Cupid prigioniero

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Work data
Title: Cupid prigioniero
Shape: Componimento drammatico
Original language: Italian
Music: First setting by Luca Antonio Predieri
Libretto : Pietro Metastasio
Premiere: 1732
Place of premiere: Vienna
Place and time of the action: A grove in Delos , mythical times
people

Amor prigioniero (also L'Amore prigioniero ; German: "the captive Amor") is a libretto for a Componimento drammatico in one act by Pietro Metastasio . It was performed for the first time in a setting by Luca Antonio Predieri in 1732 on the imperial private stage in Vienna.

action

This short cantata consists of a single dialogue between Diana, the chaste goddess of the hunt, and Amore , the god of love. Metastasio uses some motifs from his earlier work L'asilo d'Amore .

Diana and her companions succeeded in overpowering Amore while she was sleeping and keeping him prisoner in a small forest on the island of Delos . Now Amore begs the Slayers to release him again. In return, he promises them eternal happiness in love without jealousy. Diana warns her companions not to believe him because he will not keep his promises. Amore points out how much they owe him. They are admired only because of him. If he stayed trapped, that would be the end of it. Even her beauty would be useless without love. With the names Silvia, Clori and Irene, Diane gives some examples in which love has caused confusion, but Amore blames jealousy and the gods. Gradually, Diana realizes that none of her friends has remained loyal to her. They all gave in to love. Amore assures her that it is not a crime as the whole world, humans and the gods love them - and even Diana herself. Diana tries in vain to silence him, but Amore reveals her relationship with the shepherd Endimione . So she too has succumbed to the temptations of love. At that moment Diana can no longer defend herself. She gives up and asks Amore to make peace with her. Amore offers her his friendship. He will become her teacher in love. First, however, he has other tasks to perform. Diana and her companions have to wait for his return. Any attempt to resist it would only make it cruel.

layout

It is not known on what occasion Metastasio was commissioned with Amor prigioniero . However, the theme of the victory of love suggests that it was an engagement, wedding, or similar event.

In this short poem, Metastasio uses apparently simple language, which nevertheless expresses its psychological content with great stylistic diversity. The poet succeeds in portraying a credible scenic action, although this only consists of psychological development. When Diana at the beginning encourages the huntsmen to take revenge on the captive Amore, but nobody moves, the young god's ridicule is given free rein. Neither girl speaks, and their silence is significant.

Settings

The following composers set this libretto to music:

year composer premiere Performance location Remarks
1732 Luca Antonio Predieri 1732, court theater Vienna "Dialogo per musica fra Diana et Amore"
1741 Georg Reutter 1741, court theater Vienna
1740 Friedrich Beringer probably in the 1740s Cantata for soprano, alto, two flutes, two horns, strings and basso continuo
1751 Davide Perez 1751 "Cantata profane"
1755 Francesco Araja 16.-27. June 1755, theater Oranienbaum
1761 Johann Adolph Hasse 1761 Cantata for two sopranos, orchestra and basso continuo
1762 Giuseppe Colla 1762
unknown Giuseppe Bonno probably not listed "Dialogo per Musica fra 'Diana ed Amore"
1781 Giovanni Battista Ferrandini 1781 Munich
1784 Giovanni Battista Bevilacqua 1784 "Componimento in musica"
1789 Giuseppe Musenga 1789 "Componimento per Musica"
1789 Bernardo Ottani 1789
1801 Joseph Schuster 1801, Small Court Theater Dresden
1803 Stefano Cristiani January 28, 1803, Teatro Principal Barcelona
1804 Georg Joseph Vogler unknown Amore prigioniero (SCHV 176) for solo voice, choir and orchestra
1815 David August from Apell 1815

Recordings and performances in recent times

Web links

Digital copies

  1. ↑ Score of the cantata by Friedrich Beringer as digitized version in the International Music Score Library Project .
  2. ↑ Score of the cantata by Johann Adolph Hasse as digitized version for the International Music Score Library Project .
  3. ↑ Score of the Serenata by Giuseppe Musenga as digitized version in the Internet Culturale portal .

Individual evidence

  1. ↑ a b c d e f g h i j Don Neville:  Metastasio [Trapassi], Pietro (Antonio Domenico Bonaventura). In: Grove Music Online (English; subscription required).
  2. ↑ a b Amor prigioniero (Luca Antonio Predieri) in the Corago information system of the University of Bologna , accessed on February 3, 2015.
  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. 243 ff. ( Online at Google Books)
  4. ↑ L'amor prigioniero (Luca Antonio Predieri) at the opening night! Opera & Oratorio Premieres , Stanford University, accessed February 3, 2015.
  5. ↑ L'amor prigioniero (Georg Reutter) at the opening night! Opera & Oratorio Premieres , Stanford University, accessed February 3, 2015.
  6. ↑ Amor prigioniero (Francesco Araja) in the Corago information system of the University of Bologna , accessed on February 3, 2015.
  7. ↑ record of Serenata by Giuseppe Bonno on culturaitalia.it , accessed on February 3, 2015.
  8. ↑ L'amor prigioniero (Giovanni Battista Ferrandini) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed February 3, 2015.
  9. ↑ Data set of the Serenata by Giovanni Battista Bevilacqua on librettodopera.it , accessed on March 29, 2018.
  10. ↑ L'amor prigioniero (Joseph Schuster) at opening night! Opera & Oratorio Premieres , Stanford University, accessed February 3, 2015.
  11. ↑ L'amore prigioniero (Stefano Cristiani) in the Corago information system of the University of Bologna , accessed on February 3, 2015.
  12. ↑ Georg Joseph Vogler (1749-1814). Biography and list of works ( memento from February 25, 2016 in the web archive archive.today ) on the website of the Research Center for South-West German Court Music of the Heidelberg Academy of Sciences .
  13. ↑ As beautiful as the Orient. Review of the performance of Hasse's cantata in the Berliner Zeitung on July 9, 1999, accessed on February 4, 2015.