Il mondo della luna (Haydn)

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Opera dates
Title: The world on the moon
Original title: Il mondo della luna
Title page of the libretto, Esterházy 1777

Title page of the libretto, Esterházy 1777

Shape: Dramma giocoso in three acts
Original language: Italian
Music: Joseph Haydn
Libretto : anonymous adaptation of Carlo Goldoni's
Il mondo della luna
Literary source: Cyrano de Bergerac : Voyage dans la lune,
Anne Mauduit de Fatouville : Arlequin empereur dans la lune
Premiere: August 3 (?) 1777
Place of premiere: Eszterháza Castle Opera House
Playing time: approx. 2 ¾ hours
Place and time of the action: Venice, mid-18th century
people
  • Ecclitico, a false astrologer ( tenor ; original version: alto )
  • Ernesto, Kavalier (alto, castrato ; original version: tenor; version from 1958: baritone )
  • Buonafede / Bonafede ( bass )
  • Clarice, Buonafede's daughter ( soprano )
  • Flaminia, Buonafede's daughter (soprano)
  • Lisetta, Buonafedes chambermaid (alto; original version: soprano)
  • Cecco, Ernesto's servant (tenor)
  • four pupils of Ecclitico, also cavaliers on the moon (4 basses)
  • Pages, servants, soldiers and followers of the moon emperor (extras)
  • Nymphs and Shepherds (Ballet)

Il mondo della luna (German title: Die Welt auf dem Monde , Hob.  XXVIII: 7) is an opera (original name: " Dramma giocoso ") in three acts and four pictures by Joseph Haydn (music) with a libretto by an unknown arranger Carlo Goldoni's libretto Il mondo della luna for the opera of the same name by Baldassare Galuppi from 1750. The first performance probably took place on August 3, 1777 in the opera house of Eszterháza Castle.

action

first act

Starry night, full moon; a terrace above Ecclitico's house; in the middle a tower; a large telescope

Scene 1. The alleged astrologer Ecclitico wants to show his four students the approach of the moon to the sun through the telescope (choir: "O luna lucente" - choir: "Prendiamo, fratelli"). While the students bring the telescope up to the tower, Ecclitico is happy about his lucrative scam. Buonafede, who has just arrived, is said to be his next victim.

Scene 2. Ecclitico makes Buonafede believe that the moon is inhabited and that people can be observed there through the telescope. Buonafede enters the observatory curiously.

Scene 3. The supposed telescope is actually an Ecclitico apparatus. It only shows manipulated images that his two servants Claudio and Pasquino create with small figures. Buonafede reports enthusiastically about his observations: a girl who caresses an old man, a husband who beats up his wife, and a lover who leads his lover by the nose - everything is much better than on earth (Cavatinen “Ho veduto una ragazza ”,“ Ho veduto un buon marito ”and“ Ho veduto dall'amante ”). Out of gratitude he gives Ecclitico a wallet, promises to come back the next day and leaves satisfied (aria: “La ragazza col vecchione”).

Scene 4. Ecclitico's real goal is not the money, but Buonafede's jealously guarded daughter Clarice, whose hand he has so far been denied. His friend Ernesto loves his second daughter Flaminia and his servant Cecco loves his maid Lisetta. The two also support Ecclitico financially in the plan to snatch the girls from their father. Ecclitico has secured the help of a mechanic for this (Arie Ecclitico: “Un poco di denaro”).

Scene 5. Ernesto hopes that the action will soon end well (aria Ernesto: “Begli occhi vezzosi”).

Scene 6. Cecco laughs at the gullible people (Arie Cecco: “Mi fanno ridere”).

Room in the Buonafedes house with an open loggia, a small table, lights and chairs

Scene 7. The sisters Clarice and Flaminia long to leave their father's house and get married. Clarice loves Ecclitico above all because of his time-consuming hobby, which would leave her time to pursue her own interests. If necessary, the two of them want to marry without their father's consent. Love just has greater power than reason (Aria Flaminia: “Ragion nell'alma siede”).

Scene 8. Buonafede accuses Clarice of leaving her room without his permission and threatens a fine. She definitely doesn't want to be intimidated. If her father doesn't find a husband for her, she looks for one for herself according to her own taste (Aria Clarice: “Son fanciulla da marito”).

