L'italiana in Algeri

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Work data
Title: The Italian in Algiers
Original title: L'italiana in Algeri
Title page of the libretto, Venice 1813

Title page of the libretto, Venice 1813

Shape: Opera buffa in two acts
Original language: Italian
Music: Gioachino Rossini
Libretto : Angelo Anelli
Literary source: last scene after the citizen as a nobleman of Molière
Premiere: May 22, 1813
Place of premiere: Venice, Teatro San Benedetto
Playing time: approx. 2 ½ hours
Place and time of the action: Algiers , around 1810
people
  • Mustafà, Bey of Algiers ( bass )
  • Elvira, wife of Mustafàs ( soprano )
  • Zulma, slave and confidante Elviras (soprano)
  • Haly, captain of the Algerian corsairs ( bass baritone )
  • Lindoro, young Italian and favorite slave Mustafàs ( tenor )
  • Isabella, Italian ( coloratura - alto )
  • Taddeo, Isabella's companion ( bass buffo )
  • Eunuchs of the harem, Algerian corsairs, Italian slaves, "pappataci" ( male choir )
  • Harem ladies, European slaves, ship slaves (extras)

L'italiana in Algeri ( The Italian in Algiers ) is an opera buffa (original name: " dramma giocoso per musica") by Gioachino Rossini in two acts with a libretto by Angelo Anelli . The first performance took place on May 22, 1813 in the Teatro San Benedetto in Venice.

action

The opera is set in Algiers around 1810. Mustafà, the Bey of Algiers, is tired of his wife Elvira. To get rid of her, he wants to marry her off to his Italian slave Lindoro. His confidante Haly is supposed to replace him with a spirited Italian. Lindoro fell in love with Isabella before he was captured and evades Mustafà's offer. Isabella has now started looking for Lindoro with Taddeo. However, their ship ran aground off the coast of Algeria. Haly seizes the opportunity to grant his master's wish. Taddeo manages to stay with Isabella because he poses as her uncle. To get rid of Elvira, Mustafà Lindoro promises to let him travel to Italy if he takes Elvira as his wife. Isabella arrives at the court of the Bey, who is immediately taken with her. Lindoro arrives with Elvira to say goodbye. Lindoro and Isabella recognize each other immediately. With her presence of mind, Isabella calls on Mustafà to keep Elvira as a woman and to leave Lindoro to her if he values ​​her favor.

In the second act, Mustafà Isabella fell completely into disrepair. She still loves Lindoro, who can easily convince her that he is still loyal to her. You decide to flee. To win Isabella over, Mustafà appoints her "uncle" Taddeo as " Kaimakan " (deputy). Mustafà, Taddeo and Lindoro secretly watch Isabella, who wants to make herself beautiful for her "lover", at the toilet. Mustafà sends Lindoro to Isabella to fetch her and instructs Taddeo to leave him alone with Isabella as soon as he sneezes. The tête-à-tête , however, does not work because Taddeo refuses to go and Isabella asks Elvira to go too.

Isabella promises Mustafà to appoint him “Pappataci” (“Wolverine”). That is not difficult, a pappataci has nothing more to do than eat, drink and sleep. He must swear that he will eat a rich meal at the reception ceremony, paying no attention to what is happening around him. Isabella, Lindoro and the other Italians use this to escape. Mustafà realizes the vertigo too late and accepts his fate.

first act

Production design by Francesco Bagnara for a performance in Venice (1826)

Small hall by the rooms of Bey and those of his wife; in the middle a divan

Scene 1. While the choir of the harem eunuchs celebrates the fate of women born to serve, Elvira complains to her confidante Zulma that her husband Mustafà, the Bey of Algiers, is tired of her (introduction: "Serenate il mesto ciglio") ). Mustafà himself joins them and confirms his decision to part with her (Andantino: “Delle donne l'arroganza”). Zulma and the eunuchs try in vain to comfort Elvira. Mustafà sends everyone away.

Scene 2. Mustafà tells his confidante Haly that he wants to marry Elvira off to his favorite Italian slave, Lindoro. Haly is supposed to look for a spirited Italian to replace him. Both go.

