Beatrice di Tenda

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For the historical figure on which this opera is based, see Beatrice Lascaris di Tenda.
Beatrice di Tenda
Opera by Vincenzo Bellini
Palagi Beatrice & Orombello 1845.jpg
Orombello and Beatrice,
by Pelagio Palagi 1845
Librettist Felice Romani
Language Italian
Premiere 16 March 1833 (1833-03-16) – Teatro La Fenice, Venice

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. The opera is Bellini's penultimate opera, coming after Norma (1831) and before I puritani (1835).

Composition history[edit]

Bellini by Pietro Lucchini
The original 15th century Béatrice-de-Tende

The composer chose the subject in discussions with Giuditta Pasta after they had seen the ballet together in Milan, but against the better judgement of Romani and despite the similarities between that work and Donizetti's Anna Bolena. Work was problematic, and the finale was not finished in time for the premiere, so Beatrice's final aria was borrowed from Bianca e Fernando. (Bellini's sketches of a former duet between Beatrice and Agnese were realized by Vittorio Gui for a series of revivals from the late 1960s.) Romani's distaste for the subject, and his exasperation with Bellini, led him to insert an apology into the printed libretto; this led to a bitter row with the composer and a breakdown of their difficult, if glorious, working relationship.

The chorus plays an even more important part here than in Bellini's earlier operas, not only commenting on the action but advising and comforting the protagonists, in the true tradition of classical Greek drama.

Bellini felt that he had counteracted the horror of the story with his beautiful music and that Beatrice "was not unworthy of her sisters". It was Pasta's fine performance in the title role that overcame the public's hostility to the piece, and it was the only one of Bellini's operas to be published in full score in his lifetime.

Performance history[edit]

It received its first performance at the Teatro La Fenice in Venice on 16 March 1833 with Giuditta Pasta in the title role.

The opera was revived in 1961 by the American Opera Society with Joan Sutherland, Enzo Sordello, Marilyn Horne and Richard Cassilly under the baton of Nicola Rescigno, and in the same year at La Scala with Sutherland and Raina Kabaivanska and with Antonino Votto conducting. Since then the title role has been assumed by a number of other prominent sopranos including Leyla Gencer, Mirella Freni, June Anderson, Edita Gruberová, Mariella Devia.


Giuditta Pasta
Role[1] Voice type Premiere Cast, 16 March 1833
(Conductor: - )
Beatrice di Tenda, Filippo's wife soprano Giuditta Pasta
Filippo Maria Visconti, Duke of Milan baritone Orazio Cartegenova
Agnese del Maino, in love with Orombello mezzo-soprano Anna del Serre
Orombello, Lord of Ventimiglia tenor Alberico Curioni
Anichino, loyal friend of Orombello tenor Alessandro Giacchini
Rizzardo del Maino, Agnese's brother tenor


This is the story of Beatrice Lascaris di Tenda, the woman who was the widow of the condottiere Facino Cane and later the wife of Duke Filippo Maria Visconti, in 15th century Milan. Filippo has grown tired of his wife Beatrice; she regrets her impetuous marriage to him after her first husband's death, a marriage that has delivered her and her people into the Duke's tyrannical power.

Time: 1418
Place: The Castle of Binasco, near Milan[1]

Act 1[edit]

Scene 1: Banqueting Hall of Castle Binasco

Filippo Maria Visconti, the Duke of Milan, attends the ball, shadowed as usual by the sinister Rizzardo. He is fed up with everyone paying obeisance to his wife. His sycophantic courtiers tell him how much they sympathize, and suggest that Beatrice's servants are all plotting against him.

Beautiful harp music is heard. Agnese, the current object of Filippo's lust, sings from afar that life is empty without love. Filippo echoes her thoughts and states how much he loves her; she has no equal. His courtiers again sympathize with him and encourage him to seize the moment. Agnese disappears and all leave. Then Agnese reappears, this time singing for Orombello. Mysteriously, she wishes that her heart will guide him to her arms and the object of her lust makes his entrance. Orombello splutters that he does not know where he is or why he is there. Comforted by Agnese, he begins to relax and agrees that he is deeply in love and, when asked about a letter, shows her the one he is carrying. "Such misfortune!": by mistake, the letter he is referring to is one of many he has written to Beatrice and not the one that Agnese had sent to him. Agnese's world falls apart, her tenderness turns to vitriol, and the two of them spit out a dramatic aria and leave.

