|VINCENZO BELLINI E LA SUA ORIGINE ABRUZZESE|
VINCENZO BELLINI AND HIS ABRUZZAN ORIGIN
The documents demonstrating the great Maestro’s Abruzzan origin are conclusive proof and incontrovertible. At times some scholars made mention of it but in a fleeting way; but no other occasion is as propitious as this one of his Centenary to stress the importance and significance of these proofs.
In one of his eulogies, on the occasion of the first Centenary of the birth of Vincenzo Bellini, Gabriele d’Annunzio glorifies the Bard saying that having been brought up by his talented family, he came across the double sea singing of the beauties and the pain of Man: the health of a great, melodious singer, born in the ancestral earth of the other spirit “flowering at the feet of Etna” to the same immortal spirit. Recalled today, this Ode has the same value as a new pact of acknowledgement and appreciation between these two distant yet sister lands.
Certainly Naples and Sicily nourished the Great Bellini’s intellect and provided him with sources of sublime inspiration. But also the land of Abruzzo transmitted to him, by means of his fathers, the fluid secret of its ancient melodious virtues. Visiting those places and listening to those voices, one cannot but help thinking of Bellini’s music. The idyllic songs of The Sleepwalker (La Sonnambula) have many pastoral expressions of these people; certain dramatic accents of these spirits which suddenly recall the great passionate accents of the singer of Norma.
In certain seasons, nature itself assumes a character that I would say
is almost of Bellini. Because if on certain religious summer nights,
the “chaste diva” turns her limpid dawn upon those age-old trees, the
murmuring leaves, the vibrations of space, the wings and the rays
compose a marvellous chorale, not dissimilar to that which with so
much powerful mystery and dreams, arises from the druidic forest
created by the Bard’s imagination, which at the beginning of the
nineteenth Century renewed, and which continues in itself to renew
throughout eternity, the myth and the greatness of Orpheus.
The mainspring of the action is the interesting psycho-physical manifestation of somnambulism. This is effectively worked out. The crossing of the bridge in the last scene is a tense moment in the simple story. It calls for an interesting stage "property" -- the plank that breaks without precipitating Amina, the heroine, who sometimes may have more embonpoint than voice, into the mill-race. All these elements contribute to the success of "La Sonnambula," which still is a good evening’s entertainment.
Of Vincenzo Bellini Senior’s paternal house
in Torricella Peligna existing at the Catasto Onciario
of this Comune in 1743
Sheet number 194.
Measures of area were the
the picciolata and the stoppellata.