Scene 3. Lindoro longs for Isabella, with whom he fell in love before his capture (Cavatine: "Languir per una bella"). He therefore evades Mustafà's offer. But when Mustafà assures him that his future wife corresponds to his preferences in every respect, he no longer has any objections (duet: “Se inclinassi a prender moglie”).

Seashore. In the distance, a ship overturned on a rock and dismasted by the storm; on board desperate people

Scene 4. Two groups of corsairs - one on the bank under their captain Haly and another who is just landing - are happy about the rich booty of treasures and slaves they have made on the ship (chorus: “Quanta roba! Quanti schiavi! "). One of the prisoners is Isabella, who was looking for Lindoro with her admirer Taddeo and now laments her fate during the pirate choir (Cavatine: "Cruda sorte"). However, she does not allow herself to be discouraged and resolves to use her feminine charms to free herself from the situation. The frightened Taddeo is meanwhile pursued and arrested by the pirates. Then Haly notices Isabella, who pretends to be Taddeo's niece and is therefore not allowed to be separated from him. Haly is thrilled: The Italian is just the right person for Mustafà. He leaves with some of the corsairs.

Scene 5. Taddeo has long since realized that the real reason for her trip is to find Isabella's lover. He is jealous and no longer just wants to play her partner. Now he is afraid of having to follow her to the harem as well. Isabella becomes impatient, but cannot do without his support. After a brief battle of words, they reconcile and decide to continue to pretend to be uncle and niece (duet: “Ai capricci della sorte”). The future should fix it.

Small hall, like in the first scene

Scene 6. Zulma is surprised that Lindoro and Elvira show no interest in each other. The Bey wanted to see her as man and woman, and his decision had to be obeyed.

Scene 7. Mustafà has learned that a Venetian ship will soon lift anchor. He promises Lindoro freedom and gold, provided he takes Elvira with him. He should go straight to the captain to secure his passage. Lindoro is on his way.

Scene 8. Mustafà assures Elvira that she will be fine in Italy. Haly already brings the news that one of the most beautiful Italian women is in her hands. Mustafà immediately has the whole seraglio summoned to receive her. Elvira is supposed to leave immediately with Zulma so that he can take care of his new lover (aria: "Già d'insolito ardore nel petto"). He goes off with Haly and his entourage.

Scene 9. To Zulma's amazement, Elvira confesses that she still loves Mustafà despite everything. She would love to see him again. Lindoro advises her to leave in good spirits like himself. Since she was young, rich and beautiful, she would find enough lovers in Italy. All three go.

Magnificent hall; on the right a divan of the Bey; in the background a balcony on which the harem ladies can be seen

Scene 10. While the choir of the harem guards sings about Mustafà's knowledge of women in the background (beginning of Finale I: “Viva, viva il flagel delle donne”), Haly reports that the beautiful Italian is waiting for his sign. Mustafà lets them enter.

Scene 11. When Isabella enters the hall, Mustafà is immediately amazed by her beauty. Isabella plays with (duet: "Ohi! Che muso, che figura!"). Although she secretly comments on the ugliness of the Bey, she flatters him and asks him for consolation in her misery. She is sure that she can wrap it around her finger, and Mustafà is actually already glowing with desire.

Scene 12. Taddeo pushes past Haly into the room and interrupts the scene by pointing out that he is Isabella's uncle. Mustafà immediately wants to have him impaled for this disrespect, but is quickly appeased by Isabella.

Scene 13. Lindoro, Elvira and Zulma arrive to say goodbye. Isabella and Lindoro recognize each other. Your feelings are not hidden from others either. Isabella demands an explanation from Mustafà and calls him a hard-hearted tyrant. He could only keep her favor if he kept Elvira as his wife and left the slave Lindoro to her. General confusion spreads (septet: “Confusa e stupida”). As if in a frenzy, everyone thinks they hear loud noises. For women it is bells (“din, din”), for Mustafà the thunder of cannons (“bum, bum”), for Taddeo screams of crows (“kra, kra”) and for Lindoro and Haly Hammer (“tac, tac”).

Second act

Small hall, like in the first act

Scene 1. The choir of the harem guards, Elvira, Zulma and Haly talk about the fact that Mustafà Isabella has meanwhile completely fallen into disrepair (introduction: “Uno stupido, uno stolto”). But Zulma is confident that everything will turn out fine for Elvira.

