Arsilda, regina di Ponto

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Opera dates
Original title: Arsilda, regina di Ponto
Title page of the libretto, Venice 1716

Title page of the libretto, Venice 1716

Shape: Dramma per musica in three acts
Original language: Italian
Music: Antonio Vivaldi
Libretto : Domenico Lalli
Premiere: October 27, 1716
Place of premiere: Teatro Sant'Angelo , Venice
Playing time: approx. 2 ¾ hours
Place and time of the action: Ama in Cilicia , ancient times
people
  • Arsilda, Queen of Pontus , fiancée Tameses ( old )
  • Lisea, sister of Tameses, is taken for her brother, beloved Barzane, then abandoned by him (old)
  • Mirinda, Lisea's noble confidante ( soprano )
  • Barzane, Prince of Lydia , first lover of Lisea, then of Arsilda (soprano castrato)
  • Tamese, King of Cilicia, brother of Liseas, believed dead, lover Arsildas, disguised as a gardener ( tenor )
  • Cisardo, uncle of Tamese and Lisea, administrator of the crown ( bass )
  • Nicandro, Prince of Bithynia , confidante and ally of Tameses (soprano, trouser role)

Arsilda, regina di Ponto is an opera seria (original name: "Dramma per musica", RV 700) in three acts by Antonio Vivaldi (music) with a libretto by Domenico Lalli . The premiere took place on October 27, 1716 in the Teatro Sant'Angelo in Venice.

action

The opera takes place in Ama, the capital of Cilicia , in a heavily populated valley with the river Cidno.

The parts marked in italics come (only slightly modified) from the original text of the libretto.

prehistory

After the death of her husband Arideo, his widow Antipatra manages his empire together with Arideo's brother Cisardo. Cisardo is also the guardian of the underage princely twins, the boy Tamese and the girl Lisea, who look so alike that they can only be told apart by their clothes. Barzane, the young king of Lydia, who is the same age as Tamese and becomes his best friend, also lives in her palace in Ama, the capital of Cilicia. He falls in love with Lisea, and the two secretly get engaged. When Queen Antipatra is threatened by a rebellion, she assigns Tamese and his friend to pacify. On the way, the two of them take up residence in the palace of the king of Pontus, where they meet his daughter Arsilda. Both fall in love with her on the spot, and the king of Lydia completely forgets his promise of loyalty to Lisea. Arsilda declares herself for the prince of Cilicia, whereupon the king of Lydia withdraws indignantly and decides to achieve his goal by force. Tamese promises the princess that she will see to it that the marriage will be approved at home and leaves to put down the rebellion with his people. On the way back, he was shipwrecked in a storm, but was able to escape to a deserted coast. After the few survivors have reported his death, the people insist on choosing an heir to the throne, since Antipatra as a woman has no right of succession. In order not to lose her power, she decides to pass off her daughter Lisea as her brother Tamese. She claims that Lisea died of a fever and disguises her as a man. Lisea came to the throne of Cilicia under the name of Tameses. A little later Antipatra dies. After learning of the infidelity of her fiancé Barzane and his claim to Arsilda (who became queen after the death of her father), Lisea fears that he might take over power. She then offers Arsilda the marriage, who agrees immediately - she thinks the offer comes from the real Tamese. Meanwhile, the king of Lydia learns that the Queen of Pontus has arrived in Cilicia to marry his rival. He considers the death of Princess Lisea to be certain, for whom he no longer feels any real remorse, and arrives with a huge force to besiege Ama and try (without waiting for a battle) to kidnap the Queen of Pontus.

short version

At the beginning of the opera, Lisea, who appears as Tamese, introduces her people to Arsilda as the bride and future queen, but finds excuses to delay the wedding. Cisardo warns of a stranger who wants to kidnap Arsilda. Nicandro swears his allegiance to the supposed Tamese. His true identity is only known to Lisea's confidante Mirinda, who renounces love in the face of her friend's problems. A little later, Barzane and his soldiers enter the city unnoticed through a secret passage in order to bring Arsilda, whom he still loves, into his power. But the real Tamese is there, disguised as a gardener, and thwarted the act together with Cisardo. While everyone brings a sacrifice of thanks to the god Vulcan, Lisea ensures that the captured Barzane is treated gently - she still has feelings for him.

