{"id":20886,"date":"2021-06-22T04:05:00","date_gmt":"2021-06-22T04:05:00","guid":{"rendered":"https:\/\/jazairhope.org\/?p=20886"},"modified":"2021-06-22T04:15:43","modified_gmt":"2021-06-22T04:15:43","slug":"the-italian-girl-in-algiers","status":"publish","type":"post","link":"https:\/\/jazairhope.org\/en\/the-italian-girl-in-algiers\/","title":{"rendered":"THE ITALIAN GIRL IN ALGIERS"},"content":{"rendered":"
L’italiana in Algeri<\/b><\/i>\u00a0(Italian pronunciation:\u00a0<\/small>[lita\u02c8lja\u02d0na in al\u02c8d\u0292\u025b\u02d0ri]<\/a><\/span>;\u00a0The Italian Girl in Algiers<\/b><\/i>) is an\u00a0operatic<\/a>\u00a0dramma giocoso<\/a><\/i>\u00a0in two acts by\u00a0Gioachino Rossini<\/a>\u00a0to an Italian\u00a0libretto<\/a>\u00a0by\u00a0Angelo Anelli<\/a>, based on his earlier text set by\u00a0Luigi Mosca<\/a>. It premiered at the\u00a0Teatro San Benedetto<\/a>\u00a0in Venice on 22 May 1813. The music is characteristic of Rossini’s style, remarkable for its fusion of sustained, manic energy with elegant, pristine melodies.<\/p>\n
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Quick Facts<\/strong>\u00a0Translation, Librettist …<\/span><\/div>\n<\/div>\n<\/section>\n
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Composition history<\/h2>\n<\/div>\n

Rossini wrote\u00a0L’italiana in Algeri<\/i>\u00a0when he was 21. Rossini stated that he composed the opera in 18 days, though other sources claim that it took him 27 days. Rossini entrusted the composition of the\u00a0recitatives<\/a>\u00a0as well as the aria “Le femmine d’Italia” to an unknown collaborator.<\/sup>\u00a0The opera is notable for Rossini’s mixing of\u00a0opera seria<\/a>\u00a0style with\u00a0opera buffa<\/a>. The overture is widely recorded and performed today, known for its distinct opening of slow, quiet\u00a0pizzicato<\/a>\u00a0basses, leading to a sudden loud burst of sound from the full orchestra. This “surprise” reflects Rossini’s early admiration for\u00a0Joseph Haydn<\/a>, whose\u00a0Symphony No. 94 in G major<\/a>, “The Surprise Symphony”, is so named for the same shocking and semi-comic effect.<\/p>\n<\/section>\n

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Performance history<\/h2>\n<\/div>\n

The work was first performed at the\u00a0Teatro San Benedetto<\/a>, Venice on 22 May 1813. It was a notable success and Rossini made progressive changes to the work for later performances in Vicenza, Milan and Naples, during the following two years.<\/p>\n

The opera was first presented in London at\u00a0His Majesty’s Theatre<\/a>\u00a0on 28 January 1819 and on 5 November 1832 in New York. It fell somewhat out of favour as the 19th century progressed, but notable performances were presented from the 1920s in “Turin (1925), Rome (1927) and London (1935)”\u00a0<\/sup>\u00a0and it has been revived frequently since\u00a0World War II<\/a>\u00a0with many successful productions. In the 21st century, Rossini\u2019s opera continues to be performed regularly.<\/p>\n<\/section>\n

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Roles<\/h2>\n<\/div>\n
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More information<\/strong>\u00a0Role, Voice type …<\/span><\/div>\n<\/div>\n<\/section>\n
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Synopsis<\/h2>\n<\/div>\n
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Place: Algiers<\/dd>\n
Time: The past<\/sup><\/dd>\n<\/dl>\n
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Act 1<\/h3>\n

The palace of the\u00a0Bey<\/a>\u00a0of\u00a0Algiers<\/a><\/i><\/p>\n

<\/a>
Design for the libretto cover<\/figcaption><\/figure>\n

Elvira accompanied by her slave Zulma regrets the loss of the love of her husband, the Turkish Bey Mustaf\u00e0. Left alone with Haly (since the Italian ‘h’ is silent, this corresponds to the name Ali, more familiar in the English-speaking world), Captain of the\u00a0Corsairs<\/a>, Mustaf\u00e0 reveals his plan to marry Elvira off to Lindoro, his Italian slave. The Bey is bored with his submissive\u00a0harem<\/a>, desiring a new challenge to his virility: he wants an Italian girl, and Haly must find one! Lindoro enters alone and sings about Isabella, his true love (Languir per una bella<\/i>). Mustaf\u00e0 comes in to explain Lindoro’s impending marriage. The enthusiastic Bey describes the attractions of the match, while Lindoro struggles to refuse (Se inclinassi a prender moglie<\/i>).<\/p>\n

