Argenore

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Work data
Title: L'Argenore, Tragedia
Title page of the libretto from 1740

Title page of the libretto from 1740

Shape: Dramma per musica ( Opera seria ) in three acts for singer, orchestra and (opening) choir
Original language: Italian
Music: Wilhelmine of Bayreuth
Libretto : Giovanni Andrea Galletti, German contemporary translation = anonymous
Literary source: Wilhelmine of Bayreuth
Premiere: not safe; planned on the occasion of the birthday of Wilhelmine's husband Margrave Friedrich (May 10th) 1740 for the inauguration of a new "Theater de L'Opera"
Place of premiere: Bayreuth, Theater de l'opéra in the Redoutenhaus
Playing time: four hours
Place and time of the action: Sinope in the kingdom of Ponto on the Black Sea in pre-Christian times
people
  • Argenore, King of Ponto ( Alt )
  • Ormondo, a strange hero at his court, in truth his son Eumenes, who was stolen by Acabo as a child, which nobody knows ( soprano )
  • Palmida, King's daughter, Ormondo's secret lover (soprano)
  • Leonida, Prince of the Blood and General, he is awarded Palmida (soprano)
  • Martesia, daughter of Acabo, supposed sister of Ormondo, recorded with him at court, loves Leonida ( mezzo-soprano )
  • Alcasto, confidante of the king, has his eye on Palmida (alto / bass )
  • Italce, captain (soprano)
  • Mute persons: royal watch, noble virgins, soldiers, priests, jailers, Tartar prisoners, Moorish slaves

L'Argenore or Argenore (1740) is a fatalistically conceived opera seria by Wilhelmine von Bayreuth , referred to as Tragedia in the libretto title . Of several operas that she designed during her 20 years of directing the court music and the music theater at the margravial court of Bayreuth (1737 / (1732) –1758), Argenore is the only one that has survived with her own music. The subject , the (lost) text, comes from the composer, anticipating Richard Wagner's idea of ​​a total work of art from a single source at a time when the traditional baroque opera stages in Germany were closed. Although composed in Italian (Italian libretto: Giovanni Andrea Galletti), Argenore was included in the series Das Erbe deutscher Musik by Schott-Musik-Verlag International . Only since the late rediscovery of the autograph score in 1957 and especially since the first re-performance in 1993 by the University of Erlangen has this opera been the subject of musicological research and controversial discussions.

Autograph score

The autograph score of the opera Argenore in a "brown half-leather binding covered with kibitz marble" was unknown until the middle of the 20th century. In 1957 it was identified in the Ansbach State Library as the music for the opera L'Argenore by the composer Wilhelmine von Bayreuth. Until then, it was with the Anonyma without a title page or personal signature . The manuscript for the score is in complete condition, but contains neither the overture nor the prologue . Wolfgang Hirschmann, the editor of the modern critical edition, describes the score as a concept autograph that is not yet the final version. No other musical material of the opera has survived. According to the letter, Wilhelmine wanted to send her brother Frederick the Great copies of arias from her opera, but no such arias have appeared. Hirschmann discovered that an aria in Carl Heinrich Graun's opera Montezuma (Berlin 1755, libretto: Frederick the Great ) contains a musical aria theme quote from Argenore, which could mean that Wilhelmine's opera music was known in the musical circle of the Berlin court.

libretto

The opera's textbook, printed in Bayreuth by 1740 in two languages ​​(Italian / German) at the latest, which officially names Wilhelmine as the composer in the title: “La compositione della musica e di Sua Altezza Reale Federica Sofia Guglielmina” was always well known. On the other hand, it does not appear that she also invented the plot, but the dedication in the libretto by the Italian Giovanni Andrea Galletti (1710? –1784) to the “Most Serene Margrave” makes it clear that the “content” was so “given” to him . Since the re-performance in 1993, there has been no doubt that only Wilhelmine could be the author of the missing, probably French, original, which Galletti then translated into the Italian language. With his declaration that the stipulation “tolerated no other arrangement and execution”, he apologized for the “mistake” of setting a “mourning = game” for the birthday party of the Bayreuth margrave, according to Hirschmann, a “subject of extreme tragedy, almost straight antique stunner, an [em] 'tragedy' in the emphatic sense, pressed into the vessel of an opera seria [...] ”. Nothing has come down to us about the whereabouts of Wilhelmine's written submission.

