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Met Opera Carnegie Hall Contemporary Classical Music Period

Crystal resonance, Chelsea Knox, Flute at Met Oprchestra on 1st La Sonnambula.

Villazón’s La Sonnambula

Kentaro Ogasawara October 6, 2025

Bellini’s La Sonnambula, first performed in 1830, opened at the Met on October 8.

Set in a Swiss mountain village, the story follows Amina, an orphaned young woman who is joyfully preparing to marry her fiancé, Elvino. One night, while sleepwalking, she wanders into the inn and is found asleep in the bedroom of Count Rodolfo, a visiting nobleman. Though innocent, Amina is accused of infidelity, and Elvino, overcome by jealousy, breaks off the engagement. Later, her sleepwalking is revealed to be the cause, proving her purity. In the end, Amina once again walks in her sleep to the church, awakens, regains Elvino’s love, and the two are united amid the villagers’ blessings — a pure and dreamlike tale.

Rolando Villazón’s new production portrays the village as a society governed by strict rules. The stage design employs video projections of the cold Alpine mountains, enclosed walls, and minimalist spaces, highlighting the contrast between Amina’s freedom during her sleepwalking episodes and the social pressures she faces when awake. Nadine Sierra, as Amina, beautifully differentiated these two sides — the liberated being in her sleep, and the vulnerable woman exposed to the doubts of her fiancé and the villagers when awake. The orchestra supported this duality: bright, articulate string tuttis during waking scenes, and sustained, ethereal textures in the dreamlike passages. Villazón highlighted Amina as a figure marginalized for her innocence and purity, prompting the audience to reflect on repression and the yearning for freedom.

Elvino, Amina’s fiancé, was sung by Xabier Anduaga. Deeply in love with Amina but unaware of her sleepwalking, he is consumed by jealousy and rage upon finding her asleep in another man’s room. His violent emotions — the rupture of the engagement, his remorse after learning the truth — give the story its dramatic depth and emotional shadow. While Amina’s voice was paired with the flute, Elvino’s was accompanied by the clarinet; its smooth, graceful timbre intertwined beautifully with Anduaga’s pure, refined tone. His portrayal alternated between tender love and passionate outbursts — the cry of “The wedding is off!” filled with betrayed fury — all sung with long, seamless Bellinian phrasing, supported by steady breath control and elegant legato that resonated throughout the Met. In the finale, the flute and clarinet that had separately accompanied their voices unite, intertwining with the lovers’ duet — a moment that marked the true beginning of another opera season at the Metropolitan Opera. The audience responded with an exceptionally long ovation for the bel canto solos, savoring every moment of the performance.

Monday, October 6, 2025, 8:00–10:50PM

La Sonnambula

Conductor, Riccardo Frizza

Lisa, Sydney Mancasola

Alessio, Nicholas Newton DEBUT

Amina, Nadine Sierra

Teresa, Deborah Nansteel

Notary, Scott Scully

Elvino, Xabier Anduaga

Count Rodolfo, Alexander Vinogradov

Solo dancer, Niara Hardister

1830年に初演された、ベッリーニの夢遊病の娘が10月8日にメットで公開した。スイスの山村で孤児の村娘アミーナは婚約者エルヴィーノと結婚を控え幸せの絶頂にあるが、ある夜、夢遊病の状態で村の宿屋の部屋に入り込み、そこに泊まっていた貴族ロドルフォの寝室で寝ているところが見つかり、無実にもかかわらず、浮気を疑ったエルヴィーノは婚約を破棄。後に、アミーナの夢遊病が明らかになり、彼女が純真であることが証明され、最後に彼女は再び眠りながら教会へ歩き、目を覚ましてエルヴィーノの愛を取り戻し、村人たちの祝福の中で結ばれる清らかで幻想的な物語。

ローランド・ビラゾンの新演出はルールが厳しい社会として描かれ、アルプスの冷たい山脈の映像をセットデザインに採用していて、村を囲む壁やミニマルな空間で、アミーナが夢遊病状態にある時の自由と、目覚めてから直面する社会の圧力の対比が協調されていた。アミーナ役のナディーン・シエラは、夢遊しているときの解放された存在、目覚めてからは村人たちや婚約者エルヴィーノの疑念にさらされる二面性をよく歌い分け、オケの伴奏も、目覚めているときの弦のトゥッティのアーティキュレーションが活き活きと、夢遊状態ではテヌートで幻想的だった。ビラゾンはアミーナを無垢さや純粋さのために社会から疎外される側面を強調し、聴衆に抑圧と自由の渇望を考えさせる。

アミーナの婚約者エルヴィーノをシャビエル・アンドゥアーガが歌った。彼はアミーナを深く愛しているが、夢遊病であることを知らず、他の男の部屋で寝ているのを見てしまい、激しい嫉妬と怒りに駆られる。その激情から婚約を破棄するが、のちにアミーナの無実を知って後悔するという、感情の振れ幅が大きい。感情の嵐、苦悩と悔恨が、物語に陰影を与える。アミーナはフルートの伴奏が付くが、エルビーノはクラリネット。滑らかで優雅さと清らかさと繊細さがシャビエルの声によく絡んで最後までうっとりさせたり、アミーナとの愛に力強く心を震わせたり、結婚は破棄だ!裏切られた怒りを露わにしたり、落ち込んだり、ベッリーニのシームレスに続く長いフレーズを素晴らしい安定したブレスとレガートでメットに響かせていた。最後にそれぞれの伴奏をしていた、フルートやクラリネットが一緒になって、2人の歌唱に絡む様子は、また今年もメトロポリタン歌劇場でオペラが始まったことを実感させてくれた。お客さんもベルカントのソロに物凄い長い拍手を送っていて、オペラを楽しんでいた。


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