Ciro riconosciuto

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Work data
Title: Ciro riconosciuto
Third act, last scene. Arpago: "Cadi." Cambise: "Mori, crudel." Ciro: "Ferma." Mandane: "T'arresta."

Third act, last scene.
Arpago: "Cadi."
Cambise: "Mori, crudel."
Ciro: "Ferma."
Mandane: "T'arresta."

Shape: Opera seria
Original language: Italian
Music: First setting by Antonio Caldara
Libretto : Pietro Metastasio
Premiere: August 28, 1736
Place of premiere: Vienna, Favorita
Place and time of the action: Landscape on the Median Border , around 559 BC Chr.
people
  • Astyage , king of the media, father of the mandans
  • Mandane , wife of Cambise, mother of Ciro
  • Ciro , under the name Alceo , in shepherd's costume, supposed son of Mithridate
  • Arpago , confidante of Astyage, father of Arpalice
  • Arpalice , confidante of the mandans
  • Mithridate , overseer of the royal flocks
  • Cambise , Persian prince, husband of the mandans and father of Ciro, in shepherd's dress

Ciro riconosciuto is an opera - libretto in three acts by Pietro Metastasio . The work was performed for the first time in the setting by Antonio Caldara on August 28, 1736 to celebrate the birthday of Empress Elisabeth , the wife of Charles VI. , in Vienna.

A German translation of the libretto by Johann Anton Koch appeared in 1772 under the name Der recognized Cyrus in the fourth volume of his unfinished complete edition Des Herr Abbot Peter Metastasio Kayserl. Royal Court Poet's Dramatic Poems.

action

The libretto is about the youth of the Median king Cyrus II , here called Ciro in Italian. According to Herodotus , the Mede king Astyages (Astyage) had two dreams that indicated his overthrow by the son of his daughter Mandane . He therefore ordered his confidante Harpagos (Arpago) to kill the newborn Cyrus. But Harpagos did not carry out the order, but instructed the shepherd Mithradates (Mithradate) to abandon the baby in the mountains. The latter did not follow Harpagos' instructions either, but raised little Cyrus with his wife as his own son. The action begins fifteen years later with the reappearance of Cyrus.

“On the occasion of the birth of his daughter Mandane, the cruel Astyages, the last king of the Medes, asked the fortune tellers about the interpretation of a dream, and received the interpretation from them that the bored grandson would deprive him of the kingdom: therefore he, this one To prevent danger, Harpagus ordered to kill little Cyrus (this was the child's name). He also divorced clients from their husband Cambyses by sending him to Persia, but keeping them with him: so that when they were together, other children and at the same time new causes for his fear would not be born from them. But Harpagus could not have the heart to carry out such a cruel order with his own hand, but secretly gave the young prince to Mithridates, the overseer of the royal flocks, to put him in a forest. It was immediately true that Mithridates' wife had come down on the same day with a dead son: Therefore, both out of natural pity and the ease of the change, they were moved to decide that Mithridates was his to expose his own dead son, and to raise little Cyrus, under the name of Alceus, in a shepherd's dress, in his place. Nearly fifteen years, however, had elapsed from the time when there was a cry that Cyrus, as a child, had been found again in a forest, and had been sustained by someone's pity, but was presently living among the Scythians. Hierbey was a deceiver so daring that he made use of this fable, or had thought it up with good work, and took his name from Cyrus without permission. Astyages was very upset by this news, so he had Harpagus come to and asked him again whether he had really killed little Cyrus, since he had been ordered to? Harpagus, who, from the external signs, had to hope that the king repented of the deed; considered this a convenient opportunity to inquire into his mind, and replied that he did not have the heart to kill him, but that he had set him up in a forest. At the same time he was ready to discover the whole truth, as far as the king put up with his compassionate disobedience: at the same time, however, it was also certain that if he were angry about it, his anger would not fall on anyone but the false Cyrus; whose deception, by this divided answer, found the more faith. Astyages, however, became angry at this, and robbed Harpagus of his son to punish the omitted command, and with such barbaric circumstances that we gladly pass them over because they are not necessary for this act. The heart of the unhappy Harpagus broke at the loss of his son: nevertheless, out of desire to revenge his fatherly fury, he left no greater freedom than was necessary so that an all too superfluous rest would not discover his disguise. Hence the king believed that the repentance of his mistake was more of a cause of his tears than the pain of the punishment: and thereby became so sure that, even if he did not trust him again, at least not in front of him was careful. Harpagus then began to think of his vengeance, and Astyages to secure his throne by suppressing this conceited grandson. The first endeavored to seduce and incite the great again to seduce the king, even to cheer up Prince Cambyses in Persia, where he was in misery. But the other, a regret for the cruelty perpetrated on Cyrus, tenderness for him, a longing to see him again, and a resolution to declare him his successor, to publicly pretend. Both of them were so successful in their intention that nothing more was missing than the name of the day and the place; Before the Harpagus, to suppress the tyrant, by calling out the right Cyrus; Before the Astyages, about the all too gullible deceiver, by means of a false invitation to have him in his power. It was now the custom that the kings of media made a solemn sacrifice to the goddess Diana on the borders of the empire (where Mithridates' huts were) every year. Hence the day and place (which are also at the same time of present action) both seemed convenient for the accomplishment of their purposes. The false Cyrus was killed there by various accidents, but the right one was discovered and proclaimed. Astyages was close to losing so rich as life: but he was defended by the magnanimous grandson, and before that, for tenderness and repentance, he put the royal ornament on his head, admonishing him from his own example not to abuse it at all than as he would have done. "