Scene 9. Buonafede tries to win the favor of his maid Lisetta by promising her to let her look through Ecclitico's telescope as well. The cunning Lisetta is only after his money (Aria Lisetta: “Una donna come me”).

Scene 10. Ecclitico says goodbye to Buonafede, claiming that the emperor of the moon invited him to become a citizen of the moon. An astronomer like himself lives on the moon, who has sent him a potion through the telescope that makes him so light that he can fly there. At Buonafede's insistence, he gives Buonafede this wonder drug, which is actually a sleeping potion. The effect is immediate. While Buonafede falls asleep, Ecclitico suggests a flight to the moon (finale: “Vado, vado; volo, volo”).

Scene 11. Clarice and Lisetta are shocked to find their father in this condition. They rush off to get smelling salts . Meanwhile, Ecclitico has his servants bring the sleeper into his garden. When they return, he shows the girls a fictitious will of Buonafede, which quickly calms them down, as it promises them a generous dowry .

Second act

Beautiful garden in the Eccliticos house, which has been redesigned as a world on the moon; it contains some strange astronomical devices intended to deceive Buonafede

Scene 1. Buonafede sleeps on a bed of flowers. The strangely dressed Ecclitico explains his plan to Ernesto, in which the two sisters are also privy. Only Lisetta is not involved. She should also believe that she is on the moon. If all goes well, there will be a triple wedding in the end.

Scene 2. While Ernesto withdraws to prepare his own role, Ecclitico wakes Buonafede with smelling salts and shows him the wonderful world on the moon. Flowers bloom, nightingales sing, and a breath of wind creates "sweet harmonies" (ballet).

Scene 3. After a dance of nymphs (ballet), four cavaliers appear with their entourage and hand over the clothes in which the Buonafede is to appear before the emperor (chorus: “Uomo felice”). Ecclitico asks him to wait a moment while he announces him. He promises that his daughters and the maid will also come. Ladies have special rights here, as their thoughts are influenced by the moon (Arie Ecclitico: “Voi lo sapete”).

Scene 4. Buonafede Ecclitico believes every word.

Scene 5. In the background four strangely dressed men pull a triumphal chariot on which Cecco, disguised as emperor, is sitting, at his feet is Ernesto, dressed as a hero, with a star on his forehead. Buonafede watches admiringly. The car approaches to the sound of a march and stops in the middle of the stage. Ecclitico helps Cecco get out with submissive gestures. Although Buonafede noticed the resemblance of the hero to Ernesto, he was quickly convinced that it was a doppelganger by the name of Hesperos ("morning star"). He asks to let the three women come too. Cecco promises him this on condition that the maid should serve him herself. He had already seen her through a device on earth. In general, the people on the moon have a lot of fun watching the fools of the terrestrial people (Arie Cecco: “Un avaro suda e pena”). He gets on his car and drives off with his entourage.

Scene 6. Ernesto asks Buonafede about his two daughters and tells him how to deal with women on the moon (Aria Ernesto: “Qualche volta non fa male”).

Scene 7. Buonafede visits the wonderful world of the moon. An echo answers his questions (Arie Buonafede: “Che mondo amabile”).

Scene 8. Two men bring Lisetta, blindfolded, over. Ecclitico loosens her armband and explains that she was taken to the moon to marry the emperor there. She doesn't believe him.

Scene 9. Buonafede greets his maid, assures her that they are actually on the moon, and caresses her (duet Lisetta / Buonafede: “Non aver di me sospetto”).

Scene 10. Cecco introduces herself to Lisetta as the Moon Emperor, has a throne for two brought in and asks her to sit on it as Empress. Although Buonafede does not like this, he cannot prevent it. Cecco leads Lisetta to the throne (Recitativo accompagnato and Arie Lisetta / Cecco: “Lei è mio” - “Se lo comanda”) and assures Buonafede that his two daughters will also arrive soon.

Scene 11. In the following ballet, Flaminia and Clarice appear in a machine. Buonafede helps them get out. Cecco and Lisetta remain seated on the throne. Ernesto and Ecclitico also arrive. After the greeting, Cecco asked Ernesto to take Flaminia into her chambers and instruct her in local customs (Aria Flaminia: “Se la mia stella”).

