Verdi, Giuseppe / Luisa Miller (Metropolitan Opera)
| Album: | Luisa Miller (Metropolitan Opera) | Collection: | Classical | |
| Artist: | Verdi, Giuseppe | Added: | Nov 2021 | |
| Label: | Sony Classical | |||
A-File Activity
| Add Date: | 2022-03-06 | Pull Date: | 2022-05-08 | Charts: | Classical/Experimental |
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Album Review
Gary Lemco
Reviewed 2021-11-20
Reviewed 2021-11-20
Luisa Miller is an 1849 opera in three acts by Giuseppe Verdi to an
Italian libretto by Salvadore Cammarano, based on the play
Kabale und Liebe (Conspiracy and Love) by the German dramatist
Friedrich von Schiller.
ACT I. Luisa, the daughter of an old soldier, is in love with the young Carlo who is actually Rodolfo, the son of Walter, a local lord. Luisa and Walter proclaim everlasting fidelity, but Miller, Luisa's father, is dubious, and his fears are confirmed when Walter's retainer, Wurm, also in love with Luisa and hoping to marry her, reveals Rodolfo's true identity. In Walter's castle, Wurm reveals to his master Rodolfo's love for Luisa. Walter resolves to end their relationship, because he hopes to have his son marry the widowed duchess, Federica. Left alone with Federica, Rodolfo reveals that he loves another, but the duchess refuses to break their engagement. At home, Miller tells his daughter that Rodolfo has deceived her and is about to contract a wealthy marriage. The young man, however, comes to plead his sincerity. When Walter storms in and is about to have both Luisa and her father consigned to prison, Rodolfo secures their freedom by threatening to reveal how his father, with Wurm's assistance, murdered his cousin to gain his present position.
ACT II . Luisa learns that her father has been jailed for insulting Walter. Wurm informs her that the only way she can save Miller is to write a letter admitting she sought Rodolfo for his wealth, and pledging herself to Wurm. After doing his bidding, she learns she must go to the castle and declare her love for him before the duchess. Wurm presents Luisa's letter to Walter, and the two plot to send it to Rodolfo. Goaded on with threats by Wurm and Walter against her father, Luisa professes her love for Wurm to Federica. Rodolfo receives Luisa's letter. In despair, he is about to attack Wurm when Walter appears and persuades him that marrying Federica will be the best way for him to avenge Luisa's treachery.
ACT III . Miller, released from prison, tries to comfort his daughter and the two agree to leave the village the next day. As Luisa prays, Rodolfo enters and pours a vial of poison into a decanter on the table. He confronts Luisa with the letter. When she cannot deny she wrote it, Rodolfo asks her to pour him a drink; and, when he says it tastes bitter, she swallows some, too. Rodolfo tells Luisa the cup was poisoned, and she, released from her vow, tells him the truth. As Luisa dies in her father's arms, Rodolfo kills Wurm.
Considered the first opera Verdi composed in his ‘middle period,’ the famous aria from Act II, “Quando le sere al placido,” sung by Rodolfo, remains a highlight. From Act III, the duet “Andrem, raminghi e poveri” between Miller and Luisa allows Miller her high C. From Act I, the quartet, “T’amo d’amor ch’esprimere” calls for spirited ensemble; and Act III has an extended, “religious” farewell scene between Rodolfo and Luisa that includes 3 arias, up until the final trio, “Ah! Maledetto, maledetto il di ch’io nacqui.” This live performance from 17 February 1968 at the MET in New York features a stellar cast, each member at his or her artistic peak.
ACT I. Luisa, the daughter of an old soldier, is in love with the young Carlo who is actually Rodolfo, the son of Walter, a local lord. Luisa and Walter proclaim everlasting fidelity, but Miller, Luisa's father, is dubious, and his fears are confirmed when Walter's retainer, Wurm, also in love with Luisa and hoping to marry her, reveals Rodolfo's true identity. In Walter's castle, Wurm reveals to his master Rodolfo's love for Luisa. Walter resolves to end their relationship, because he hopes to have his son marry the widowed duchess, Federica. Left alone with Federica, Rodolfo reveals that he loves another, but the duchess refuses to break their engagement. At home, Miller tells his daughter that Rodolfo has deceived her and is about to contract a wealthy marriage. The young man, however, comes to plead his sincerity. When Walter storms in and is about to have both Luisa and her father consigned to prison, Rodolfo secures their freedom by threatening to reveal how his father, with Wurm's assistance, murdered his cousin to gain his present position.
ACT II . Luisa learns that her father has been jailed for insulting Walter. Wurm informs her that the only way she can save Miller is to write a letter admitting she sought Rodolfo for his wealth, and pledging herself to Wurm. After doing his bidding, she learns she must go to the castle and declare her love for him before the duchess. Wurm presents Luisa's letter to Walter, and the two plot to send it to Rodolfo. Goaded on with threats by Wurm and Walter against her father, Luisa professes her love for Wurm to Federica. Rodolfo receives Luisa's letter. In despair, he is about to attack Wurm when Walter appears and persuades him that marrying Federica will be the best way for him to avenge Luisa's treachery.
ACT III . Miller, released from prison, tries to comfort his daughter and the two agree to leave the village the next day. As Luisa prays, Rodolfo enters and pours a vial of poison into a decanter on the table. He confronts Luisa with the letter. When she cannot deny she wrote it, Rodolfo asks her to pour him a drink; and, when he says it tastes bitter, she swallows some, too. Rodolfo tells Luisa the cup was poisoned, and she, released from her vow, tells him the truth. As Luisa dies in her father's arms, Rodolfo kills Wurm.
Considered the first opera Verdi composed in his ‘middle period,’ the famous aria from Act II, “Quando le sere al placido,” sung by Rodolfo, remains a highlight. From Act III, the duet “Andrem, raminghi e poveri” between Miller and Luisa allows Miller her high C. From Act I, the quartet, “T’amo d’amor ch’esprimere” calls for spirited ensemble; and Act III has an extended, “religious” farewell scene between Rodolfo and Luisa that includes 3 arias, up until the final trio, “Ah! Maledetto, maledetto il di ch’io nacqui.” This live performance from 17 February 1968 at the MET in New York features a stellar cast, each member at his or her artistic peak.
Track Listing