La sonnambula: John Wilkie's intelligent chamber account of Bellini's opera for HGO benefitted from a glorious title role from Eyra Norman

Bellini: La sonnambula (Act Two finale) - HGO [Photo: Julian Guidera]

Bellini: La sonnambula; Eyra Norman, Hailey West, Mathilda Goike, Tobias Compos Santinaque, Michael Roche, dir: John Wilkie, cond: Stefano Boccacci, HGO; Jacksons Lane Theatre
Reviewed 7 November 2026

Daring to go where few companies do, HGO's version of La sonnambula is brought to life by a glorious account of the title role alongside a finely supportive cast and John Wilkie's highly intelligent chamber production

Bellini's La sonnambula has its origins in a ballet performed in Paris in 1827 (scenario by Eugène Scribe, music by Ferdinand Hérold) at a time when somnambulism was all the rage on the Parisian stage. In 1831, Bellini having discarded plans for an opera based on Victor Hugo's Hernani (which Verdi would set in 1844) lighted upon La sonnambula. Its full title is La sonnambula, ossia I Due Fidanzati svezzeri (The Sleepwalker, or The Two Swiss Betrothed), with the subtitle moving the focus onto the betrothed, whereas in the original ballet the title was The Sleepwalker, or The Arrival of a New Lord, placing the character that became Rodolfo more at the centre of the action. In fact, Felice Romani's libretto for Bellini seems to lose interest in Rodolfo after Act One, he starts as a mysterious figure but then become stock. There is much by play with the fact that Amina reminds Rodolfo of someone he once knew, tantalising us with a revelation that never comes. In fact, there are other loose strands in the plot, why does Amina have a step-mother rather than a mother?

The poet Felice Romani was notorious for missing deadlines and his focus was always on situations exploring the extreme emotions of the characters, something that Bellini was interested in. What seemed to matter less to the two was how the characters got into those situations. Their operas (and many of Donizetti's at the same period) required the heroines to be badly treated, misbelieved or traduced, thus leading them into extremes of emotion.

Bellini's La sonnambula is an opera that requires substantial suspension of disbelief, it is not an opera you go to for satisfying dramatic theatre. The Swiss pastoral setting and the credulity of the villagers is essential to the logistics of the plot yet Bellini and Romani do little to flesh out the details. The opera also requires a soprano who is able to identify with her heroine both dramatically and musically.

Bellini: La sonnambula - Tobias Campos Santinaque, Eyra Norman - HGO [Photo: Julian Guidera]

As such the work would perhaps seem rather a stretch for a small opera company, yet HGO (Hamstead Garden Opera) bravely went where few dare [Buxton performed La sonnambula in 2023. Before that Covent Garden gave it in 2011, reviving a production from 2002, with the previous 1960 production last being revived in 1981]. Not only that but HGO managed to assemble two extremely fine casts. True Verdi voices might be in short supply still, but clearly Italian bel canto and Baroque are thriving).

We caught the first performance by the alternative cast at Jacksons Lane on Saturday 7 November 2026. The production was directed by John Wilkie and conducted by Stefano Boccacci, with designs by Jennifer Gregory and lighting by Jacob Gowler. Eyra Norman was Amina, Hailey West was Lisa, Mathilda Goike was Teresa, Tobias Campos Santinaque was Elvino, Michael Roche was Rodolfo, and Ted Day was Alessio. There was a chorus of 12 and an orchestra made up of single strings, woodwind, and trumpet, plus two horns, and percussion.