Scene 2. Mustafà appears to tell his friends that he wants to have coffee with the Italian in half an hour. Elvira and Zulma should prepare Isabella for it.

Scene 3. Isabella still loves Lindoro, but fears that he will now marry Elvira. Lindoro can easily convince her otherwise. You decide to flee. After Isabella has left, Lindoro expresses his joy at having found and satisfied her lover (Cavatine: “Oh come il cor di giubilo”). He also moves away.

Scene 4. Mustafà is looking forward to meeting the Italian. Taddeo, feeling persecuted by Haly, enters and asks for mercy. Mustafà calms him down. He has nothing to fear. In order to win the benevolence of his niece, he has just appointed him " Kaimakan ", his deputy. Haly comes in with the eunuchs and two Moors, who bring Taddeo a turban, a Turkish robe and a saber. The eunuchs praise the new kaimakan (choir: “Viva il grande kaimakan”). Taddeo considers himself unsuitable for this office because he cannot even read (aria: “Ho un gran peso sulla testa”). Mustafà assures him that he doesn't need that. His only job is to stand up for him with his niece. Taddeo accepts the position and thanks. But secretly he doesn't feel comfortable with it.

Magnificent room on the ground floor with a pretty loggia in the background that overlooks the sea; right entrances to different rooms

Scene 5. In front of a large mirror, Isabella, with Elvira and Zulma's help, puts on a Turkish robe for her meeting with Mustafà. She calls her new "slave" Lindoro and orders him to bring coffee for three people. Elvira reminds her that Bey wants to be alone with her over coffee. She also complains about his increasing indifference to her. Isabella suggests that the two women retreat into the next room to watch the meeting and learn how to handle the Bey. With the help of her slaves, Isabella now completes her wardrobe. She explains in an aria that she makes herself beautiful for her loved one (Cavatine: “Per lui che adoro”). Mustafà, Taddeo and Lindoro watch them secretly and comment on their beauty in admiration. When the preparations are complete, Isabella and the slaves withdraw.

Scene 6. Mustafà sends Lindoro to Isabella to get her and instructs Taddeo to leave him alone with Isabella as soon as he sneezes. Lindoro reports that Isabella will be coming soon. Shortly afterwards it appears. Mustafà introduces her “uncle” to her as a freshly made Kaimakan. His planned Tête-à-Tête is now becoming a quintet, as Lindoro and Taddeo refuse to leave despite Mustafà's repeated sneezes and Elvira also appears, who invites Isabella in on behalf of Mustafà (quintet: "Ti presento di mia man"). Mustafà feels mocked and swears revenge. The others beg him not to push his wife back. Nobody knows how to get out of this confused situation.

Small hall, as in the first scene of the second act

Scene 7. Haly, amused, comments on the position of the Bey in which the latter has put himself. In the following aria he sings about the cleverness of Italian women (aria: “Le femmine d'Italia”). He goes.

Scene 8. Taddeo and Lindoro hope to be able to take Isabella away from the Bey. Taddeo reveals to the supposed Italian slave that he is not her uncle, but her lover. He no longer worries that she is still in love with her former lover, a certain Lindoro. Amused, Lindoro wishes him good luck.

Scene 9. Mustafà arrives to complain about Isabella's behavior to the two of them. You assure him that Isabella loves him ardently. Lindoro adds that she therefore even intends to appoint him to her "pappataci" ("glutton"). In the following trio, Lindoro and Taddeo explain to him the importance of this honorable office: It is someone who fulfills all women's wishes. All he has to do is eat, drink and sleep (trio: “Pappataci! Che mai sento!”). Mustafà is thrilled. Everyone goes.

Scene 10. Zulma explains to Haly that Elvira trusts Isabella. It is their endeavor to cure Mustafà of his folly and to reconcile him with his wife.

Splendid room as in the fifth scene

Scene 11. Taddeo and Lindoro hope that Isabella will manage to get all the Italians out. She has prepared a festival to which some of them are supposed to come disguised as pappataci. The rest of them will get on the ship in good time. Isabella appears with the Italian slaves, ready to force the escape with armed force if necessary (chorus: "Pronti abbiamo e ferri e mani" - Rondò: "Pensa alla patria"). The Italians agree to follow her. Everyone leaves the room.

