Recommended for Grades 6-12
In this resource, you will:
- Learn the opera’s background and synopsis
- Meet the opera’s composer
An Italian in Algiers
by Gioachino Rossini
An Italian in Algiers
by Gioachino Rossini
A quick overview of Rossini’s 1837 operatic dramma giocoso.
Background
Rossini was commissioned to alter Angelo Angelli’s libretto for Luigi Mosca’s L’italiana in Algeri (Milan, 1808) for the Teatro San Benedetto in Venice after the failure of his La pietra del paragone to win favor with audiences created a scheduling crisis. Rossini created his opera in a mere 27 days, completing the music in time for the premiere on May 22, 1813. Despite initial accusations that the opera was a crude take on Mosca’s opera, critics quickly acknowledged that this was not true.
Indeed, L’italiana in Algeri is one of Rossini’s most original scores, full of brilliant orchestrations, entertaining arias, and a now celebrated overture. His first opera buffa masterpiece, L’italiana was frequently performed in Europe and the United States throughout the nineteenth century and has been an important element of the repertory ever since.
Synopsis
Act I
In Algiers, at the seaside palace of the bey Mustafà, his wife, Elvira, complains that her husband no longer loves her; her attendants reply there is nothing she can do. Mustafà bursts in and sends Elvira away when she complains, asserting he will not let women get the better of him. Mustafà says he has tired of his wife and will give her to Lindoro, a young Italian at the court, to marry. Then he orders Haly, a captain in his service, to provide an Italian woman for himself, someone more interesting than the girls in his harem, all of whom bore him. Lindoro longs for his own sweetheart, Isabella, whom he lost when pirates captured him. Mustafà tells him he can have Elvira, insisting she posseses every virtue that Lindoro, in his attempt to escape Mustafà’s connubial trap, has listed.
Elsewhere along the shore, a shipwreck is spotted in the distance, and Haly’s pirates exult in the catch. Isabella arrives on shore, lamenting the cruelty of a fate that has interrupted her quest for her lost fiancé, Lindoro. Though in danger, she is confident of her skill in taming men. The pirates seize Taddeo, an aging admirer of Isabella’s and attempt to sell him into slavery. Taddeo claims he is Isabella’s uncle and cannot leave her. When the Turks learn that both captives are Italian, they rejoice in having found the new star for their leader’s harem. Taddeo is aghast at the aplomb with which Isabella takes his news. After a quarrel about his jealousy, they decide they had better face their predicament together.
Elvira’s slave, Zulma, tries to reconcile Lindoro and her mistress to the fact that Mustafà has ordered them to marry. Mustafà promises Lindoro he may return to Italy, if he takes Elvira. Seeing no other way, Lindoro accepts, making it clear he might not marry Elvira until after they reach Italy. Elvira, however, loves her husband and sees no advantage in aiding Lindoro’s escape. When Haly announces the capture of an Italian woman, Mustafà gloats in anticipation of conquest then leaves to meet her. Lindoro tries to tell Elvira she has no choice but to leave her heartless husband.
In the main hall of his palace, hailed by eunuchs as “the scourge of women,” Mustafà welcomes Isabella with ceremony. Aside, she remarks that he looks ridiculous and feels certain that she will be able to deal with him; he, on the other hand, finds her enchanting. As she seemingly throws herself on his mercy, the jealous Taddeo starts to make a scene and is saved only when she declares that he is her “uncle.” Elvira and Lindoro, about to leave for Italy, come to say good-bye to the bey, and Lindoro and Isabella are stunned to recognize each other.
To prevent Lindoro’s departure, Isabella insists that Mustafà cannot banish his wife, adding that Lindoro must stay as her own personal servant. Between the frustration of Mustafà’s plans and the happy but confused excitement of the lovers, everyone’s head reels.
Act II
Elvira and various members of the court are discussing how easily the Italian woman has cowed Mustafà, giving Elvira hope of regaining his love. When Mustafà enters, however, it is to declare he will visit Isabella in her room for coffee. She comes out of her room, upset because Lindoro apparently broke faith with her by agreeing to escape with Elvira. Lindoro appears and reassures her of his loyalty. Promising a scheme for their freedom, Isabella leaves him to his rapturous feelings. After he too leaves, Mustafà reappears, followed by attendants with the terrified Taddeo, who is to be honored as the bey’s Kaimakan, or personal bodyguard, in exchange for helping secure Isabella’s affections. Dressed in Turkish garb, he sees no choice but to accept the compulsory honor.
