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Elvino is convinced of her innocence, and they are wedded at once, while the discovery of Lisa's handkerchief in Rodolfo's room pronounces her the faithless one.
One night, Amina, while walking in her sleep, enters the chamber in the inn where Rodolfo, the young lord of the village, happens to be located. There she is discovered by Lisa, the landlady, to the scandal of the neighbourhood and the shame of her lover Elvino, who casts her from him and at once makes over his affections to the landlady.
He returned to the pages before him, to the memories of the radiant Ambre and Marimon, the sylvan echoes of Campanini singing Elvino. Now his recovered glass was intent on a programme of the rapidly successful Metropolitan forces, of the new German Opera, with Seidl-Krauss singing Elizabeth, and Brandt in Fidelio.
Such is the simple little pastoral story to which Bellini has set some of his most beautiful melodies, the most striking of which are the aria, "Sovra il sen," in the third scene of the first act, where Amina declares her happiness to Teresa; the beautiful aria for barytone in the sixth scene, "Vi ravviso," descriptive of Rodolfo's delight in revisiting the scenes of his youth; the playful duet between Amina and Elvino, "Mai piu dubbi!" in which she rebukes him for his jealousy; the humorous and very characteristic chorus of the villagers in the tenth scene, "Osservate, l'uscio è aperto," as they tiptoe into Rodolfo's apartment; the duet, "O mio dolor," in the next scene, in which Amina asserts her innocence; the aria for tenor in the third scene of the second act, "Tutto e sciolto," in which Elvino bemoans his sad lot; and that joyous ecstatic outburst of birdlike melody, "Ah! non giunge," which closes the opera.
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