12 of the 26 Arie texts are as loans from libretto other authors, in particular Metastasian by Asteriscus marked (asterisk), then a common practice. The text translator into German remained anonymous. The Bayreuth margravine and her library bequeathed her libretto collection, including L'Argenore, to the Friedrichs-Universität Erlangen , where it has been kept since 1759. Copies of the libretto L'Argenore are also in several other libraries.

Argomento and "deus ex machina"

The argomento in the libretto ("Innhalt" [sic]) tells a prehistory in the family rulers' milieu of the opera plot, which only becomes known on stage in the finale and forms the basis for the terrible consequences resulting from it. This finale, in which King Argenore, the title character, stabs himself on the open stage, means the opposite of a lieto fine (good ending), as was customary in courtly theaters. This transforms the term Deus ex machina in Argenore - a coup de theater for conflict resolution that has been used since antiquity - into the opposite.

layout

The opera's orchestra consists of a solo flute , two trumpets , two oboes , strings and basso continuo . According to Piper's Encyclopedia of Music Theater , all of the singing parts were supposedly designed for castrati . However, a letter from Wilhelmine proves that the two female roles Palmida and Martesia were sung or rehearsed by two women.

Musical dramaturgy

The plot is conceived for the death of the ruler. The “tragedia” L'Argenore initially follows the form of the Italian dramma per musica , the three-act so-called opera seria , which is successful in Europe and created by the imperial court poet in Vienna, the Italian Pietro Trapassi - known as Metastasio . It begins with an opening chorus decorated with oboes and trumpets in the radiant wind key in D major, is told by extended recitatives and 26 (25) da capo arias and ends in pale C minor with an accompanist recitative by the killing Argenore .

Even after the first scene, all actors have a problem whose attempts to solve the plot increasingly entangle the plot in a destructive way. This problem is particularly expressed in adagio and / or minor arias, the number of which (15 out of a total of 26 arias) clearly exceeds the usual number in seria opera. In this context it is important that since the previous year (1739) Wilhelmine had the opportunity to hear a famous Adagio singer, the international star castrato Giovanni Carestini, sing in person at her court. The actors' actions are psychologically reproduced in epic breadth in recitative dialogues and monologues , and the so-called exit arias at the end of the scenes summarize the plot with fully composed human affects in just as much detail . Wilhelmine assigns the four main actors Argenore, Palmida, Martesia and Leonida four arias each, contrary to the metastasanic role hierarchy , which never shows four (by number of arias) equal singers. Ormondo, the “stranger”, has six of them and Alcasto, the royal servant, has three. From the middle of the opera a dramatic stringendo builds up, leading to an extremely dark ending without a lieto fine (good ending). At the same time, the composer dissolves the principle of the departure aria by leaving it out in the heat of the events. The increasingly hopeless entanglements and affects are followed by increasingly excited orchestral tremuli and recitative accompaniments. A series of killings as a chain reaction begins in the third act with Ormondo's Accompagnato , in which he frees himself from imprisonment by killing his guard Italce. The five main characters, each with a dead man on their conscience, perish themselves, with the king's daughter Palmida being the report that she goes into the sea. The title-giving king, who turns out to be a tyrant, lays hands on himself on stage. Of the seven singer roles, only Martesia survives, who ignorantly too late opened the unknown document that Ormondo and Palmida were children of Argenore: a negative deus ex machina , which instead of a pompous finale on the princely festival stage only lets the strings sound deep gloom . The lack of a conciliatory ending is explicitly planned here and cannot be stopped by anything: an exception in operatic history and a rarity in Metastasian librettism in particular.