In her apartment, Isabella dons Turkish clothes herself and prepares for Mustafà’s visit, telling Elvira that the way to keep her husband is to be more assertive. As she completes her toilette, Isabella, knowing she is overheard by Mustafà in the background, sings a half-mocking invocation to Venus to help conquer her victim. To make him impatient, she keeps him waiting, as her “servant” Lindoro acts as go-between. At length she presents herself to the bey, who introduces Taddeo as his Kaimakan. Mustafà sneezes—a signal for Taddeo to leave—but Taddeo stays, and Isabella invites Elvira to stay for coffee, to Mustafà’s displeasure. When Isabella insists that he treat his wife gently, Mustafà bursts out in annoyance, while the others wonder what to make of his fulminations.
Elsewhere in the palace, Haly predicts that his master is no match for an Italian woman. As Lindoro and Taddeo plan their escape, Taddeo says he is Isabella’s true love. Lindoro is amused but realizes he needs Taddeo’s help in dealing with Mustafà, who enters, still furious. Lindoro says Isabella actually cares very much for the bey and wants him to prove his worthiness by entering the Italian order of Pappataci. Believing this to be an honor, Mustafà asks what he has to do. Simple, says Lindoro: eat, drink, and sleep all you like, oblivious to anything around you. Aside, Haly and Zulma wonder what Isabella is up to.
In her apartment, Isabella readies a feast of initiation for the bey, exhorting her fellow Italians to be confident. Mustafà arrives, and Lindoro reminds him of the initiation procedure. After he is pronounced a Pappataci, food is brought in, and he is tested by Isabella and Lindoro, who pretend to make love while Taddeo reminds Mustafà to ignore them. A ship draws up in the background, and the lovers prepare to embark with other Italian captives. Taddeo realizes that he too is being tricked and tries to rally Mustafà, who persists in keeping his
vow of paying no attention. When Mustafà finally responds, the Italians have the situation under control and bid a courteous farewell. Mustafà, his lesson learned, takes Elvira back, and everyone sings the praises of the resourceful Italian woman.
Courtesy of Opera News
Meet the Artists
Read the Student Guide
Read the Educator Guide
Watch
Watch
Related Resources
Media Opera's Early Romantic Era: 1800-1865
Journey through the first half of opera鈥檚 third historic 鈥減hase鈥: the Romantic period. Learn about the cultural, economic, and political upheaval that inspired opera鈥檚 emotional U-turn, and get to know some familiar works in the canon.
Media Understanding Different Voice Types
A soprano is a soprano because they can sing high and a bass is a bass because they sing low, right? Not really...
Media Who Doesn鈥檛 Love Opera?
Unfortunately, a lot of people think they don鈥檛, and most of them have never seen one. In this audio story, opera fan Eleni and opera skeptic Samantha discuss how their experiences with opera as children influenced their opinions of the art form as adults.
Kennedy Center Education Digital Learning
Eric Friedman
Director, Digital Learning
Kenny Neal
Manager, Digital Education Resources
Tiffany A. Bryant
Manager, Operations and Audience Engagement
JoDee Scissors
Content Specialist, Digital Learning
Connect with us!
Generous support for educational programs at the Kennedy Center is provided by the U.S. Department of Education.
Gifts and grants to educational programs at the Kennedy Center are provided by The Paul M. Angell Family Foundation; Bank of America; Capital One; The Morris and Gwendolyn Cafritz Foundation; Carnegie Corporation of New York; The Ednah Root Foundation; Harman Family Foundation; William R. Kenan, Jr. Charitable Trust; the Kimsey Endowment; The Kiplinger Foundation; Laird Norton Family Foundation; Lois and Richard England Family Foundation; Dr. Gary Mather and Ms. Christina Co Mather; The Markow Totevy Foundation; Dr. Gerald and Paula McNichols Foundation; The Morningstar Foundation; Myra and Leura Younker Endowment Fund; The Irene Pollin Audience Development and Community Engagement Initiatives;
Prince Charitable Trusts; Dr. Deborah Rose and Dr. Jan A. J. Stolwijk; Rosemary Kennedy Education Fund; The Embassy of the United Arab Emirates; The Victory Foundation; The Volgenau Foundation; Volkswagen Group of America; Jackie Washington; GRoW @ Annenberg and Gregory Annenberg Weingarten and Family; Wells Fargo; and generous contributors to the Abe Fortas Memorial Fund and by a major gift to the fund from the late Carolyn E. Agger, widow of Abe Fortas. Additional support is provided by the National Committee for the Performing Arts..
The content of these programs may have been developed under a grant from the U.S. Department of Education but does not necessarily represent the policy of the U.S. Department of Education. You should not assume endorsement by the federal government.