Scene 12. Cecco appoints Ecclitico as Clarices master of ceremonies, and these two leave with satisfaction (Aria Clarice: “Quanta gente che sospira”).

Scene 13. Cecco starts preparations for his wedding to Lisetta.

Scene 14. Ecclitico announces that everything is ready.

Scene 15. Ernesto and two pages bring two trays with scepter and crown (Finale: “Al comando tuo lunatico”), and Cecco crowns Lisetta with his own hand. Everyone makes fun of Buonafede in a fictional lunar language.

Scene 16. After Clarice and Flaminia have also returned, Cecco decrees that these two should now be married too, for which Buonafede will surely provide a generous dowry. He has no choice but to hand over the key to his safe and agree to Clarice's marriage with Ecclitico and Flaminias with Ernesto. Now that all of their goals have been achieved, the conspirators clear up the comedy. The deceived Buonafede is furious.

Third act

Room in the Eccliticos house

Scene 1. Everyone is wearing their normal clothes again. Even though the game is over, Ecclitico, Ernesto and Cecco don't want to let their victim Buonafede go until he has forgiven them. After begging for a long time and after Ecclitico gave him the key back, Buonafede finally gives in.

Scene 2. Clarice first learns of her happiness. She can finally embrace Ecclitico (duet Clarice / Ecclitico: “Un certo ruscelletto”).

Scene 3. The others also enter. Buonafede has given each daughter 6,000 Scudi as a dowry, and even Lisetta, the maid, receives 1,000 Scudi. Everyone celebrates their happiness that came from the moon to earth today (finale: “Dal mondo della luna”).

Plot based on the version by Mark Lothar, 1932

Young Leandro is madly in love with Clarissa, the daughter of the rich merchant Buonafede. But the latter categorically rejects his advertising. Fortunately, Leandro's servant Cecco has met a doctor from Bologna who promises him help.

Buonafede loves to watch the sky at night. He is particularly fond of the moon. He would love to know how to live up there. So it is just right that the doctor from Bologna wants to sell him a telescope with which he can see the smallest details on the earth's satellite. Buonafede was surprised by the result. The doctor inquires and explains to the merchant that he can fly to the moon. If he wants to come, he is welcome. Buonafede is enthusiastic about the plan and agrees. The doctor secretly gives his victim a sleeping draft. When this takes effect, Buonafede is shipped into the doctor's garden.

A machine creates thunder and lightning. Buonafede wakes up. Now he is led to believe that he is on the moon. But the world on the moon is anything but beautiful. Buonafede has to watch a couple in love flee evil forces and get separated in the process. The desperate girl throws herself into the moon river. When her lover arrives and feels that he can no longer save his loved one, he goes insane.

Actually, the aim of this theater should have been to get Buonafede to be moved and give the young couple his blessing, but Buonafede is anything but moved. Cecco, who plays the ruler of the moon, gets so out of his role that Buonafede realizes the hoax that has been played for him. Now he's even more unforgiving than before. Only when it is made clear to him that he would be laughed at by the whole city as a fool if the truth were to come to light does he let himself be changed so that nothing stands in the way of the happy ending.

layout

Like about half of Haydn's operas, Il mondo della luna cannot be clearly assigned to the buffo or seria area in terms of genre. The plot suggests an opera buffa , but the music and some characters are more suited to an opera semiseria . Clear Buffo characters (“parti buffi”) are only the servants Cecco and Lisetta. The duet Lisetta / Buonafede “Non aver di me sospetto” is also Buffoesque. In contrast, the arias by Clarice and Ecclitico are not very funny. They are “parti di mezzo carattere”. The arias of Flaminia and Ernesto are serious (“parti serie”). The latter was sung by a castrato at the premiere , following the old opera seria tradition. A stylistic break arises from the fact that the two also use the lunar language in the finale of the second act, the text of which is not from Goldoni himself. In the first comic finale, however, the serious Flaminia is missing, although she too would have to worry about her father. On the moon, the earthly status hierarchy is satirically reversed. Hence the servant Cecco rules here as emperor.

Three differently orchestrated intermezzi (No. 6a / e / i, I: 3) in different keys characterize Buonafede's enthusiasm when looking at the lunar world. Their “sweet harmonies” are created by the bassoons and horns.

