The Metropolitan Opera performs Bellini’s La Sonnambula with new production and interpretation
Rollando Villazón’s fresh, creative production captures attention with Nadine Sierra showing her best as Amina
★★★★★
La Sonnambula
The Metropolitan Opera
Composed by Vincenzo Bellini
Nadine Sierra as Amina
Sung in Italian with English/German/French/Italian subtitles
The Metropolitan Opera House
Oct. 29, 2025
On Oct. 29, 2025, The Metropolitan Opera performed its penultimate performance of Bellini’s La Sonnambula, one of the composer’s most popular operas. The last time the Metropolitan Opera staged La Sonnambula was in 2014.
Bel Canto operas prioritize the virtuosity of the singers over the opera’s narrative. This era was the first period when the opera seria tradition and the use of castrati completely died out. Therefore, it is more appropriate to review the performance based on the singing, rather than a convincing delivery of the overall plot. However, it is often difficult for me to fully appreciate the plot of operas from this era. [1]
Rollando Villazón’s overall direction was close to perfect. The set design was beautiful and on point; in particular, the creative motif of the recurring door proved especially effective as revelations continued throughout the opera. Set in a traditional 18th-century mountain town, the costumes represented this era well. Dancer Niara Hardister was a highlight of the performance, representing Amina’s “free spirit” who wants to escape. This idea is a new interpretation of the character, and I found Hardister’s delivery quite successful.
Act I outlines the happy engagement and soon-to-come marriage between Elvino and Amina. In the new interpretation, the overall tone remains joyful, but with underlying tensions. Nadine Sierra as Amina is excellent, electrifying the audience with her captivating voice. Xabier Anduaga’s Elvino represents both a happy groom but also a deeply unsettling character who is prone to judgement and jealousy. Anduaga very convincingly portrays his character with intensity and strong vocals, especially in the duet “Son geloso del zefiro errante.”
Finally, plot development happens when Count Rodolfo (Alexander Vinogradov) introduces Amina and Elvino with items from the outside world. Vinogradov’s singing is excellent; with his deep bass voice and commanding authority, he conveys the impression of a noble man despite his disguise. In addition, his singing sufficiently masks the unconvincing nature of Rodolfo’s character arc, as he acts predatory towards local women in the first act. Sydney Mancasola’s Lisa reveals the character’s slyness through flirtations with the count, her voice easily evoking disdain towards her character. Her vocal expression was impressive, ranging from intense hatred to playful exchanges. The finale of this act is the most intense, with Amina waking from her sleepwalking (hence the title!), only to be wearing the count’s coat, provoking intense anger among the villagers and Elvino. Deborah Nansteel’s Teresa displays stellar acting here, slapping people who unjustly attack Amina and protecting her at all costs.
With a sudden change of heart, the villagers go to ask the opinion of the count at the start of Act II. Anduaga effectively conveys Elvino’s emotional agony and selfishness toward Amina during his aria “Ah! perché non posso odiarti, infedel, com’io vorrei!”, taking her ring and lamenting that he is incapable of despising her. The count returns to the village and asserts that Amina is innocent, but Vinogradov’s portrayal neatly captures the count’s selfishness as he forcefully tries to win the argument, hiding his own misgivings beneath an agitated voice. At this point, Elvino is engaged to Lisa, who, in her worst moments, declares that she has not been found in a man’s room alone. Here, Mancasola becomes shameless incarnate, engaging in a screeching voice fight with Teresa, only for Teresa to produce the handkerchief of the count.
Now, back to square one, the opera transitions to its most delicate moment. The sleepwalking Amina professes her love to Elvino with withered flowers in “Ah! non credea mirarti sì presto estinto, o fiore.” Sierra sings this line with the most delicate yet striking voice; it was near impossible to not feel an emotional connection to Amina here. The vocal range required for this love song was demanding, but Sierra casually mastered this as if it was a cakewalk. Hardister’s dancing was a big plus in the mesmerizing scene, as Amina is tempted to give in. After seeing this devotion, the villagers and Elvino all become convinced of Amina’s innocence, and Elvino once again embraces her.
Here, we see the greatest twist: the finally vindicated Amina runs away! After the very virtuosic final aria, “Ah! non giunge uman pensiero,” in which Amina gets her justice, she grabs the hand of her free spirit. This was a much more convincing ending than the original version. After all the suspicion, emotional turmoil, and betrayals, she finally makes a courageous decision; it’s a cathartic but suitable end to this close-to-perfect rendition of the opera.
[1] Just in this opera, close to a full hour is dedicated to Elvino and Amina declaring their love to each other.