In the second act, Mirinda realizes that she has fallen in love with the heroic gardener. The disguised Lisea reminds Barzane of his spurned lover and announces a revelation. When Arsilda introduces her rescuer to her supposed bridegroom, she is amazed at the similarity between the two. Everyone is preparing for a royal hunt. The supposed Tamese tells Barzane that Lisea is still alive and sends him to her crypt, where she is hiding. Barzane now deeply regrets his betrayal. The real Tamese reveals himself to Arsilda, and Cisardo also learns the truth.

At the beginning of the third act Lisea receives Barzane in the crypt. The two reconcile, and Barzane promises to get Tamese permission to marry. Cisardo pledges his support to Tamese to regain the throne. He persuades Lisea to take off her disguise and informs her that her brother is still alive and has returned. Barzane holds out for her hand as promised and promises peace between her peoples. Cisardo explains to the people the reasons for Lisea's disguise. Now the real Tamese will rule again. Lisea and Barzane as well as Arsilda and Tamese have a celebratory double wedding.

first act

Magnificent place with colonnades and statues of the protective gods of Cilicia

Altars and fires were set up for the annual oath the people owe their ruler. On one side there is a magnificent throne on which the couple has taken their seats, on the other there is a sumptuous apparatus for the royal wedding of Lisea, which is held for the Cilician King Tamese (in this table of contents in the following with "Tamese-Lisea" labeled) , and Arsilda, Queen of Pontus . Tamese-Lisea and Arsilda sit on the throne, in front of this are Cisardo, Prince of the Blood (Tameses and Lisea's uncle) , Mirinda (Lisea's confidante) and Nicandro (Prince of Bithynia , Tameses confidante) , with people and soldiers.

Scene 1. At Cisardo's request, the people swear their allegiance to the ruler (chorus: “Tutto il regno in lieta gara”). When Tamese-Lisea introduces them to Arsilda as bride and future queen, everyone cheers. Arsilda indicates that Tameses previous declarations of love are not enough to create an heir to the throne. Lisea asks her to be patient. Cisardo urges caution because he has found out that an unknown opponent intends to kidnap Arsilda (Arie Cisardo: "L'esperto nocchiero").

Scene 2. Arsilda asks Tamese-Lisea why he keeps putting off the wedding. Lisea explains that he wanted to have eliminated his rival beforehand. Arsilda is deeply saddened by this evasive answer (Aria Arsilda: "Io sento in questo seno").

Scene 3. Nicandro assures Tamese-Lisea of ​​his loyalty (Aria Nicandro: "Col piacer della mia fede").

Scene 4. Lisea explains to Mirinda, who knows her true identity, that she has declared Arsilda to be her bride to prevent Barzane from courting her. Her feelings towards him fluctuate between contempt and love (Aria Lisea: "Fingi d'aver un cor").

Scene 5. In view of the confusion of her friend's love, Mirinda renounces love (Aria Mirinda: “Non m'è caro amor penando”).

Lonely place with various grassy banks

Graceful park paths lead to the ground floor apartments of the Queen of Pontus. There is an old building with hidden baths, which consists of water pipes and a tunnel closed with a rock that leads out of the city walls.

Scene 6. Barzane and armed soldiers force their way through the tunnel. He looks forward to the future love pleasures with Arsilda, which he intends to kidnap (Arie Barzane: "Semper piace goder il suo bene"), and moves away through the park.

Scene 7. Lisea's brother Tamese, believed to be dead, survived the shipwreck and disguised himself as a gardener to gain entry. He feels betrayed by his sister, who now rules in his place. He's also worried about Arsilda. He plans to reveal himself to his followers in order to regain his throne. (Aria Tamese: “La tiranna avversa sorte”).

Scene 8. After Tamese has withdrawn, Arsilda appears who longs for love (Arioso Arsilda: “So ben io qual pena sia”). She sits down on a bench, lost in thought.

Scene 9. Barzane seizes the opportunity to kidnap Arsilda and calls out to his men. Tamese rushes over to protect Arsilda.

Scene 10. Meanwhile, Cisardo has uncovered the treason and comes out of the tunnel with his own soldiers. They succeed in overpowering the attackers. Cisardo has Barzane led away untied before he makes his way to the palace himself.

Scene 11. Arsilda thanks her savior, whom she does not recognize, although she makes a strange resemblance to Tamese (Aria Arsilda: “Perchè veggo nel tuo volto”).

Temple of the god volcano

The temple is modeled on the forge of the volcano in Lemnos . Its statue in the middle is surrounded by several images of cyclops. The altar is shaped like an anvil. Above it hang three heavy hammers, dedicated to the three Cyclops: Steropes (the thunder), Brontes (the lightning) and Piraknes (the glowing anvil). Helmets, shields, lances and other armor lie in a jumble on a burning brush. A fire with sparkling flames can be seen next to the age.

