Live From the Met: Francesca da Rimini

March 15, 2013
Eva-Maria Westbroek in the title role of Zandonai's "Francesca da Rimini." (Marty Sohl / Metropolitan Opera) A scene from Act I of Zandonai's "Francesca da Rimini." (Marty Sohl / Metropolitan Opera) Marcello Giordani as Paolo il Bello in Zandonai's "Francesca da Rimini." (Marty Sohl / Metropolitan Opera) Caitlin Lynch as Biancofiore, Disella Larusdottir as Garsenda, Patricia Risley as Altichiara, and Renee Tatum as Donella with Eva-Maria Westbroek in the title role of Zandonai's "Francesca da Rimini." (Marty Sohl / Metropolitan Opera) Marcello Giordani as Paolo il Bello in Zandonai's "Francesca da Rimini." (Marty Sohl / Metropolitan Opera) Mark Delavan as Gianciotto, Robert Brubaker as Malatestino, and Marcello Giordani as Paolo il Bello in Zandonai's "Francesca da Rimini." (Marty Sohl / Metropolitan Opera) A scene from Act II of Zandonai's "Francesca da Rimini." (Marty Sohl / Metropolitan Opera) Marcello Giordani as Paolo il Bello and Eva-Maria Westbroek in the title role in Zandonai's "Francesca da Rimini." (Marty Sohl / Metropolitan Opera) A scene from Zandonai's "Francesca da Rimini" with Eva-Maria Westbroek in the title role and Marcello Giordani as Paolo il Bello. (Marty Sohl / Metropolitan Opera) A scene from Act II of Zandonai's "Francesca da Rimini." (Marty Sohl / Metropolitan Opera) Mark Delavan as Gianciotto in Zandonai's "Francesca da Rimini." (Marty Sohl / Metropolitan Opera)

ST. PAUL, Minn. — Tune in at 11 a.m. CT to hear Zandonai's opera Francesca da Rimini live on Classical MPR, and enjoy a slideshow from the production.

In a memorable episode of Dante's Inferno, the narrator's tour through the afterlife includes an encounter with those who have died unabsolved from sins
of lust. Among them are Tristan, Dido, Semiramis—and Francesca da Rimini, who recounts the tragic story of her doomed passion: In 13th-century Italy, the proud Francesca is married off to the cruel and deformed Gianciotto Malatesta but falls desperately in love with his younger brother, Paolo, called "il bello," or "the handsome." He loves her with equal intensity, but they control their emotions until one day, while reading of Lancelot and Guinevere's illicit love in the story of King Arthur, they're unable to resist any longer. The lovers are subsequently murdered by Gianciotto.

Francesca da Rimini's tale—inspired by historical people and events—proved irresistible and enduring, and six centuries after Dante immortalized it, the story was adapted into a drama by the Italian poet Gabriele d'Annunzio. A few years after that, it served as the basis for Zandonai's opera Francesca da Rimini, which returned to the Met stage for the first time in 25 years on March 4, starring Eva-Maria Westbroek and Marcello Giordani, with Marco Armiliato on the podium. For audiences who remember the last run of performances, it's a welcome return of one of the Met's most ravishingly beautiful productions.

First performed in 1914 in Turin, Francesca da Rimini is one of the most remarkable works in the Italian repertoire, blending elements of verismo, impressionism, and Grand Opera with gorgeous melody. The opera represents
to the fullest the unique voice of a rising young composer whose imagination was kindled by the historical, intellectual, and sensual dimensions of this powerful story. Westbroek is only the third major diva to tackle the role of Francesca in
the history of the Met. The opera had
its company premiere in 1916, with New Zealand-born soprano Frances Alda as the tragic heroine, but then disappeared from the repertoire for almost seven decades. When the current, splendid production by Piero Faggioni premiered in 1984—with Renata Scotto and Placido Domingo heading the cast—it scored a major triumph, leading to a reconsideration of the work itself. The opera returned for a handful of performances two years later but has not been seen here since.

Now, with Zandonai's masterwork back on the Met stage, this extraordinary work can be cherished for what it is: a union of raw emotion in the verismo style, the scope and historic spectacle of French Grand Opera, and the daring musicality of the early 20th century.

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