Emma di Resburgo (Emma of Roxburgh) is a melodramma eroico (a heroic, serious opera) in two acts by Giacomo Meyerbeer. It was the composer's sixth opera and the third that he wrote for an Italian theatre. The libretto in Italian by Gaetano Rossi is set in Scotland and has the same storyline as previous operas by Étienne Méhul (Héléna, Paris, 1803, to a French text) and Simon Mayr (Elena, Naples, 1814, with an Italian text). Meyerbeer's opera had its premiere at the Teatro San Benedetto in Venice on 26 June 1819.
Background
Born in Berlin to a wealthy family, as a young man Giacomo Meyerbeer had musical ambitions and studied and traveled in Italy. Much impressed and influenced by the leading Italian composer of operas of the day, Rossini, Meyerbeer composed an opera in the style of that composer, Romilda e Costanza, which was produced in Padua in 1817. Through the support of a star singer of the day, Carolina Bassi, Meyerbeer had the opportunity to compose an opera for Turin, which became his second opera for Italy, Semiramide riconosciuta. Both of these operas being successful with Italian audiences, Meyerbeer presented a third Italian opera in Venice. Although the previous operas which had used the same storyline had been set in Provence, the librettist Rossi and Meyerbeer moved the setting to Scotland, where the novels of Walter Scott, popular in continental Europe as well as Britain, had been set, thus producing one of the first Italian Romantic operas to feature a Scottish setting, followed by Rossini's La Donna del Lago, which had its premiere only three months after Emma di Resburgo. Meyerbeer had modeled his Italian operas after those of Rossini, and he became acquainted with Rossini through the success of Emma di Resburgo. The two composers became close friends, a relationship that continued later when they were both enjoying great success in Paris.
Roles
Synopsis
Scene: Scotland, about 1070
Act 1
Countryside near the entrance of the castle of Tura, on the Clyde
Olfredo, lord of the castle of Tura, Etelia his daughter and the shepherds of the estate sing of their happiness, living as they do in peace. These pastoral festivities are however interrupted by the arrival of the Earl of Lanark, Norcesto. A herald then proclaims that it is forbidden to grant asylum to Edemondo, who forfeited the title of Earl of Lanark and has been on the run since he was accused of murdering his father. Olfredo, who does not seem convinced of the guilt of Edemondo, then reminds Norcesto of the circumstances in which the Earl of Lanark was murdered. Edemondo was discovered by his father's bloody corpse, holding a dagger. His insistence that he had not murdered his father did not convince others. After he was accused of the crime Edemondo disappeared, as did his wife, Emma, and their son. Norcesto's father then took the title of the Earl of Lanark and upon his death Norcesto inherited the title. Norcesto seems to dislike being reminded of these events, and goes into the castle. Then a wandering bard appears and is welcomed by Olfredo. This is really Emma in disguise, who has resorted to this device in order to be near her son, Elvino. The boy has been sheltered in the castle by Olfredo, unknown to all but himself and Emma, since both his parents fled. Olfredo assures Emma that he will protect her and her son. A poor shepherd arrives at the castle: it is Edemondo, who, tired of his fugitive life, has returned in disguise to try to find his wife and son. He is joyously recognised by Emma and Olfredo.
Great hall of the castle of Tura decorated for a party given in honour of Olfredo
Olfredo brings Edemondo to his son Elvino, while Emma and the villagers celebrate the goodness of Olfredo. Norcesto arrives to the festivities; Edemondo and Emma immediately hide in the crowd. Upon seeing Elvino, Norcesto is amazed at the likeness of the child to Edemondo. He requires Olfredo to give him information about the boy. Norcesto no longer doubts the identity of the child's father. He orders his guards to seize the boy. Unable to do more, Emma intervenes and reveals her identity. She is taken prisoner in turn while Olfredo has the greatest difficulty in restraining Edemondo who wants to defend his son and his wife.