Scene 12. Cisardo, Tamese-Lisea, Mirinda, Nicandro, soldiers and priests offer a golden arrow to the god as a sacrifice (chorus: “Amoretti vezzosetti” - Accompagnato Lisea: “O 'dell'adusta Lenno famoso abitator”). Lisea learns of Barzane's capture from Cisardo and asks him to treat him with gentleness.

Scene 13. Nicandro is given the task of observing the opposing camp.

Scene 14. Lisea shares her views on love with Mirinda - "a tyrant who causes both sorrow and joy" (Aria Lisea: "Porta amore una tal face").

Scene 15. Mirinda doesn't see the point of love. She compares herself to a jasmine who stays to herself between the bushes (Aria Mirinda: “Io son quel gelsomino”).

Second act

Adorable room in the palace with the imperial treasures in crystal vases

Scene 1. Mirinda tells Lisea about the similarity between the unknown savior and the deceased Tamese. When Mirinda starts raving about him, Lisea teases her by saying that she is in love with him. She sends Mirinda away because she wants to speak to Barzane alone (Aria Mirinda: “Un certo non sò che”).

Scene 2. After Barzane is brought in by the guards, Tamese-Lisea accuses him of treason - Lisea informed him of this before she died. Barzane apologizes that his first love has been replaced by a new one - he would tell Lisea himself if she were still alive. Tamese-Lisea announces that she will soon reveal a secret to him in the grove of the Berecynthia. Barzane wonders about Tameses behavior (Aria Barzane: "Ben conosco a poco a poco"). He leaves the room.

Scene 3. Arsilda introduces Tamese-Lisea to her savior, still in disguise. Amazed by his resemblance to her brother, she asks him to tell us about his origins. Tamese says he served in the Cilician Army and witnessed the Tameses shipwreck before he became a gardener. When Arsilda sees the two of them side by side, she doubts the identity of her bridegroom, as the gardener bears greater resemblance to her old admirer. Tamese withdraws.

Scene 4. Tamese-Lisea explains to Arsilda that the longer you drag out love, the more beautiful it is (Arie Lisea: “Se un cor soffrir saprà”).

Scene 5. Arsilda feels mocked by her groom. At the same time, she develops feelings for her savior. Now she loves "the same object in two faces" (Aria Arsilda: "Precipizio, è del mio petto").

Consecrated forest surrounded by hills, Diana, the goddess of the hunt and punisher of adulterers

At the end of the forest there is a grotto with a clear spring, surrounded with statues of deer, leopards and lions, all animals consecrated to the goddess, symbolizing the guarding of the forest. One sees the preparations for the solemn royal hunt in honor of the goddess and as thanks for the capture of Barzane. Hunting instruments sound. Tamese-Lisea, Cisardo, Nicandro, Mirinda and Tamese descend from the hills in hunting robes.

Scene 6. The company is looking forward to the upcoming hunt for a hind (Sinfonia - Choir: “Su alla caccia si gridi” - Movimento musicale (Lisea): “D'una Cervetta” - Duet Mirinda / Nicandro: “Già il Prato ameno , Ciel sereno "- Movimento musicale (Arsilda):" Su svegliatevi Augelletti "- Movimento musicale Cisardo / Tamese / Arsilda / Lisea / choir:" Di questi boschi / Viva Cintia "- choir:" Su alla caccia si gridi "). Everyone leaves.

Scene 7. Barzane has got into a conflict of conscience. On the one hand, he still wants to take revenge on Tamese, but on the other hand, he feels strangely touched by his talk about Lisea.

Scene 8. Tamese-Lisea steps in to reveal the announced secret to Barzane. After she has once again confirmed her desire for revenge, she gives him a key and tells him to go to Liseas tomb. This is still alive and hiding there (Aria Lisea: "Frà cieche tenebre").

Scene 9. Barzane deeply regrets his betrayal of Lisea (Aria Barzane: “Quel usignolo”). He makes his way to her.

Scene 10. Mirinda tries to reveal her love to Tamese, but doesn't dare (Aria Mirinda: “Ancor la tortorella”). She goes off.

Scene 11. Tamese checks with Arsilda that she really loves her bridegroom. Since she replies in the affirmative, to her dismay, he reveals his true identity and that of his sister: her bridegroom is his sister, and he himself is her lover (Aria Tamese: “Siano gl'astri à me tiranni”).