- Pietro Metastasio : Summary from the libretto of the setting by Johann Adolph Hasse, Dresden 1751

The following table of contents is based on the libretto of the setting by Johann Adolph Hasse, published in Dresden in 1751 .

first act

Field with some trees on the Median border with the tents of Astyage's court

On one side you can see a large open tent, on the other a stake for the royal guards.

After rumors that his grandson Ciro, who had been believed dead for fifteen years, was still alive, King Astyage announced that he would take him in kindly. Ciro should wait for him at the Persian border. His mother Mandane and her confidante Arpalice are also waiting for Ciro's arrival here. Since Astyage has not yet arrived, Mandane sends Arpalice to the border to greet Ciro. Little does she know that it is a fraudster. In the meantime, Arpalice's father, Arpago Mandane, confidently tells her husband Cambise , whom she has not been able to see for fifteen years because of royal orders, will also come. Mandane is delighted. Arpago, however, has further plans. Because Astyage is responsible for the death of his son, he wants to overthrow him and put Ciro on the throne in his place. Cambise is privy to the conspiracy.

The interior of Mithridate's hut with a single door

The shepherd Mithridate explains to his son Alceo that he is really Ciro, the king's grandson, and tells him how he took him in instead of his own stillborn son. Since Astyage regretted his order to murder, the Arpago charged with the murder had since confessed to him that he had not committed the murder. As a precaution, however, he did not tell him the whole truth, but rather pretended that Ciro had been found and taken in by the Scythians in the forest . In this way he could find out whether the king had really given up his murder plans, and in the worst case, his anger would fall on the deceiver. Mithridate makes Alceo swear not to tell his real mother Mandane about it.

After Alceo leaves, Cambise comes to Mithridate in shepherd's clothing and asks for directions to the sacrificial site. Before Mithridate can lead him there, King Astyage arrives. Cambise goes into hiding and overhears Astyage ordering Mithridate to kill the reappeared Ciro. Mithridate pretends to accept it and suggests his son Alceo as a helper. Because Astyage wants to see it, Mithridate sets out to fetch it. While he waits for Alceo, Astyage lies down to sleep. The hidden Cambise sees a chance to kill Astyage, comes out of his hiding place and draws his sword. At that moment his wife Mandane, Astyage's daughter, arrives and prevents the deed. Due to his disguise, she does not recognize him at first and wakes Astyage. This recognizes Cambise immediately and has him arrested.

Alceo killed the wrong Ciro. On the run from the royal guard, he comes back to the hut and finds Mandane there. Both are amazed at the instant mutual affection they feel for one another. Alceo tells her that he saved a young woman from two robbers. When he then wanted to follow the rescued person, he was stopped and threatened by an elegantly dressed stranger and accidentally killed him with a stone throw. Arpalice, rescued by Alceo in this way, now also comes into the hut. Because she addresses Mandane by name, Alceo learns that she is his mother. Arpalice reports that Ciro was killed by Alceo. Mandane mourns her son and believes Alceo lied to her. Because he has sworn to hide his true identity, he can not clear up the error. Arpalice cannot calm her either. Mandane calls soldiers to arrest Alceo. Before he is taken away, Alceo asks Arpalice to take care of Mandane. Arpalice is much more concerned about Alceo. Both feel love for one another, but cannot yet admit it.

