Vincenzo Bellini maintained throughout his life a strong bond with his hometown, where he lived till the age of 16. Some argue that his rejection for rules and rutine resulted somehow from that archaic and provincial world. Born to “seduce and conquest” Bellini indeed broke into the Italian musical lands cape as someone coming from another world. May be that’s part of the reason why he was able unveil and unleash the potential of musical drama, far and beyond the traditional bonds and cliché of the Neapolitan school.
La Sonnambula was a complete triumph, since its premiere. The newspapers wrote of “a melody that goes to the heart, an instrumentation always beautiful and well built” and reported of “endless applauses”. The story revolves around the character of Amina, the archetypal of the slandered innocent.
Opera, until then the favourite entertainment of aristocracy and educated classes, was going to change radically as a consequence of the French revolution. In the three decades of the rise and fall of Napoleon, opera social function changed completely and irrevocably.