Haydn depicted the limbo of Buonafede's hallucinated journey to the moon in the first finale with rapidly repeating thirty-second figures. The setting of the closing words of the first act, “Viva chi vive. Chi è morto è morto ".

In his aria “Che mondo amabile” (No. 39, II: 7), Buonafede gives concerts whistling with eight wind instruments.

A special feature of this opera are the instrumental movements - three ballets and a march - in the second act. In one of these ballets there is an echo effect between the strings and wind instruments outside the stage.

Haydn assigned two keys to the moon. E flat major stands for its importance as an ideal, D major for the world on the moon. This distinction is particularly clear in Buonafede's "Telescope" aria in the first act, in which what he has seen is represented in D major, while his resulting desire and his fictional journey to the moon in the first finale are in E flat major.

orchestra

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

Music numbers

In the piano reduction by Bärenreiter the following music numbers are given (the popular alternative numbering in square brackets):

  • No. 1. Sinfonia

first act

1st scene

  • No. 2a [1a]. Choir (Ecclitico, Die Scholaren): "O luna lucente" - "O goddess of the moon"
  • No. 2b. Recitative (Ecclitico): "Basta, basta, discepoli" - "Well enough, my dear ones"
  • No. 2c [1b]. Choir (Die Scholaren): "Prendiamo, fratelli" - "Well then, companions"
  • No. 3. Recitative (Ecclitico): "Oh le gran belle cose" - "Nothing can be stupid enough"

2nd scene

  • (Recitative) (Bonafede, Ecclitico): "Si puol entrar?" - "Do you permit, sir?"

3rd scene

  • No. 4 [2]. (Ecclitico, Die Scholaren, Bonafede) "Servitor obbligato" - "Greetings, surrender to you"
  • No. 5. Recitative (Ecclitico): "Olà, Claudio, Pasquino" - "Holla, Claudio, Pasquino"
  • No. 6a [3a]. [Intermezzo I]
  • No. 6b. Recitative (Ecclitico, Bonafede): "Il signor Bonafede" - "The Signor Bonafede"
  • No. 6c [3b]. Cavatina (Bonafede): "Ho veduto una ragazza" - "A young, charming beauty"
  • No. 6d. Recitative (Ecclitico): "Se una ragazza" - "When a boy"
  • No. 6e. [Intermezzo II]
  • No. 6f [3c]. Recitative (Bonafede, Ecclitico): "Ho veduto, ho veduto" - "Oh, what have I seen"
  • No. 6g [3d]. Cavatina (Bonafede): "Ho veduto un buon marito" - "I just saw a good guy"
  • No. 6h. Recitative (Ecclitico): "Volesse il ciel" - "Heaven geb '"
  • No. 6i. [Intermezzo III]
  • No. 6j [3e]. Recitative (Bonafede, Ecclitico): "Oh questa assai mi piace!" - "Oh, I like that very much"
  • No. 6k [3f]. Cavatina (Bonafede): "Ho veduto dall'amante" - "Yes, I saw the beloved"
  • No. 7. Recitative (Ecclitico, Bonafede): "E qui ancora si useria" - "It could probably go like this here too"
  • No. 8 [4]. Aria (Bonafede): "La ragazza col vecchione" - "A boy with the old one"

4th scene

  • No. 9. Recitative (Ecclitico, Ernesto, Cecco): "Io la caccia" - "My intention"
  • No. 10 [5]. Aria (Ecclitico): "Un poco di denaro" - "A little of the money"

5th scene

  • No. 11. Recitative (Cecco, Ernesto): "Costui dovrebbe al certo" - "Certainly he is a man"
  • No. 12 [6]. Aria (Ernesto): "Begli occhi vezzosi" - "O eyes, you pure ones"

6th scene

  • No. 13. Recitative (Cecco): "Qualche volta il padron" - "From time to time my master is"
  • No. 14 [7]. Aria (Cecco): "Mi fanno ridere" - "The poor last me"

7th scene

  • No. 15. Recitative (Clarice, Flaminia): "Eh venite, germana" - "Come on, come, dear sister"
  • No. 16 [8]. Aria (Flaminia): "Ragion nell'alma siede" - "Reason rules the soul"

