Bianca e Falliero

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Opera dates
Title: Bianca and Falliero or The Council of Three
Original title: Bianca e Falliero, o sia Il consiglio dei Tre
Title page of the libretto, Milan 1820

Title page of the libretto, Milan 1820

Shape: Opera in two acts
Original language: Italian
Music: Gioachino Rossini
Libretto : Felice Romani
Literary source: Antoine-Vincent Arnault
Premiere: December 26, 1819
Place of premiere: Teatro alla Scala , Milan
Playing time: about 3 hours
Place and time of the action: Venice in the 17th century after the conspiracy of the Marchese of Badamar
people
  • Priuli, Doge of Venice ( bass )
  • Contareno, Senator ( tenor )
  • Capellio, Senator, admirer of Biancas (bass)
  • Loredano, Senator (silent role)
  • Falliero, Venetian General ( alto )
  • Bianca, daughter of Contarenos, mistress Fallieros ( soprano )
  • Costanza, nurse Biancas ( mezzo-soprano )
  • Pisani, Chancellor of the Council of Three (tenor)
  • Official (tenor)
  • Officer (tenor)
  • Senators, Venetian noblemen of both sexes, public servants, soldiers, domestic servants Contarenos, maidservants Biancas ( choir )

Bianca e Falliero, o sia Il consiglio dei Tre (English: Bianca and Falliero or The Council of Three ) is an opera (original name: "melodramma") in two acts by Gioachino Rossini (music) with a libretto by Felice Romani based on Antoine -Vincent Arnault's play Blanche et Montcassin ou Les Vénitiens from 1798. The first performance took place on December 26, 1819 in the Teatro alla Scala in Milan.

action

The opera is about the love between the Venetian folk hero Falliero and the senator's daughter Bianca. Bianca's father Contareno plans to marry her to Senator Capellio in order to settle an old family dispute. He surprises Falliero and Bianca at one last meeting. Falliero flees over a wall to the neighboring property of the Spanish ambassador. Falliero is arrested and brought to justice because contact with hostile powers is subject to the death penalty. Contareno, Capellio and Senator Loredano, of all people, should judge his guilt. While the matter seems clear to Contareno and Loredano, Capellio stands up for him, believing his and Bianca's assurances. He takes the matter to the Senate, which confirms Falliero's innocence. Finally, through Capellio's support, Contareno can also be persuaded to agree to his daughter's marriage to Falliero.

first act

The St. Mark's Square in Venice

Scene 1. The people and Venetian nobles celebrate the uncovering of a Spanish conspiracy against Venice (chorus: “Dalle lagune adriatiche”).

Scene 2. After the crowd has dispersed in the arcades, Senators Contareno and Capellio, who have long been feuding because of an inheritance dispute, meet. This time, however, Capellio is conciliatory because he loves Contareno's daughter Bianca. In order to get her hand, he is willing to forego the controversial inheritance. Contareno happily agrees. The appearance of the Doge is announced with a blow of the cannon and is greeted by the choir.

Scene 3. The doge steps out of the palace with his court and proclaims a senate resolution that revives a previously abolished law: dealing with foreign envoys is said to be subject to the death penalty. Capellio, who did not attend the council meeting, said he would not have approved such a law as the conspiracy was already exposed. The Doge, however, does not consider the Spanish threat to be over. According to rumors, even the young General Falliero died in battle.

Scene 4. When an officer announces the arrival of Falliero, believed dead but victorious, the choir celebrates him as a hero (chorus: "Viva Fallier").

Scene 5. Falliero appears with his officers and reports - interrupted by cheers from the people - of his victory against the enemy (Cavatine Falliero: "Se per l'Adria il ferro io strinsi"). The Doge thanks him in the name of Venice and invites him to the Thanksgiving Mass in the cathedral.

Inner courtyard adorned with flowers in the Contarenos house on a canal

Scene 6. While picking flowers, Bianca's maids sing about the beautiful month of April (chorus: “Negli orti di Flora”). Bianca herself appears full of anticipation for the return of her lover Falliero (Cavatine Bianca: “Della rosa il bel vermiglio”).

Scene 7. Bianca's nurse Costanza reports on Falliero's honorable reception. When she sees Bianca's father coming, she leaves.

Scene 8. Contareno tells his daughter that he has found a worthy husband for her in Capellio. When Bianca points out her love for Falliero, he angrily forbids her to mention his name again. Otherwise she would have to fear for Falliero's security (Cavatine Contareno: “Pensa che omai resistere”). Since all pleading doesn't help, Bianca finally gives in sadly and promises obedience.

