Premiered in 1876, Ponchielli's La Gioconda was already somewhat behind current fashion. A grand opera in the literal sense (six principal roles, chorus, ballet, and spectacle), it is large in scale and unwieldy in storyline. Still, it has maintained a place in the repertory of most major opera houses through the sheer force of its sweeping music and edge-of-the-seat drama; it remains Ponchielli's only repertory work.

Set to a libretto by Arrigo Boito (who used the pseudonym Tobia Gorrio), La Gioconda contains memorable arias for all six principals (dramatic soprano, dramatic mezzo, contralto, tenor, baritone, and bass), an extremely popular ballet (the Dance of the Hours), many striking pages for chorus, and a grandeur which even modern audiences find compelling. Many derogatory remarks have been directed toward Boito's often hackneyed libretto, while neglecting to note that it provides innumerable moments for vivid, if sometimes improbable, stage action.

Gioconda requires first-class soloists and is therefore expensive to cast well. The title role demands a dramatic soprano with a soaring top register, a powerful chest voice, and the ability to spin floating soft notes at the top of her range. Rosa Ponselle and Zinka Milanov, for example, both created a sensational effect with the pianissimo B flat at the end of Act One while having the strength and sweep to deliver an authoritative "Suicidio" in the fourth act. Enzo affords the tenor who can manage the difficult intervals of his aria "Cielo e mar!" a rewarding role, mixing clarion top notes with moments of dulcet intimacy. Barnaba is the prototypical sinister baritone, drawn along the vocal lines of Verdi's baritone characters. A large, rolling instrument with easy top notes is an absolute requirement and those who bring these qualities can make a sensational impression.

For all its magnificence, La Gioconda is very much a singers' opera and that, above all, is what has sustained it through the decades. Some other artists who have been attracted to the title role are Emmy Destinn, Gina Cigna, Maria Callas, and Renata Tebaldi. Laura has been sung by such stellar mezzos as Ebe Stignani, Bruna Castagna, Fedora Barbieri, and Giulietta Simionato. Famous Enzos have included Enrico Caruso, Beniamino Gigli, Giacomo Lauri-Volpi, and Carlo Bergonzi. Among the great Barnabas have been such distinguished baritones as Pasquale Amato, Antonio Scotti, Titta Ruffo, and Leonard Warren.

© Erik Eriksson, Rovi