Adelaide di Borgogna (Rossini)

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Opera dates
Original title: Adelaide di Borgogna
Title page of the libretto, Rome 1818

Title page of the libretto, Rome 1818

Shape: Dramma per musica in two acts
Original language: Italian
Music: Gioachino Rossini
Libretto : Giovanni Schmidt
Premiere: December 27, 1817
Place of premiere: Rome, Teatro Argentina
Playing time: approx. 2 ¼ hours
Place and time of the action: Old fortress of Canossa , on Lake Garda and in Camp Ottones, 947 ( 951 )
people

Adelaide di Borgogna (German: "Adelheid von Burgund") is an opera (original name: "dramma per musica") in two acts by Gioachino Rossini (music) with a libretto by Giovanni Schmidt . The premiere took place on December 27, 1817 in the Teatro Argentina in Rome.

action

prehistory

The content of the opera is based on a historical event from the year 951. In the previous year, the Italian King Lotario ( Lothar II ) was poisoned by Berengario ( Berengar II ), the Marquis of Ivrea. Berengario usurped the throne. In order to legitimize his rule, he planned to marry his son Adelberto ( Adalbert II. ) With the widow Lotarios, Adelaide ( Adelheid von Burgundy ). Adelaide fled to Pavia , which was then besieged by Berengario. She was arrested and locked in a tower in the castle in Garda . After some time Adelaide managed to escape and flee to the fortress of Canossa , where the commander Iroldo ( Adalbert Atto ) granted her protection. When Canossa was besieged, she turned to the German king and later Emperor Ottone ( Otto I. ) for help .

The opera begins with the capture of Canossa by Berengario's troops. Ottone comes to Canossa for negotiations. He and Adelaide fall in love and decide to get married. The wedding ceremony is interrupted by an attack by Berengario. Adelaide is arrested. Ottone, however, is able to flee and a little later take Berengario prisoner. Since Adelberto initially rejects an exchange of prisoners between Adelaide and his father, his mother helps Eurice to escape. Berengario is released without a peace treaty being reached. In the final battle, Ottone wins. He can now marry Adelaide.

first act

In the fortress of Canossa, besieged by war machines

Scene 1. The frightened inhabitants, including the commander Iroldo, await Berengario's invasion with his army (introduction: “Misera patria oppressa”). While the population mourn the fate of Adelaide, the soldiers celebrate victory.

Scene 2. Adelaide appears in mourning, followed by Adelberto. He and Berengario try to get her to agree to the wedding with Adelberto. In that case, she could rule Italy together with him. When Adelaide refuses with condescending words, Berengario has her arrested. The united chorus of both parties begs Adelaide to give in.

Scene 3. Berengario and Iroldo accuse each other of treason.

Scene 4. After Adelberto has expressed his fears about Ottones army to his father, his mother reports to Eurice that he is arriving on Lake Garda. Adelberto advocates attacking him. Berengario, however, decides to make Ottone a sham offer of peace in order to lull him into safety.

The German troops set up camp on Lake Garda. Canossa Castle can be seen in the distance.

Scene 5. The soldiers' chorus confirms their desire to help the beleaguered queen (chorus: “Salve, Italia, un dì regnante”).

Scene 6. Ottone enters. He reverently greets the Italian earth and vows to save Adelaide (Cavatine: "Soffri la tua sventura").

Scene 7. Ottones officer Ernesto announces the arrival of Adelberto, who has been sent to negotiate by Berengario. Ottone is suspicious. He has nothing to fear in combat, but a trick could be dangerous for him. Adelberto appears and claims that Ottone was deceived by Adelaide. But in his wisdom he will soon recognize the truth. Ottone insists on seeing Adelaide to form his own judgment. Both lay down their arms and declare their friendship. Yet they do not trust each other (duet: "Vive Adelaide in pianto").

A porch in Canossa

Scene 8. Eurice worries about the future. She fears that her son Adelberto will succumb to Ottone and curses his desire to rule.

Scene 9. Berengario tells Eurice that Adelberto had succeeded in deceiving Ottone. Ottone would now come to Canossa alone or with only a few men and fall into the trap.

Scene 10. Ottone appears accompanied by Adelberto, followed by German soldiers and those of Berengario. The people hopefully greet him as a savior (Coretto: “Viva Ottone”).