Scene 12. Taddeo is still convinced that Isabella loves him. When Mustafà asked, he informed him that she was preparing the festival for his appointment as pappataci.

Scene 13. Lindoro appears with the Pappataci choir. The celebration begins (Finale II: “Dei pappataci s'avanza il coro”). Lindoro and Taddeo can hardly hold back their laughter when Mustafà asks to join the Pappataci. These help him to replace his turban with a wig and to put on the pappataci robe.

Scene 14. Isabella makes Mustafà swear to follow the Pappataci statutes. Taddeo reads aloud, and Mustafà repeats every line: he has to watch without seeing, listen without hearing, eat and enjoy, paying attention to nothing that is happening or being spoken around him. If he breaks his vow, he has to shave his beard. Isabella has a small table with food and bottles brought over and asks Kaimakan and Pappataci to take a seat. The two should now eat, drink and be silent. The other Pappataci withdraw to prepare for their escape. Mustafà's first test follows: He has to watch in silence as Isabella and Lindoro make confessions of love to each other. He doesn't succeed. Taddeo rebukes him.

Scene 15. A ship manned by European sailors and slaves approaches the loggia to the joyous singing of the choir. Isabella and Lindoro prepare to escape. Isabella mentions the name "Lindoro". Startled by this, Taddeo cannot keep his mouth shut and Mustafà reminds him of the commandment of silence. Lindoro and Isabella urge Taddeo to hurry.

Scene 16. Elvira, Zulma and the harem guards appear and point out the situation to Mustafà, which he still does not understand. He realizes the vertigo too late. Since the guards are stunned by the wine, he has no choice but to submit to fate. He doesn't want to hear from Italian women anymore and asks Elvira for forgiveness. Those who stayed behind wish the departures a safe journey home.

layout

Instrumentation

The orchestral line-up of the opera uses the following instruments:

Music numbers

The piano reduction of the critical edition by Azio Corghi contains the following musical numbers (scene indications after the libretto):

  • overture

first act

  • No. 1. Introduction (Elvira, Zulma, Haly, Mustafa, choir): "Serenate il mesto ciglio" - "Cheer up your gloomy looks" (scene 1)
    • Recitative (Elvira, Zulma, Haly, Mustafa): "Ritiratevi tutti" - "Pack yourselves, I want to be alone" (scenes 1–2)
  • No. 2. Kavatine (Lindoro): "Languir per una bella" - "Longing for a beautiful woman" (scene 3)
    • Recitative (Lindoro, Mustafa): "Ah, quando fia" - "Will be granted to me" (scene 3)
  • No. 3. Duet (Lindoro, Mustafa): "Se inclinassi a prender moglie" - "A woman according to my senses" (scene 3)
  • No. 4. Choir (Choir, Haly): "Quanta roba!" - "Reiche Beute" (scene 4)
    • Kavatine (Isabella, choir): "Cruda sorte!" - "Oh, my fate" (scene 4)
    • Recitative (Isabella, Haly, Taddeo): "Già ci siam" - "Yes, that's how it works" (scenes 4–5)
  • No. 5. Duet (Isabella, Taddeo): "Ai capricci della sorte" - "All the whims of my fate" (scene 5)
    • Recitative (Elvira, Zulma, Lindoro, Haly, Mustafa): "E ricusar potresti" - "How can one spurn" (scenes 6–8)
  • No. 6. Aria (Mustafa): "Già d'insolito ardore" - "Already flowing through my veins" (scene 8)
    • Recitative (Elvira, Zulma, Lindoro): "Vi dico il ver" - "Explain to me" (scene 9)
  • No. 7. Finale I (Elvira, Zulma, Isabella, Lindoro, Haly, Taddeo, Mustafa, choir): "Viva, viva il flagel delle donne" - "Show the women in the harem the whip" (scenes 10-13)

