Composition History
The composer chose the subject in discussions with Giuditta Pasta after they had seen the ballet together in Milan, against the better judgement of Romani and despite similarities with 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 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.
Read more about this topic: Beatrice Di Tenda
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