Scene 11. Adelaide, still clad in mourning, steps out and throws herself at Ottone's feet. Ottone is appalled at the sight. When Adelaide tries to explain the circumstances, mutual allegations arise between her and her persecutors. Ottone takes Adelaide's side and offers her marriage. The choir cheers this decision.

Scene 12. Adelberto has lost patience and urges his father to act. Berengario asks him to be patient. There are already allies on the way to Canossa. The unsuspecting Ottone will soon be defeated (Cavatine: “Se protegge amica sorte”).

cabinet

Scene 13. Adelaide prepares to marry Ottone. A choir of bridesmaids is happy with her (choir: “O ritiro che soggiorno” - scene and Cavatine: “Occhi miei, piangeste assai”).

Scene 14. Iroldo walks into the room and tells Adelaide that the church preparations will be completed shortly. Ottone joins them. He and Adelaide sing about their mutual love (duet: "Mi dai corona and vita").

A square in Canossa surrounded by majestic buildings

Scene 15. The people cheer for the upcoming wedding (Finale I: “Schiudi le porte al tempio”). Adelberto, Berengario and Eurice watch. They hope that their opponents are distracted and that no one notices that their own plan is being carried out.

Scene 16. Ottone, Adelaide, and Iroldo enter and are congratulated by the choir. Ottone and Adelaide reassure each other of their love. Meanwhile, Berengario and Adelberto try hard not to let anything show. As the couple approaches the temple, the noise of guns can be heard from a distance, which gets louder until the end of the act. The soldiers summoned by Berengario arrive.

Scene 17. Ernesto rushes over with German soldiers to assist Ottone and Adelaide. There was a scuffle with Berengario's troops. Adelaide is captured. Ottone has to flee but vows to return to save her.

Second act

In the fortress of Canossa as in the first act

Scene 1. The choir of Berengario and Adelberto's soldiers boastfully celebrates the victory over Ottone (introduction: “Come l'aquila che piomba”).

Scene 2. Adelberto tells his mother Eurice how the fight went. He is now awaiting Adelaide's consent to the marriage. Eurice moves away so he can talk to her.

Scene 3. Adelberto assures Adelaide of his love. If she consented to the wedding, she could get her kingdom back (duet: "Della tua patria ai voti"). However, she cannot be appeased, insults him as a traitor and continues to hope for Ottone.

Scene 4. A group of soldiers appear and report that Berengario was captured in a surprise attack by Ottones. Adelaide is relieved at this turn of events.

Scene 5. Iroldo laments Adelaide's fate. He would be ready to die for her.

Entrance hall as in the first act

Scene 6. Eurice begs her son to accept Ottones offer and let Adelaide go so that Berengario can be released. However, Adelberto does not want to part with Adelaide. Eurice leaves the room in despair (aria: "Sì, sì, mi svena").

Scene 7. The choir, too, urges Adelberto to fulfill his son duty and to release Adelaide (chorus: “Berengario è nel periglio”). Adelberto is moved but can't make up his mind (scene and aria: “Grida, o natura, und desta”).

Scene 8. Eurice tells Iroldo that she wants to take the initiative and free Adelaide in order to save her husband. Iroldo praises her generosity. He will bring Adelaide to Ottone.

On the shores of Lake Garda as in the first act

Scene 9. Ernesto reports to Ottone that Adelberto has now agreed to the prisoner exchange. Ottone asks him to fetch Berengario.

Scene 10. Ashamed Berengario is led in. Ottone takes away his last hope of the throne.

Scene 11. Adelberto appears and declares that he wants to release Adelaide in order to save his father. But that holds him back. He also demands the throne of Insubria from Ottone . Since Adelaide is more precious to him than a kingdom, Ottone agrees.

Scene 12. The appearance of Adelaide and Iroldo interrupts the negotiations (quartet: "Adelaide! Oh ciel"). Adelaide and Ottone hug each other, while Berengario and Adelberto have to give up all hope. Since Adelaide Eurice promised Berengario freedom when she was released, Berengario is allowed to leave. Berengario, however, feels betrayed. He and Adelberto want revenge later. Ottone accepts the challenge.

A magnificent tent

Scene 13. At the Ottones camp, Ernesto assigns the guards to protect Adelaide when the battle begins.