action

first act

King Argenore receives the two generals Ormondo and Leonida in his residence Sinope in the land of Ponto on the Black Sea, who return after a war they have won. Argenore is pursuing great plans with Ormondo, a stranger at his court who did a lot for him in the last battle, and Leonida is to have his daughter Palmida as a wife he loves as a thank you. However, she already has a secret love affair with Ormondo, and Martesia, her companion at court, loves Leonida. Also present is the king's advisor, Alcasto, who in turn has his eye on Palmida. In order to get rid of his rival Leonida, he claims to the king that a renewed mutiny in the crisis area will force action. Argenore gives Italce the order to clear another fleet of ships.

New picture: A warm reunion with Argenore and his daughter Palmida. Her companion Martesia, Ormondo's (supposed) sister, with whom she came to Argenore's court, shares the general joy. Palmida secretly misses Ormondo, and Argenore asks her fatherly what worries her, but she cannot reveal her secret. Alcasto overhears Palmida's secret rendezvous with Ormondo in the park. Out of an uneasy feeling, they both decide to exchange further plans in the dark of the evening.

Alcasto increases his intriguing influence and tells the king about his observation in the park, the secret love affair between Palmida and Ormondo, which the latter takes up angrily. In the evening Alcasto is already at the agreed meeting point for the lovers when Palmida arrives. He pretends to be Ormondo and wants to lead her away, she recognizes the trap and wants to flee. Alcasto tries to use force, at that moment Ormondo arrives. There is a scuffle in which Ormondo loses his coat, with which Alcasto - unrecognized - takes off. The couple puzzles who it could have been and guesses Leonida. Ormondo, who has to go to the ships, tries to calm Palmida down. Palmida sings the final aria of this first act, an aria of hope.

Second act

The next morning a storm delayed the departure. Martesia had a bloody dream about the fate of her (supposed) brother Ormondo and asks the king not to send Ormondo (again) to war, but the king remains tough. Alcasto blackens Ormondo to the king that he wanted to kidnap Palmida, which he had prevented, and shows his cloak as evidence. Argenore is furious and tells Leonida that he will force Palmida to marry him. Palmida, who is pursuing an escape plan that she could not share with Ormondo at the last meeting, is now making up for it on the troubled seashore and wants to flee with him. At the same moment, Ormondo is captured by the royal guard. He becomes furious at the king's ingratitude towards him. The present Leonida advises Palmida to appease Ormondo. When he realizes that there is nothing he can do with her, he asks whether he should rather die, which Palmida says in the affirmative, but which immediately triggers feelings of guilt in her, which flow into the aria music.

Argenore orders that the “shameful” couple be handed over to him and demands that his daughter stab Ormondo, otherwise both would have to die. The tainted family honor is said to be washed away with the blood of the "stranger" (Ormondo, the alleged son of the enemy Acabo, defeated by Argenore). Palmida passes out. Martesia, who witnessed everything, sings the final aria of Act 2, which expresses the petrifaction of her feelings in the face of these scenes.

Third act

Accompagnato: Ormondo in chains in prison. Italce comes with a cup of poison and tells him to choose between poison and sword. But Ormodo manages by a trick to overpower Italce and the guard, to kill and to escape. King Argenore, who thinks Ormondo dead, wants to bring Palmida to her (dead) lover in order to blackmail her, to marry Leonida - or to die. The Alcasto present recognizes that the dead person is Italce. Leonida then receives the order from the king to pursue Ormondo who has fled.

