Elena da Feltre was composed the year after Mercadante's stunning success with the "reform opera" Il Giuramento. It was another in a series of reform operas by Mercadante, and reflects his attitudes toward emerging Romanticism in Italy. The libretti to both Il Giuramento and Elena da Feltre were written by Salvatore Cammarano, one of the most prominent Italian librettists of the time. He was a pioneer of Romantic subject matter and media whowrote the libretti to Donizetti's Lucia di Lammermoor, and Verdi's Il Trovatore. Il Giuramento followed Mercadante's ideas of what the "new" opera should be like, featuring greater involvement of the orchestra in the telling of the dramatic tale and less extraneous vocal fioritura. Although not as well received as Il Giuramento, the forms of the numbers of Elena da Feltre are highly diverse, the vocal lines are simplified, and the orchestrations and harmonies are more adventuresome and dramatic compared with its more successful predecessor. Mercadante wanted to break free from any formulas developed by earlier composers, especially those of Rossini, and this opera shows great originality in the treatment of cadences and the development of large-scale structures. The romantic hero is given to the bass-baritone voice, and the villain was played by the famous French tenor Nourrit. The story is tragic and violent, filled with romantic intrigues and twisted passions. The part of Elena is one of Mercadante's outstanding soprano vocal roles. Her opening romanza is one of the opera's finest highlights, although he later replaced it with an equally brilliant florid cavatina. The finale to the third act is another extremely strong number. The skillfully wrought ensemble reflects the dramatic tension of the script, as the denouement comes to its tragic conclusion.

The premiere of Elena da Feltre took place at the Teatro San Carlo of Naples on December 26, 1838, and opened the Carnival opera season there. But there was only one performance, and then it was dropped from the programming. Critics said that the work was a dull lesson in counterpoint. Mercadante, however, believed in this opera and thought it one of his finest. Eventually he won over the Italian audiences and critics, and in 1843, Elena da Feltre won recognition during its 20 performances at the Teatro alla Scala of Milan.

© Rita Laurance, All Music Guide