London Bel Canto Festival
Beatrice di Tenda (Bellini)
Beatrice di Tenda (Bellini)
We will be double casting the roles and both casts will have a public performance. The opera will be staged concert style with chamber orchestra. If you would like to audition for a role in Beatrice, please submit at least two arias by video that display your ability sing the desired role. At least one aria should be a Bellini aria in Italian.
You will be tentatively offered the role based on your audition videos, however you will need to prove that you can sing the role in its entirety three months before the festival begins. This may be done is differnt ways including video or over a skype call. If you cannot sing the role at that point you will either be cancelled from the cast, or you may be given a second chance to complete the opera.
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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 (it).
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".[2] 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".[3] 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.