Scene 14. Ottone tells his men to prepare for battle. He promises Iroldo rich rewards for his support, but he points out that he has only fulfilled his oath.

Scene 15. Adelaide worries about the upcoming fight. Ottone calms her down, knowing that heaven is on his side.

Scene 16. Ernesto announces the arrival of the enemy army. Adelaide and Ottone say goodbye to each other. She ties her white veil to him as a love banner (aria “Cingi la benda candida”). Ottone leaves with the soldiers. While Adelaide is deep in prayer, the choir announces Ottone's victory.

In front of Canossa Castle

Scene 17. To the cheering of the people, the victors march in with the prisoners Adelberto and Berengario (chorus: “Serti intrecciar le vergini”).

Scene 18. Ottone gets off the car to greet Adelaide and Iroldo (scene and aria: “Vieni, tuo sposo e amante”). Berengario and Adelberto stand apart in a contemptuous manner. Ottone is more happy about the people's wreaths than about his crown. But Adelaide's love is even more important to him. Finally, the choir praises the heavenly blessing for the couple.

layout

Adelaide di Borgogna does not have a good reputation in literature. The Rossini biographer Giuseppe Radiciotti described it as Rossini's worst opera seria . According to Herbert Weinstock, it shows "the bad influence of haste and the lack of any real involvement." As in his early operas, Rossini used secco recitatives instead of orchestral accompaniments.

Nevertheless, there are also some successful passages here. Charles Osborne emphasizes the quality of the choirs, especially the opening choir “Misera patria oppressa” and the triumphal choir “Serti intrecciar le vergini” (second act, No. 16). Also worth mentioning are the duets “Mi dai corona e vita” (Adelaide / Ottone, first act, No. 8) and “Della tua patria ai voti” (Adelaide / Adelberto, second act, No. 11) and the quartet “Oh Ciel , che vedo ”(second act, no. 14) and Ottones' final rondo (second act, no. 16). Richard Osborne refers to the "wonderfully mild melody over sustained viola tones and plucked violins" of the trio (Berengario, Adelberto, Adelaide, first act, No. 1) and the Adelaide aria "Cingi la benda candida" accompanied by "beguilingly soulful woodwinds" (second act, no.15).

Instrumentation

The orchestral line-up for the opera includes the following instruments:

  • Two flutes / a piccolo, two oboes, two clarinets, two bassoons
  • Two horns, two trumpets, trombone
  • Timpani, bass drum , cymbals
  • Strings
  • Continuo

Music numbers

  • Sinfonia

first act

  • No. 1. Introduction (choir, Iroldo, Berengario, Adelaide, Adelberto): "Misera patria oppressa" (scene 1)
  • No. 2. Choir: "Salve, Italia, un dì regnante" (scene 5)
    • Scene and Cavatine (Ottone): "Soffri la tua sventura" (Scene 6)
  • No. 3. Duet (Ottone, Adelberto): "Vive Adelaide in pianto" (scene 7)
  • No. 4. Coretto (choir, Iroldo): "Viva Ottone" (scene 10)
  • No. 5. Cavatine (Berengario): "Se protegge amica sorte" (scene 12)
  • No. 6. Aria (Eurice): "Vorrei distruggere" (scene 12)
  • No. 7. Choir: "O ritiro che soggiorno" (scene 13)
    • Scene and Cavatine (Adelaide): "Occhi miei, piangeste assai" (Scene 13)
  • No. 8. Duet (Adelaide, Ottone): "Mi dai corona and vita" (scene 14)
  • No. 9. Finale I (choir, Adelberto, Berengario, Ottone, Adelaide, Ernesto): "Schiudi le porte al tempio" (scenes 15-18)

Second act

  • No. 10. Introduction (chorus): "Come l'aquila che piomba" (scene 1)
  • No. 11. Duet (Adelberto Adelaide): "Della tua patria ai voti" (scene 3)
  • No. 12. Aria (Eurice): "Sì, sì, mi svena" (scene 6)
  • No. 10. Choir, scene and aria (Adelberto): "Berengario è nel periglio" - "Grida, o natura, und desta" (scene 7)
  • No. 11th Quartet (Ottone, Berengario, Adelberto, Adelaide): “Adelaide! Oh ciel "(scene 12)
  • No. 12. Scene and aria (Adelaide) "Ah, vanne, addio" - "Cingi la benda candida" (scene 16)
  • No. 16. Choir: "Serti intrecciar le vergini" (scene 17)
    • Scene and aria (choir, Ottone): "Vieni, tuo sposo e amante" (scene 18)