Second act

A large plain with overgrown ruins of an ancient city

Mithridate told Mandane that Alceo was the real Ciro. So your son is still alive after all. She remembers the affection she'd felt for him when they met. Mithridate strongly advises caution. He had only told her that now to dissuade her from her unnecessary grief. But Ciro is not yet out of danger. Now that King Astyage is coming, Mithridate sends Mandane away as a precaution. Astyage thanks him for his help in Ciro's murder. As a reward, he wants to ensure that his son Alceo is released. He sends Mithridate away. Astyage ponders whether it might be better to have his helpers, Mithridate and Alceo, who by now know too much, convicted. However, he fears that they could testify against him in court. Therefore it would be better to either release them or have them secretly murdered. Arpago comes and tells him that the people are demanding vengeance for Ciro's death. Astyage pretends to mourn his grandson but cannot do anything because Alceo just accidentally killed Ciro. He instructs Arpago to release Alceo. Now Arpalice comes and asks for mercy for Alceo. You yourself, not Alceo, were to blame for Ciro's death. When Alceo is brought in, Astyage is amazed at his classy appearance and feels an inexplicable affection for him. In order not to inadvertently reveal his own involvement in the murder during the interrogation of Alceo by Arpago, he moves away. Arpago now releases Alceo as ordered and sends the guard away. Then he kneels down in front of him and calls him his king. You decide to be careful and not to reveal anything to Mandane so as not to jeopardize further plans. Arpago goes.

Mandane identifies Alceo as his mother. However, he behaves very cautiously because of his oath and leaves her to ask Mithridate for permission to reveal himself to her. Mandane is deeply disappointed with Alceo's reaction. Her husband Cambise, who was unexpectedly released by Arpago, is coming. She tells him that the murdered Ciro was just a fraud and that the perpetrator Alceo himself is the real Ciro. Cambise is horrified because he had heard with his own ears how Mandane's father had given him and Mithridate the order to murder Ciro. He convinces Mandane that everything is just a deception to distract from the murder. After Alceo's very cautious greeting, Mandane agreed with him. They decide to avenge the death of their son, to ambush Alceo at the fountain of Diana and kill him. After Cambise made his way there, Alceo came back. He has finally received Mithridates' permission and reveals himself to her as a son. Since she doesn't believe him, she ambushes him to the Diana fountain, where he is supposed to wait for her. The returning Arpalice, who asks about Alceo, gives an evasive answer. Arpalice is concerned about Alceo. Although he is not befitting a shepherd, she fell in love with him.

Third act

A mountainous area

Mandane believes Mithridate cheated on her and calls him a traitor. She brags that she has already sealed Alceo's fate. Mithridate assures her that she is wrong and that Alceo is really her son. Since she doesn't believe him, Mithridate sets out to find and save Alceo. Then comes Arpago, who is also looking for Alceo. He finally wants to introduce him to the people. Mandane tells him about the ambush. Since Arpago assures her that Alceo is her son Ciro, she sends him to Diana's fountain to save Alceo.

Mandane grievously reproaches himself for not having believed Mithridate. When Cambise comes back with a bloody sword, she faints. Now Alceo comes looking for his mother. Before Cambise can kill him, Mandane wakes up and assures him that Alceo is really his son Ciro. He explains that the blood on his sword came from a guard from the king who wanted to arrest him again.

Astyage and his soldiers have come in unnoticed. He overheard the end of the conversation and learned that Ciro is still alive. Now he wants to know where Ciro is. He threatens to kill Cambise. Arpago comes back too. To lure Astyage to the temple, he tells him that Ciro is there. To prevent Mandane and Cambise from being killed on the spot, he suggests arresting them. After a moment's hesitation, Astyage agrees and goes to the temple.

