Un ballo in maschera
(A Masked Ball)
, is an opera in three acts by Giuseppe Verdi with text by Antonio Somma. The opera's first production was at the Teatro Apollo, Rome, 17 February 1859.
The opera is based on the assassination of King Gustav III of Sweden, but is not historically accurate. During its composition, Verdi was asked by government censors to make many changes to the opera due to its politically sensitive subject matter. Among these changes is a transportation of the setting to Boston, Massachusetts.
Despite its tragic conclusion, Un ballo in maschera
has many moments of the brilliance and irony associated with comedy — a mixture which has led critics to label it "Shakespearean."
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A MASKED BALL TICKETS
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Genesis of the opera: censorship and contention
In 1792, the King of Sweden, Gustav III, was killed, the result of a political conspiracy against him. He was shot while attending a masked ball and died 13 days later from his wounds. It is on this episode that Verdi’s
Masked Ball
is loosely based; however, very little historical truth is contained in Verdi’s opera.
In 1833, the French playwright
Eugène Scribe wrote about Gustav in a play called
Gustave III
. He retained the names of some of the historical figures involved, the conspiracy, and the killing at the masked ball. The rest of the play — the characterizations, the romance, the fortune-telling, etc. — is Scribe’s invention; and it is Scribe’s play that is the source of the story in Verdi’s opera.
Scribe’s play was well known and had been used by other composers, including
Auber, as the basis for operas. However, the censors were still wary of it, since it showed the assassination of a king in a recent period of European history. During composition, the censors in
Naples, where Verdi’s opera was to be performed, required extensive changes, eventually demanding more alterations than the composer was willing to make. Therefore, he broke his contract and was sued by the management of the
Teatro San Carlo, thus provoking him to lodge a counter-claim against the theater for damages. Eventually, the legal fight ended with the house's charges being withdrawn, freeing Verdi to offer the opera to the
Rome Opera house.
But the Roman censors also wanted to make changes. Finally it was agreed that the setting would be moved from Europe, and the rank of the leading character would be reduced from king to colonial governor. So it was that the setting of the opera is
Boston during the British colonial period, and the leading character is Riccardo, the Count (or Earl) of Warwick.
Performance history
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. In the 20th century, especially after a 1935 production in
Copenhagen, many modern stagings have restored the original Swedish setting and characters´ names.
[1] 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.
[2]
Today, the opera is performed regularly.
Roles
| Role
| Voice type
| Premiere Cast,
17 February 1859 [3]
(Conductor: - )
|
Riccardo, Earl of Warwick and governor of Boston
(or Gustavo, King of Sweden
)
| tenor
| Gaetano Fraschini
|
| Amelia, wife of Renato, in love with Riccardo
| soprano
| Eugenia Julienne-Dejean
|
Renato (or Count Anckarström), husband of Amelia and
Riccardo's secretary, best friend and confidant
| baritone
| Leone Giraldoni
|
| Oscar, Riccardo's page
| coloratura soprano
| Pamela Scotti
|
| Ulrica (or Madame Arvidson), a fortune-teller
| contralto
| Zelina Sbriscia
|
| A judge
| tenor
| Giuseppe Bazzoli
|
| Silvano (or Cristiano)
| bass
| Stefano Santucci
|
| Amelia’s servant
| tenor
| Luigi Fossi
|
| Samuel (or Count Ribbing)
| bass
| Cesare Rossi
|
| Tom (or Count Horn)
| bass
| Giovanni Bernardoni
|
Synopsis
Place, Sweden or Boston, Massachusetts.
Time, Sweden: 1792, or Boston: the end of the 17th century. [4]
Act 1
Scene 1: A public audience at Riccardo’s palace, attended by his supporters, but also by his enemies who hope for his downfall
Riccardo 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. (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, 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
On the outskirts of the town, at the gallows-place. Midnight
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 thr arid stalks"). She is surprised by Riccardo, who has come to meet her. Now 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
Scene 1: Renato’s house
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 and Tom 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.
Selected recordings
below =
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| Year
| Cast
(Riccardo, Amelia, Renato, Oscar, Ulrica)
| Conductor,
Opera House and Orchestra
| Label
|
| 1954
| Jan Peerce,
Herva Nelli,
Robert Merrill,
Virginia Haskins,
Claramae Turner
| Arturo Toscanini,
NBC Symphony Orchestra
Robert Shaw Chorale
| Audio CD: RCA Victor
|
| 1956
| Giuseppe di Stefano,
Maria Callas,
Tito Gobbi
Eugenia Ratti,
Fedora Barbieri
| Antonino Votto,
Orchestra e Coro del Teatro alla Scala di Milano
| Audio CD: EMI Classics
|
| 1961
| Carlo Bergonzi,
Birgit Nilsson,
Cornell MacNeil,
Sylvia Stahlman,
Giulietta Simionato
| Georg Solti,
Coro e Orchestra dell'Accademia di Santa Cecilia
| Audio CD: Decca
|
| 1966
| Carlo Bergonzi,
Leontyne Price,
Robert Merrill,
Reri Grist,
Shirley Verrett
| Erich Leinsdorf
RCA Italiana Opera Chorus and Orchestra
| Audio CD: RCA Victor
|
| 1975
| Plácido Domingo,
Katia Ricciarelli,
Piero Cappuccilli,
Reri Grist,
Elizabeth Bainbridge
| Claudio Abbado,
Royal Opera House Orchestra and Chorus
| DVD: Kultur Video
|
| 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
| Plácido Domingo,
Katia Ricciarelli,
Renato Bruson,
Edita Gruberová,
Elena Obraztsova
| Claudio Abbado,
Teatro alla Scala Orchestra and Chorus
| Audio CD: Deutsche Grammophon
Cat: 453 148-2
|
| 1990
| Plácido Domingo,
Josephine Barstow,
Leo Nucci,
Sumi Jo,
Florence Quivar
| Georg Solti,
Vienna State Opera,
Vienna Philharmonic Orchestra
| DVD: TDK Video
Cat: 8 24121 00109 4
|
Note:
"Cat:" is short for catalogue number by the label company
Notes
References
- Holden, Amanda (ed.), ''The New Penguin Opera Guide'', New York: Penguin Putnam, 2001, page 999. ISBN 0-140-29312-4
- http://www.metoperafamily.org/_post/education/marian-anderson/html/at_the_met.htm
- List of singers taken from Budden, Julian: ''The Operas of Verdi'' (Cassell), vol 2, p. 360.
- The synopsis is adapted partly from Leo Melitz, ''The Opera Goer's Complete Guide'', 1921 version.