Croesus (opera)
| Work data | |
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| Title: | Croesus |
| Original title: | The haughty, overthrown and once again exalted Croesus |
Title page of the libretto from 1711 |
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| Shape: | Musical drama |
| Original language: | German |
| Music: | Reinhard Keizer |
| Libretto : | Lucas von Bostel |
| Literary source: | Nicolò Minato |
| Premiere: | 1711 |
| Place of premiere: | Hamburg |
| Place and time of the action: | Lydia, 546 BC Chr. |
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The haughty, and fallen again raised Croesus is a baroque - opera in three acts by Reinhard Keizer . The libretto written Lucas of Bostel after the Italian libretto Creso by Nicolò Minato . The first use of the chalumeau in the opera orchestra is remarkable . The opera was first performed in 1711 in the opera on the Gänsemarkt in Hamburg . In 1730 Keizer created a fundamentally revised new version.
The German libretto Bostels was set to music for the first time in 1684 by Johann Philipp Förtsch and performed in the Gänsemarktoper. The fact that the Italian model Minatos from 1678 was used by more than a dozen composers, including Johann Adolf Hasse and Niccolò Jommelli, speaks for the popularity of the topic . In contrast to many of his other operas, Keizer did not add any Italian arias because of the high quality of the libretto. Even in the second version, the opera contains comparatively few da capo arias . Usually shorter free forms are used. The large number of duets is also striking.
For the new version of 1730 Keizer replaced 37 arias and enriched the instrumentation. The pitch of the voice was changed in three parts: the role of atis was originally intended for a baritone and now for a soprano, while the part of Halimacus sang a mezzo-soprano instead of a tenor. The full score of the original version has not been preserved because the new arias were glued into the old score and some pages were cut out.
action
first act
At the beginning of the opera, the Lydian king Croesus , who has risen to great power, is celebrated by his court. He has won immeasurable treasures. The sage Solon warns him that his earthly goods are perishable. However, Croesus does not want to let his good mood spoil.
Croesus' son Atis is mute and relies on Nerillus to interpret his sign language. Nevertheless, he loves the Median princess Elmira, who was driven from her homeland by the Persian king Cyrus and is now at the court of Croesus. His love is returned. The Lydian prince Orsanes also has his eye on Elmira. He is loved by the Lydian princess Clerida, who in turn is courted by Eliates. As in most of Keiser's operas, there is also a “funny person” here. This is Atis' servant Elcius. He doesn't believe in love entanglements, but prefers eating and drinking and sometimes sings in the Low German dialect .
Since, according to the media, Cyrus now also threatens Lydia, Croesus goes to war with Atis. Eliates is appointed governor. Orsanes, who had also hoped for this office, seeks revenge. The campaign goes bad and Croesus is defeated. A Persian soldier, who thinks he is an ordinary Lydian soldier, draws his sword to kill him. At that moment Atis was shocked to speak again and cried out loudly: “It is the king; stop! Don't kill him! " Croesus is captured and brought to Cyrus.
Second act
Atis' confidante Halimacus has learned that Orsanes is planning an uprising and tells Atis. He returns to the Lydian court disguised as the farmer's boy Ermin, who was captured by Halimacus, and finds accommodation there as a servant to Elmira. Orsanes notices the resemblance of Ermin to Atis and tries to use it. Ermin is supposed to suffocate Atis in his sleep when he has returned and pretend to be him. Then Orsanes wants to take over the rule himself. Ermin makes it appear.
The captured Croesus is sentenced to death at the stake by Cyrus.
Third act
Atis reappears as the silent prince. Everyone cheers for him. Elmira is also happy to see him again. Orsane believes that it is actually Ermin who has carried out his assignment and is now posing as Atis. Atis confirmed this to him when he asked. He had already thrown the body into the sea. However, Atis now explains that he likes the role of prince and that he would like to keep it. In addition, Atis Elmira is courting. Several times he slips into Ermin's peasant clothes again to test her loyalty. Since he can also speak in Atis' clothes, she does not believe him at first.
Croesus is now about to be executed. The Lydian emissaries beg in vain for mercy. Her offer to hand over half of Croesus' fortune for release is turned down. Atis also offers himself in vain as an alternative victim.
Croesus then remembers Solon's words, "That the proud splendor of wealth / does not make people happy / Before its end has come". Cyrus hears these words spoken aloud. He is so touched by it that he pardons Croesus and is reconciled with him. Atis and Elmira finally receive Croesus' blessing. Eliates and Clerida also find each other, and even the traitor Orsanes is pardoned by Atis. The opera ends with general cheers.