8th scene

  • No. 17. Recitative (Bonafede, Clarice): "Brava, signora figlia!" - "Good thing, my Miss Daughter"
  • No. 18 [9]. Aria (Clarice): "Son fanciulla da marito" - "I'm a girl, looking for a man"

9th scene

  • No. 19. Recitative (Bonafede, Lisetta): “Se mandarla potessi” - “It takes a while”
  • No. 20 [10]. Aria (Lisetta): "Una donna come me" - "Yes, a girl like me"

10th scene

  • No. 21 [11a]. Recitative (Bonafede, Ecclitico): "È poi la mia Lisetta" - "Yes, yes, my Lisetta"
  • No. 22 [11b]. Finale [I] (Clarice, Lisetta, Ecclitico, Bonafede): “Vado, vado; volo, volo "-" Float, float, fly, fly "

Second act

  • No. 23 [12]. Sinfonia

1st scene

  • No. 24. Recitative (Ecclitico, Ernesto): "Ecco qui Bonafede" - "Rest gently, Bonafede"

2nd scene

  • (Recitative) (Ecclitico, Bonafede): "Bonafede ancor dorme" - "He slept long enough"
  • No. 25 [13]. [Balletto]
  • No. 26. Recitative (Bonafede, Ecclitico): "Bravi, bravissimi!" - "Bravo, bravissimo!"
  • No. 27 [14]. Balletto
  • No. 28. Recitative (Bonafede, Ecclitico): "Oh che ninfe gentili!" - "O the lovely nymphs"

3rd scene

  • No. 29 [15]. Choir (Ecclitico, Bonafede, 4 Cavalieri): "Uomo felice" - "Happy people"
  • No. 30. Recitative (Bonafede, Ecclitico): "Come avrò a contenermi?" - "Says how should I behave?"
  • No. 31 [16]. Aria (Ecclitico): "Voi lo wallpaper" - "Do I have to describe"

4th scene

  • No. 32. Recitative (Bonafede): “Parmi che dica il vero” - “It seems to me that he is telling the truth”

5th scene

  • No. 33 [17]. [March]
  • No. 34. Recitative (Bonafede, Cecco, Ernesto): "Umilmente m'inchino" - "I die in awe"
  • No. 35 [18]. Aria (Cecco): "Un avaro suda e pena" - "Since a curmudgeon plagues himself sweating"

6th scene

  • No. 36. Recitative (Ernesto, Bonafede): "Voi avete due figlie?" - "You are the father of two daughters?"
  • No. 37 [19]. Aria (Ernesto): "Qualche volta non fa male" - "Sometimes it seems quite reasonable"

7th scene

  • No. 38. Recitative (Bonafede, Eco): "Io resto stupefatto" - "There I stand and be amazed"
  • No. 39 [20]. Aria [con balletto] (Bonafede): "Che mondo amabile" - "O world, you lovely one"

8th scene

  • No. 40. Recitative (Lisetta, Ecclitico): "Dove mi conducete?" - "Where do you want to lead me?"

9th scene

  • (Recitative) (Lisetta, Bonafede): "Quello è il padrone?" - "That should be my lord?"
  • No. 41 [21]. Duet (Lisetta, Bonafede): "Non aver di me sospetto" - "You will not distrust me"

10th scene

  • No. 42a. Recitative (Cecco, Bonafede, Lisetta): “Olà, presto, fermate” - “Holla! Quick brings me back "
  • No. 42b [22a]. Recitativo accompagnato (Lisetta, Cecco): "Lei è mio" - "You are mine"
  • No. 42c [22b]. Aria (Lisetta, Cecco): "Se lo comanda" - "The emperor wants it"
  • No. 43. Recitative (Bonafede, Cecco): "Eccelso imperator" - "Serene Lord"

11th scene

  • No. 44 [23]. [Balletto]
  • No. 45. Recitative (Bonafede, Flaminia, Clarice, Cecco, Ernesto): "Figlie, mie care figlie" - "Children, beloved children"
  • No. 46 [24]. Aria (Flaminia): "Se la mia stella" - "Since I was granted"

12th scene

  • No. 47. Recitative (Clarice, Cecco, Ecclitico, Bonafede): "Mia sorella sta bene" - "How I envy Flaminia"
  • No. 48 [25]. Aria (Clarice): "Quanta gente che sospira" - "How do the people try?"

