Alzira (opera)
| Alzira | |
|---|---|
| Opera by Giuseppe Verdi | |
Eugenia Tadolini's costume as Alzira for the 1845 premiere
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| Librettist | Salvatore Cammarano |
| Language | Italian |
| Based on | Voltaire's play, Alzire, ou les Américains |
| Premiere | 12 August 1845 Teatro San Carlo, Naples |
Alzira is an opera in a prologue and two acts by Giuseppe Verdi to an Italian libretto by Salvatore Cammarano, based on the play Alzire, ou les Américains by Voltaire.
The first performance was at the Teatro San Carlo, Naples, on 12 August 1845. The contemporary reviews were mixed, and the first run of the opera received only four further performances.
Following his completion of Giovanna d'Arco, Verdi began on work on Alzira, having been invited by the impresario of the Teatro San Carlo in Naples, Vincenzo Flauto, to write an opera for that house, the invitation having followed the earlier success of Ernani. One of the attractions of the arrangement to Verdi was to have the services of the man who was now - following Felice Romani's virtual retirement - the principal librettist in Italy. This was Salvatore Cammarano, the Naples "house poet" who had been responsible for some of Donizetti's successes, which included Lucia di Lammermoor. Using the publisher Giovanni Ricordi as "a kind of agent" Verdi's terms were laid out. These included being able to receive one-third more than his fee for I Lombardi and, more importantly, having a finished libretto from Cammarano in his possession four months before the production.
Verdi had received a synopsis of the opera from Cammarano, the subject of which was not his. But, as Budden notes, Verdi adopted a somewhat passive attitude, impressed as he was at being able to work with this librettist. In a letter of 23 February 1845, Verdi had expressed his optimism that "Voltaire's tragedy will become an excellent melodrama," with the added hope that if the librettist would "put some passion into your libretto" and that he, Verdi, would write music to match. In their early correspondence, it appears that Cammarano had already sent some sample verses because Verdi's 23 February letter also contained his enthusiasm for receiving more: "I beg you to send me promptly some more verses. It's not necessary for me to tell you to keep it short. You know the theatre better than I do." It is quite clear that Verdi's characteristic requirement for brevity appeared this early on in his career.
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