Imelda de' Lambertazzi

Imelda de' Lambertazzi is a melodramma tragico, or tragic opera, in two acts by Gaetano Donizetti from a libretto by Andrea Leone Tottola, based on historical events of 1274 in Bologna described by Cherubino Ghirardacci in his Della Historia di Bologna (1605), and Count Gasparo Bombaci in his Historia de i fatti d'Antonio Lambertacci nobile, e potente cittadin Bolognese descritta da Gasparo Bombaci (1632), and also based on the 5-act tragedy Imelda (Naples, 1825) by the playwright Gabriele Sperduti. The opera received its first performance on 5 September 1830, at the Teatro San Carlo, Naples, starring soprano Antonietta Galzerani, baritone Antonio Tamburini as Bonifacio Geremei, and tenor Berardo Winter as Lamberto.

Much of the criticism of the 1830 Naples première was variously perplexed, non-committal, middling, or dismissive. Not because of the opera's reception with the public, Imelda was initially only able to receive two performances because the Naples theaters had to close September 10 for the novena in preparation for the feast of San Gennaro. The critic for the Milanese journal Il Censore Universale dei Teatri (Luigi Prividali, editor), however, was distinctly enthusiastic:

"The outcome of the first evening did not correspond to the expectation of those who appreciate the ability of this composer, and even more of those who had earlier had the opportunity of examining his composition, recognized as a most diligent work. Whether it was insufficiently rehearsed, or whether the singers had not sufficiently penetrated its spirit, the fact is that its execution did not have the desired effect. The talent of Tamburini nevertheless succeeded in making itself apparent everywhere in his part, and especially in his aria, when most clamorous and unanimous applause called him to the stage. The valiant Winter, too, demonstrated his fine energy, showing that he was in command of his part, and deservedly causing him to be applauded. But the other artists did not equal the aplomb of these two valiant performers, and as a result the Public remained suspended on its judgement. At the second performance, however, new merits began to be recognized in the music, and the execution as a whole was less uncertain; Tamburini’s reception increased to enthusiasm; the applause for Winter also became more vigorous; and the prima donna also reaped her fair share of approval. All now agree that the opera is beautiful, filled with learning and taste, and the finale of the first act signally proclaims itself the composition of a master. Which gives us reason to anticipate that the success of Imelda in successive performances will be ever more clamorous, as always happens with more studied works."

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