FULL BEATRICE DI TENDA Palermo 1987 Doina Palade, Renata Daltin, Luigi De Corato, Salvatore Fisichella

Information on the Performance

• Work Title: Beatrice di Tenda  
• Composer: Bellini Vincenzo   
• Libretto: Felice Romani    Libretto Text, Libretto Index
• Venue & Opera Company: Teatro Massimo di Palermo, Italy  
• Recorded: 1987
• Type: Staged Opera Live
• Singers: Doina Palade, Renata Daltin, Luigi De Corato, Salvatore Fisichella, Pietro Tarantino, Ugo Tortorici
• Conductor: Carlo Rizzi  
• Orchestra: Orchestra di Teatro Massimo  
• Chorus: Coro di Teatro Massimo  
• Stage Director:   
• Costume Designer:   

Information about the Recording

• Format: Unknown
• Quality Video: 2 Audio:2
• Subtitles: nosubs  
• Video Recording from: vk     FULL VIDEO
•  

ADDITIONAL INFORMATION ON THIS PERFORMANCE

Quote from Wikipedia:

Beatrice di Tenda is a tragic opera in two acts by Vincenzo Bellini, from a libretto by Felice Romani, after the play of the same name by Carlo Tedaldi Fores

Initially, a play by Alexandre Dumas was chosen as the subject for the opera, but Bellini had reservations about its suitability. After he and Giuditta Pasta (for whom the opera was to be written) had together seen the ballet based on the very different play, Tedaldi-Fores’ Beatrice Tenda, in Milan in October 1832, she became enthusiastic about the subject and the composer set about persuading Romani that this was a good idea. Romani, who had his own concerns, the principal one being the close parallels with the story told in Donizetti’s Anna Bolena, an opera which had established that composer’s success in 1830. Against his better judgment, he finally agreed, although he failed to provide verses for many months.

Although unsuccessful at its premiere in Venice in 1833, Bellini felt that he had counteracted the horror of its story “by means of the music, colouring it now tremendously and now sadly”. Later, after hearing of the opera’s success in Palermo, Bellini wrote to his Neapolitan friend Francesco Florimo, stating that Beatrice “was not unworthy of her sisters”. Also, it was Pasta’s performances in the title role that overcame the public’s hostility to the piece.

The opera was Bellini’s penultimate work, coming between Norma (1831) and I puritani (1835) and it was the only one of his operas to be published in full score in his lifetime.