Parisina d'Este

by Gaetano Donizetti (1797 - 1848).
Melodramma in three acts. 1833.
Libretto by Felice Romani, after Byron.
First performance at the Teatro alla Pergola, Florence, on 17th March 1833.

Parisina d'Este is the first of three operas by Donizetti, composed and produced consecutively in 1833, and set in the city state of Ferrara, one of the major cultural centres of Renaissance Italy, ruled by the Counts of Este. Parisina deals with an Este family tragedy played out in the 14th century, while the other two are set in the 16th; Torquato Tasso deals with the tribulations of Italy's great Renaissance epic poet, while the third opera treats the personal tragedy of the much-maligned Lucrezia Borgia, the most popular of the three Ferrara operas. The libretto, by Felice Romani, possibly the most accomplished of all 19th century Italian librettists, is based on a tale in verse, Parisina, by Lord Byron, which in turn derives from a 16th century novella by Matteo Bandello.

In the opening scene we learn from the members of the household of Duke Azzo that the latter is sorely troubled by the behaviour of his second wife, Parisina, who appears to be suffering and who is avoiding her husband's attentions. His loyal minister Ernesto brings news of Azzo's successes in diplomacy and in warfare. Azzo has an extended aria, in which he laments that despite these successes, he is unable to make his wife happy. In his subsequent scene with his minister he reveals himself to be madly jealous of Parisina. Although Ernesto reminds Azzo that his jealousy has already cost the life of this first wife, Matilde, Azzo confesses his suspicions that the youthful orphan Ugo, whom Azzo had originally befriended and entrusted to Ernesto's keeping, is the object of his wife's affections. The Duke has sent Ugo abroad on the excuse that the young man must complete his education in arms, and he warns Ernesto that Ugo must not return without his permission. However, Ugo has secretly returned to Ferrara, being unable to survive without Parisina. The two had been in love before Azzo claimed Parisina as his wife. Ernesto is horrified, but Ugo insists he must meet up with her again; he finally consents to flee Ferrara on condition that he speaks with Parisina just once more.

The scene changes to a garden on the banks of the Po River, where Parisina's ladies-in-waiting try in vain to cheer her up. The stage is invaded by knights and ladies who urge her to return to the castle to join in the festivities for Azzo's successes, but, despite their warnings, she refuses. As soon as they leave Ugo enters. Parisina is horrified: the Duke will certainly punish him with death, but Ugo insists that he must know if she loves him still. She says that only death can make her say that. Ugo understands her implicit avowal and agrees to flee Ferrara. He asks for a token and she gives him her handkerchief. Their sorrowful leave-taking is interrupted by the arrival of Azzo himself. Concealing his fury, Azzo accepts Parisina's explanation that Ugo had begged her to intercede with him for his recall. The court returns and the celebrations resume.

Act II opens in Parisina's quarters, where her confidante, Imelda explains to her ladies-in-waiting the apparent reconciliation of Azzo and Ugo through Parisina's mediation. Parisina enters, and before retiring recalls with Imelda her and Ugo's youthful love; she says that in her sleep she dreams of the happiness that would have been theirs. When Parisina is asleep Azzo enters, consumed with jealousy and determined to find out the truth. Parisina starts speaking in her sleep, uttering Ugo's name. Azzo's cry awakens her: in the course of their confrontation, Parisina is forced to admit her love for Ugo. When Azzo raises his dagger to kill her, Parisina urges him to do so, but Azzo refuses, promising her a long and painful punishment.

In another part of the castle the festivities are still going on in the background. Despite Ernesto's warnings, Ugo is desperately seeking another interview with Parisina. Soldiers enter and take Ugo prisoner; he says he is ready to accept his fate, while Ernesto's grief is profound.

In the entrance to the prisoners' tower, Ugo and Parisina, both in chains, are confronted by Azzo, but are not ashamed to confess their love. When Azzo condemns them to death, Ernesto rushes in but is unable to persuade Azzo to change his sentence, until her reveals that Ugo is none other than his, Azzo's, son by Matilde, who had entrusted Ugo to him, Ernesto, when she was disowned by Azzo. The revelation initially does not soften the resolve of either Azzo or Ugo, but eventually the former's anger seems to melt and he decides to spare his newly discovered son's life.

In the beginning of Act III, the ladies and gentlemen of the court pay tribute to Parisina's sorrow. Imelda brings her a secret note from Ugo, warning her not to trust Azzo and urging her to flee with him. Imelda too, who has long known Azzo, believes he is not to be trusted. A bell sounds in the distance and Parisina has a presentiment of tragedy; she prays to heaven for peace. Voices in the background are heard praying that the condemned man may be pardoned by God. Azzo bursts into the room, draws back the curtains and reveals Ugo's dead body. Parisina demands his body be given to her so that she can die on it. With a final curse for Azzo she breathes her last.