"La sonnambula" (Italian pronunciation: [la sonˈnambula]; "The Sleepwalker") is an opera in two acts, written by Vincenzo Bellini in the bel canto style, which emphasizes beautiful singing and melodies. The story was adapted from a ballet-pantomime titled "La somnambule, ou L'arrivée d'un nouveau seigneur," created by Eugène Scribe and choreographed by Jean-Pierre Aumer. This ballet first performed in Paris in September 1827 during a popular trend of stage performances that included sleepwalking themes.

The opera's main characters, Amina and her lover, were originally written for the soprano sfogato Giuditta Pasta and the tenor Giovanni Battista Rubini. Later, Maria Malibran, another soprano sfogato, became well-known for performing Amina. The first performance of the opera took place on March 6, 1831, at the Teatro Carcano in Milan.

Most recordings of the opera from the 20th century feature a soprano singer in the role of Amina, often with adjustments to the music, such as adding higher notes. However, the original version was performed by a soprano sfogato, a type of singer who could handle both high and low notes without modern modifications. This style differs from today's mezzo-soprano, which did not exist during Bellini's time.

A famous line from Amina's final song, "Ah! non credea mirarti / Sì presto estinto, o fiore" ("I did not believe I would see you fade so soon, oh flower"), is engraved on Bellini's tomb in the Catania Cathedral in Sicily.

Composition history

After returning to Milan in March 1830, little happened until late April, when Bellini successfully made a deal with the Milan opera house for the autumn of 1831 and another with La Fenice in Venice for the 1832 Carnival season. These operas would be Norma for La Scala and Beatrice di Tenda for Venice. Bellini wrote to his uncle in Sicily, stating that he would earn nearly twice as much as if he had composed only for the Venetian impresario.

A second contract was also made with a Milan opera house for the following winter season, though the opera’s name was not yet decided. It was agreed that Giuditta Pasta, who had performed successfully in Milan in 1829 and 1830 in several major operas, would be the lead artist.

Bellini later faced a recurrence of an illness he had first experienced in Venice due to heavy work and poor weather. This stomach illness, which he described as "a severe inflammatory gastric bilious fever," required care from friends. It was not until summer, when he stayed near Lake Como, that the need to choose a subject for the winter’s opera became urgent. Since Pasta owned a house near Como and would be there during the summer, Felice Romani traveled to meet both her and Bellini.

By July 15, they had chosen a subject for an opera to be performed in early 1831. However, it was unclear whether Pasta would be willing to sing the male lead role, Ernani, in an adaptation of Victor Hugo’s Hernani, later set to music by Giuseppe Verdi in 1844. With both men having other responsibilities, no progress was made on writing the libretto or score of Ernani by the end of November 1830. By January, however, the subject had changed. Bellini wrote that Romani was now working on La sonnambula, ossia I Due Fidanzati svizzeri… and it must be performed by February 20 at the latest.

The music Bellini had begun composing for Ernani was later used for La sonnambula. As Weinstock notes, "he was as ready as most other composers of his era to reuse in a new situation musical passages created for a different, earlier one."

During Bellini’s lifetime, another singer, Maria Malibran, would later become a notable performer of the role of Amina.

Performance history

La sonnambula is a famous opera with a peaceful, countryside setting and a simple story. It became popular quickly when it was first performed and is still played often today. The main character, Amina, is a sleepwalker, and her role is very difficult to sing. It requires excellent control of fast, repeated notes and complex vocal techniques. This role was well-suited for the singer Pasta, whose voice was described as a "soprano sfogato," meaning a contralto singer who could sing high notes through practice or natural ability.

The opera first performed on 6 March 1831, later than planned. Its success was partly because the story was different from Bellini and Romani’s earlier works, and both had gained experience in writing operas. Critics and the Russian composer Mikhail Glinka, who attended the premiere, praised it highly.

After its first performance, La sonnambula was shown in London on 28 July 1831 and in New York on 13 November 1835. Herbert Weinstock recorded many performances from the premiere until 1900, though some years had no records.

Later, the opera was used to highlight the talents of famous singers like Jenny Lind, Emma Albani, Lina Pagliughi, and Toti Dal Monte. Weinstock also documented performances from 1905 onward. Stagings happened as often as every two years in Europe and North America, continuing through the 1950s and into the 1970s. Maria Callas helped restore the opera’s original style in a famous 1955 production at La Scala.

Joan Sutherland played Amina at Covent Garden in 1961 and the Metropolitan Opera in 1963, making the role one of her greatest achievements.

Though not in the most common operatic repertoire, La sonnambula is still performed regularly today. Natalie Dessay sang Amina in three productions: at the Santa Fe Opera in 2004, in Paris in 2010, and at the Metropolitan Opera in 2009, with a revival in 2014 featuring Diana Damrau. Other recent performances include shows in London (2011), Salzburg (2015), and Munich (2015–2016). Frederica von Stade was the first mezzo-soprano to record the role in 1980, followed by Cecilia Bartoli. Most recently, American soprano Nadine Sierra began the Metropolitan Opera’s 2025–2026 season in October as Amina.

