Dal male il bene
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| Original title: | Dal male il bene |
| Original language: | Italian |
| Music: | Antonio Maria Abbatini and Marco Marazzoli |
| Libretto : | Giulio and Giacomo Rospigliosi |
| Premiere: | May 16, 1654 |
| Place of premiere: | Rome, Palazzo Barberini |
| Playing time: | ≈ 2 hours 30 minutes |
| Place and time of the action: | Madrid, time not handed down |
| people | |
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Dal male il bene (“The good comes from the bad”) is an opera with a prologue and three acts by Antonio Maria Abbatini and Marco Marazzoli based on a libretto by Giulio (later Pope Clement IX) and Giacomo Rospigliosi .
history
The opera Dal male il bene was written on the occasion of the wedding of Matteo Barberini , Prince of Palestrina, with Olimpia Giustiniani , but was only premiered later.
Characteristic
With the opera Dal male il bene Abbatini laid the foundation for a development that culminated in opera buffa in the 18th century . The transfer of the Spanish " cloak and sword piece " to the Italian theater is one of the most important pioneers for this development.
The number of characters is different from Giulio Rospigliosi's earlier comedy Chi soffre, speri from the Commedia dell'arte with its dialect figures reduced to six and the plot, free of parallel subplots, concentrated entirely on one episode. Elements of opera buffa can already be recognized musically. The concert ensemble is fully trained and involved in the plot.
One of the first recitative ensembles in the opera is the short quartet “Questa serva seguite” in the first act with an excited parlando up to sixteenths and a musical interweaving of four different texts, in which Leonora shows Fernando and Tabacco the escape route.
The extended deadline ensembles of the three acts are set - and melody concert and revolve around the Titelsentenz . The first one with its three-part A – B – A shape should be emphasized. Two large solo scenes are extremely dramatic: Diegos' longing recitative (1/5) is constantly interrupted by a serenade of invisible singers whose words are interpreted by Diego as a bad omen . In anticipation of Diego, Elvira, on the other hand, expresses her mood, which fluctuates between hope and pain, in a dramatic and musically closed scene in which recitative, aria , recitative, arioso and recitative follow one another.
Abbatini found in his later operas the opportunity to deepen the forms of design tested here: in the mythological tragicomedy Ione and the sacred opera La comica del cielo ò vero la Baltasara, which was designed as a comedy .
action
Donna Leonora is expecting her brother Don Diego back from Granada after a long journey in her palace . She is explaining to her servant Marina why she does not want to marry when Don Fernando and Tabacco, who are on the run from justice after Degenhandel, seek admission. Although Leonora is averse to love, Fernando and Leonora fall in love. When there is a knock at the gate, Fernando and Tabacco flee into the garden and the knock turns out to be Don Diego, who wants to kill Donna Elvira for a lover. At the last moment she can free Fernando from Diego's violence and takes her to his palace. He promises her to contact her lover, who is none other than Diego.
After Leonora learns from Marina that Fernando has fallen in love with her, she and her servant set off to ask about the wound Fernando sustained when he freed Elvira from the violence of Diego. And that is where the entanglements begin.
Before Leonora Fernando can tell her name, Diego is reported and Leonora hides in the next room, where she meets Elvira. She suspects that Elvira is Fernando's mistress, claims Diego vengefully as her lover and runs away injured. Fernando then rushes to Leonora's house and actually meets Diego there. Fernando confronts Leonora and in her jealousy she hides the fact that Diego is her brother. In the meantime, Diego has discovered Elvira in Fernando's house and believes she has betrayed herself as she has been betrayed by him.
The situation seems hopeless when Diego's demand to settle the matter with the sword finally loosens everyone involved. When all the connections have finally been clarified, the couples shake hands in reconciliation.
literature
- Piper's Enzyklopädie des Musiktheater , Volume 1, Ed. Carl Dahlhaus and Research Institute for Music Theater of the University of Bayreuth under the direction of Sieghart Döhring, ISBN 3-492-02411-4
Individual evidence
- ↑ Entry about the composer , accessed on March 6, 2016
- ↑ a b Piper's Encyclopedia of Music Theater , p. 1