Work history

After the premiere of Armida on November 11, 1817 in Naples, Rossini traveled to Rome to perform Adelaide di Borgogna . He probably created the composition in less than three weeks. The libretto was by Giovanni Schmidt . It was temporarily ascribed to Jacopo Ferretti . The Rossini biographer Herbert Weinstock described it as “another botch of the unbelievable Giovanni Federico Schmidt”. Rossini received 300 Roman scudi for the composition.

The first performance of the opera took place on December 27, 1817 (for the carnival season 1818) in the Teatro Argentina in Rome. Alto Elisabetta Pinotti (Ottone), soprano Elisabetta Manfredini (Adelaide), bass Antonio Ambrosi (Berengario), tenors Savino Monelli (Adelberto) and Giovanni Puglieschi (Ernesto) and mezzo-soprano Anna Maria Muratori (Eurice) sang. Luisa Bottesi sang the role of Iroldo. Gioacchino Sciapelletti was apparently originally intended for the role of Berengario, who was replaced at short notice by Ambrosi and is still mentioned in the printed libretto. On the same evening the ballet ("azione tragico pantomima") Ciro e Tomiri (or La Morte di Ciro ) by the choreographer Giovanni Monticini was performed, some of whose music was also by Rossini.

The performance was a failure and the work was withdrawn after two or three weeks. In the following years there were only a few other performances, so in 1820 in the Teatro della Pergola in Florence and in the Teatro San Luca in Venice, in 1822 in the Teatro Nuovo in Padua and in 1826 in the Teatro Carlo Lodovico in Livorno. Only in 1978 or 1979 was it performed again in concert in the Queen Elizabeth Hall in London. In 1984 there was a staged performance for the first time at the Festival della Valle d'Itria.

As an overture, Rossini used the sinfonia in E flat major, written as early as 1809 for the Conservatory of Bologna, which he had already used for La cambiale di matrimonio and which he only slightly re-instrumented. Some other musical numbers do not come from him, but from the Neapolitan nobleman Michele Carafa, who was a friend of Rossini . Later he used nine musical numbers from this opera for Eduardo e Cristina .

Recordings

Web links

Commons : Adelaide di Borgogna  - collection of images, videos and audio files

Remarks

  1. ↑ The year 947 is incorrectly stated in the foreword of the libretto
  2. ↑ in the foreword of the libretto incorrectly called “Lotario primo”
  3. ↑ in the libretto called "Canosso" and placed within sight of Lake Garda.
  4. ↑ Referred to as scene 18 in the libretto - scene 17 is missing in the first act.
  5. ↑ Referred to as scene 20 in the libretto - scene 17 is missing in the second act.
  6. ↑ Referred to as scene 21 in the libretto - scene 18 is missing in the second act.

Individual evidence

  1. ^ Foreword from the libretto
  2. ^ A b c d e f g Charles Osborne : The Bel Canto Operas of Rossini, Donizetti, and Bellini. Amadeus Press, Portland, Oregon, 1994, ISBN 978-0-931340-71-0
  3. ↑ a b c d e Herbert Weinstock: Rossini - A biography. Translated by Kurt Michaelis. Kunzelmann, Adliswil 1981 (1968), ISBN 3-85662-009-0
  4. ^ A b c Richard Osborne: Rossini - life and work. Translated from the English by Grete Wehmeyer. List Verlag, Munich 1988, ISBN 3-471-78305-9
  5. ^ Adelaide di Borgogna (Rossini) (performance data set from December 27, 1817) in the Corago information system of the University of Bologna
  6. ^ Adelaide di Borgogna (Gioachino Rossini) in the Corago information system of the University of Bologna , accessed on November 14, 2015.
  7. ↑ a b c d e f Gioachino Rossini. In: Andreas Ommer: Directory of all opera complete recordings. Zeno.org , volume 20.
  8. ↑ ROSSINI, G .: Adelaide di Borgogna (Rossini Opera Festival Pesaro, 2011) on naxos.com , accessed November 17, 2015.