Adelia (opera)
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| Title: | Adelia |
| Original title: | Adelia o La figlia dell'arciere |
Title page of the libretto, Rome 1841 |
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| Shape: | Opera in three acts |
| Original language: | Italian |
| Music: | Gaetano Donizetti |
| Libretto : | Felice Romani , Girolamo Maria Marini |
| Literary source: | Adèle de Lusignan or La fille de l'archer |
| Premiere: | February 11, 1841 |
| Place of premiere: | Rome, Teatro Apollo |
| Playing time: | about 2 hours |
| Place and time of the action: | Ducal residence of Péronne (Saône-et-Loire) , 14th century |
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Adelia o La figlia dell 'armiere is an opera (original name: "Melodramma serio") in three acts by Gaetano Donizetti . The libretto was written by Felice Romani and Girolamo Maria Marini. The premiere took place on February 11, 1841 in the Teatro Apollo in Rome. Giuseppina Strepponi sang the title role .
action
The opera takes place at the beginning of the 14th century in the ducal residence of Péronne (Perona).
first act
Place in Perona
The citizens of the city expect the Duke and his troops, including the archer Arnoldo, to return from a victorious battle. A few citizens notice how the young Count Oliviero secretly leaves Arnoldo's house. Immediately after his arrival, they report to Arnoldo that his family honor has been violated. A world collapses for Arnoldo and he decides to sue the young man with the Duke. Adelia hopes to convince her father of Oliviero's honest intentions.
Arnoldo publicly accuses Oliviero before the Duke of robbing his daughter's honor. Although the young man protests his innocence, he is sentenced to death by the duke. Since the family honor can only be restored through a marriage, Arnoldo insists on a wedding between the two lovers. He reminds the Duke of a promise he once made: to fulfill any wish for his services. The duke agrees, but plans to have the young count executed immediately after the wedding.
Second act
Cabinet in the ducal palace
Adelia is happily preparing for her wedding in the palace. Oliviero arrives and tells about the scaffold that is being erected in the courtyard, but Adelia can calm him down.
Room in the ducal palace
Shortly thereafter, Adelia is informed in writing of the Duke's plan by a friend of Oliviero's. Realizing that the execution can only be prevented if the Duke's promise is not carried out, she decides to refuse her hand to the lover. She hopes for the help of her father, to whom the restoration of the family honor is more important. He threatens her with death if she should defy the Duke's plan. When she remains steadfast, he can't manage to stab his daughter and bursts into tears. Overwhelmed with pity, Adelia resigns. Her father tells her that Oliviero doesn't love her anymore. Adelia reluctantly takes her place in the wedding procession.
Third act
Quarters for archers and other military groups
The archers praise their bravery when they are called to the Duke: They are needed for the planned execution of Olivieros.
Great hall in the ducal palace
Oliviero interprets Adelia's resistance at the wedding as dead feelings. When he is led to the execution, he realizes how he has been deceived. Adelia is on the verge of collapse. Then comes the message that the Duke has changed his mind. In fact, he gave his life to Oliviero and raised Arnoldo to the nobility so that the marriage would become legally valid. Again Adelia almost goes mad, this time with joy.
Music numbers
first act
- Sinfonia
- Introduzione: Andante
- Della torre ascoltate la squilla
- Osservaste? Uno straniero
- Siam Giunti
- O figlia! Il primo amplesso
- Era pura, come in cielo
- Ma… vendetta!
- Ei corre al Duca
- Che fia? - Vicini!
- Fui presaga; Ah! tu lo vedi ...
- Vieni. A cimento estremo
- Amo, ed amata io sono
- Viva all'amor de popoli
- Miei prodi, è vostro il merito
- Ciel!… Che veggio!
- Io l'amai del primo istante
- Se funesto a 'giorno suoi
- In questo foglio
- Ah! Viva il Duca
Second act
- Scegli. - The pearl candide
- Questo di bisso
- Ah! non è, non è tal nome
- Adelia! - Sposo mio
- Tutto di te sollecito
- Nelle do braccia vivere ...