New stage design: fortress near Sinope, moat and drawbridge. Ormondo and his followers are ready to fight. Ormondo duels with Leonida, from their calls you can tell that they are fighting for Palmida, Ormondo is wounded by Leonida and dies. In view of the increased complications, Martesia wants to hand the king a sealed letter in the fortress, but Argenore ignores it. It is the letter from her father Acabo, which he gave her before his death with the request that it be opened in case Ormondo was in need. At that moment she learns of Ormondo's death. She now feels (innocently) guilty for being late. Last aria of the opera, in which she laments her guilt for defeating the gods. Palmida goes into a frenzy at the death of her Ormondo and kills Leonida when he tries to appease her. In this hopeless situation, King Argenore opens the letter in which he reads that Ormondo was his own son Eumenes, who was robbed as a child. Second Accompagnato: When Palmida realizes that she loved her brother, she goes into the sea. Argenore recognizes his fake advisor, Alcasto, and has him killed immediately. He realizes that he is to blame for the misfortunes of his children. Third Accompagnato: Argenore boards a boat and stabs himself on the open stage. Fine della Tragedia

The semantic level of Tragedia Argenore

When comparing the lyrics in the autograph score with those in the printed libretto, there are several differences between them; that was not uncommon in opera practice at the time. However, there is increasing discussion as to whether and to what extent an intentional statement by the author is hidden behind these deviations. The director Susanne Vill first drew attention to parallels to Wilhelmine's memoirs during the preparations for the revival in 1993 in Erlangen.

Already during the preparation and rehearsal period for the world premiere of Wilhelmine's L'Argenore (1739/1740), a commentary, cryptic poem by Frederick II to his sister drew attention to a riddle (a lie ) in the opera that has not yet been clarified : The last line of this poem, which refers to the Parnassus, where you rule , is:

"Apollo in his glory / fades before you, like light before the truth / the lie is destroyed."

- Crown Prince Friedrich : Letters I (Volz)

The role of Martesia

The tragedy of the king's daughter Palmida, who unsuspectingly loved her brother (Ormondo = Eumenes), conceals - on the surface - the role of Martesia, who although she belongs to the constellation of singers, which is equivalent to four arias, appears "only" as a companion of the king's daughter. However, the composer has given her the final arias of the 2nd and 3rd act, which underlines their importance. With it she even sings the last aria of the opera (end of the 12th scene), in which she accuses the “barbaro padre” (cruel father) and her own guilt for defeating the gods. However, the listener does not recognize any guilt of Martesia. On the contrary, she selflessly overcomes her love for Leonida by helping him recruit Palmida. All others, including Palmida, kill someone close to them in the affect. And it is Martesia who keeps the document, which clears up all entanglements. But this is too late. Shortly before his suicide, King Argenore asks Martesia to get out of sight, calling her “fiero mostro” (end of the scenario ). This expression of the king "proud monster" for her points to a network of relationships that could only develop between father and daughter, although in the opera she is not his daughter but the child of Acabo, his enemy. She is the only person to survive this royal family tragedy.

In the discussions about this opera, it was stated several times that Wilhelmine in the constellation King (father) / Martesia (foreign daughter) may be her personal relationship with Friedrich Wilhelm I , her father, and at the same time a "buried [family] drama" expressed.

Riddles about the performance

According to the title of the libretto, the opera was to be performed in 1740 for the birthday of Bayreuth Margrave Friedrich (May 10), Wilhelmine's husband, and at the same time, according to Wilhelmine, a new opera house was to be inaugurated. In the same year it was the 10th anniversary of the death of the childhood friend of the royal siblings Wilhelmine and Friedrich the Great, Hans Hermann von Katte , who was executed for aiding and abetting on November 6, 1730 after the Crown Prince tried to flee by order of the king, their father . Wilhelmine was involved in this tragedy without anyone reporting on it later. She was just as imprisoned (in the castle) as her brother Friedrich in Küstrin.