Scene 12. Arsilda feels like a butterfly wandering back and forth between two flames (Aria Arsilda: “Son come farfalletta”).

Scene 13. Cisardo has overheard the conversation between the two of them and is terribly upset about it (Aria Cisardo: “Qual è a l'onte”).

Scene 14. Nicandro doesn't care if Tamese reveals his secrets to him. It doesn't matter for their friendship (Arie Nicandro: “Quando sorge in ciel l'Aurora”).

Third act

Underground room with locked doors and a small lamp, connected to the royal apartments by a secret passage

Lisea enters the room in women's clothes through a door, sits down on a stone and pretends to be locked in here while she waits for Barzane.

Scene 1. Lisea anxiously awaits the arrival of her former lover.

Scene 2. An iron door opens. Barzane enters, sits next to Lisea, and begs her forgiveness for his betrayal. Lisea asks him to ask her brother for her hand. Barzane promises her his loyalty (Aria Barzane: "Pupille del mio ben").

Scene 3. After Barzane has left the dungeon, Lisea is afraid of the consequences because she cannot appear as Lisea and Tamese at the same time (Aria Lisea: “Di Cariddi li vortici ondosi”).

Scene 4. Nicandro advises Tamese, whom he has not yet recognized, to present himself to the king in order to receive the honors he deserves (Arie Nicandro: “Ride il fior canta l'augello”).

Scene 5. Mirinda now has different ideas about love than before (Aria Mirinda: "Chi vuol goder d'amor").

Scene 6. Tamese urges to regain his throne. Cisardo assures him of his loyalty and advises him to be patient. Tamese trusts him (Aria Tamese: “La mia gloria ed il mio amore”).

Scene 7. Cisardo urges Tamese-Lisea to admit her true identity and reveals that the real Tamese is still alive. She should wait for him in her room. In the meantime, he himself would inform the people that Lisea is still alive and so turn everything into a good one (Aria Lisea: “Mille frodi e mille inganni”).

Scene 8. Lisea is happy with this twist. In fact, Barzane comes to her, whom he still takes to be Tamese, asks her to agree to his marriage to Lisea and promises peace between her peoples (Arie Barzane: "Tornar voglio al primo ardore").

Scene 9. Tamese-Lisea tells Arsilda that she no longer has to wait for the wedding.

Scene 10. Arsilda is happy that the time of uncertainty is over (Aria Arsilda: “Al nocchiero”).

Magnificent throne room with pompous furnishings for the wedding celebration

Scene 11. Cisardo explains the situation to the assembled people and announces that the real Tamese will take over the government of Cilicia again.

Scene 12. The two bridal couples walk in: Barzane with Lisea, now dressed as queen, and Tamese with Arsilda. Mirinda, Nicandro and the court follow them. Lisea officially hands over the throne to her brother. Everyone is happy and the people celebrate the double wedding and peace (choir: “D'Imeneo la bella face”).

layout

Instrumentation

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

Music numbers

The opera contains the following musical numbers:

first act

  • Scene 1. Recitative: "Questo, o popoli, è il giorno in cui si deve"
    • Choir: "Tutto il regno in lieta gara" - Allegro, D major, for 2 trumpets, strings and basso continuo
    • Recitative: "Questa, o fidi, è mia sposa e perche tal vostra Regnante"
    • Aria (Cisardo): “L'esperto nocchiero” - Allegro, C minor, 3/8, for strings and basso continuo
  • Scene 2. Recitative: "Sposa a che tal mi chiami, se di sposa il bel nome"
    • Aria (Arsilda): "Io sento in questo seno" - Largo e spiccato, G minor, 3/4, for 2 violins, viola and basso continuo
    • originally “Del goder” - Allegro, G minor, 4/4, with a concertante part for the violins playing in unison
  • Scene 3. Recitative: "Sol di Bittinia il prence non sen corre a mio prò"
    • Aria (Nicandro): "Col piacer della mia fede" - Allegro, A major, 4/4, for strings and basso continuo
  • Scene 4. Recitative: "Partano i Servi: Odi Mirinda"
    • Aria (Lisea): “Fingi d'aver un cor” - A tempo giusto, F major, 4/4, for 2 violins, viola and basso continuo
  • Scene 5. Recitative: "Dunque questo ch'amor chiaman le genti"
    • Aria (Mirinda): “Non m'è caro amor penando” - Allegro, B flat major, for strings and basso continuo
    • originally “Io son quel gelsomino” - Allegro, C minor, 12/8. This text has been moved to the end of the act with different music.
    • for “Non m'è caro amor penando” there are two different settings, both of which are characterized by their many trills.
  • Scene 6. Recitative: "Del sotterraneo loco discoperto il sentier"
    • Aria (Barzane): “Semper piace goder il suo bene” - Allegro, C major, 4/4, for solo cello, strings and basso continuo
    • replaced by “Dove sei” - Allegro, G major, 4/4
  • Scene 7. Recitative: "D'Ama la Reggia à questa, e questo Ciel"
    • Aria (Tamese): “La tiranna avversa sorte” - Allegro, D major, 3/8, for 2 violins, viola and basso continuo
    • originally “Va per selve” - Allegro, B flat major, 3/4, with complicated coloratura and violin figurations
    • Alternative version of “La tiranna avversa sorte” - Allegro, D major, 3/8
  • Scene 8. Arioso (Arsilda): “So ben io qual pena sia” - Andante, D major, for basso continuo
    • Recitative: “Povera in mezzo all'oro; tocco con mano il lido "
    • Arioso (Arsilda): “So ben io qual pena sia” - Andante, D major, for basso continuo
  • Scene 9. Recitative: “Ecco l'ingrata; al fianco assistedemi, o fidi "
  • Scene 10. Recitative: "Scoperto il tradimento a tempo io giungo"
    • original aria (Barzane): "L'esser vinto non son"
  • Scene 11. Recitative: "Tutto al tuo braccio io deggio giovane ardito"
    • Aria (Arsilda): “Perchè veggo nel tuo volto” - Allegro, G major, 3/8, for 2 violins, viola and basso continuo
  • Scene 12. Recitative: "Dunque il cultor degl'Orti prima Arsilda soccorse"
    • Choir: “Amoretti vezzosetti” - […], F major, for 2 horns, strings and basso continuo
    • Recitative: "Prendi Signor, compisci il degno ufficio e pio"
    • Accompagnato (Lisea): “O 'dell'adusta Lenno famoso abitator” - strings and basso continuo
    • Recitative: "Cisardo, or già il sacro rito compi"
  • Scene 13. Recitative: "Io se tu'l vuoi, Regina, dell'inimico Campo"
  • Scene 14. Recitative: "Tu Mirinda quai voti per me porgeste?"
    • Aria (Lisea): “Porta amore una tal face” - Allegro, F major, 3/8, for 2 violins, viola and basso continuo, after “Nox obscura tenebrosa” from Juditha triumphans
    • original version - Allegro, F major, 2/4, alternation between major and minor with rhetorical pauses
  • Scene 15. Recitative: “Benche d'amor le stravaganze intesi”
    • Aria (Mirinda): “Io son quel gelsomino” - Allegro, E minor, 4/4, for 2 violins, 2 violas and concertante harpsichord

