The story of "Sonnambula" is simple and thoroughly intelligible, which cannot be said for all opera plots. The mainspring of the action is the interesting psycho-physical manifestation of somnambulism. This is effectively worked out. The crossing of the bridge in the last scene is a tense moment in the simple story. It calls for an interesting stage "property"—the plank that breaks without precipitating Amina, who sometimes may have more embonpoint than voice, into the mill-race. All these elements contribute to the success of "La Sonnambula," which, produced in 1831, still is a good evening's entertainment.
Amina was one of Jenny Lind's favourite rôles. There is a beautiful portrait of her in the character by Eichens. It shows her, in the last act, kneeling and singing "Ah! non credea," and is somewhat of a rarity. A copy of it is in the print department of the New York Public Library. It is far more interesting than her better known portraits.
NORMA
Opera in two acts, by Bellini; words by Felice Romani, based on an old French story. Produced, December 26, 1831, Milan. King's Theatre, June 20, 1833, in Italian; Drury Lane, June 24, 1837, in English. Paris, Théâtre des Italiens, 1833. New York, February 25, 1841, at the Park Theatre; October 2, 1854, for the opening of the Academy of Music, with Grisi, Mario, and Susini; December 19, 1891, Metropolitan Opera House, with Lilli Lehmann as Norma.
Characters
| Pollione, Roman Pro-consul in Gaul | Tenor |
| Oroveso, Archdruid, father of Norma | Bass |
| Norma, High-priestess of the druidical temple of Esus | Soprano |
| Adalgisa, a virgin of the temple | Contralto |
| Clotilda, Norma's confidante | Soprano |
| Flavius, a centurion | Tenor |
Priests, Officers of the Temple, Gallic Warriors, Priestesses and Virgins of the Temple, and Two Children of Norma and Pollione.
Time—Roman Occupation, about 50 B.C.
Place—Gaul.
Act I. Sacred grove of the Druids. The high priest Oroveso comes with the Druids to the sacred grove to beg of the gods to rouse the people to war and aid them to accomplish the destruction of the Romans. Scarcely have they gone than the Roman Pro-consul Pollione appears and confides to his Centurion, Flavius, that he no longer loves Norma, although she has broken her vows of chastity for him and has borne him two sons. He has seen Adalgisa and loves her.