Endimione (Metastasio)

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Work data
Title: Endimione
First part. Diana falls in love with the sleeping Endimione. Diana: "Oh come immerso Nella profonda quiele Dolcemente respira!"

First part.
Diana falls in love with the sleeping Endimione.
Diana: "Oh come immerso
Nella profonda quiele
Dolcemente respira!"

Shape: Serenata
Original language: Italian
Music: First setting by Domenico Sarro
Libretto : Pietro Metastasio
Premiere: May 30, 1721
Place of premiere: Naples
Place and time of the action: Caria , at the foot of the Latmos Mountains , mythical time
people
  • Diana , goddess of hunting
  • Endimione , hunter
  • Nice , companion of Diana
  • Amore , god of love, disguised as the hunter Alceste

Endimione is a libretto for a serenata in two acts by Pietro Metastasio . It was performed for the first time in the setting by Domenico Sarro on May 30, 1721 in Naples for the wedding of the Prince of Belmonte, Antonio Pignatelli, with Anna Francesca Pinelli di Sangro. It is dedicated to the groom's sister, Marianne Pignatelli, Countess von Althann, a lady-in-waiting of Empress Elisabeth .

action

The play is about Endimione , according to the myth, a shepherd or the king of Elis in the Peloponnese , with whom the moon goddess Selene fell in love. In later myths Selene was equated with the hunting goddess Artemis or, in Roman, Diana . Metastasio's libretto describes the first encounter between the two and the accompanying intrigues of Cupid . Endymion's later fate - he is put into eternal sleep and visited every night by the moon goddess - is not taken into account.

The following table of contents is based on the full text edition of the libretto in Project Gutenberg .

first act

Rural area with laurel bushes

Diana, the goddess of hunting, is angry with her favorite nymph Nice. She suspects that she broke her chastity law and fell in love. Nice fails to convince them otherwise. The god of love Amore appears in the form of the shepherd Alceste and offers Diana his friendship. She forgives him because of his youth that he ironically questions her ban on love.

In the meantime, Nice meets with Endimione . He roughly rejects her wish to be able to rest with him for a while, claiming that his only love is hunting. After Nice has sadly gone, Endimione is happy to have his peace and quiet and goes to sleep in a shady place. Amore has been watching him and is hiding nearby. He's waiting for an opportunity to take revenge. Diana approaches, sees Endimione asleep and falls in love with him on the spot. Endimione, who saw himself being pursued by Nice in a dream and pronounced her name in the process, wakes up and first begs Diana for forgiveness for his unintentional misconduct. Then he too gradually succumbs to its charms. However, for fear of angering her, he denies his feelings and remains steadfast even after she declares her love for him. Only after Amore has spoken to him can he admit his feelings.

Second act

A forest

Diana returns to her realm with her lover Endimione. She cares little about how the other gods will absorb her change of heart. Since she herself pronounced the promise of loyalty, she could also withdraw it herself. After Endimione has left, Amore comes and tells Diana about the relationship between Endimione and Nice, who have just met under the laurel bushes to talk about their love. Diana angrily swears vengeance, and Amore's taunts about jealousy fuel her anger even more. Amore sees his victory approaching.

Nice, scorned by Endimione, tries to win Alceste (Amore) over, but he rejects her and claims to be already in love with Endimione. Nice is overwhelmed by conflicting feelings. When Endimione asks about her on his search for Diana, she only has angry words for him.

Nice confesses to Diana her unhappy love for Endimione. They are interrupted by Alceste (Amore), who reports that Endimione was attacked by a wild boar and mortally wounded. Diana is desperate and admits that love has won. She asks Alceste to take her to Endimione so she can say goodbye to him. Endimione himself comes to them unharmed. Alceste admits he lied and reveals his true identity as an Amore to them. Diana and Endimione have now found each other and see no reason to resent Amore's cunning. Only the scorned Nice is dejected. To comfort her, Diana allows her to love whoever she wants, provided that she leaves Endimione to her.

Settings

The following composers set this libretto to music:

year composer premiere Performance location Remarks
1721 Domenico Sarro May 30, 1721 Naples "Serenata"; for the wedding of Antonio Pignatelli, Prince of Belmonte, with Anna Francesca Pinelli di Sangro
1727 Antonio Bioni January 7, 1727, Theater im Ballhaus Wroclaw Libretto possibly by Francesco Mazzari
1729 Giuseppe Maria Buini 1729, Teatro Formagliari Bologna In this performance, soprano Giovanni Battista Mancini sang the role of Amore. He is occasionally named as the composer of the work.
1737 Domenico Alberti 1737 Venice
1739 Giovanni Battista Pescetti December 1, 1739, Little Theater in the Haymarket London "Serenata" Diana e Endimione
1741 Daniel Gottlieb Treu 1741 Hirschberg "Serenata";
Attribution uncertain
1742 Andrea Bernasconi February 13th 1742, Teatro San Giovanni Crisostomo Venice "Serenata";
Revised in 1756 or 1766 in the New Court Theater in Munich 		Andrea Bernasconi - Endimione - titlepage of the libretto - Munich 1766.png
1743 Johann Adolph Hasse July 1743 Naples? "Festa teatrale";
probably also in Warsaw in the 1750s
1746 anonymous 1746, Coletti Theater Florence edited by Caldari as Le gare fra gli dei
1749 Giovanni Battista Mele Spring 1749, Buen Retiro Madrid "Serenata" Endimion y Diana ;
the work listed in 1755 and on October 16, 1756 under the name Indimión y Diana (copy by J. Herrando) is probably the setting of Meles.
1752 Manuel Pla (part 1) and Francesco Montali (part 2) 1752 in one of the royal castles Madrid or Aranjuez "Serenata" ("cantata a cinque voci") El Endimion
1752 Nicola Conti July 26, 1752 Naples Ascription uncertain; possibly an adaptation of the Serenata by Manuel Pla and Francesco Montali
1754 Ignazio Fiorillo 1754 Braunschweig revised in 1763 as Diana ed Endimione in Kassel
1758 Nicola Sabatino 1758, Academy of Music Dublin "Serenata"
1759 Niccolò Jommelli Spring 1759, court theater Stuttgart first version;
"Pastoral" Endimione, ovvero Il trionfo d'Amore
1764 Nicola Conforto February 18, 1764, home of Ambassador Rosenberg Madrid "Serenata"
1765 Giuseppe Sigismondo 1764-1765 Naples "Cantata";
also in Vienna in 1767
1769 Antonio Rugarli 1769, Teatro Sanvitale Parma “Componimento pastorale” in three acts Antonio Rugarli - Endimione - titlepage of the libretto - Parma 1769.png
1769 anonymous 1769 Koblenz
1772 Johann Christian Bach April 6th 1772, King's Theater on Haymarket London "Serenata";
Revised by Niccolò Jommelli (music) and Giovan Gualberto Bottarelli (libretto) as "azione drammatica teatrale per musica" on July 24, 1773 and 1774 in the court theater in Mannheim 		Johann Christian Bach - Endimione - title page of the libretto - London 1772.png
1772 Joseph Aloys Schmittbaur 1772 Karlsruhe Libretto anonymously edited as "operetta" in one act Endymion
1776 Michael Haydn November 17, 1776 Salzburg "Serenata"; according to
the University of Western Ontario as early as 1773
1780 Niccolò Jommelli June 29, 1780, Palazzo Queluz Lisbon second version;
"Serenata per musica" L'Endimione 		Niccolò Jommelli - Endimione - titlepage of the libretto - Lisbon 1780.png
1781 Pietro Alessandro Guglielmi September 28, 1781, Accademia di Dame e Cavalieri Naples “Componimento drammatico”;
Libretto edited by Luigi Serio as Diana amante
1783 João de Sousa Carvalho July 25, 1783, Palazzo Queluz Lisbon "Dramma per musica" João de Sousa Carvalho - Endimione - titlepage of the libretto - Lisbon 1783.png
1795 Gaspare Rugarli 1795 Parma

Recordings and performances in recent times

Web links

Commons : Endimione  - collection of images, videos and audio files

Digital copies

  1. ^ Libretto (Italian) of the Serenata by Andrea Bernasconi, Munich 1766 as digitized version at the Munich Digitization Center .
  2. ↑ Score of the cantata by Giuseppe Sigismondo as digitized version in the Internet Culturale portal .
  3. ^ Libretto (Italian) of the Serenata by Antonio Rugarli, Parma 1769 as digitized version in the Museo internazionale e biblioteca della musica di Bologna .
  4. ^ Libretto (Italian) of the Serenata by Johann Christian Bach, London 1772 as digitized version by Gallica .
  5. ^ Libretto (Italian) of the opera by Niccolò Jommelli, Lisbon 1780. Digitized in the Corago information system of the University of Bologna .
  6. ^ Libretto (Italian) of the Serenata by Pietro Alessandro Guglielmi, Naples 1781 as digitized version in the Internet Archive .
  7. ^ Libretto (Italian) of the opera by João de Sousa Carvalho, Lisbon 1783. Digitized in the Corago information system of the University of Bologna .