Second act

  • Scene 1. Recitative: "Il Pastorel, che raffrenò l'ardire"
    • Aria (Mirinda): "Un certo non sò che" - Allegro, C minor, 2/4, for 2 violins, viola and basso continuo with chromatically ascending eighth notes
  • Scene 2. Recitative: "State lungi soldati"
    • Aria (Barzane): “Ben conosco a poco a poco” - Allegro, D minor, for 2 violins, viola and basso continuo
    • originally "Ah non so se quel ch'io sento"
  • Scene 3. Recitative: "Arsilda ecco ne vien, lusinghe usate"
    • original aria (Tamese): "Va superbo" - Allegro, F major, 3/8
  • Scene 4. Recitative: “Del Pastor la sembienza mi sveglia”
    • Aria (Lisea): “Se un cor soffrir saprà” - Allegro, F major, 2/4, for 2 recorders, 2 violins, viola and basso continuo
  • Scene 5. Recitative: "Si che un tiranno sposo del mio duol si fà gioco"
    • Aria (Arsilda): "Precipizio, è del mio petto" - Allegro, C minor, 3/8, for 2 violins, viola and basso continuo
  • Scene 6. “Sinfonia” - Allegro, F major, for 2 horns, strings and basso continuo
    • Choir: “Su alla caccia si gridi” - Allegro, F major, for 2 horns, strings and basso continuo
    • Movimento musicale (Lisea): “D'una Cervetta” - Allegro, G minor, for 2 recorders, 2 violins and basso continuo
    • Duet (Mirinda, Nicandro): "Già il Prato ameno, Ciel sereno" - Allegro, C major, for 2 violins, viola and basso continuo
    • Recitative: "Ma per tua mano, ò Prence dell'uccisa Cervetta il don vogl'io"
    • Movimento musicale (Arsilda): “Su svegliatevi Augelletti” - […], G major, for 2 recorders and 2 violins
    • Movimento musicale (Cisardo, Tamese, Arsilda, Lisea, choir): “Di questi boschi / Viva Cintia” - […], C major, for strings and basso continuo
    • Recitative: "Di giovane Cervetta apena avezza"
    • Choir: “Sù alla Caccia si gridi” - […], F major, for 2 horns, strings and basso continuo
  • Scene 7. Recitative: "Al geloso amor mio, al mio rossore"
  • Scene 8. Recitative: "Rege Qui sono, perché l'arcan mi sveli"
    • Aria (Lisea): “Frà cieche tenebre” - Largo, E minor, 3/8, for basso continuo
    • replaced by “Vedrai nel volto” - Allegro, F major, 2/4
  • Scene 9. Recitative: “Vive Lisea! ah s'egli è ver che vive "
    • Aria (Barzane): “Quel usignolo” - Andante, G major, 4/4, for strings and basso continuo, with imitations of birdsong
  • Scene 10. Recitative: "Non ti sia di spiacer Vergine illustre"
    • Aria (Mirinda): “Ancor la tortorella” - Allegro, G major, 3/8, for 2 violins, viola and basso continuo
  • Scene 11. Recitative: "Mà qual sciocca dimora più nascoso mi tien?"
    • Aria (Tamese): “Siano gl'astri à me tiranni” - […], G major, 3/8, for 2 violins, viola and basso continuo
  • Scene 12. Recitative: "Qual non più inteso inganno"
    • Aria (Arsilda): “Son come farfalletta” - Allegro, E major, 4/4, for strings and basso continuo
  • Scene 13. Recitative: “Che intensi mai? Lisea sotto spoglie non sue "
    • Aria (Cisardo): “Qual è a l'onte” - Allegro, B flat major, 12/8, for 2 oboes, strings and basso continuo
    • heavily revised. The original version cannot be reconstructed
    • second version: Allegro, G minor, 4/4
  • Scene 14. Recitative: "Se scoprir la sua pena non vuole il Prence"
    • Aria (Nicandro): "Quando sorge in ciel l'Aurora" - Allegro, A minor, for 2 violins, viola and basso continuo

Third act

  • Scene 1. Recitative: "Da quel, che più non era, à quel ch'io sono"
  • Scene 2. Recitative: "Eccolo (Il cor mi gela) Olà chi mai"
    • Aria (Barzane): “Pupille del mio ben” - Allegro, G major, 2/4, for 2 violins, viola and basso continuo, many appoggiatures in the gallant style
  • Scene 3. Recitative: "O 'del cieco amor mio mal cauto impegno!"
    • Aria (Lisea): “Di Cariddi li vortici ondosi” - Allegro, F minor, 3/4, for 2 violins, viola and basso continuo
  • Scene 4. Recitative: "Al tuo braccio, al tuo ardir molto Cilicia deve"
    • Aria (Nicandro): “Ride il fior canta l'augello” - Allegro, C major, 3/8, for strings and basso continuo
  • Scene 5. Recitative: "Finch'à l'amata, al Zio chiaro non resta"
    • Aria (Mirinda): "Chi vuol goder d'amor" - Allegro, A major, 4/4, for strings and basso continuo
  • Scene 6. Recitative: "Già che scoperto io son, finche non giungo"
    • Aria (Tamese): “La mia gloria ed il mio amore” - Andante, F major, 4/4, for 2 violins, viola and basso continuo
  • Scene 7. Recitative: "Cisardo ... Apunto io deggio Signor parlarti"
    • Aria (Lisea): “Mille frodi e mille inganni” - […], D major, 3/8, for 2 violins, viola and basso continuo
  • Scene 8. Recitative: "Suol tal'ora un gran rischio giurarci à un gran piacer"
    • Aria (Barzane): "Tornar voglio al primo ardore" - Andante alla Francese, C minor, 3/4, for 2 violins, viola and basso continuo
    • Original version - Andante, C minor, 4/4, without coloratura, with two corni da caccia to reinforce the violins
  • Scene 9. Recitative: "Regina, il bel momento giuto è del tuo goder"
    • original aria (Lisea): "Cara gioia e bel diletto" - Allegro, F major, 3/8
  • Scene 10. Recitative: "Finga Lisea, ch'or discoperto il mio non finto Sposo"
    • Aria (Arsilda): “Al nocchiero” - Allegro, C major, 2/4, for strings and basso continuo
  • Scene 11. Recitative: "Popoli ancor non tutto saprete il goder vostro"
  • Scene 12. Recitative: "German, su'l Tron, ch'è tuo vanne a seder tua Sposa"
    • Choir: “D'Imeneo la bella face” - […], C major, 3/8, for 2 oboes, strings and basso continuo