Second act

  • No. 8. Introduction (Elvira, Zulma, Haly, choir): "Uno stupido, uno stolto" - "An inflated fool" (scene 1)
    • Recitative (Elvira, Zulma, Isabella, Lindoro, Haly, Mustafa): "Haly, che te ne par?" - "Haly, what do you mean?" (Scenes 1–3)
  • No. 9. Kavatine (Lindoro): "Oh come il cor di giubilo" - "My heart, it jumps for joy" (scene 3)
    • Recitative (Taddeo, Mustafa): “Ah! se da solo a sola "-" I can hardly wait "(scene 4)
  • No. 10. Choir: "Viva il grande Kaimakan" - "Heil dem great Kaimakan" (scene 4)
    • Recitative (Mustafa, choir): "Kaimakan!" - "Kaimakan!" (Scene 4)
    • Aria (Taddeo): “Ho un gran peso sulla testa” - “This turban is terrible” (scene 4)
    • Recitative (Elvira, Zulma, Isabella, Lindoro): “Buon segno pe'l Bey” - “And everything for the Bey” (scene 5)
  • No. 11. Isabella's cavatina (Isabella, Lindoro, Taddeo, Mustafa): "Per lui che adoro" - "To make him happy" (scene 5)
    • Recitative (Lindoro, Taddeo, Mustafa): "Io non resisto più" - "I can't wait any longer" (scene 6)
  • No. 12. Quintet (Elvira, Isabella, Lindoro, Taddeo, Mustafa): "Ti presento di mia man" - "Look at this man here!" (Scene 6)
    • Recitative (Haly): "Con tutta la sua boria" - "As often as otherwise he won" (scene 7)
  • No. 13. Aria (Haly): "Le femmine d'Italia" - "The women of Italy" (scene 7)
    • Recitative (Lindoro, Taddeo, Mustafa): "E tu speri" - "And you think it would be possible" (scenes 8–9)
  • No. 14. Trio (Lindoro, Taddeo, Mustafa): “Pappataci! che mai sento! ”-“ Pappataci! What an honor! "(Scene 9)
    • Recitative (Zulma, Lindoro, Haly, Taddeo): "E può la tua padrona" - "And you mean your mistress" (scenes 10-11)
  • No. 15. Choir: "Pronti abbiamo e ferri e mani" - "Be ready and be prepared" (scene 11)
    • Recitative (Isabella): "Amici, in ogni evento" - "Your friends, in every situation" (scene 11)
    • Rondò (Isabella, choir): "Pensa alla patria" - "Think about home" (scene 11)
    • Recitative (Taddeo, Mustafa): "Che bel core ha costei!" - "She is really delightful!" (Scene 12)
  • No. 16. Finale II (Elvira, Zulma, Isabella, Lindoro, Haly, Taddeo, Mustafa, choir): "Dei Pappataci s'avanza il coro" - "The Pappataci are waiting" (scenes 13-16)

Appendix I (two cavatins of Isabella in the original version)

  • No. 4a. Kavatine (Isabella, choir): "Cruda sorte!" - "Oh, my fate"
  • No. 11a. Cavatina (Isabella, Lindoro, Taddeo, Mustafa): "Per lui che adoro" - "To make him happy"

Appendix II (Vicenza 1813)

  • No. 4b. Recitative (Isabella): "Cessò alfin la tempesta" - "The thunderstorm is over"
    • [Kavatine] (Isabella): "Cimentando i venti e l'onde" - "Storms, waves, I defy them"

Appendix III (Milan 1814)

  • No. 9a. Recitative (Isabella, Lindoro): "Miseral ... che farò? ..." - "My fate is terrible"
    • [Kavatine] (Lindoro): "Concedi, amor pietoso" - "God of goodness"

Appendix IV (Naples 1815)

  • No. 15a. Recitative (Isabella, Lindoro, Pompeo, choir): "Perché ridi Pompeo?" - "Why are you laughing, Pompeo?"
    • [Aria] (Isabella): "Sullo stil de 'viaggiatori" - "Who travels a lot"

music

The opera is Rossini's first full-length opera buffa . In it he succeeds, if not the connection, then at least the tense interplay of capricious and not infrequently sarcastic jokes and lyrical-tender sensitivity . Isabella embodies the oscillation between these two poles, one of the most idiosyncratic female characters in opera of the time and a parade role for every coloratura contralto. Even later, Rossini created a number of roles for this otherwise rare type of voice (e.g. Rosina in Il barbiere di Siviglia or La Cenerentola ).