The seashore<\/i><\/p>\n

A ship has been wrecked in a storm. Its passengers include Isabella, in search of Lindoro, and Taddeo, her travelling companion and would-be lover. Isabella enters with a sorrowful\u00a0cavatina<\/a>\u00a0Cruda sorte! Amor tiranno!<\/i>, however she is not afraid (Gi\u00e0 so per pratica<\/i>) and will master the situation. Haly and his men take them prisoner. She passes off Taddeo as her uncle. Haly is delighted to learn she is an Italian \u2013 exactly what the Bey wanted! Left to consider their fate, Isabella is irritated by Taddeo’s jealousy of Lindoro (Ai capricci della sorte<\/i>), but they resolve to join forces.<\/p>\n

The palace<\/i><\/p>\n

Back in the palace, Lindoro and Elvira do not wish to marry, but Mustaf\u00e0 offers Lindoro passage on a ship returning to Italy if he takes Elvira. Lindoro agrees, admitting a vague possibility of marrying her in Italy. Haly enters with news of the arrival of the Italian beauty. Mustaf\u00e0 is elated (Gi\u00e0 d’insolito ardore nel petto agitare<\/i>).<\/p>\n

Surrounded by eunuchs (Viva, viva il flagel delle donne<\/i>), Mustaf\u00e0 receives Isabella in a grand hall. He is enchanted, though she is rather amused by his appearance (Oh! Che muso, che figura!<\/i>). At that moment, Lindoro, Elvira and Zulma arrive to say goodbye to Mustaf\u00e0 (Pria di dividerci da voi, Signore<\/i>). Lindoro and Isabella are astonished to come face to face. Recovering herself, Isabella asks about Elvira, learning she is Mustaf\u00e0’s ex-wife, to be remarried to Lindoro! The act ends with an ensemble of confusion (Confusi e stupidi<\/i>).<\/p>\n<\/section>\n

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Act 2<\/h3>\n

In the palace<\/i><\/p>\n

Elvira and Zulma (who have remained in Algiers after all) note Isabella’s skill with men. Mustaf\u00e0 reveals his strategy for seducing Isabella: he installs Lindoro as Isabella’s servant and his informer, and Taddeo will also be induced to help. Elvira and Zulma must tell Isabella he is coming to take coffee with her.<\/p>\n

Isabella and Lindoro are alone. He explains that he had no intention of marrying Elvira. They agree to escape together and Lindoro sings of his happiness (Ah come il cor di giubilo<\/i>). Mustaf\u00e0 enters with a reluctant Taddeo, acclaimed by the Turks as “Lord Kaimakan” (Viva il grande Kaimakan<\/i>). He dislikes interceding with Isabella for the Bey, but is frightened to refuse (Ho un gran peso sulla testa<\/i>).<\/p>\n

In her apartment<\/i><\/p>\n

Isabella is dressing in Turkish style. Zulma and Elvira deliver Mustaf\u00e0’s message: he is coming for coffee. Isabella orders three cups. Elvira should wait in a side room. As Mustaf\u00e0 approaches, Isabella sings a romantic cavatina,\u00a0Per lui che adoro<\/i>\u00a0\u2013 she will receive him. Mustaf\u00e0 tells Taddeo to leave when he sneezes (Ti presento di mia man<\/i>). Isabella greets Mustaf\u00e0 warmly and he sneezes, but Taddeo ignores the signal. Isabella calls for coffee and then \u2013 to Mustaf\u00e0’s horror and amazement \u2013 invites Elvira to join them.<\/p>\n

Elsewhere in the palace<\/i><\/p>\n

Haly sings in praise of the women of Italy (Le femmine d’Italia<\/i>). The Italians enter, and Taddeo reveals to a surprised Lindoro that he is not her uncle but her lover (he himself is unaware of the other man’s true identity). Lindoro tells Mustaf\u00e0 that Isabella will declare him her adored\u00a0pappataci<\/i>\u00a0(literally a “silent eater”: a man unable to resist the opposite sex). This, as Lindoro explains (Pappataci! Che mai sento!<\/i>), is an Italian custom and a great honour, as the\u00a0pappataci<\/i>\u00a0enjoy an idyllic life dedicated to eating, drinking and sleeping. Zulma and Haly speculate about Isabella’s real intentions and the quantity of alcohol ordered for the ceremony.<\/p>\n