Hall in the Contarenos house

Scene 9. Falliero tells Costanza that now that he is no longer a simple man, he will dare to stop Bianca's hand. Costanza assures him that Bianca would be happy about it and was always loyal to him. She withdraws when she sees Bianca coming.

Scene 10. Falliero happily walks towards his lover. However, she sadly informs him of her father's decision (duet Bianca / Falliero: “Sappi che un rio dovere”).

Scene 11. Costanza returns in a hurry and warns them that Contareno is arriving. She disappears through a side door with Falliero.

Scene 12. Contareno appears with Capellio, her parents and relatives, noblemen and servants to celebrate the upcoming wedding (finale: “Fausto Imene e di gioia cagione”).

Scene 13. Bianca joins them, and Contareno introduces her to Capellio as her future husband. Capellio notices her disturbance, which Contareno dismisses as irrelevant. When he now shows her the marriage contract for signature, she refuses at first - only a threatening hint from her father makes her give in.

Scene 14. At this point Falliero appears and tells Bianca to stop. He explains to those present that Bianca has sworn her loyalty and love to him. Contareno gets angry. Capellio, however, now understands Bianca's reluctance. Both he and Falliero insist on their rights. A dispute ensues, in the course of which Falliero accuses Bianca of being faithless. Contareno calls the servants to throw Falliero out of the house. Falliero warns them of the consequences of his anger. While everyone breaks out in wild abuse, Bianca feels her heart break.

Second act

Inner courtyard in Contarenos Palace. In the background is a wall that borders the palace of the Spanish ambassador. At night

Scene 1. Bianca and Costanza have gone into the courtyard to meet Falliero again. She worries about his safety. Costanza tries to calm her down by saying that if necessary he can flee over the wall. She withdraws.

Scene 2. Falliero appears. He tells Bianca that his prayers have been in vain and that their wedding has already been set for that night. Now the only option left for them is to flee or to die - the choice is yours. Bianca hesitates at first because she wants to save her father from disgrace. Only after repeated insistence by Fallieros does she agree to flee (duet Falliero / Bianca: “Va ', crudel”).

Scene 3. Costanza warns the couple about the approaching Contarenos. Falliero flees over the wall to the palace of the Spanish ambassador, although Bianca reminds him that if he is discovered there he faces the death penalty.

Scene 4. Contareno comes to pick Bianca for Capellio's wedding. He sees the fact that he meets her in the courtyard as a sign of her consent.

Scene 5. Encouraged by Contareno, Capellio joins them and greets his bride with joy. When she reacts much less enthusiastically than expected, he withdraws indignantly. Contareno threatens his daughter to be repudiated if she continues to refuse to marry Capellio (Duett Contareno / Bianca: "Non proferir tal nome").

Scene 6. Surprisingly, Pisani, the Chancellor of the Council of Three, knocks on the door. He handed Contareno a document requesting him to appear before the council, as Falliero was arrested at the residence of the Spanish ambassador. Contareno is secretly jubilant, while Bianca is tormented by worries. Capellio goes ahead with Pisani. Contareno follows them after further threats against his daughter, whom he has locked in her room.

The black-lined assembly room of the Council of Three

Scene 7. The choir complains about the unexpected turn of events and wonders who could still believe in someone's honor when Falliero turns out to be a traitor (chorus: “Qual notte di squallore”).

Scene 8. Falliero is led in by the Chancellor and the guards. He fears the worst, but above all he worries about Bianca (Aria Falliero: "Alma, ben mio, sì pura"). Pisani tells him the names of his judges: Loredano, Capellio and Contareno. While Contareno was tough and indomitable, he could hope for justice and gentleness from Capellio, who as his son-in-law could exercise his influence. With this news of Bianca's marriage, Falliero completely loses all hope. Since he no longer sees any meaning in his life, he refuses to speak in his defense (Cavatine Falliero: “Tu non sai qual colpo atroce”).

Scene 9. Pisani is convinced that Falliero is not a traitor, but just extremely unhappy. But who can defend it now? Contareno lets Falliero step forward.

Scene 10. Contareno begins the interrogation by asking for the defendant's personal details and then asks the reason for his offense. Falliero explains that his crime is obvious. The rest should be kept secret. He is ready to sign the confession of guilt.