Synopsis

Scene 1: A village with a mill in the background

As Amina and Elvino’s engagement procession arrives, villagers celebrate Amina’s happiness. Lisa, the inn owner, steps outside and expresses her sadness: “All is joy and merriment… I alone am miserable.” She is jealous because she once promised to marry Elvino but was abandoned when he chose Amina instead. Alessio, a sorrowful man, arrives, but Lisa refuses his attention. The crowd praises Amina’s beauty: “In Switzerland, no flower is as sweet or dear as Amina.” Amina then exits the mill with Teresa, the mill owner, who is her adoptive mother. Amina thanks Teresa and the villagers for their kind wishes. (Aria: “How brightly this day dawned for me.”) She also thanks Alessio, who shares that he composed the wedding song and organized the celebration. Amina wishes Alessio luck in his courtship of Lisa, but Lisa dismisses the idea of love. Elvino arrives, apologizing: “Forgive me, my beloved,” and explains he stopped to ask his mother’s blessing for Amina at her grave. As they exchange vows, the notary asks what Amina brings to the partnership. She replies, “Only my heart,” and Elvino exclaims, “Ah, the heart is everything!” (Elvino’s aria, then Amina and the crowd express their love and joy: “Here, receive this ring that the beloved spirit who smiled upon our love wore at the altar.”)

The sound of horses’ hooves and a whip is heard. A stranger arrives, asking for directions to the castle. Lisa tells him it is late and offers him lodging at her inn. When he says he knows the inn, the villagers are surprised. (Rodolfo’s aria: “O lovely scenes, again I see you, / where in serenity I spent the calm and happy days of my earliest youth.”) The stranger, who knows the village, asks about the celebration and admires Amina, who reminds him of a girl he once loved. (Aria: “You can’t know how those dear eyes gently touch my heart, what adorable beauty.”) He reveals he once stayed at the castle, whose lord died four years ago. Teresa explains that the lord’s son disappeared years ago, but the stranger claims he is alive and will return. As night falls, villagers warn him to stay indoors to avoid the village phantom: “When the sky is dark at night, and the moon’s rays are weak, at the gloomy thunder’s sound… a shade appears.” The stranger, not believing in superstitions, says they will soon be free of the ghost. Elvino becomes jealous of the stranger’s admiration for Amina, even of the breezes that touch her, but promises to change. (Duet finale: “I envy the wandering breeze that plays with your hair, your veil.”)

Scene 2: A room in the inn

Lisa enters Rodolfo’s room to check on him. She reveals his identity as Rodolfo, the long-lost son of the count. She tells him the village is preparing a formal welcome and wishes to be the first to greet him. When Rodolfo flirts with her, she runs out at the sound of approaching people, dropping her handkerchief, which Rodolfo picks up. He sees the approaching phantom, whom he recognizes as Amina. She enters the room, sleepwalking, calling for Elvino and asking where he is. Realizing her sleepwalking caused the village’s ghost story, Rodolfo considers taking advantage of her but stops when he sees her innocence. (Scene: Rodolfo: “God! What am I doing?”; Amina: “How happy all the people are, accompanying us to the church”; then together.) Amina continues sleepwalking and falls asleep on the sofa. Rodolfo hears people approaching and climbs out the window.

Amina remains asleep on the sofa as villagers arrive at the inn. Lisa points to Amina, who wakes up at the noise. Elvino, believing Amina is unfaithful, rejects her in anger. Only Teresa, Amina’s adoptive mother, believes in her innocence. (Ensemble finale: Amina: “In my thought or in my words never, never have I sinned”; Elvino: “Heaven keep you from feeling ever the pain that I feel now!”; villagers and Lisa accuse Amina, while Teresa pleads for her to explain.) Elvino declares there will be no wedding, and everyone expresses their emotions.

On their way to ask the count to prove Amina’s innocence, villagers rest in the woods, discussing how to support her. (Chorus: “Here the wood is thick and dark.”) Amina and Teresa arrive with the same mission, but Amina is sad. Teresa encourages her. They see Elvino walking through the woods, looking unhappy. He continues to reject Amina, even after villagers bring news that the count says Amina is innocent. Elvino refuses to believe them and takes back the ring, though he cannot forget Amina. (Aria and chorus: “Why cannot I despise you, faithless, as I should?”)

Scene 2: The village, as in Act 1

Lisa, Alessio, Elvino, and villagers gather in the square. Elvino announces he will remarry Lisa, who is happy. As they prepare to go to the church, Rodolfo enters and explains Amina is innocent because she is a sleepwalker. (Duet: Elvino: “I cannot deny, my lord, what my eyes have seen”; Rodolfo: “Certain people when they sleep go about as if awake.”) Elvino refuses to believe him and asks Lisa to leave. Teresa interrupts, saying Amina has finally fallen into a tired sleep.

Teresa confronts Lisa, who claims she has never been alone in a man’s room. Teresa produces the handkerchief Lisa dropped in Rodolfo’s room. The count refuses to comment but insists on Amina’s virtue. Elvino demands proof, and Rodolfo warns that waking Amina on the unstable mill bridge would be dangerous. All watch as Amina relives her engagement and grief over Elvino’s rejection, holding withered flowers. (Aria: “I had not thought I would see you, dear flowers, perished so soon.”) When Amina safely reaches the other side, Elvino calls to her, and she is taken into his arms. Rodolfo gives Elvino the ring, which he places on Amina’s finger, waking her. She is amazed by what has happened. Everyone rejoices. In a final aria, Amina expresses her joy: “Human thought cannot conceive of the happiness that fills me.”