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Overview
Synopsis
Preparations are underway for the return of Giannetto, a beloved village hero, and son to Lucia and Fabrizio. Wine is flowing and everyone is encouraged to join the celebrations, including Ninetta, the serving girl who is in love with Giannetto. When some cutlery and coins go missing during the party preparations, Ninetta is blamed. Lucia has never liked a girl of such a low status; she is clearly a criminal and is no good for her son. In the meantime, Ninetta’s father, a soldier away at war, has been accused of committing a crime against his commander, and has been forced to flee the camp. He seeks out Ninetta for help but must remain in hiding.
The corrupt Podestà (Mayor) is called to the house to review the case of the missing cutlery. He has had his eyes on the sweet Ninetta for a while, but she has rejected his advances, so, with little evidence, he sides with her employers and sends her to jail where she will face a trial and execution. While Ninetta waits in jail, Pippo and some of the other villagers discover that items are still going missing, and when they investigate they find the culprit - the magpie (la gazza). Ninetta is freed just as her father receives a pardon from the king, and the villagers once again rejoice.
Based on a true story, Rossini’s La gazza ladra sits in an unusual place between opera buffa and opera seria, with some farcical comedic moments contrasting other more tragic moments. It is perhaps this contrast, as well as some very catchy melodies and beautifully written ensembles, which makes this opera one of Rossini’s best and definitely one for all the family.
Show Information
- Music
- Gioachino Rossini
- Libretto
- Giovanni Gherardini
- Based on the Play/Book/Film
- La pie voleuse by Théodore Baudouin d'Aubigny and Louis-Charles Caigniez
- Category
- Opera
- Age Guidance
- Youth (Y)/General Audiences (G)
- Number of Acts
- 2
- First Produced
- 1817
- Genres
- Drama, Dark Comedy, Farce, Romance
- Settings
- Multiple Settings
- Time & Place
- A large village, Paris
- Cast Size
- large
- Orchestra Size
- Medium
- Dancing
- None
- Licensor
- None/royalty-free
- Ideal For
- College/University, Professional Opera, Mostly Male Cast, Includes Adult, Mature Adult, Young Adult, Elderly, Child, Early Teen, Late Teen Characters, Large Cast
Context
On reading any biographical text regarding Rossini, whether it be Stendhal, Osborne, or others, it is clear that La gazza ladra held an important place in Rossini’s heart. It was this opera which he chose to take home to Pesaro in 1818 for the gala opening of the new opera house. The semi-seria subject, and the libretto given to him by Gherardini, were particularly important to Rossini, evidenced by the sheer amount of new music he created for the opera, when the practice at the time was to
to read the context for La gazza ladra and to unlock other amazing theatre resources!Plot
Act One
Preparations are underway for the return of the beloved hero Giannetto, who is coming home from the war. His mother and father, Lucia and Fabrizio Vingradito, are putting together a huge welcome home party for him and everybody in the village is invited. Pippo, a young peasant who works for Fabrizio, starts off the festivities with the chorus, but is soon disturbed from his work by La gazza (the magpie) who keeps calling his name, and he tries in vain to catch the bird, to the
to read the plot for La gazza ladra and to unlock other amazing theatre resources!Characters
| Name | Part Size | Gender | Vocal Part |
|---|---|---|---|
|
Lead |
Female |
Mezzo-Soprano |
|
|
Lead |
Male |
Tenor |
|
|
Lead |
Female |
Soprano |
|
|
Lead |
Male |
Baritone, Bass |
|
|
Lead |
Male |
Bass |
|
|
Supporting |
Male |
Baritone, Bass |
|
|
Supporting |
Female |
Contralto |
|
|
Supporting |
Male |
Tenor |
|
|
Supporting |
Male |
Tenor |
|
|
Featured |
Male |
Baritone, Bass |
|
|
Featured |
Male |
Baritone, Bass |
|
|
Featured |
Either Gender |
Spoken |
|
|
Featured |
Male |
Bass |
|
|
Featured |
Male |
Silent |
|
|
Ensemble |
Either Gender |
Soprano, Mezzo-Soprano, Tenor, Baritone, Bass, Contralto |
Songs
Sinfonia
Act 1
Introduction ‘O che giorno fortunato’ - Chorus, Pippo, La gazza, Lucia, Fabrizio
Recitative ‘O cospetto!’ - Fabrizio, Lucia, Pippo
Cavatina ‘Di piacer mi balza il cor’ - Ninetta
Recitative ‘Oh come il mio Giannetto’ - Fabrizio, Ninetta, Lucia
Cavatina ‘Stringhe e ferri da calzette’ - Isacco, Pippo, Ninetta
Recitative and Chorus ‘Viva, Viva!’ - Pippo, Ninetta, Chorus
Cavatina ‘Vieni fra queste braccia’ - Giannetto, Chorus
Brindisi ‘Tocchiamo, beviamo’ - Pippo, Chorus
Recitative ‘O madre, ancor non mi diceste’ - Giannetto, Lucia, Fabrizio, Pippo, Ninetta
Scene and Duet ‘Come frenare il pianto!’ - Ninetta, Fernando
Cavatina ‘Il mio piano è preparato’ - Podestà
Recitative ‘Un altro, un altro’ - Ninetta, Podestà, Fernando
Scene and Trio ‘Oh Nume benefico’ - Giorgio, Ninetta, Podesta, Fernando
Recitative ‘O pancia mia’ and Finale I ‘In casa di messere’ - Pippo, Isacco, Ninetta, La gazza, Lucia, Podestà, Giannetto, Fabrizio, Cancelliere, Chorus
Act 2
Recitative and Duet ‘Forse un di conoscerete’ - Antonio, Ninetta. Giannetto
Recitative and Aria ‘Si per voi, pupille amate’ - Antonio, Podesta, Ninetta, Chorus (off-stage)
Recitative and Duet ‘Ebben, per mia memoria’ - Antonio, Ninetta, Pippo
Recitative, Scene, and Aria ‘Accusata di furto … oh rossore! - Lucia, Fernando*
Scene, Chorus of Justice, Quintett ‘Già dipiuto nel suo volto’ - Il Pretore, Giannetto, Fabrizio, Un Giudice, Podestà, Fernando, Ninetta, Chorus
Recitative and Aria ‘A questo seno’ - Lucia
Recitative ‘Che razza di villaggio’ - Ernesto, Pippo, Giorgio, Antonio, La gazza
Chorus and Prayer ‘Deh tu reggi in tal momento’ - Chorus, Ninetta
Finale II ‘Giorgio, Giorgio?’ - Antonio, Pippo, Giorgio, Lucia, Fabrizio, Giannetto, Podestà, Fernando, Chorus
*The alternative aria for Fernando, ‘Oh colpo impensato' which features Lucia and the female chorus, is often substituted here and is available in appendix of the Ricordi Critical Edition vocal score.
In the Pesaro 1818 production, the cavatina ‘Dunque invano i perigli, la morte’ was given to Fernando, before the duet with Ninetta in Act 1. This is also available in the Ricordi Critical Edition.
A song with an asterisk (*) before the title indicates a dance number; a character listed in a song with an asterisk (*) by the character's name indicates that the character exclusively serves as a dancer in this song, which is sung by other characters.
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Guide Written By:
Wendy Silvester
Singer and vocal coach based in the UK.