Scene 11. A clerk reports that an accomplice is seeking Falliero's hearing. The deeply veiled Bianca enters and reveals herself to those present. Contareno wants to send her home immediately. However, Capellio advocates letting them speak. She certainly has a reason for coming, and as judges, you are obliged to hear her. Uncertainty is spreading. Bianca tries to encourage herself, Falliero is not sure which side she is on, Contareno tries to hold back his anger, and Capellio vacillates between pity and anger (Quartet Bianca / Falliero / Contareno / Capellio: “Cielo, il mio labbro inspira "). Finally Bianca reveals the truth. She explains that Falliero is innocent and only acted out of love. When her father surprised her at a meeting, there was no other escape route than the wall leading to the courtyard of the Spanish ambassador. Now that Falliero is convinced of their love again, he is ready to defend himself. Contareno no longer wants to hear him and signs the death sentence. Loredano does the same. Only Capellio refuses to sign. He demands that the Senate judge Falliero. With the exception of Contarenos, everyone agrees.

Hall in the Contarenos palace as in the first act

Scene 12. Costanza worries about Bianca, who is nowhere to be found. Capellio comes to her in a hurry to give Bianca into her care, because he has to go to the Senate as soon as possible.

Scene 13. Bianca is greeted and looked after by her companions (chorus: “Vieni: per te tremante”). Costanza tries to encourage her.

Scene 14. Falliero, Capellio, and other Venetian nobles approach. Falliero and Bianca hug each other. They report that the Senate has confirmed Falliero's innocence. Contareno is also added. He accuses his daughter of having dishonored him. Bianca assures him of her daughter's love and agrees to forego Falliero (Cavatine Bianca: "Teco io resto"). Only when Falliero, Capellio and the others accuse him of being hard-hearted does Contareno give in. Bianca and Falliero can get married now.

layout

Instrumentation

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

  • Two flutes / a piccolo, two oboes, two clarinets, two bassoons
  • Four horns, two trumpets, three trombones
  • Timpani, bass drum , cymbals , triangle
  • Strings
  • Continuo

Music numbers

The opera contains the following musical numbers

  • Sinfonia

first act

  • No. 1. Introduction (choir, contareno, capellio): "Dalle lagune adriatiche" (scene 1)
  • No. 2. Choir and Cavatine (Falliero): "Viva Fallier" (scene 4) - "Se per l'Adria il ferro io strinsi" (scene 5)
  • No. 3. Choir and Cavatine (Bianca): “Negli orti di Flora” - “Della rosa il bel vermiglio” (scene 6)
  • No. 4. Cavatine (Contareno): "Pensa che omai resistere" (scene 8)
  • No. 5. Duet (Bianca, Falliero): "Sappi che un rio dovere" (scene 10)
  • No. 6. Finale (choir, Contareno, Capellio, Bianca, Falliero): "Fausto Imene e di gioia cagione" (scenes 12-14)

Second act

  • No. 7. Duet (Falliero, Bianca): "Va ', crudel" (scene 2)
  • No. 8. Duet (Contareno, Bianca): "Non proferir tal nome" (scene 5)
  • No. 9. Choir and aria (Falliero): "Qual notte di squallore" (scene 7) - "Alma, ben mio, sì pura" (scene 8)
  • No. 10. Cavatine (Falliero): "Tu non sai qual colpo atroce" (scene 8)
  • No. 11. Quartet (Bianca, Falliero, Contareno, Capellio): "Cielo, il mio labbro inspira" (scene 11)
  • No. 12. Choir: "Vieni: per te tremante" (scene 13)
  • No. 13. Cavatine (Bianca): "Teco io resto" (scene 14)

Acquisitions

For the composition, Rossini used musical material from earlier works:

  • The andante of the overture comes from Eduardo e Cristina and is based on Ricciardo e Zoraide .
  • A melody from the first duet is taken from La donna del lago .
  • A crescendo comes from the overture to Eduardo e Cristina.
  • Music from the finale of La donna del lago reappears in the last scene.

Conversely, he also used material from Bianca e Falliero in later works:

  • He took over the opening chorus of act 1 "Viva Fallier!" (Scene 4) in the first scene by Moïse et Pharaon .
  • The quartet was reworked into a sextet in 1846 for the pasticcio Robert Bruce .
  • The overture to Le siège de Corinthe contains parts of the allegro vivace from the beginning of the overture.
  • The orchestral prelude to the Adèle's aria “En proie à la tristesse” in Le comte Ory comes from Bianca e Falliero.
  • The overture to the arrangement of Maometto II made for Venice in 1822 contains borrowings from this opera.

music

The Cavatine Contarenos “Pensa che omai resistere” (first act, scene 8) is “one of the most breakneck pieces for a coloratura tenor that has ever been written”. It represents the most varied of moods between vindictiveness, mildness and stubbornness.

Bianca and Falliero's duet “Sappi che un rio dovere” (first act, scene 10) is - unusual for Rossini - “unrestricted and openly sensual”.