Today, the opinion is expressed on various occasions that a performance in 1740 did not take place. Wilhelmine indicated that my poor opera will vanish into thin air, we will have to turn our happy chants into funeral chants ... but another statement speaks of operatic activities until shortly before the death of Wilhelmine's father. The first demonstrably safe staging and problem investigations of the Argenorestoff was organized in 1993 by the University of Erlangen.

reception

  • According to the German title page of the libretto, the opera was planned for the “most joyful birth festival” of Margrave Friedrich von Bayreuth , Wilhelmine's husband, and was to inaugurate a new Theater de L'Opera . (Former Redoutenhaus).
  • In the course of preparations for the 200th anniversary of Wilhelmine's death and 250th birthday in 1958/1959, the opera's score was discovered, but a performance was rejected because of its content. For this, the Festa teatrale L'Huomo was performed by Andrea Bernasconi , whose French libretto and two cavatines are by Wilhelmine.
  • The opera was first performed in our time in 1993 by the University of Erlangen. Directed by Susanne Vill. For this project, the problem of the opera Argenore was worked out and summarized in a program for the performance.
  • Since then, the work has seen several new productions: to Erlangen in Potsdam, Berlin-Neukölln, 15 years after Erlangen in Bayreuth, then in Rheinsberg. The opera has been the subject of extensive research.
  • At the Bayreuth performance, a lieto fine was offered, which does not correspond to the dramaturgy of the plot.
  • The titles of the two editions (facsimile 1983 and modern score 2005) indicate the difficulty of classifying the opera in terms of style: "Rokoko-Oper" (1983), "Erbe deutscher Musik" in Italian (1995).

expenditure

In 1983, on behalf of the University of Bayreuth, Hans Joachim Bauer published the scaled down facsimile of the score with detailed text:

  • Rococo Opera in Bayreuth. "Argenore" by Margravine Wilhelmine. (Thurnauer Schriften zum Musiktheater) Laaber 1983, vol. 8.

In 1996, Wolfgang Hirschmann published the modern, printed score with the Italian / German facsimile of the libretto, facsimile pages of Wilhelmine's autograph and a detailed editorial text at Schott-Verlag:

  • Wilhelmine von Bayreuth / Argenore / 1740 / Opera in three acts / Text by Giovanni Andrea Galletti. Schott Musik International, Mainz 1996. Department of Opera and Solo Singing, Vol. 13. (The Legacy of German Music) BSS 48612.

Performances

It is unclear whether Wilhelmine's opera L'Argenore was actually performed on the birthday of her husband, the Margrave of Bayreuth, on May 10, 1740.

Performances in our time:

literature

  • Hans-Joachim Bauer (Ed.): Rococo Opera in Bayreuth. "Argenore" by Margravine Wilhelmine (=  Thurnau writings on music theater . No. 8 ). Laaber Verlag, Laaber 1983, ISBN 3-921518-76-8 .
  • Thomas Betzwieser (ed.): Opera concepts between Berlin and Bayreuth. The musical theater of the Margravine Wilhelmine . Königshausen & Neumann, Würzburg 2016, ISBN 978-3-8260-5664-2 .
  • Irene Hegen: Wilhelmines opera L'Argenore (=  archive for the history of Upper Franconia . Volume 83 ). 2003, ISSN  0066-6335 , p. 329-361 .
  • Irene Hegen: Musical encodings in the compositions of Wilhelmine von Bayreuth . In: Margravine Wilhelmine von Bayreuth today (=  archive for the history of Upper Franconia . Special volume). 2009, ISSN  0066-6335 , p. 187-206 .
  • Sabine Henze-Döhring: Margravine Wilhelmine and the Bayreuth court music . Heinrichs-Verlag, Bamberg 2009, ISBN 978-3-89889-146-2 .
  • Wolfgang Hirschmann: Italian opera maintenance at the Bayreuth court, the singer Zaghini and the opera Argenore by Margravine Wilhelmine . In: Friedhelm Brusniak (Hrsg.): Italian musicians and music care at German courts of the baroque period. Cologne 1995 (conference report Arolsen 1994, pp. 117–149, here p.).
  • Wilhelmine von Bayreuth, Giovanni Andrea Galletti (text): Argenore (1740). Opera in three acts. Score. In: Wolfgang Hirschmann (ed.): The legacy of German music . Opera and solo singing department. tape 121 , no. 13 . Schott, Mainz 1996, DNB  357149963 (contains the reprint of the Italian / German textbook of the Bayreuth 1740 edition, facsimile pages of the autograph and detailed source report).
  • Ruth Müller-Lindenberg: Wilhelmine of Bayreuth. The court opera as a stage for life (=  European female composers . Band 2 ). Bölau, Cologne, Weimar, Vienna 2005, ISBN 3-412-11604-1 .
  • Reinhard Wiesend: Margravine Wilhelmine and the opera . In: Paradise of the Rococo. Galli Bibiena and the court of muses of Wilhelmine von Bayreuth . Exhibition catalog, ed. by Peter O. Krückmann. Prestel, Munich 1998, ISBN 3-7913-1964-7 .

