I puritani

Bellini’s stay in Paris from August 1833 saw him immersed in the French capital’s cultural life, but at a loss as to the subject matter for his next opera. Having signed a contract for a new opera the following January, he began work with Carlo Pepoli, an Italian émigré with revolutionary leanings but no experience of writing libretti, on adapting a recent French play concerning the English Civil War. The resulting I puritani (The Puritans) was first performed at the Théâtre Italien on January 24 and met with great acclaim. Musically it furthers Bellini’s predilection for seamlessly unfolding bel canto vocal lines, which create an emotional intensity not possible through words alone, with added emphasis on the continuity across and between scenes that had a direct influence on opera composers (notably Wagner) over the next half-century. Bellini now enjoyed a close friendship with Rossini, to whom he submitted the score for approval and who suggested he transfer the duet “Suoni la tromba” (Hymn to Liberty) from the end of the first act to the second to ensure an ovation from the Parisian audience. Bellini died just eight months later, his final opera set to conquer Europe, and the role of Elvira, with its demanding coloratura, an irresistible draw for leading sopranos ever since.