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However, Somma's libretto was itself based on the five act libretto which playwright Eugène Scribe had written for Daniel Auber's 1833 opera, Gustave III, ou Le bal masqué.
Scribe wrote about the assassination in 1792 of King Gustav III of Sweden who was killed as the result of a political conspiracy against him.
He was shot while attending a masked ball and died 13 days later from his wounds.
In order to become the Un ballo in maschera which we know today, Verdi's opera (and his libretto) was forced to undergo a significant series of transformations, caused by a combination of censorship regulations in both Naples and Rome, as well as the political situation in France in January 1858.
A commission by the Teatro San Carlo in Naples in early 1857 led Verdi to begin to oversee the finalization of the libretto (also by Somma) for Re Lear with the aim of presenting the finished opera during the 1858 carnival season.
When this proved to be impracticable, Verdi turns to the subject of King Gustav III's assassination as portrayed in Scribe and Auber's opera, albeit not an historically accurate narrative.
That subject was well known and had been used by other composers, including Saverio Mercadante for his Il reggente in 1843.
For the libretto, Scribe retained the names of some of the historical figures involved (including fortune teller Ulrica Arfvidsson, the conspiracy, and the killing at the masked ball, but it was a simple case of 'cherchez la femme'".
For the rest of the play Scribe invented the romance between the King and the fictional Amélie, the wife of the king's secretary and best friend, and adds characters and situations such as Oscar, the page boy.
Somma's new libretto, known as Gustavo III, was presented to the censors in Naples by late 1857.
By November, Verdi informed Somma that objections had been raised and revisions demanded by the censors, the most significant of which was the refusal to allow the depiction of a monarch on the stage - and especially the monarch's murder.[5] As had happened with Rigoletto, changes in characters' names and titles were proposed (the King of Sweden became the Duke of Pomerania; Ackerstrom became Count Renato) and the location was moved from Stockholm to Stettin.
Working together with Somma over Christmas, Verdi accommodated these changes. Somma was asked to change the names of the characters on the Gustave libretto while Verdi worked on completing sketches of the music. The name of the opera became Una vendetta in dominò.
By 9 January 1858, prior to setting out for Naples, Verdi wrote from his home the San Carlo that "the opera is done and even here I am working on the full score".[5] The composer then travelled to Naples and rehearsals of Una vendetta were about to begin when, on 14 January 1858, three Italians attempted to assassinate Emperor Napoleon III in Paris.
In 1858, the censor blocks Una vendetta
The imposition of still further, more stringent requirements by the censor [6] incurred Verdi's wrath.
He broke his contract and was sued by the management of the Teatro San Carlo.
This provoked him to lodge a counter-claim against the theater for damages and, eventually, the legal fight ended.
In 1859, Una Vendetta becomes Un ballo in maschera
When the legal issues were resolved within a few months, Verdi was free to present the libretto and musical outline of Gustave III (which was basically Una vendetta with characters' names and locations changed)[7] to the Rome Opera.
There, the censors demanded further changes. Removing the action from Europe, the location became Boston during the British colonial period and the leading character became Riccardo, the Count (or Earl) of Warwick.
At this point, the opera became Un ballo in maschera set in North America.
It received its premiere performance at the Teatro Apollo in Rome on 17 February 1859 and was immediately successful.
This opera was first seen in New York its US premiere on 11 February 1861 and in the UK on 15 June of that year, at the Royal Italian Opera.
In the 20th century, especially after a 1935 production in Copenhagen, many modern stagings have restored the original Swedish setting and characters´ names.
On 7 January 1955, Marian Anderson, singing the role of Ulrica, broke the "color barrier" at the Metropolitan Opera, becoming the first African-American artist ever to appear with that company. [9]
A "hypothetical reconstruction" of Gustavo III,[10] based on the unorchestrated original and much of Una vendetta "grafted" [10] onto Un ballo's score, occurred in a production by the Gothenburg Opera in Gothenburg, Sweden in 2002.
The opera has become a staple of the repertoire and is now performed frequently.
Roles
| Role BO: Original Boston setting and characters SW: Swedish setting and characters | Voice type | Premiere Cast (Boston setting), 17 February 1859[14] (Conductor: - ) |
|---|---|---|
| BO: Riccardo, Earl of Warwick and governor of Boston SW: Gustavo, King of Sweden | tenor | Gaetano Fraschini |
| BO: Amelia, wife of Renato, in love with Riccardo SW: Amelia, wife of Anckarström, in love with Gustavo | dramatic soprano | Eugenia Julienne-Dejean |
| BO: Renato, husband of Amelia and Riccardo's secretary, best friend and confidant SW: Count Anckarström, husband of Amelia and Gustavo's secretary, best friend and confidant | baritone | Leone Giraldoni |
| BO: Oscar, Riccardo's page SW: Oscar, Gustavo's page | coloratura soprano | Pamela Scotti |
| BO: Ulrica SW: Madame Arvidson, a fortune-teller | contralto | Zelina Sbriscia |
| A judge | tenor | Giuseppe Bazzoli |
| BO: Silvano SW: Cristiano | bass | Stefano Santucci |
| Amelia's servant | tenor | Luigi Fossi |
| BO: Samuel SW: Count Ribbing | bass | Cesare Rossi |
| BO: Tom SW: Count Horn | bass | Giovanni Bernardoni |
Synopsis
- Place, Sweden or Boston, Massachusetts.
