Suddenly, the Italian composer Gaspare Spontini withdrew from a commitment to write two operas for the Naples house that season, thus leaving a huge gap.

[8] It seems Rossini was initially attracted to Scott's poem when, in musicologist Philip Gossett's opinion,[9] he was introduced to it in translation by the young French composer Désiré-Alexandre Batton, a student of his and Prix de Rome winner then in Italy.

[5] He then immediately called upon the Naples-based librettist Andrea Leone Tottola (who is described as "a comparative mediocrity when set against the likes of a Felice Romani)".

[8] As he worked on the libretto, Tottola "was also intrigued by the epic Celtic tales of Ossian"[11] published in 1760 by James Macpherson, who claimed to have found poems written by an ancient bard.

[12][13] Napoleon and Thomas Jefferson read the Ossian poems, Goethe included them in The Sorrows of Young Werther, and Schubert and Mendelssohn both composed music to them.

The opera received its première on 24 September 1819,[4][5] with a debut cast of seasoned singers who regularly worked together, including Isabella Colbran as Elena, Benedetta Rosmunda Pisaroni as Malcolm and Giovanni David as Uberto/King James.

[17] Initial reactions were mixed, with the conservative faction displeased by its seeming elaborateness and concerted numbers compared to the simplicity of Ricciardo e Zoraide the previous year.

"[20] However, he does state that after the brilliance of Colbran's rondo finale, they were very enthusiastic and called her onto the stage many times, as they did Rossini (who had refused to appear and had already left for Milan, where he was under contract to compose Bianca e Falliero.).

Pillet therefore began collaborating with the composer Louis Niedermeyer and librettist Gustave Vaëz to change the story of La donna to a different time and incorporate elements from another Scott work; eventually, with Rossini's blessing, they also added music from Zelmira and Armida, amongst others.

[23] La donna went unperformed for almost a century until 1958, when a revival took place in Florence,[17] where it was also recorded in performance at the Teatro della Pergola during the Maggio Musicale on 9 May.

In 1981, after an absence from America of almost 150 years, a production was mounted by the Houston Grand Opera, starring Frederica von Stade, Marilyn Horne, and Rockwell Blake, and conducted by Claudio Scimone.

In 1981, the Rossini Opera Festival at Pesaro presented the first staging of H. Colin Slim's new critical edition starring Lella Cuberli and Philip Langridge.

[25] Both Florez and Barcellona appeared in the Kleines Festspielhaus in Salzburg in August, with Ruth Ann Swenson as Elena and Bruce Fowler (tenor) as Rodrigo.

[25] The Paris Opera staged its first production of the work in June 2010 at the Palais Garnier with a cast headed by Rossini specialists Joyce DiDonato as Elena and Juan Diego Flórez as King James/Uberto.

Seeing Elena he instantly falls in love with her, but she repels his advances stating that he is confusing hospitality and friendship for romantic interest.

Scene 1: The shores of Loch Katrine, with the Ben Ledi mountains in the background[notes 1] Shepherds are watching flocks at dawn on the shore and men in the nearby forests are hunting (Chorus: Del dì la messaggiera già il crin di rose infiora / "It is the day of the harvest and rose tresses are fully blossomed).

However, King James - who has disguised himself as "Uberto" in the hope of meeting the beautiful Elena - approaches from a distance, claiming to be a lost hunter.

She offers him shelter and James accepts, and the two cross the lake towards Elena's home (Duettino: Scendi nel piccol legno / "Get into my little boat").

However, he suspects that Elena is not in love with Rodrigo (Duet: Le mie barbare vicende / "What good will it do to hear about my cruel fortunes?").

Malcolm arrives, having decided to join the Highlanders (Mura felici, ove il mio ben si aggira!

Scene 3 The Highland warriors urge one another to fight (Chorus: Qual rapido torrente / "Like a swift-flowing stream, surging over obstacles in its way") and welcome Rodrigo.

He pledges to lead them to victory but, aside, expresses anxiety to see his future bride: (Cavatina: Eccomi a voi, miei prodi / "I come to you my brave honor of the native soil").

Father, daughter and suitor each express their hopes, concerns and fears: (Trio: Di opposti affetti un vortice / "A whirlwind of contrary emotions, Swirls about me").

Anger and resentment Tear my heart apart"; finally Albina and chorus: Crudele sospetto gli serpe nel petto!

He prepares to leave, but Rodrigo steps forward, having overheard their exchange: (Duet: Qual pena in me già desta / "What distress in my fatal misfortune"".

Meanwhile, Elena has gained entry to the palace by showing her ring from "Uberto", and hopes to save her father, Malcolm and Rodrigo (of whose death she is unaware).

King James, softened by his affection for Elena, decides to forgive Douglas; but he makes a show of severity by condemning Malcolm.

mi si fanno al core intorno, che l’immenso mio contento / "So many emotions at such moment / Come clamouring about my heart / That I cannot explain to you / My immense happiness") In describing the conclusion of the first act in musical terms, Philip Gossett makes us aware that, in the stretta,: It is significant that Naples, for whose Teatro San Carlo the opera was written, was the scene of many innovations in the opera seria form.

These include Oberto's "andante cavatina" which begins with Elena: Oh fiamma soave ("Oh sweet flame / That sees my breast on fire!

may your agitated and overburded soul") which then leads into a cabaletta trio with Rodrigo "the two tenors vying with each other in high-flying vocal agility", with the "winner" being Uberto with his high D. Osborne concludes by noting, as have other scholars, that this opera anticipates how the composer moved towards Guillaume Tell.