Work history

After Vivaldi had left the Teatro Sant'Angelo , which he had directed as impresario since 1714 , in the 1715/16 season in favor of the Teatro San Moisè , he returned to the San Angelo at the beginning of the 1716/17 season. The former singer Pietro Ramponi was officially impresario, but Vivaldi retained a dominant position. After the opening opera Arsilda, he composed and conducted the third opera of the season with L'incoronazione di Dario . The second opera (premiered on December 26th) was Fortunato Chelleri's Penelope la casta . However, since this failed quickly, Arsilda was resumed in a hurry .

In addition to Vivaldi's original composition autograph, a copy that he himself corrected and which was then used as the basis for the performances has been preserved. It contains some deviations from the original score that were clearly his own. In his Vivaldi biography of 1965/1973, Remo Giazotti suggested that a first version of the opera planned for spring 1715 had been rejected by the censors and therefore had to be revised. The conductor Federico Maria Sardelli also assumed the correctness of this theory in the booklet of his CD for this opera. The musicologist Reinhard Strohm doubts this thesis, however, since the corresponding documents have not been preserved and the earlier text versions still recognizable in the manuscript also seem harmless. In the foreword to the printed libretto, however, the librettist Domenico Lalli distanced himself with clear words from what he believed to be a falsified work and accused the composer and other responsible persons of incompetence. In contrast to most of his other libretti, Lalli did not use a signature by name, but only signed “N. N. ". Apparently there was a break with Vivaldi. During his time at San Angelo, Lalli did not write again for this theater, and Vivaldi only set one of his texts to music - a smaller contribution to Giuseppe Boniventi's opera Filippo, re di Macedonia from 1721.

Strong arrangements can already be seen in the original manuscript. Vivaldi exchanged a total of nine arias. Vivaldi stroked the replaced areas with wide pen strokes or glued the sheets together so that they could easily be restored. Vivaldi did the same with other operas. Following the assumption that it was the first version of the opera that had been rejected by the censors, the musicologist Livia Pancino attempted to recreate it using the deleted passages. But this turned out not to be suitable for performance. There was also no evidence that Vivaldi had made any adjustments to the singers' voices, although both the impresario and most of the singers had only just arrived in Venice in autumn 1716 - only the role of Barzane was newly cast at short notice. The changes were apparently made late. Overall, Strohm assumes that these are merely the usual revisions in the course of the composition process and not an independent second version.

At the premiere on October 27, 1716 at the Teatro Sant'Angelo in Venice, Anna Vincenza Dotti (Arsilda), Anna Maria Fabri (Lisea), Teresa Cotti (Mirinda), Carlo Cristini (Barzane, replacement for Carlo Valcata mentioned in the libretto) , Annibale Pio Fabri (Tamese), Angelo Zanoni (Cisardo), Antonia Pellizzari (Nicandro). Grilletta e l'alfier Fanfarone by an unknown composer were played as intermezzi . According to contemporary reports, the performance was a huge success. However, no further productions of the opera are documented in the 18th century. There are only mentions of a performance in the Kassel court theater in the same year 1716.

Vivaldi later used music from Arsilda several times for other operas - about a third in total. The sinfonia, for example, was used in Teuzzone in 1719 . A collection of sixteen arias from Arsilda, arranged for voice and basso continuo, is preserved in the Saxon State Library in Dresden .

The opera wasn't played again until the 21st century. In 2001 there was a production at the Italian Festival Opera Barga under the direction of Federico Maria Sardelli, which was then recorded on CD. In 2017 the first series of performances of the complete original version took place as a co-production of the Slovak National Theater in Bratislava, the Opéra de Lille , Les Théâtres de la Ville de Luxembourg , the Théâtre de Caen and Château de Versailles Spectacles with the Czech ensemble Collegium 1704 under Václav Luks . It was then shown on a European tour. A video recording was made available as an internet stream on Culturebox .