Arpago calls on the soldiers to give up their pretense and follow Astyage into the temple. Cambise and Mandane also follow him, leaving Alceo alone. Arpalice comes to him. She has already learned part of the truth and knows that Alceo did not kill the real Ciro and that he is still alive. The whole area is already celebrating and everyone is on their way to the temple. Alceo tells her that she'll see Ciro before anyone else and teases her by loving Ciro more than him. Arpalice then confesses her love for him.

Mithridate comes back from the temple and brings Ciro, whom he calls his king. Arpago has already announced it to the people, and everyone wants to swear allegiance to him. Arpalice is amazed. Before her Alceos level was too low and now it is too high. But Ciro calms her down and assures her of his love. He follows Mithridate to the temple. Arpalice, who is left alone, sings about the incompatibility of love and understanding.

Exterior view of the magnificent Diana Temple on a hill

Astyage stands alone with the sword in hand. Cambise has the exit blocked. Arpago tells Astyage that he is responsible for the ambush and that he now wants to avenge his son. Both Cambise and Arpago try to stab Astyage, but are prevented from doing so by Ciro and Mandane. After all, Astyage is the king and also Mandane's father. Ciro, he doesn't want to start his reign with a regicide. He swears his allegiance to Astyage and demands the same of the people. The conspirators, impressed, throw away the weapons. Astyage is also overwhelmed. He voluntarily cedes the crown to Ciro. At the end of the opera, the choir praises the new king.

history

The plot is based on various historical sources mentioned in the foreword to the libretto. These include in particular the first book (Clio) of the Histories of Herodotus and Marcus Iunianus Iustinus 'excerpt from the first book of Pompeius Trogus ' Historiae Philippicae . Further elements can be found in the sixth and seventh books of Persiká by Ktesias of Knidos and in the first book of the Historiae by Valerius Maximus . One of the contemporary forerunners of the libretto is the tragedy Amasis by François Joseph de Lagrange-Chancel , in which the inability of parents to recognize their own son also plays a major role.

With fewer than 30 settings, the Ciro is not one of Metastasio's most popular works. The second version of Niccolò Jommelli's setting , which he wrote for Venice in 1749, was highly valued by Metastasio. Even Johann Adolph Hasse Dresden Opera in 1751 found his admiration. With this performance, Hasse's wife, the singer Faustina Bordoni , said goodbye to stage life in the role of Mandane. In 1759 Gioacchino Cocchi composed a version for London that was considered to be his best Italian opera there.

Settings

The following composers used this libretto for an opera:

year composer premiere Performance location Remarks
1736 Antonio Caldara August 28, 1736, Favorita Vienna to celebrate the birthday of Empress Elisabeth
1737 Rinaldo di Capua Carnival 1737, Teatro Tordinona Rome also Carnival 1738 in the Teatro de 'Nobili in Perugia
1739 Leonardo Leo Carnival 1739, Teatro Regio Turin
1739 anonymous April 1739, Theater am Tummelplatz Graz
1743 Pietro Chiarini Carnival 1743, Teatro Filarmonico Verona
1744 Niccolò Jommelli 20th January 1744, Teatro Bonacossi Ferrara first version;
also on May 4, 1744 at the Teatro Formagliari in Bologna; Carnival 1758 in the Teatro Regio Ducale Vecchio in Mantua
1745 John Christopher Smith not listed
1745 Baldassare Galuppi 19th December 1745, Teatro Regio Ducale Milan first version;
possibly as early as January 5, 1737 in the Teatro Sant'Angelo in Venice, the authorship of this performance is not certain
1746 Giovanni Verocai Winter fair 1746, court theater Braunschweig German name: The recognized Cyrus
1748 Egidio Romualdo Duni Spring 1748, Falcone Theater Genoa
1749 Niccolò Jommelli November 15, 1749, Teatro San Giovanni Crisostomo Venice second version
1751 Johann Adolph Hasse January 20, 1751, court theater Dresden first version;
German name: The recognized Cyrus 		Johann Adolph Hasse - Ciro riconosciuto - german titlepage of the libretto - Dresden 1751.jpg
1753 Ignazio Fiorillo 1753, court theater Braunschweig probably adaptation of Astiage, ré di Medi
1754 Giuseppe Sarti December 21, 1754, Det Kongelige Teater Copenhagen
1758 G. Meneghetti 1758
1759 Baldassare Galuppi Carnival 1759, Teatro Argentina Rome second version
also Carnival 1776 in the Teatro Pubblico in Arezzo 		Baldassare Galuppi - Ciro riconosciuto - titlepage of the libretto - Rome 1759.jpg
1759 Gioacchino Cocchi 3rd February 1759, King's Theater on Haymarket London
1759 Niccolò Piccinni December 26th 1759, Teatro San Carlo Naples
1762 Johann Adolph Hasse January 17, 1762 Warsaw second version
1764 anonymous ( pasticcio ) December 26th 1764, Teatro della Pergola Florence
1765 Antonio Puppi 1765
1765 Brizio Petrucci Carnival 1765, Teatro Bonacossi Ferrara
1767 Hieronymus Mango 1767, court of Raymund Anton von Strasoldo Eichstatt
1779 Pietro Persichini 1779 Rome also in 1790 in Ujazdowski Castle in Warsaw
1796 Angelo Tarchi Carnival 1796, Teatro Ducale Piacenza
1805 Luigi Capotorti January 12, 1805, Teatro San Carlo Naples as Ciro
1810 Vincenzo Fiodo Spring 1810, Cocomero Theater Florence
1818 Ignaz Franz Edler from Mosel 1818, Theater am Kärntnertor Vienna Libretto revised by Matthäus von Collin as Cyrus and Astyages