- E sgombro il loco ancora ...
- Un foglio a me! ...
- Ove ten 'vai?
- Ah no, non posso
- Ardon le tede
- Vieni: a 'miei voti arrenditi
- Volgi alfin al sacro rito
- Sil campo dell'onor
Third act
- Silenzio. All 'alto gioir vostro imporre
- Che fia di me!
- Olivier ... - la tua spada ...
- Ah! mi lasciate
- Ah le nostr'anime
- Sgombra il duolo
- Adelia mia
Work history
Emergence
Through his brother-in-law Antonio Vasselli, Donizetti came into contact with the Roman impresario Vincenzo Jacovacci (1811–1881), who commissioned him with a new work. The project turned out to be difficult: The censors and Jacovacci could not agree on which libretto should be set to music. Donizetti suggested that one of the two best-known librettists Ferretti or Marini should be commissioned to work out a plot. He himself returned to Paris, where he continued to work on one of his earlier works, which would later become La favorite . Nevertheless, he found time to continue working on his new work for Rome, so that half of the opera was written on September 25, 1840. Donizetti had chosen the libretto La figlia dell 'arciere by Felice Romani, which was set to music by Carlo Coccia in 1833 and was based on the French piece Adèle de Lusignan ou La fille de l'archer . Since Jacovacci wanted a different ending, Donizetti tried to persuade his friend Romani to leave him the third act of his libretto. But for unknown reasons, this did not happen and Donizetti had to fall back on a text by Girolamo Maria Marini (1801–1867).
In mid-December 1840, after the premiere of Favorite, Donizetti traveled to Rome with the completed third act, where he arrived two weeks later.
premiere
The first violinist Emilo Angelini conducted the premiere on February 11, 1841 in the Teatro Apollo in Rome. The set was designed by Gaetano Roversi and the choreography by Domenico Ronzani. Giuseppina Strepponi sang the title role . The other soloists were Filippo Valentini (Carlo), Lorenzo Salvi (Oliviero), Ignazio Marini (Arnoldo), Pietro Gasperini (Comino), Clementina Baroni (Odetta) and Luigi Fossi (Knappe).
On the day of the premiere, a large crowd had gathered expectantly in front of the Teatro Apollo, which had been sold out for days; even Donizetti could only get a ticket on the black market. However, since a theater employee or Jacovacci himself had sold additional tickets, the tickets sold exceeded the number of seats by far. There were tumultuous scenes in and in front of the theater in which the music was almost completely lost; those standing outside shouted for entry, the visitors inside screamed for silence. The opening choirs and the subsequent bass cavatina could still be performed, but then the prima donna Giuseppina Strepponi and the orchestra gave up, and the noise really started. The following performances were quieter, and gradually the beauty of the music got around. Jacovacci was arrested and only released on bail.
Discography
- 2007: Gustav Kuhn ; Michael Sburlati, Hermine Haselböck , David Sotgiu, Andrea Silestrelli
- 1998: John Nesching; Mariella Devia; Octavio Arvalo, Stefano Antonucci, Boris Martinovic
literature
- Robert Steiner-Isenmann: Gaetano Donizetti. His life and his operas. Hallwag, Bern 1982. ISBN 3-444-10272-0 ; Pp. 248-258, 405-407
Web links
- Adelia : Sheet Music and Audio Files in the International Music Score Library Project
- Libretto (Italian), Rome 1841. Digitized in the Internet Archive
- Adelia (Gaetano Donizetti) in the Corago information system of the University of Bologna
- Work data for Adelia (opera) based on MGG with discography at Operone
- Discography about Adelia at Operadis
Individual evidence
- ^ February 11, 1841: "Adelia". In: L'Almanacco di Gherardo Casaglia ., Accessed on July 30, 2019.
- ↑ Julia Feurich, booklet for the CD (Gustav Kuhn, Bozen 2006)
- ↑ Work data on Adelia (opera) based on the MGG with discography in Operone