Individual evidence

  1. ↑ a b c d e f Don Neville:  Metastasio [Trapassi], Pietro (Antonio Domenico Bonaventura). In: Grove Music Online (English; subscription required).
  2. ↑ Metastasio, Pietro in Die Musik in Geschichte und Gegenwart , p. 50861 ff (cf. MGG vol. 9, p. 229 ff.) Bärenreiter-Verlag 1986 ( digital library volume 60).
  3. ↑ a b Jacques Joly: Les fêtes théâtrales de Métastase à la cour de Vienne, 1731-1767. Pu Blaise Pascal, 1978, ISBN 978-2845160194 , p. 61 ff ( online at Google Books).
  4. ↑ a b c d e f g h University of Western Ontario : Endimione. ( Online, PDF )
  5. ↑ Endimione (Domenico Sarro) in the Corago information system of the University of Bologna , accessed on February 10, 2015.
  6. ^ List of stage works by Domenico Natale Sarri based on the MGG at Operone, accessed on September 29, 2014.
  7. ↑ Endimione (Antonio Bioni) in the Corago information system of the University of Bologna , accessed on February 10, 2015.
  8. ^ A b Félix Clément and Pierre Larousse : Dictionnaire lyrique ou Histoire des opéras. Paris 1876–1881, ISBN 2-051-01696-8 , p. 251 ( online at Google Books).
  9. ^ Eleanor Selfridge-Field: A New Chronology of Venetian Opera and Related Genres, 1660-1760. Stanford University Press 2007, ISBN 978-0-8047-4437-9 , p. 292 ( online at Google Books).
  10. ^ Angela Romagnoli:  Mancini, Giovanni Battista. In: Mario Caravale (ed.): Dizionario Biografico degli Italiani (DBI). Volume 68:  Malatacca-Mangelli. Istituto della Enciclopedia Italiana, Rome 2007.
  11. ↑ Endimione (Domenico Alberti) at opening night! Opera & Oratorio Premieres , Stanford University, accessed February 10, 2015.
  12. ^ Diana e Endimione (Giovanni Battista Pescetti) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed February 10, 2015.
  13. ^ List of the stage works by Giovanni Battista Pescetti based on the MGG at Operone, accessed on February 10, 2015.
  14. ^ List of stage works by Daniel Gottlieb Treu based on MGG at Operone, accessed on February 10, 2015.
  15. ↑ Endimione (Andrea Bernasconi) in the Corago information system of the University of Bologna , accessed on February 10, 2015.
  16. ^ List of stage works by Andrea Bernasconi based on the MGG at Operone, accessed on October 1, 2014.
  17. ↑ Endimione (Johann Adolf Hasse) in the Corago information system of the University of Bologna , accessed on February 10, 2015.
  18. ^ List of stage works by Johann Adolf Hasse based on MGG at Operone, accessed on September 29, 2014.
  19. ↑ Libretto dataset from Le gare fra gli dei in the Corago information system of the University of Bologna , accessed on November 13, 2015.
  20. ↑ a b c Rainer Kleinertz: Basics of Spanish Music Theater in the 18th Century , Volume 1. Reichenberger, Kassel 2003, ISBN 3-935-00474-5 , p. 101 f ( online at Google Books).
  21. ↑ MELE, Giovanni Battista. In: Dizionario Biografico - Treccani , accessed November 13, 2015.
  22. ^ List of the stage works by Nicola Conti based on the MGG at Operone, accessed on February 10, 2015.
  23. ↑ Endimione (Diana ed Endimione) (Ignazio Fiorillo) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed February 10, 2015.
  24. ^ List of the stage works by Ignazio Fiorillo based on the MGG at Operone, accessed on September 29, 2014.
  25. ^ L'Endimione (Nicola Sabatini) in the Corago information system of the University of Bologna , accessed on February 10, 2015.
  26. ↑ a b Endimione, ovvero Il trionfo d'Amore (Niccolò Jommelli) in the Corago information system of the University of Bologna , accessed on February 10, 2015.
  27. ↑ a b List of the stage works by Niccolò Jommelli based on the MGG at Operone, accessed on September 29, 2014.
  28. ↑ L'Endimione (Nicola Conforto) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed February 10, 2015.
  29. ^ List of the stage works by Nicola Conforto based on the MGG from Operone, accessed on February 10, 2015.
  30. ↑ Endimione (Antonio Rugarli) in the Corago information system of the University of Bologna , accessed on February 10, 2015.
  31. ↑ Endimione (Johann Christian Bach) in the Corago information system of the University of Bologna , accessed on February 10, 2015.
  32. ^ Supplement to the CD Endimione by Johann Christian Bach.
  33. ↑ List of stage works by Joseph Aloys Schmittbaur based on the MGG at Operone, accessed on February 10, 2015.
  34. ↑ Achim Aurnhammer (Hrsg.) Ed al .: Schiller and the courtly world. Niemeyer, Tübingen 1990, ISBN 3-484-10649-2 , p. 151 ( online at Google Books).
  35. ^ List of stage works by Michael Haydn based on the MGG at Operone, accessed on February 10, 2015.
  36. ↑ Diana amante (Pietro Alessandro Guglielmi) in the Corago information system of the University of Bologna , accessed on February 10, 2015.
  37. ↑ L'Endimione (João de Sousa Carvalho) in the Corago information system of the University of Bologna , accessed on February 10, 2015.
  38. ^ Johann Christian Bach (1735–1782): Endimione. CD data set on tp4.rub.de , accessed on February 11, 2015.
  39. ↑ Echo-Klassik Prize for WDR production “Endimione”. WDR press release in the press portal , accessed on February 11, 2015.