Web links

Commons : Argenore (opera)  - collection of images, videos and audio files


Individual evidence

  1. ↑ Mostly cites Argenore without an article,
  2. ↑ Others are indicated in the letter, e.g. B. in the letter of August 1740 (Volz Briefe I).
  3. ↑ Wilhelmine's entire sheet music collection has been lost, so that so far only a few individual finds of her musical works have been found in different places.
  4. ↑ This is accepted by everyone who studied the libretto of Andrea Galletti intensively. See Vill, Müller-Lindenberg, Hegen.
  5. ^ Ansbach, Berlin, Hamburg, Leipzig, Stuttgart. See Reinhard Strohm : The Epoch Crisis in German Opera Maintenance . In: Johann Sebastian Bach's late work and its environment . Report on the scientific symposium on the occasion of the 61st Bach Festival of the New Bach Society , Duisburg 1986, ed. by HC Wolff, Kassel, etc. 1988, pp. 155-166.
  6. ^ Source description in: Wolfgang Hirschmann (Ed.): Wilhelmine von Bayreuth, Argenore (1740) . Schott Musik International, Mainz 1996, Department of Opera and Solo Singing, Vol. 13, p. 293. It is not known when the score was bound. According to Hirschmann, the "flyleaf comes from the time the manuscript was created".
  7. ↑ Music in Past and Present 1, Vol. I, 1949–1951, Article Bayreuth , Col. 1455.
  8. ↑ See old catalog. Joachim Bauer recognized in the 1980s that the score was Wilhelmine's personal handwriting . S. Hans-Joachim Bauer: Rococo Opera in Bayreuth. "Argenore" facsimile of the Margravine Wilhelmine . Laaber 1983, p. 24. Ever since Wilhelmine's notation has been known, there has been an opportunity to track down further compositions by her. In 2002, Nikolaus Delius rediscovered a flute sonata in Herdringen Castle in Westphalia .
  9. ^ Schott-Verlag, Mainz 1996 ( The Legacy of German Music )
  10. ↑ Hirschmann 1996, p. 293.
  11. ^ Aria in B flat major by Tezeugo in the 1st act Montezuma by CH Graun. S. Wolfgang Hirschmann: Comments on the affective dramaturgy in Argenore . In: Argenore , booklet accompanying the performance Oct./Nov. 1993 from Erlangen University, pp. 22-25, p. 25.
  12. ↑ Quoted here from the contemporary German translation.
  13. ↑ The singer and librettist Galletti was then engaged as a court singer in Bayreuth until 1744. Further libretti Gallettis for the Bayreuth Court Opera are Lucidoro (1743), Sirace (1744) and L'Orfeo (Ms., undated). He later worked at the Gothaer Hof with the opera composers Anton Schweitzer and Georg Benda . Rashid-S reports about him. Pegah in: Unprinted Libretti - handwritten texts to the music from the environment of the Marquis Friederike Sophie Wilhelmine . In: Günter Berger (Ed.): Wilhelmine von Bayreuth today. The margravine's cultural heritage. Archive for the history of Upper Franconia, special volume 2009, ISSN  0066-6335 , pp. 231–240, pp. 233 ff.
  14. ^ Galletti: (Foreword).
  15. ^ So Wolfgang Hirschmann in: Opernkonzeptionen 2016, p. 51.
  16. ↑ Link
  17. ↑ Hans-Joachim Bauer: L'Argenore. In: Piper's Encyclopedia of Musical Theater . Volume 6: Works. Spontini - Zumsteeg. Piper, Munich / Zurich 1997, ISBN 3-492-02421-1 , pp. 740-742.