The overture contains lively woodwind melodies and the obligatory crescendo, in which the strings start on the bridge (“sul ponticello”) and with the oboes “bring together rhythmic fire and sonic ice”.

Music numbers worth mentioning are:

  • Lindoro's cavatine “Languir per una bella” (first act, scene 3), which is introduced by a French horn solo
  • Charles Osborne considers the duet Mustafà / Lindoro "Se inclinassi a prender moglie" (first act, scene 3) to be one of the highlights of the opera, "a comical and tunefully effervescent piece"
  • The impressive performance cavatine of Isabella "Cruda sorte" (first act, scene 4)
  • The Allegro duet Isabella / Taddeo "Ai capricci della sorte" (first act, scene 5): "both witty and tuneful"
  • Mustafà's aria "Già d'insolito ardore nel petto" (first act, scene 8): "pompously in character"
  • The finale of the first act “Viva, viva il flagel delle donne”. Whose duet Isabella / Mustafà “Ohi! che muso, che figura! ”considers Charles Osborne to be one of Rossini's masterpieces. The final septet is impressive due to its onomatopoeia.
  • Taddeo's aria "Ho un gran peso sulla testa" (second act, scene 4) is particularly funny about his reaction to his appointment as a caimakan.
  • Isabella's cavatine "Per lui che adoro" (second act, scene 5) expresses her deepest feelings, although or because she knows that she is being watched by her worshipers.
  • The trio Mustafà / Lindoro / Taddeo “Pappataci! che mai sento! "(second act, scene 9), according to Charles Osborne" delightful "
  • Isabella's rondò "Pensa alla patria" (second act, scene 11) with the preceding recitative brings an element of the Risorgimento into the otherwise comical plot
  • The finale of the second act "Dei pappataci s'avanza il coro" (second act, scene 13), which Charles Osborne finds a bit disappointing

Work history

Origin of the substance

Allegory of the liberation of the slaves from Algiers by Jérôme Bonaparte in 1805 (oil painting by François-André Vincent, 1806)

Angelo Anellis was chosen as a textbook as early as 1808 by Luigi Mosca to set L'italiana in Algeri , a material that reflects the first wave of enthusiasm for the Orient (and especially for North Africa ) in the late 18th and early 19th centuries (see here The Abduction from the Seraglio by Mozart), which was essentially initiated by Napoleon 's Egyptian expedition . A little later, in 1805 , the propaganda motivated ransom of Italian prisoners by Jérôme Bonaparte on behalf of his brother Napoleon redirected the interest of the Europeans to the barbarian states , whose main source of income was piracy .

The Rossini biographer Giuseppe Radiciotti and others assume that the legend of Roxelane , the fourth wife of Suleiman I , was the model for the self-confident Isabella . It is possible that the plot goes back to the true story of Antonietta Frapolli from Milan, married Antonietta Suini. Their exact life dates have not yet been determined. She achieved fame in 1808 when she was able to return from the captivity of the Bey in Algiers via Venice to her hometown. She was probably captured with other compatriots in 1805 by North African corsairs in the waters between Sardinia and Sicily and taken to the court of the Beys in Algiers. Under unexplained circumstances, but probably without paying a ransom, she was released in 1808, allegedly with the help of the Bey's first wife, who saw her leading position in the harem endangered. Possibly the change of the throne from Mustafà-Ibn-Ibrahim to Ahmed-Ibn-Ali (1808) was the reason for their release (see the list of the Ottoman Beys of Algiers ).

It is not known who revised the text for Rossini's setting. Anelli himself, Giuseppe Maria Foppa and Gaetano Rossi come into question . The latter is listed as the most likely in the critical issue of Azio Corghi . The revision served, among other things, to meet Rossini's wish to strengthen Isabella's character. The onomatopoeic syllables at the end of the first finale were also missing in the original version.

