Suor Angelica, sedan Puccini skrivit Manteln färdig letade han ihärdigt efter ett underlag till ytterligare två enaktare för att kunna förverkliga sin idé om en triptyk. 1917 hittade han både Syster Angelica och Gianni Schicchi, och efter att ha komponerat Syster Angelica spelade han den i det kloster i Vicepelago där hans syster Iginia var nunna. Musiken och historien gjorde djupt intryck på nunnorna, vilket Puccini tog som bevis för att han hade fångat den rätta klosterstämningen.
Suor Angelica 1917 synopsis
Tid och plats: Ett kloster i slutet av 1600-talet
Den unga nunnan Angelica har varit sju år i klostret utan att få besök.
Så äntligen en dag kommer hennes mormor, som har fått henne placerad i klostret sedan hon ogift fött ett barn, men mormodern är kall och avvisande och vill bara ha en underskrift på ett dokument där Angelica avstår från sin del av familjeförmögenheten till förmån för sin syster, som skall gifta sig. Angelica brinner av längtan efter att höra nyheter om sitt barn, men mormodern säger bara likgiltigt att pojken har varit död i flera år.
Angelica beslutar ta sitt liv och samlar giftiga örter, men då hon har svalt den dödande drycken kommer hon att tänka på att det är en dödssynd att begå självmord. Förtvivlad bönfaller hon Jungfru Maria om medlidande och Den heliga modern hör hennes bön. Hon visar sig för Angelica med hennes lille son vid handen, och den unga nunnan dör i förvissning om saligheten.
IN ENGLISH
- Place: A convent in Italy
- Time: The latter part of the 17th century
The opera opens with scenes showing typical aspects of life in the convent – all the sisters sing hymns, the Monitor scolds two lay-sisters, everyone gathers for recreation in the courtyard. The sisters rejoice because, as the mistress of novices explains, this is the first of three evenings that occur each year when the setting sun strikes the fountain so as to turn its water golden. This event causes the sisters to remember Bianca Rosa, a sister who has died. Sister Genevieve suggests they pour some of the “golden” water onto her tomb.
Geraldine Farrar as Suor Angelica and Flora Perini as the Princess in the 1918 premiere
The nuns discuss their desires. While the Monitor believes that any desire at all is wrong, Sister Genevieve confesses that she wishes to see lambs again because she used to be a shepherdess when she was a girl, and Sister Dolcina wishes for something good to eat.
Sister Angelica claims to have no desires, but as soon as she says so, the nuns begin gossiping – Sister Angelica has lied, because her true desire is to hear from her wealthy, noble family, whom she has not heard from in seven years. Rumors are that she was sent to the convent in punishment.
The conversation is interrupted by the Infirmary Sister, who begs Sister Angelica to make a herbal remedy, her specialty. Two tourières arrive, bringing supplies to the convent, as well as news that a grand coach is waiting outside.
Sister Angelica becomes nervous and upset, thinking rightly that someone in her family has come to visit her. The Abbess chastises Sister Angelica for her inappropriate excitement and announces the visitor, the Princess, Sister Angelica’s aunt.
The Princess explains that Angelica’s sister is to be married and that Angelica must sign a document renouncing her claim to her inheritance. Angelica replies that she has repented for her sin, but she cannot offer up everything in sacrifice to the Virgin – she cannot forget the memory of her illegitimate son, who was taken from her seven years ago. The Princess at first refuses to speak, but finally informs Sister Angelica that her son died of fever two years ago. Sister Angelica, devastated, signs the document and collapses in tears. The Princess leaves.
Sister Angelica is seized by a heavenly vision – she believes she hears her son calling for her to meet him in paradise. She makes a poison and drinks it, but realizes that in committing suicide, she has committed a mortal sin and has damned herself to eternal separation from her son. She begs the Virgin Mary for mercy and, as she dies, she sees a miracle: the Virgin Mary appears, along with Sister Angelica’s son, who runs to embrace her.
UPPHOVSPERSONER
Musik: Giacomo Puccini|Text: Giovacchino Forzano
Roller och rösttyper
| Roll | Rösttyp |
|---|---|
| Syster Angelica | sopran |
| Furstinnan | alt |
| Abbedissan | mezzosopran |
| Syster Zelatrice | mezzosopran |
| Novisernas lärarinna | mezzosopran |
| Syster Genoveva | sopran |
| Syster Osmina | sopran |
| Syster Dolcina | sopran |
| Syster Infermiera | mezzosopran |
| två tiggarsystrar | sopran |
| 2 noviser | mezzo+sopran |
| 2 lekmannasystrar | mezzo+sopran |
Libretto
Premiär
Uruppförande: New-York, Metropolitan 14 december 1918. Svensk premiär: Stockholm Operan 20 november 1920.
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