetting Elena's dazzling grand solo with which the opera ends. It was the famous Isabella Colbran who created this role of Elena, typical of the composer's Neapolitan period.

From 1815 to 1822, Rossini worked almost exclusively for the San Carlo in Naples, putting all his talent at the service of the exceptional singers who 'y produce. With La Donna del Lago, Rossini moves away from the aesthetics of the 18th century to enter fully into the romanticism that would flourish two years later with Weber's Le Freischütz (1821). Having reached the peak of his art in the genre of "opera seria", Rossini explores new avenues. La Donna del Lago is the first of many operas that borrowed their subject from a work by the famous Scottish poet Walter Scott (1771-1832).
The exaltation of individual passions, the feeling for nature and the exploitation of local colour, are typical elements of the emerging romantic aesthetic. Rossini manages to establish a harmonious balance between the refined virtuosity of the singing and the power of the orchestration which translates the moods of the protagonists and the dramatic intensity of the situations.

A transitional work, La Donna del Lago received a mixed reception on evening of its creation but won a deserved triumph from the second performance. Considered then, like The Barber of Seville (1816), as the composer's masterpiece, it was to travel through Italy and then Europe and America. The difficulty of having to bring together several very talented performers partly explains the disappearance of this opera which, after having remained in the repertoire of the prestigious San Carlo in Naples for twelve years, ended up disappearing in the middle of the 19th century, only to be return to the stages only in 1958 at the Florentine Musical May under the direction of the great conductor Tullio Serafin.