Emergence

After the first performance of Tancredi in Ferrara , Rossini returned to Venice in mid-April 1813. On April 19, his opera La pietra del paragone , which was very successful in Milan , was performed at the Teatro San Benedetto there, but surprisingly it failed and had to be replaced. Since an opera by Carlo Coccia that had already been announced was a long time coming, temporary solutions such as Stefano Pavesi's Ser Marcantonio and a combination of his first act with the second act of La pietra del paragone were resorted to. Neither of these solutions was satisfactory, so the impresario asked Cesare Gallo Rossini to deliver a new opera to him by the end of May. The Rossini researcher Paolo Fabbri suspects, however, that Rossini offered the new opera on his own initiative “to make up for the bad figure he has made.” Rossini may also want to take the opportunity to write the excellent libretto to Anellis set to music and measure his abilities against those of Luigi Moscas, who had set it to music a few years earlier.

According to a report by the official Giornale in Venice, Rossini composed the opera within 27 days. The Allgemeine Musikalische Zeitung, citing a statement by Rossini, wrote that it only took 18 days. He did not even use numbers from previous operas; only the secco recitatives, Haly's little aria “Le femmine d'Italia” and possibly Lindoro's cavatina “Oh come il cor di giubilo” from the second act were penned by an unknown colleague.

Filippo Galli (Mustafà), Luttgard Annibaldi (Elvira), Annunziata Berni Chelli (Zulma), Giuseppe Spirito (Haly), Serafino Gentili (Lindoro), Maria / Marietta Marcolini sang at the premiere on May 22, 1813 at the Teatro San Benedetto in Venice (Isabella), Paolo / Pablo Rosich (Taddeo). The set was designed by Giovanni Piccuti, the costumes by Pietro Guariglia and Vincenzo Battaglia and the machines by Antonio Zecchini and Girolamo Perosa. The performance was greeted with “deafening, sustained general applause” - according to the Giornale. However, the leading actress Maria Marcolini was indisposed so that the second performance had to be postponed to May 29th. She received an ovation that evening. The next day, Rossini himself was celebrated as verses of praise floated down into the orchestra room. L'italiana in Algeri was now considered his best comic opera. It was played at the Teatro San Benedetto until the end of June. On May 24th, the Giornale defended the plant against rumors of plagiarism. But when Marcolini inserted Mosca's version of “Pensa alla patria” in an experiment on June 21, the difference in quality to Rossini was so huge that it was stifled before halfway through the aria.

  • Singer from the world premiere in 1813

  • Maria Marcolini (Isabella)

  • Serafino Gentili (Lindoro)

  • Filippo Galli (Mustafà)

Just a few weeks later, the production was given in Vicenza with largely the same actors. Then the opera began its triumphal march through the Italian theaters. The Turin production of the same year with Rosa Morandi as Isabella deserves special mention . L'italiana in Algeri is Rossini's first opera to be performed in France (February 1, 1817 at the Théâtre-Italy in Paris ) and in Germany (June 18, 1816 in Munich). In Vienna it was performed in Italian at the Theater am Kärntnertor in 1817 , on January 26, 1819 with Teresa Giorgi-Belloc and Manuel García in London and on November 5, 1832 in New York.

For the performance in Vicenza, Rossini replaced Isabella's cavatine “Cruda sorte” with “Cimentando i venti e l'onde” because he had been given to understand that the original version of the Marcolini was not good. However, this new version did not catch on. In 1814 he made further changes for Milan. He re-orchestrated “Cruda sorte” and replaced the solo cello with a flute in “Per lui che adoro”. He also swapped Lindoro's cavatine “Oh come il cor di giubilo” for the more demanding “Concedi, amor pietoso”. In 1815, for reasons of censorship for a performance in Naples, “Pensa alla patria” was replaced by “Sullo stil de'viaggiatori”.

The opera only disappeared from the repertoire for a short time at the beginning of the 20th century. But even then, at least the overture was played in the concert halls. As early as November 26, 1925, there was an important new production in Turin under the direction of Vittorio Gui with Conchita Supervía in the role of Isabella. Gui wrote to the Rossini biographer Giuseppe Radiciotti that Richard Strauss was "very excited with enthusiasm" after attending a performance in 1927. The four performances that took place in 1929 at the Théâtre des Champs-Élysées in Paris are also considered to be historically significant. After the Second World War, Giulietta Simionato and later Marilyn Horne and Lucia Valentini Terrani were popular actresses of Isabella. More recently here include Jennifer Larmore , Cecilia Bartoli and Vesselina Kasarova to name. The critical edition of Azio Corghi's opera was published in 1981.