  18. ↑ Irene Hegen: Wilhelmine's opera L'Argenore . In: Archive for the history of Upper Franconia, 83rd volume, Bayreuth 2003, ISSN  0066-6335 , p. 329 f, here p. 331/332: Letter of April 30, 1740 “(…) nos 2 Chantteuses sont le seules qui sont sa “(Brandenburg-Prussian House Archive Rep. 46 W No. 9, 17 vol. 5, 15).
  19. ↑ On Opera seria see Albert Gier : Das Libretto - Theory and History . Insel Taschenbuch 2666, Frankfurt a. M. 2000, ISBN 3-458-34366-0 , pp. 112-133.
  20. ↑ Irene Hegen: Wilhelmine's opera L'Argenore . Bayreuth 2003, p. 330f. Canestini (sic) 1740 lists the “Hochfürstlich Brandenburgisch-Culmbachische Address and Writing Calendar” among the vocalists , whereby this information was always conceived in the previous year.
  21. ↑ Metastasios Didone abbandonata , Naples 1734 , also remained without lieto fine .
  22. ↑ This is information that can be read by “ insiders ”, but is of no significance for the logical events on stage.
  23. ↑ See the booklet accompanying the 1993 performances at Erlangen University. Ruth Müller-Lindenberg (2005) described the opera as a palimpsest that contained a buried drama. In: Wilhelmine von Bayreuth. The court opera as the stage of life . 2005: “Pamlimpsest” pp. 103–136, here p. 136. And Irene Hegen noticed musical encodings in the score (2009): Musical encodings. Autobiographical traces in the compositions of Wilhelmine von Bayreuth . 2009. For the latest publication (2016) on Wilhelmine's opera theater, see Thomas Betzwieser (Hrsg.): Opernkonzeptionenbetween Berlin and Bayreuth. The musical theater of the Margravine Wilhelmine . Königshausen & Neumann, Würzburg 2016, ISBN 978-3-8260-5664-2 .
  24. ^ Letters I, p. 425 (translation: Oppeln-Bronikowski).
  25. ↑ Both women sing school arias, i. that is, they feel guilty: Palmida towards the man she is supposed to marry, but does not want to; Martesia towards the (supposed) brother with whom she grew up and for whose death she feels responsible.
  26. ↑ See last pages of the libretto.
  27. ↑ Ruth Müller-Lindenberg: The Court Opera as a Stage of Life , 2005, p. 136.
  28. ↑ which seems to be intended in the seemingly incomplete autograph (missing overture of the score). An exact performance date with the names of the singers performing in Bayreuth is also missing in the libretto. One reason for the termination of the project could have been the fatal illness of Wilhelmine's father Friedrich Wilhelm I, who died that same month on May 30, 1740, which put the opera director in constant readiness to travel during the preparations, as can be seen in the correspondence is. See Gustav Volz (eds.): Friedrich II. And Wilhelmine von Bayreuth , Briefwechsel I. The opposite opinion, that the opera project was not canceled, even if nothing was known about an actual performance, is also represented.
  29. ↑ According to letter 1740.
  30. ^ Supplement 1993, production by Susanne Vill, musical director Walter OPP.
  31. ↑ Program booklets Erlangen 1993, Potsdam 2001. Literature: Hirschmann 2095, 2096, Wiesend (ed.) 1998/2002, Hegen 2003, Müller-Lindenberg 2005, Berger (ed.) 2009, Henze-Döhring 2009, Betzwieser 2016.