Benvenuto Cellini (opera)

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Work data
Title: Benvenuto Cellini
Shape: Opéra-comique in two or three acts
Original language: French
Music: Hector Berlioz
Libretto : Leon de Wailly and Henri-Auguste Barbier after DD Farjasse
Premiere: September 10, 1838
Place of premiere: Paris Opera
Playing time: approx. 2 ½ hours
Place and time of the action: Rome, 1529
people

(Main parts in italics)

Benvenuto Cellini , Opus 23 is an opéra-comique in two or three acts by Hector Berlioz . The libretto is by Léon de Wailly and Auguste Barbier . It is Berlioz's first opera, written between 1834–1837 and premiered on September 10, 1838 at the Paris Opera . The plot is based on the life of the Florentine goldsmith and sculptor of the Renaissance , Benvenuto Cellini .

Orchestral line-up

2 flutes, 2 oboes, 2 clarinets, 4 bassoons, 4 horns, 4 trumpets, 2 cornets à piston, 3 trombones, ophikleide , timpani, percussion, 2 guitars, 2 harps, strings

Origin and reception of the opera

Berlioz got to know Cellini's autobiography in the French translation by Denis Dominique Farjasse (1833) and said:

“In the meantime I chose Benvenuto Cellini as the material for a two-act opera comique. [...] His personality offers me an excellent topic in many ways. "

Berlioz realized with the two librettists , who changed the text considerably and, among other things, moved the plot from Florence to Rome, a rather loosely based on the autobiography. The plot describes three days in Cellini's life. The premiere of this first opera (with Gilbert Duprez as Benvenuto Cellini) in the Paris Grand Opéra was a disappointment, mainly because of the length and the enormous orchestral effort, and Berlioz withdrew the work. On March 20, 1852, Franz Liszt realized a new, streamlined version (so-called Weimar version ), a re-performance in German. The opera was shortened from the original four pictures to three acts and was performed in London in 1853 under Berlioz's direction. In 1856 Berlioz made another change: in this dialogue version he reworked the musical recitatives into spoken dialogues. A planned performance of this version at the Théâtre-Lyrique did not materialize, the dialogue version was only premiered on October 2, 2004 in the Musiktheater im Revier in Gelsenkirchen (German version by Peter Theiler ). The original Paris version had long been forgotten and was only performed again in 1966 at the Royal Opera House Covent Garden .

action

first act

In Balducci's palace. Teresa looks curiously out the window and is scolded by her father, who is the Pope's treasurer and appointed by him. Balducci soon leaves the daughter. A high-spirited carnival song, sung by Cellini and his comrades, lures them back to the window. She is showered with flowers, and in it she finds a letter from Cellini that she secretly promised herself. While she is still wavering, Cellini appears himself and expresses his longing for love. Immediately afterwards the Pope's sculptor, Fieramosca, sneaks in unnoticed by the lovers and overhears them. While Teresa and Cellini make an appointment to flee, Balducci comes back unexpectedly. Beloved and eavesdropper must hide. Fieramosca escapes into Teresa's room, Cellini sneaks out. Beside himself with anger, Balducci discovers the eavesdropper, but he can flee.

Second act

A tavern . Cellini sings about Teresa. His friends come to have a drink with him. A lavish celebration begins, but Cellini's purse is empty and the landlord refuses to write the wine. Cellini's apprentice Ascanio brings him money from the Pope , the delivery of which, however, is subject to the condition that Cellini completes the casting of his Perseus statue by the next day . Cellini promises it. Ascanio hands over the measly amount - angry about it, the friends decide to play a prank on Balducci for it. Unfortunately, Fieramosca overhears this plan too. While the band of artists set out to carry out their plan, Fieramosca tells his friend Pompeo how they played along with him. Both agree to thwart Cellini's kidnapping plan by appearing in the same mask in which the lovers want to flee.

The Colonna Square in Rome. Masking. Balducci and his daughter are in the crowd, Cellini and his friend Ascanio are also disguised. In show booths one mocks the papal treasurer, who furiously swears vengeance on the authors of this farce. Cellini and Ascanio approach Teresa when Fieramosca and Pompeo appear in the same mask . The four masked men quarrel, and Pompeo is stabbed by Cellini in the scuffle. The people hold on to Cellini. A cannon shot heralds the end of the carnival . In the tumult that ensues, Cellini manages to escape. Instead, Fieramosca is caught as a murderer.

Third act

A street in Rome, in front of Cellini's foundry . Teresa, who was able to escape the chaotic hustle and bustle, awaits Cellini's return. A crowd of white-clad monks passes by, Cellini steps out of them, happy to see his beloved again. He wants to flee that night, but forgets the papal mandate. Balducci approaches, showering Teresa with accusations and explaining to her that she must extend her hand to Fieramosca today. Pope Clement VII witnesses the dispute. Since Balducci's charges against Cellini have aroused his anger, he orders that someone other than Cellini should complete the Perseus statue. Cellini then threatens to smash his model. The Pope grants the artist a final reprieve, as well as impunity for killing Pompeus on the condition that he completes the cast immediately. Cellini also demands Teresa's hand - this concession is also made to him. The Pope wants to see the casting done immediately, but Cellini doesn't have enough metal. He begs the gods for assistance and has all the statues in his workshop melt down. At the end everyone stands in admiration in front of the ingenious masterpiece, which earns the artist the forgiveness of murder and the hand of his lover.

Important performances

Discography

Web links