Performance history
The premiere of the first version took place in 1711 in the opera on the Gänsemarkt in Hamburg. The second version was performed there for the first time on December 6, 1730.
Several performances and two CD productions of the second version are documented from more recent times:
- 1986 at the Hamburg University of Music and Performing Arts.
- 1990 at the Théâtre des Champs-Élysées , Paris with the Clemencic Consort under the direction of René Clemencic . Soloists were Mieke van der Sluis (Atis), Lina Åkerlund (Clerida and Trigesta), Martin Klietmann (Croesus), Satoshi Mizugushi (Cyrus), Joseph Benet (Elcius), Mark Tucker (Eliates), Petya Grigorova (Elmira), Ursula Targler (Halimacus), Pamela Mildenthal (Nerillus), Andrea Martin (Orsanes) and Joseph Benet (Solon). A live recording has been released on CD.
- 1999 in the State Opera Unter den Linden , Berlin .
- In 2000 a studio recording of the Berlin performance with the RIAS Chamber Choir and the Akademie für Alte Musik Berlin under the direction of René Jacobs was released on CD. This recording received several awards, including the Diapason d'or . Soloists were Roman Trekel (Croesus), Johannes Mannov (Cyrus), Dorothea Röschmann (Elmira), Werner Güra (Atis), Klaus Häger (Orsanes), Markus Schäfer (Eliates), Salomé Haller (Clerida), Kwangchul Youn (Solon), Graham Pushee (Halimacus), Brigitte Eisenfeld (Trigesta), Kurt Azesberger (Elcius), Jörg Gottschick (captain) and Johanna Stojković (Nerillus).
- 2006 at the Hessian State Theater Wiesbaden .
- 2007 at Opera North at the Grand Theater Leeds , conducted by Harry Bicket and directed by Tim Albery. Instrumentation with two countertenors: Paul Nilon (Croesus), Michael Maniaci (Atis), Stephen Wallace (Halimacus), William Dazeley (Orsanes), Fflur Wyn (Clerida), Mark le Brocq (Eliates), John Graham-Hall (Elcius), Susan Lees (Queen of Meda), Gillian Keith (Elmira), Sarah Pring (Trigesta), Henry Waddington (Cyrus). This production was broadcast on BBC Radio 3 .
- In 2008 the Opera North production was also performed at the Minnesota Opera .
literature
- Jost Hermand: Splendor and misery of the German opera , p. 39 f. ( Preview on Google Books )
- Heinz Wagner: The great manual of the opera , second, greatly expanded edition, Florian Noetzel Verlag, Wilhelmshaven, 1991, ISBN 3-930656-14-0 , p. 355.
- Walter Rösler and René Jacobs: Articles in the booklet accompanying the CD Reinhard Keizer: Croesus , Harmonia Mundi HMC 901714.16, 2000.
Web links
- Croesus : Sheet Music and Audio Files in the International Music Score Library Project
- Libretto from 1711 and libretto from 1730 as a digitized version in the “Directory of 18th Century Prints in the German-speaking Area” in the German Digital Library
- Full text libretto from 1711 at Zeno.org
- Work data for The haughty, fallen and again sublime Croesus based on the MGG with discography in Operone
- Bibliography at E-thesis
- Description of the opera in the Tamino-Klassikforum
Individual evidence
- ↑ Donald Jay Grout, Hermine Weigel Williams: A Short History of Opera, ISBN 0-231-11958-5 , Columbia University Press, 2003, p. 178. ( Preview on Google Books )
- ↑ John H. Roberts: Croesus. In: Grove Music Online (English; subscription required).
- ↑ Croesus has another task , review the Hamburg performance of 1986 in the time of 7 November 1986, accessed on July 30, 2014.
- ↑ a b Operaone , accessed July 30, 2014.
- ↑ Details of the 1990 CD recording in the Toronto Public Library, accessed July 31, 2014.
- ↑ Confused story, medium music, a lot of effect , review of the Berlin performance from 1999 in the Berliner Zeitung, accessed on July 30, 2014.
- ^ Discography on the website of the Akademie für Alte Musik Berlin, accessed on July 30, 2014.
- ↑ Review of the CD production from 2000 in Rondo magazine, accessed on July 30, 2014.
- ↑ Preliminary report of the Wiesbaden performance from 2006 ( memento of August 8, 2014 in the Internet Archive ) on summa cultura, accessed on July 30, 2014.
- ↑ BBC 3 radio program from November 24, 2007 , accessed on July 30, 2014.
- ↑ Review of the 2007 Leeds performance on MisicalCriticism.com, accessed July 30, 2014.
- ↑ Preview of the 2008 Minnesota performance on Opera Today, accessed July 30, 2014.