Isabella’s apartment<\/i><\/p>\n

She addresses the Italian slaves who will be\u00a0pappataci<\/i>\u00a0in the ceremony \u2013 she will lead them to freedom (Pensa alla patria<\/i>). The ceremony begins (Dei pappataci s’avanza il coro<\/i>); Mustaf\u00e0 is delighted with his new honour and changes into appropriate costume. Isabella explains his obligations. He must swear an oath of eating, drinking, and keeping silent, repeating the words after Taddeo. Following that his oath is tested, under provocation by Isabella and Lindoro.<\/p>\n

A European ship lies alongside the palace: time to escape! Taddeo finally realizes who Lindoro is, but decides to go along with them anyway. Elvira, Zulma and Haly find the Bey still acting as a mad\u00a0pappataci<\/i>. Suddenly recovering his sanity, Mustaf\u00e0 calls his troops but they are all drunk. The Italians bid farewell and Mustaf\u00e0 begs Elvira’s forgiveness. No more Italian girls for him!<\/p>\n<\/section>\n<\/section>\n","protected":false},"excerpt":{"rendered":"

L’italiana in Algeri\u00a0(Italian pronunciation:\u00a0[lita\u02c8lja\u02d0na in al\u02c8d\u0292\u025b\u02d0ri];\u00a0The Italian Girl in Algiers) is an\u00a0operatic\u00a0dramma giocoso\u00a0in two acts by\u00a0Gioachino Rossini\u00a0to an Italian\u00a0libretto\u00a0by\u00a0Angelo Anelli, based on…<\/p>\n","protected":false},"author":50,"featured_media":20896,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"video","meta":{"_lmt_disableupdate":"","_lmt_disable":"","footnotes":""},"categories":[15,10,14],"tags":[],"class_list":["post-20886","post","type-post","status-publish","format-video","has-post-thumbnail","hentry","category-algeria","category-art","category-historyheritage","post_format-post-format-video"],"yoast_head":"\nTHE ITALIAN GIRL IN ALGIERS - AAH.JZR<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/jazairhope.org\/en\/the-italian-girl-in-algiers\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"THE ITALIAN GIRL IN ALGIERS - AAH.JZR\" \/>\n<meta property=\"og:description\" content=\"L’italiana in Algeri\u00a0(Italian pronunciation:\u00a0[lita\u02c8lja\u02d0na in al\u02c8d\u0292\u025b\u02d0ri];\u00a0The Italian Girl in Algiers) is an\u00a0operatic\u00a0dramma giocoso\u00a0in two acts by\u00a0Gioachino Rossini\u00a0to an Italian\u00a0libretto\u00a0by\u00a0Angelo Anelli, based on…\" \/>\n<meta property=\"og:url\" content=\"https:\/\/jazairhope.org\/en\/the-italian-girl-in-algiers\/\" \/>\n<meta property=\"og:site_name\" content=\"AAH.JZR\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/jazairhope\" \/>\n<meta property=\"article:published_time\" content=\"2021-06-22T04:05:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2021-06-22T04:15:43+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/jazairhope.org\/wp-content\/uploads\/2021\/06\/maxresdefault-17.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1280\" \/>\n\t<meta property=\"og:image:height\" content=\"720\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Hope Jzr\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Hope Jzr\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"6 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/jazairhope.org\\\/en\\\/the-italian-girl-in-algiers\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/jazairhope.org\\\/en\\\/the-italian-girl-in-algiers\\\/\"},\"author\":{\"name\":\"Hope Jzr\",\"@id\":\"https:\\\/\\\/jazairhope.org\\\/fr\\\/#\\\/schema\\\/person\\\/0b50f60fad840cf92313307e38c9d20d\"},\"headline\":\"THE ITALIAN GIRL IN ALGIERS\",\"datePublished\":\"2021-06-22T04:05:00+00:00\",\"dateModified\":\"2021-06-22T04:15:43+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/jazairhope.org\\\/en\\\/the-italian-girl-in-algiers\\\/\"},\"wordCount\":1198,\"commentCount\":0,\"image\":{\"@id\":\"https:\\\/\\\/jazairhope.org\\\/en\\\/the-italian-girl-in-algiers\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/jazairhope.org\\\/wp-content\\\/uploads\\\/2021\\\/06\\\/maxresdefault-17.jpg\",\"articleSection\":[\"Algerian Algeria\",\"Art & Culture\",\"History & Heritage\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\\\/\\\/jazairhope.org\\\/en\\\/the-italian-girl-in-algiers\\\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/jazairhope.org\\\/en\\\/the-italian-girl-in-algiers\\\/\",\"url\":\"https:\\\/\\\/jazairhope.org\\\/en\\\/the-italian-girl-in-algiers\\\/\",\"name\":\"THE ITALIAN GIRL IN ALGIERS - 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