Scene 2: The castle garden

Beatrice enters one of her secret places with her ladies. She is happy, but soon loses her poise and laments how misguided she has been to have married the evil Duke Filippo. As they are all about to leave, Filippo sees them in the distance and, believing she is avoiding him, demands that she be brought back. The two of them accuse and rage at each other. He accuses her of infidelity and attempted rebellion, at the same time producing some secret papers stolen from Beatrice's apartment.

Scene 3: A remote part of the castle

Slightly the worse for wear, Filippo's soldiers discuss his silence and temper. Beatrice enters carrying a portrait of her beloved deceased husband, Facino. She is bemoaning the fact that everyone has abandoned her when Orombello enters protesting that he has not. Excitedly, he tells her his plans to rally the troops and help her free herself. She crushes him saying that she does not rate his expertise in security matters. Stunned, Orombello protests his love and, even when begged to do so, will not leave her presence; instead, he kneels down in front of her, at which moment Agnese and Filippo enter and accuse the two traitors of having an affair. Everyone now joins in with accusation, counter accusation, attack and defense. Then Filippo has the pair arrested and imprisoned in order to be tried in Court for adultery.

Act 2[edit]

Scene 1: The inner courtyard of the castle

The courtiers learn of the terrible torture that has been applied to Orombello. Then, the Court is summoned and Filippo sets out the case for the prosecution. Beatrice is dragged in, and she protests that the Court has no jurisdiction. Next, Orombello is hauled in and, after desperately seeking forgiveness from Beatrice, proclaims her innocence. Beatrice regains her will to live and something in her speaking touches Filippo's heart. He announces that the sentence should be delayed. The Court overrules him stating that more torture should be applied until the truth is spoken. Again, Filippo changes his mind and, supporting the Court's decision, instructs that, indeed, more torture seems to be necessary to extract the truth. The Court rises.

Filippo and Agnese, full of remorse, are left alone and Agnese, realizing that things have gone much further than she had expected, begs Filippo to drop all the charges; but Filippo, not wishing to look weak, dismisses the idea.

Filippo now goes through several stages of torment and is obviously still deeply in love with Beatrice. Just as he has made up his mind to drop all the charges, with cruel timing, men still loyal to the late condottiere Facino arrive, to invade the castle. As a result, Filippo signs the death warrant now handed to him by Anichino* and tries to justify his actions to the crowd, blaming Beatrice's behaviour.

Scene 2: Outside Orombello's cell

Beatrice's ladies gather outside the cell while Beatrice prays. Agnese enters and confesses that it is she who instigated, through jealousy, the plot to accuse the couple. Beatrice forgives her and prepares herself for death.


Year Cast
Opera House and Orchestra
1966 Joan Sutherland,
Luciano Pavarotti,
Josephine Veasey,
Cornelius Opthof
Richard Bonynge,
London Symphony Orchestra, Ambrosian Opera Chorus
Audio CD: Decca
Cat: 433 706-2
1986 Mariana Nicolesco,
Vincenzo La Scola,
Stefania Toczyska,
Piero Cappuccilli
Alberto Zedda,
Monte Carlo Orchestra and the Prague Philarmonic Choir
Audio CD: Sony
Cat: SM3K 64539
1987 June Anderson,
Don Bernardini,
Elena Zilio,
Armando Ariostini
Gianfranco Masini,
La Fenice orchestra and chorus
(Live recording; source and conductor in doubt)
Audio CD: Opera d'Oro
Cat: OPD-1174
1992 Lucia Aliberti,
Martin Thompson,
Camille Capasso,
Paolo Gavenelli
Fabio Luisi,
Deutsche Oper Berlin chorus and orchestra
Audio CD: Berlin Classics
Cat: 0010422BC
1992 Edita Gruberova,
Don Bernardini,
Vesselina Kasarova,
Igor Mozorov
Pinchas Steinberg
ORF Symphony Orchestra, Vienna Children's Choir
Audio CD: Nightingale Classics
Cat: NC 070560-2
2002 Edita Gruberova,
Raúl Hernández,
Stefania Kaluza,
Michael Volle
Marcello Viotti
Opernhaus Zürich Orchestra and Chorus
2010 Dimitra Theodossiou,
Alejandro Roy,
José Maria Lo Monaco,
Michele Kalmandi
Antonio Pirolli,
Orchestra and Chorus of Teatro Massimo Bellini, Catania,
Blu-ray and DVD: Dynamic,
Cat: NHK 55675 and 33675[3]



  1. ^ a b Osborne 1994, p. 342
  2. ^ Recordings of Beatrice di Tenda on
  3. ^ Patrick Dillon, "BELLINI: Beatrice di Tenda, (review) Opera News (New York), November 2013, Vol. 78, No. 5


External links[edit]