Recordings and performances in recent times

Web links

Commons : Ciro riconosciuto  - collection of images, videos and audio files

Digital copies

  1. ^ Johann Anton Koch: The abbot Peter Metastasio Kayserl. Royal Court Poet's Dramatic Poems, translated from Italian. Fourth volume. Krauss, Frankfurt and Leipzig in 1772 as digitization at the Munich digitization center .
  2. ↑ a b c d libretto (Italian / German) of the setting by Johann Adolph Hasse, Dresden 1751 as digitized version at the Munich Digitization Center .
  3. ^ Libretto (Italian) of the opera by Rinaldo di Capua, Rome 1737 as a digitized version on Google Books .
  4. ^ Libretto (Italian) of the opera by Leonardo Leo, Turin 1739. Digitized in the Corago information system of the University of Bologna .
  5. ↑ Score of the setting by Leonardo Leo, 1780 as digitized version at the Berlin State Library .
  6. ^ Libretto (Italian) of the opera by Pietro Chiarini, Verona 1743. Digitized in the Corago information system of the University of Bologna .
  7. ^ Libretto (Italian) of the opera by Niccolò Jommelli (first version), Bologna 1744. Digitized in the Corago information system of the University of Bologna .
  8. ^ Libretto (Italian) of the opera by Baldassare Galuppi ?, Venice 1737. Digitized in the Corago information system of the University of Bologna .
  9. ^ Libretto (Italian) of the opera by Baldassare Galuppi, Milan 1746. Digitized in the Corago information system of the University of Bologna .
  10. ^ Libretto (Italian) of the opera by Niccolò Jommelli (second version), Venice 1749. Digitized in the Corago information system of the University of Bologna .
  11. ^ Libretto (Italian) of the setting by Baldassare Galuppi, Rome 1759 as digitized version at the Munich Digitization Center .
  12. ^ Libretto (Italian) of the setting by Niccolò Piccinni, Naples 1759 as a digitized version in the Museo internazionale e biblioteca della musica di Bologna .
  13. ^ Libretto (Italian) of the anonymous setting, Florence 1765 as digitized version in the Museo internazionale e biblioteca della musica di Bologna .
  14. ^ Libretto (Italian) of the opera by Luigi Capotorti, Naples 1805. Digitized in the Corago information system of the University of Bologna .
  15. ^ Libretto (German by Matthäus von Collin) of the setting by Ignaz Franz Edler von Mosel, Vienna, 1818 as digitized version at the Munich Digitization Center .