A production of the Teatro alla Scala in Milan in 1973/74, which was generally regarded as exemplary, in oriental, fairytale-like stage sets, was created by Jean-Pierre Ponnelle . It was already based on a preliminary version of the critical edition. From September 28, 1987, it was shown in a revised form under the musical direction of Claudio Abbado with Agnes Baltsa and Ruggero Raimondi in the leading roles at the Vienna State Opera .

Recordings

L'italiana in Algeri has appeared many times on phonograms. Operadis names 40 recordings in the period from 1951 to 2009. Therefore, only those recordings that have been particularly distinguished in specialist journals, opera guides or the like or that are worth mentioning for other reasons are listed below.

literature

  • Score, piano reduction, orchestral material published by Ricordi music publisher .

Web links

Commons : L'italiana in Algeri  - Collection of images, videos and audio files

Individual evidence

  1. ^ L'Italiana in Algeri. Comments on the critical edition of Azio Corghi ( Memento of November 2, 2014 in the Internet Archive ).
  2. ↑ L'italiana in Algeri. Piano reduction with German and Italian text. German translation by Joachim Popelka and Arthur Müller. Ricordi, Milan 1990, ISBN 978-88-7592-826-1 , pp. VIII-IX.
  3. ↑ a b c d e f g h i j k l m n o p Charles Osborne : The Bel Canto Operas of Rossini, Donizetti, and Bellini. Amadeus Press, Portland, Oregon, 1994, ISBN 978-0-931340-71-0 .
  4. ↑ a b c d e Richard Osborne: Rossini - life and work. Translated from the English by Grete Wehmeyer. List Verlag, Munich 1988, ISBN 3-471-78305-9 .
  5. ^ L'italiana in Algeri - Brani significativi in the work information on librettidopera.it , accessed on June 4, 2016.
  6. ↑ a b c d e f L'Italiana in Algeri. In: Harenberg opera guide. 4th edition. Meyers Lexikonverlag, 2003, ISBN 3-411-76107-5 , pp. 764-766.
  7. ↑ a b c d e f g h Herbert Weinstock : Rossini - A biography. Translated by Kurt Michaelis. Kunzelmann, Adliswil 1981 (1968), ISBN 3-85662-009-0 .
  8. ^ A b Piper's Encyclopedia of Music Theater. Vol. 5. Works. Piccinni - Spontini. Piper, Munich and Zurich 1994, ISBN 3-492-02415-7 .
  9. ^ Report on Antonietta Frapolli on opera.stanford.edu
  10. ↑ a b c d Richard Osborne:  Italiana in Algeri, L '. In: Grove Music Online (English; subscription required).
  11. ↑ Reto Müller : Supplement to CD Naxos 8.660284-85 , accessed on June 4, 2016.
  12. ^ Record of the performance on May 22, 1813 in the Teatro San Benedetto in the Corago information system of the University of Bologna .
  13. ^ Discography on L'italiana in Algeri from Operadis, accessed on November 7, 2016.
  14. ↑ a b c d e f Gioacchino Rossini. In: Andreas Ommer: Directory of all opera complete recordings. Zeno.org , volume 20.
  15. ↑ Richard Osborne: Review of Claudio Scimone's CD on Gramophone , accessed on June 2, 2016.
  16. ^ L'Italiana in Algeri - DG: 0734261 at Presto Classical , accessed on June 2, 2016.
  17. ↑ John Steane: James Levine DVD review on Gramophone , accessed June 2, 2016.
  18. ↑ John Steane: DVD review by Ralf Weikert on Gramophone , accessed on June 2, 2016.
  19. ^ Alan Blyth: Review of the CD by Jesús López-Cobos on Gramophone , accessed on June 2, 2016.
  20. ^ Richard Osborne: Review of the CD by Alberto Zedda on Gramophone , accessed on June 2, 2016.
  21. ↑ Record by Alberto Zedda (2008) in the discography of L'italiana in Algeri at Operadis.