Il diluvio universale

A typical opera with a sacred subject designed for performance during Lent season, Gaetano Donizetti’s Il diluvio universale made its debut at the Real Teatro di San Carlo in Naples on 6 March 1830, with the celebrated bass Luigi Lablache in the role of Noè. Domenico Gilardoni’s libretto was inspired by Francesco Ringhieri’s tragedy Il diluvio, to which he added elements from Lord Byron and Thomas Moore. The model is, of course, Rossini’s Mosè in Egitto, performed in the same theatre twelve years earlier. However, this incomparable model of religious opera intertwined the ‘sacred’ stories of the Bible with the ‘profane’ vicissitudes of the main characters, in a mixture of public and private themes. Despite an egregious mistake by the prima donna, Luigia Boccabadati, who at the premiere started singing the concertato of the finale of act one in advance, Il diluvio universale was well received and marks a crucial stage in Donizetti’s creative evolution. The extensive revision of this opera carried out by Donizetti a few years later witnesses the fact that he viewed it as very important. The second Il diluvio universale debuted at the Teatro Carlo Felice in Genoa on 17 January 1834. However, the version presented at the Donizetti Opera Festival will be the original, Neapolitan one. Riccardo Frizza, the festival’s music director, will be on the podium while the performance will be directed by the Masbedo artistic duo: through the Flood, the first natural cataclysm in history, they urge us to reflect on such topical issues as the environmental emergency and the climate change – two topics that affect us all. This interweaving of collective and individual destinies is one of the core themes of the dramaturgy of Il diluvio universale. Once again, Donizetti is talking about us.