Individual evidence

  1. ↑ a b c Don Neville:  Ciro riconosciuto. In: Grove Music Online (English; subscription required).
  2. ↑ Herodotus: Historien 1, 107-130.
  3. ^ Il Ciro riconosciuto (Antonio Caldara) in the Corago information system of the University of Bologna
  4. ↑ Ciro riconosciuto (Antonio Caldara) at operabaroque.fr , accessed on January 30, 2015.
  5. ↑ Ciro riconosciuto (Rinaldo di Capua) in the Corago information system of the University of Bologna , accessed on January 30, 2015.
  6. ↑ Ciro riconosciuto (Leonardo Leo) in the Corago information system of the University of Bologna , accessed on January 30, 2015.
  7. ↑ Ciro riconosciuto [1739] (anonymous) in the Corago information system of the University of Bologna , accessed on January 30, 2015.
  8. ^ Il Ciro riconosciuto (Pietro Chiarini) in the Corago information system of the University of Bologna , accessed on October 14, 2014.
  9. ^ List of the stage works by Niccolò Jommelli based on the MGG at Operone, accessed on September 29, 2014.
  10. ↑ Ciro riconosciuto (Jommelli) in the Corago information system of the University of Bologna , accessed on October 14, 2014.
  11. ↑ a b c d Don Neville:  Metastasio [Trapassi], Pietro (Antonio Domenico Bonaventura). In: Grove Music Online (English; subscription required).
  12. ^ List of stage works by John Christopher Smith based on the MGG at Operone, accessed on October 6, 2014.
  13. ↑ a b Ciro riconosciuto (Baldassare Galuppi) in the Corago information system of the University of Bologna , accessed on October 14, 2014.
  14. ↑ a b List of the stage works by Baldassare Galuppi based on the MGG at Operone, accessed on September 29, 2014.
  15. ^ Il Ciro riconosciuto (Giovanni Verocai) in the Corago information system of the University of Bologna , accessed on October 14, 2014.
  16. ↑ Ciro riconosciuto (Egidio Romualdo Duni) in the Corago information system of the University of Bologna , accessed on January 30, 2015.
  17. ↑ Ciro riconosciuto [2a ver.] (Niccolò Jommelli) in the Corago information system of the University of Bologna , accessed on October 14, 2014.
  18. ↑ a b Ciro riconosciuto (Johann Adolf Hasse) in the Corago information system of the University of Bologna , accessed on October 14, 2014.
  19. ↑ a b List of stage works by Johann Adolf Hasse based on the MGG at Operone, accessed on September 29, 2014.
  20. ^ List of the stage works by Ignazio Fiorillo based on the MGG at Operone, accessed on September 29, 2014.
  21. ↑ Ciro riconosciuto (Fiorillo) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed October 14, 2014.
  22. ↑ Il Ciro riconosciuto (Giuseppe Sarti) in the Corago information system of the University of Bologna , accessed on January 30, 2015.
  23. ↑ Il Ciro riconosciuto (Cocchi) in the Corago information system of the University of Bologna , accessed on October 14, 2014.
  24. ↑ Ciro riconosciuto (Niccolò Piccinni) in the Corago information system of the University of Bologna , accessed on October 14, 2014.
  25. ↑ Il Ciro riconosciuto [FI 1764] (anonymous) in the Corago information system of the University of Bologna , accessed on October 14, 2014.
  26. ^ List of the stage works by Brizio Petrucci based on the MGG at Operone, accessed on October 14, 2014.
  27. ^ List of the stage works by Hieronymus Mango based on the MGG at Operone, accessed on October 14, 2014.
  28. ↑ Ciro riconosciuto (Pietro Persichini) in the Corago information system of the University of Bologna , accessed on October 14, 2014.
  29. ↑ Ciro riconosciuto (Pietro Persichini) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed October 14, 2014.
  30. ↑ Ciro riconosciuto (Angelo Tarchi) in the Corago information system of the University of Bologna , accessed on January 30, 2015.
  31. ^ Ciro (Luigi Capotorti) in the Corago information system of the University of Bologna , accessed on January 30, 2015.
  32. ↑ Ciro riconosciuto (Vincenzo Fiodo) in the Corago information system of the University of Bologna , accessed on October 14, 2014.
  33. ↑ Cyrus and Astyages (Mosel) at opening night! Opera & Oratorio Premieres , Stanford University, accessed October 14, 2014.
  34. ^ Announcement of the performance of the opera by John Christopher Smith in Ansbach 2012 in the Nürnberger Zeitung on February 28, 2012, accessed on October 14, 2014.
  35. ^ Event information for the performance of the opera by John Christopher Smith in Ansbach 2012 ( memento from March 4, 2016 in the Internet Archive ) on freizeitablebnis.de , accessed on January 30, 2015.