- Time, Sweden: 1792, or Boston: the end of the 17th century.[15]
Act 1
Scene 1: A public audience at Riccardo's palace, attended by his supporters, but also by his enemies who hope for his downfallRiccardo (Gustavo) reviews the list of guests who will attend an upcoming masked ball. He is elated to see on the list the name of the woman he loves – Amelia, the wife of his friend and advisor, Renato (Count Anckarström). (Aria: La rivedrà nell'estasi / "With rapture I shall look upon her"). When Renato arrives, he tries to warn Riccardo about the growing conspiracy against him (aria: Alla vita che t'arride / "To the life with which you are favoured"), but Riccardo refuses to listen to his words.
Next, Riccardo is presented with a complaint against a fortune-teller named Ulrica (Madame Arvidson), accused of witchcraft. A magistrate calls for her banishment, but Oscar the page defends her (Aria: Volta la terrea / "That tense countenance"). Riccardo resolves to investigate for himself and tells the members of the court to disguise themselves and to meet him at Ulrica's lodging later that day.
Scene 2: At Ulrica's dwelling
Ulrica summons her magical powers: Re dell'abisso, affrettati / "King of the abyss make haste". Disguised as a fisherman, Riccardo arrives before the others. He makes the fortune of a sailor named Silvano come true by spiriting a document of promotion into his pouch, convincing the crowd of the truth of Ulrica's powers. When he realizes that Amelia is coming to see Ulrica, he hides and watches. Alone with Ulrica, Amelia confesses that she is tormented by her love for Riccardo, and asks for a means to bring peace to her heart. Ulrica tells her to gather a certain herb with magical powers; Riccardo resolves to be there when she does so. Amelia leaves.
Now Riccardo presents himself again, along with all of the courtiers, and asks to have his fortune told. (Aria: Di' tu se fedele / "Say whether the sea Awaits me faithfully"). Ulrica reveals that he will be killed by the next man who shakes his hand. He laughingly dismisses her prophecy and offers his hand to the courtiers, who refuse to take it. Renato arrives and shakes Riccardo's hand in greeting. Riccardo's true identity is now revealed and he is acclaimed by the people.
Act 2
Amelia, conquering her fears, has come here alone to pick the herb of which Ulrica told her (Aria: Ma dall'arido stelo divulsa / " If through the arid stalks"). She is surprised by Riccardo, who has come to meet her, and the two finally declare their love for each other.
Unexpectedly, Renato arrives, and Amelia covers her face with her veil before he can recognize her. Renato explains to Riccardo that the conspirators are pursuing him, and his life is in danger. Riccardo leaves, making Renato promise to escort the veiled woman safely back to town, not asking her identity. When the conspirators arrive, they confront Renato; in the struggle, Amelia's veil drops. Renato assumes that Amelia and Riccardo have been involved in an adulterous love affair. He asks the two leaders of the conspiracy, Samuel and Tom, to meet him the next day.
Act 3
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Enrico Caruso, Frieda Hempel, Maria Duchêne, Andrés de Segurola and Léon Rothier performing the song "È scherzo od è follia", from Un ballo in maschera, in 1914
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| Problems listening to this file? See media help. | |
Renato has resolved to kill Amelia for the dishonor she has brought on him. She protests her innocence and begs to see her son one last time. (Aria: Morrò, ma prima in grazia / "I shall die - but one last wish"). Renato relents, and declares that it is Riccardo, not Amelia, who deserves to die (Aria: Eri tu che macchiavi quell'anima / "It was you who stained this soul").
Samuel (Count Ribbing) and Tom (Count Horn) arrive, and Renato asks to join their plot, pledging the life of his son as proof of his sincerity. They agree to draw lots to decide who will kill Riccardo. Amelia is forced to draw the winning name – Renato.
Oscar, the page, arrives with invitations to the masked ball; Samuel, Tom and Renato agree that this is where the assassination will take place.
Scene 2: The ball
Riccardo, torn between love and duty, has resolved to renounce his love for Amelia and send her and Renato back to England (Aria: Ma se m'è forza perderti / "But if I am forced to lose you").