Recordings

  • July 2001 - Federico Maria Sardelli (conductor), Orchestra Barocca Modo Antiquo , Coro da Camera Italiana Roma.
    Simonetta Cavalli (Arsilda), Lucia Sciannimanico (Lisea), Elena Cecchi Fedi (Mirinda), Nicki Kennedy (Barzane), Joseph Cornwell (Tamese), Sergio Foresti (Cisardo), Alessandra Rossi (Nicandro).
    Live from the Chiesa della Santissima Crocifisso in Barga.
    Arrangement by Federico Maria Sardelli and Frédéric Délamea.
    CPO 999 740 2 (3 CD).
  • March 9, 2017 - Václav Luks (conductor), David Radok (staging), Ivan Theimer and Ondřej Nekvasil (set design), Andrea Miltnerová (choreography), Zuzana Ježková (costumes), Přemysl Janda (lighting design), Collegium 1704 , Collegium Vocale 1704 .
    Olivia Vermeulen (Arsilda), Lucile Richardot (Lisea), Lenka Máčiková (Mirinda), Kangmin Justin Kim (Barzane), Fernando Guimarães (Tamese), Lisandro Abadie (Cisardo), Helena Hozová (Nicandro).
    Video recording.
    Internet     stream at Culturebox.

Web links

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

Remarks

  1. ↑ In a satire from February 1717, it is said that Chelleri left the theater with the score during the performance because of a dispute about payment. The singers were not paid and there was even an attack on Chelleri's life.
  2. ↑ The Italian text reads: “Tale io nella guisa istessa hò proposto […] per recare à questa mia operetta quello non ordinario ornamento, il quale per sè solo affatto aver non poteva; so per l'insufficienza del suo maestro che la compose, come per il gusto dì coloro, li quali han voluto in essa, nongià quello che ragionevole appariva, mà tutto ciò che apertamente non si doveva, à tale che per mia non la riconosco, per che rossor n'averia in veggendola so affatto cangiata dal mio primo disengo, e per l'arie, e per la sua giusta sceneggiatura. "- English translation by Strohm:" I have decided [...] to bestow upon my little work that outstanding distinction [ie, of being dedicated to you], which by itself alone it could not have earned; whether on account of the indequacy of its maestro who composed it, or on account of the taste of those who desired to have in it not what was reasonable but what clearly was not appropriate. This up to a point where I cannot recognize it as my own work, since I would blush at seeing it so completely changed from my original design, both in the arias and in the division into scenes. "

Individual evidence

  1. ^ A b c Siegbert Rampe : Antonio Vivaldi and his time. Laaber, 2010, ISBN 978-3-89007-468-9 .
  2. ↑ Information on the work on flaminioonline.it , accessed on June 19, 2017.
  3. ↑ a b c d e f g Reinhard Strohm : The Operas of Antonio Vivaldi. Leo S. Olschki, Florence 2008, ISBN 978-88-222-5682-9 , Vol. I.
  4. ↑ a b Michael Talbot : The Vivaldi Compendium. The Boydell Press, Woodbridge 2011, ISBN 978-1-84383-670-4 , p. 26.
  5. ↑ Federico Maria Sardelli: Trial of strength between censorship and creativity. In: Supplement to CD Arsilda , cpo 999 740-2, pp. 12–15.
  6. ^ Reinhard Strohm : Essays on Handel and Italian Opera. Cambridge University Press, Cambridge 1985, ISBN 0-521-26428-6 , p. 145.
  7. ^ Record of the performance on October 27, 1716 in the Teatro Sant'Angelo in Venice in the Corago information system of the University of Bologna .
  8. ↑ a b Frédéric Delamea: Vivaldi conquered Venice. In: Supplement to CD Arsilda , cpo 999 740-2, pp. 8–12.
  9. ↑ Mary Macklem: VIVALDI: Arsilda, Regina di Ponto. CD review. In: Opera Today of June 14, 2005.
  10. ↑ Gerhard Persché: Emerges. Review of the performance in Bratislava. In: Opernwelt from May 2017, p. 37.
  11. ↑ Antonio Vivaldi. In: Andreas Ommer: Directory of all complete opera recordings (= Zeno.org . Volume 20). Directmedia, Berlin 2005.
  12. ↑ L'opéra "Arsilda" de Vivaldi dirigé par Vaclav Luks at Culturebox, accessed on 19 June 2017th