The quartet “Cielo, il mio labbro inspira” (second act, scene 11) is considered the most important and most interesting piece of the opera, and was the only one that remained in public awareness. Stendhal counted "this piece and especially the clarinet passage [...] among the most beautiful ideas in all of music history." This quartet also represents the opera's dramatic climax.

Work history

At the beginning of November 1819 Rossini received the libretto for his next opera to be performed at La Scala in Milan . It came from Felice Romani and was based on the 1798 play Blanche et Montcassin ou Les Vénitiens by Antoine-Vincent Arnault . Herbert Weinstock's assumption that it is a takeover of the drama Il Conte di Carmagnola by Alessandro Manzoni has since turned out to be wrong. In contrast to the original, the opera has a happy ending. For the composition, Rossini used some previously used material. As shortly before, he also wrote for the opera pasticcio Eduardo e Cristina Secco recitatives, which was composed under similar circumstances, instead of orchestral accompaniments - which Weinstock attributes to time pressure, since Rossini has been using the latter almost consistently in his serious operas since 1814. He received 2500 lire for the opera.

The soprano Violante Camporesi (Bianca), the mezzo-soprano Adelaide Ghinzani / Chinzani (Costanza), the contralto Carolina Bassi (Falliero), the tenors Claudio Bonoldi (Contareno) and Francesco Biscottini sang at the premiere in the Teatro alla Scala on December 26th, 1819 Pisani) as well as the basses Alessandro De Angelis (Priuli) and Giuseppe Fioravanti (Capellio). The two ballets Cimene (choreography: Salvatore Viganò) and La campanella d'argento (choreography: Filippo Bertini) were performed together with the opera . The audience received the opera indifferently. Nevertheless, there were 39 performances this season.

Up until 1831 the opera was played in various Italian theaters, but in heavily edited and mutilated versions. There was also a performance in Vienna on February 21, 1825 at the Theater am Kärntnertor . It was performed in Lisbon in 1824 and in Barcelona in 1830. In the autumn of 1856 there was another performance in Cagliari (Sardinia). The work was then forgotten. Richard Osborne cited "the technically complex composition for three main voices, the use of a travesty hero (Falliero) and Rossini's reuse of the finale of La donna del lago in the last scene" as reasons for this . "Problems can arise with a good cast however to be overcome.

More recently, Bianca e Falliero was only performed again in 1986 at the Rossini Opera Festival Pesaro . The first performance in the USA followed on December 7, 1987, a production by the Greater Miami Opera.

Recordings

Web links

Commons : Bianca e Falliero  - Collection of images, videos and audio files

Individual evidence

  1. ^ Bianca e Falliero o sia Il consiglio dei Tre. Comments on the critical edition by Gabriele Dotto , accessed February 1, 2016.
  2. ↑ a b c d e f g h i j Herbert Weinstock : Rossini - A biography. Translated by Kurt Michaelis. Kunzelmann, Adliswil 1981 (1968), ISBN 3-85662-009-0
  3. ↑ a b c d e f g h i Richard Osborne: Rossini - life and work. Translated from the English by Grete Wehmeyer. List Verlag, Munich 1988, ISBN 3-471-78305-9
  4. ^ A b c d Charles Osborne : The Bel Canto Operas of Rossini, Donizetti, and Bellini. Amadeus Press, Portland, Oregon, 1994, ISBN 978-0-931340-71-0
  5. ^ Stendhal : Rossini (French: Vie de Rossini. Paris, 1824). Translated from the French by Barbara Brumm. Athenaeum, Frankfurt am Main 1988, ISBN 3-610-08472-3 , p. 323 f.
  6. ↑ Marcus Chr. Lippe: Rossini's opere serie - On the musical-dramatic conception. Franz Steiner Verlag, Stuttgart 2005, ISBN 3-515-08586-6
  7. ^ Record of the performance on December 26, 1819 in the Teatro alla Scala in the Corago information system of the University of Bologna .
  8. ^ Bianca e Falliero, o sia Il consiglio dei Tre (Gioachino Rossini) in the Corago information system of the University of Bologna . Retrieved January 28, 2016.
  9. ^ Performances (1770–1830) by Bianca e Falliero ossia Il consiglio dei tre in the DFG opera project
  10. ↑ Work data for Bianca e Falliero ossia Il consiglio dei tre based on the MGG with discography in Operone
  11. ↑ a b c d Gioacchino Rossini. In: Andreas Ommer: Directory of all opera complete recordings. Zeno.org , volume 20.
  12. ↑ Information on Antonino Fogliani's CD near Naxos, accessed on October 15, 2018.