At the ball, Renato tries to learn from Oscar what costume Riccardo is wearing. Oscar at first refuses to tell (Aria: Saper vorreste / "You want to know How he is dressed"), but finally answers: a black cloak and a red ribbon. Riccardo manages to identify Amelia and tells her of the decision he has made. As they say goodbye, Renato stabs Riccardo. The wounded Riccardo discloses that though he loved Amelia, she never broke her marriage vows. He pardons all the conspirators, bidding farewell to his friends and his country as he dies.
Recordings
| Year | Cast (Riccardo, Amelia, Renato, Oscar, Ulrica) | Conductor, Opera House and Orchestra | Label[16] |
|---|---|---|---|
| 1940 | Jussi Björling, Zinka Milanov, Alexander Svéd, Stella Andreva, Bruna Castagna | Ettore Panizza, Metropolitan Opera Orchestra and Chorus (Recorded at the Metropolitan Opera House, 14 December) | Audio CD: Myto Cat: 2 CD 00008 (issued 2008) |
| 1944 | Jan Peerce, Zinka Milanov, Leonard Warren, Kerstin Thorborg, Frances Greer | Bruno Walter, Metropolitan Opera Orchestra and Chorus (Recorded at the Metropolitan Opera House,15 January) | Audio CD: Bensar Cat: OL 11544 |
| 1954 | Jan Peerce, Herva Nelli, Robert Merrill, Virginia Haskins, Claramae Turner | Arturo Toscanini, NBC Symphony Orchestra and the Robert Shaw Chorale | Audio CD: Myto Cat: 2 MCD 052 H 100 |
| 1956 | Giuseppe di Stefano, Maria Callas, Tito Gobbi Eugenia Ratti, Fedora Barbieri | Antonino Votto, La Scala Orchestra and Chorus, Milan | Audio CD: EMI Classics Cat: EX 290925-5 |
| 1957 | Giuseppe di Stefano, Maria Callas, Ettore Bastianini Eugenia Ratti, Giulietta Simionato | Gianandrea Gavazzeni, La Scala Orchestra and Chorus, Milan (Recording of a performance at La Scala) | Audio CD: EMI Classics Cat: |
| 1960 | Carlo Bergonzi, Birgit Nilsson, Cornell MacNeil, Sylvia Stahlman, Giulietta Simionato | Georg Solti, Accademia di Santa Cecilia Orchestra and Chorus | Audio CD: Decca Cat: 475 8278; 000829602 (USA) |
| 1966 | Carlo Bergonzi, Leontyne Price, Robert Merrill, Reri Grist, Shirley Verrett | Erich Leinsdorf RCA Italiana Opera Orchestra and Chorus | Audio CD: RCA Victor Cat: GD 86645 (UK) |
| 1970 | Luciano Pavarotti, Renata Tebaldi, Sherrill Milnes, Helen Donath, Regina Resnik | Bruno Bartoletti Accademia di Santa Cecilia Orchestra and Chorus, Rome | Original LP release: SET 484-6 (3 LPs) CD release: 440 042-2 DMO2 (2 CDs) CD re-release: 460 762-2 DF2 (2 CDs) |
| 1975 | Plácido Domingo, Katia Ricciarelli, Piero Cappuccilli, Reri Grist, Elizabeth Bainbridge | Claudio Abbado, Royal Opera House Orchestra and Chorus (Recording of a performance at Covent Garden, 8 February) | DVD: Kultur Video Cat:D 2071 (USA); Covent Garden Pioneer Cat: B 12373-01 (Europe) |
| 1975 | José Carreras, Montserrat Caballé, Renato Bruson, Margherita Guglielmi, Ruza Baldani | Francesco Molinari-Pradelli, La Scala Orchestra and Chorus (Recording of a performance at La Scala, 18 February) | Audio CD: Opera d'Oro Cat: OPD 7048 |
| 1979 | José Carreras, Montserrat Caballé, Ingvar Wixell, Sona Ghazarian, Patricia Payne | Sir Colin Davis, Royal Opera House Orchestra and Chorus | Audio CD: Philips Cat: 426 560-2 |
| 1980 | Luciano Pavarotti, Katia Ricciarelli, Louis Quilico, Judith Blegen, Bianca Berini | Giuseppe Patanè, Metropolitan Opera Orchestra and Chorus | DVD: Decca Cat: 074 3227 |
| 1980 | Luciano Pavarotti, Margaret Price, Renato Bruson, Kathleen Battle, Christa Ludwig | Sir Georg Solti, National Philharmonic Orchestra, Royal College of Music Junior Department Chorus London Opera Chorus | Audio CD: Decca Original CD release: 410 210-2 DH2 |
| 1980 | Plácido Domingo, Katia Ricciarelli, Renato Bruson, Edita Gruberová, Elena Obraztsova | Claudio Abbado, La Scala Orchestra and Chorus | Audio CD: Deutsche Grammophon Cat: 453 148-2 |
| 1990 | Plácido Domingo, Josephine Barstow, Leo Nucci, Sumi Jo, Florence Quivar | Herbert von Karajan, Vienna Philharmonic Orchestra Vienna State Opera Chorus | Audio CD: Deutsche Grammophon Cat: 427 635-2 |
| 1991 | Luciano Pavarotti, Aprile Millo, Leo Nucci, Harolyn Blackwell, Florence Quivar | James Levine, Metropolitan Opera Orchestra and Chorus | DVD: Deutsche Grammophon Cat: 073 029-9 (Europe); DG 001086309 (073 4455) |
| 2005 | Massimiliano Pisapia, Chiara Tagi, Franco Vassallo, Anna Maria Chiuri, Eunyee You | Riccardo Chailly, Gewandhausorchester (Video recording of a performance in the Leipzig Opera, November | DVD: EuroArts Cat: 0880242551085 |
| 2012 | Marcelo Álvarez, Sondra Radvanovsky, Dmitri Hvorostovsky, Kathleen Kim, Stephanie Blythe | Fabio Luisi, Metropolitan Opera House Orchestra and Chorus (Video recording of a performance at the Metropolitan Opera, 8 December 2012) | DVD: DeustcheGrammophon Cat: 0880242551085 |
[edit] References
- Notes
Baldini, p. 248: Roger Parker, as editor and translator of The Story of Giuseppe Verdi challenges Baldini's statement that Gustave was a play, and he asserts that it was only an opera libretto written for Auber's opera
Budden, p. 363. Verdi to Torelli: "I'm scaling down a French drama, Gustavo III di Svezia, libretto by Scribe, performed at the Opéra twenty years ago"
Patrick Dillon, "Unlucky Lady: Who is Amelia?", Opera News, December 2012, Vol. 77, #6, p. 20: Dillon notes that "it doesn't matter that there was, historically, no "real" Amelia" and further that, for Scribe, "convention demanded a leading lady" therefore "Amélie, comtesse d'Ankastrom" in Auber's opera.
Budden, p. 364
Gossett, p.497
Verdi to Somma, 7 February 1858, Werfel and Stefan, p.207: "I'm drowning in a sea of troubles. It's almost certain that the censors will forbid our libretto."
- ^ Gossett, p.499
- ^ Holden, p. 999
- ^ "Marian at the Met (1955): The Story" on metoperafamily.org. Retrieved 3 July 2011
- ^ a b Parker, p. 179
- ^ Gossett, pp. 491 to 513: the complete history of Gustave III has been outlined by the musicologist.
- ^ OPERA America reports 72 productions across North America since 1991 Retrieved 17 March 2010
- ^ Operabase shows 316 performances of 55 productions in 43 cities performed or planned since January 2009 Retrieved 29 November 2012
- ^ List of singers taken from Budden, p. 360
- ^ Melitz, adaptation of the synopsis from 1921
- ^ Recordings on operadis-opera-discography.org.uk
- Cited sources
- Baldini, Gabriele, (Ed. and Trans. Roger Parker), The Story of Giuseppi Verdi, Cambridge University Press, 1980. ISBN 0-521-22911-1 ISBN 0-521-29712-5
- Budden, Julian. The Operas of Verdi, vol. 2, New York, Oxford University Press, ISBN 0-19-520068-3.
- Gossett, Philip, Divas and Scholars: Performing Italian Opera, 1984. Chicago: University of Chicago, 2006 ISBN 978-0-226-30482-3 ISBN 0-226-30482-5
- Holden, Amanda (Ed.), The New Penguin Opera Guide, New York: Penguin Putnam, 2001. ISBN 0-14-029312-4
- Melitz, Leo. The Opera Goer's Complete Guide, 1921 version.
- Osborne, Charles. The Complete Operas of Verdi, New York, Da Capo Press, ISBN 0-306-80072-1.
- Parker, Roger, The New Grove Guide to Verdi and his Operas, New York: Oxford University Press, 2007 ISBN 978-0-19-531314-7
- Werfel, Franz and Stefan, Paul, Verdi: The Man and His Letters, New York, Vienna House 1973 ISBN 0-8443-0088-8
- Other sources
- Phillips-Matz, Mary Jane, Verdi: A Biography, London & New York: Oxford University Press, 1993 ISBN 0-19-313204-4
[edit] External links
 | Wikimedia Commons has media related to: Un ballo in maschera |
- Un ballo in maschera: Free scores at the International Music Score Library Project
- Libretto in Italian on www.giuseppeverdi.it
- Libretto in Italian and English on murashev.com.
- San Diego OperaTalk! with Nick Reveles: A Masked Ball
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