13th scene

  • No. 49. Recitative (Lisetta, Cecco, Bonafede): "Ed io son stata qui" - "I seem completely useless here"

14th scene

  • (Recitative) (Ecclitico): "Ecco già preparato" - "Venerable customs habituation"

15th scene

  • No. 50 [26]. Finale [II] (Lisetta, Ernesto, Ecclitico, Cecco, Bonafede): "Al comando tuo lunatico" - "Dero Mondheit very high sign"

16th scene

  • (Finale) (Clarice, Flaminia, Lisetta, Ernesto, Ecclitico, Cecco, Bonafede): "A questa coppia amabile" - "For the couple so beautiful and graceful"

Third act

  • No. 51 [27]. Sinfonia [Intermezzo]

1st scene

  • No. 52. Recitative (Bonafede, Ecclitico, Ernesto, Cecco): "Voglio sortir, cospetto!" - "I want to go out, the devil!"

2nd scene

  • (Recitative) (Clarice, Ecclitico): "Sposino" - "Beloved!"
  • No. 53 [28]. Duet (Clarice, Ecclitico): "Un certo ruscelletto" - "I feel a brook flowing"

Last scene

  • No. 54. Recitative (Bonafede, Clarice, Flaminia, Cecco, Ernesto, Ecclitico, Lisetta): "Vien qui, figlia, m'abbraccia" - "Come on, daughter, hug me!"
  • No. 55 [29]. Finale [III] (Clarice, Flaminia, Lisetta, Ernesto, Ecclitico, Cecco, Bonafede): "Dal mondo della luna" - "You, world there on the moon"

attachment

  • No. 5. Recitative (Ecclitico): "Olà, Claudio, Pasquino" - "Holla, Claudio, Pasquino"
  • No. 6a
  • No. 6b. Recitative (Ecclitico, Bonafede): "Il signor Bonafede" - "The Signor Bonafede"
  • No. 6c. Cavatina (Bonafede): "Ho veduto una ragazza" - "A young, charming beauty"
  • No. 6d. Recitative (Ecclitico): "Se una ragazza" - "When a boy"
  • No. 6e
  • No. 6f. Recitative (Bonafede, Ecclitico): "Ho veduto, ho veduto" - "Oh, what have I seen"
  • No. 6g. Cavatina (Bonafede): "Ho veduto un buon marito" - "I just saw a good guy"
  • No. 6h. Recitative (Ecclitico): "Volesse il ciel" - "Heaven geb '"
  • No. 6i
  • No. 6j. Recitative (Bonafede, Ecclitico): "Oh questa assai mi piace!" - "Oh, I like that very much"
  • No. 6k. Cavatina (Bonafede): "Ho veduto dall'amante" - "Yes, I saw the beloved"
  • No. 9. Recitative (Ecclitico, Ernesto, Cecco): "Io la caccia" - "My intention"
  • No. 13. Recitative (Cecco): "Qualche volta il padron" - "From time to time my master is"
  • No. 14. Aria (Cecco): "Mi fanno ridere" - "The poor last me"
  • No. 15. Recitative (Clarice, Flaminia): "Eh venite, germana" - "Come on, come, dear sister"
  • No. 16. Aria (Flaminia): "Ragion nell'alma siede" - "Reason rules the soul"

Work history

List of persons from the libretto, Esterhazy 1777

Joseph Haydn composed this opera on the occasion of the wedding of Count Nikolaus Esterházy, a son of his employer Nikolaus I. Joseph Esterházy , with Maria Anna Countess Weißenwolf. The libretto was compiled by an unknown arranger from various versions of Carlo Goldoni's libretto Il mondo della luna , which he originally wrote for an opera by Baldassare Galuppi performed in 1750 (→ Il mondo della luna ). The text set to music by Haydn corresponds to the original from 1750 up to II / 13. From II / 14 it follows the version set to music by Gennaro Astarita (Venice 1775). The finale of the third act, however, is new. It may be written by Karl Friberth, a singer in the ensemble at Esterháza Palace. Further settings of Goldoni's libretto are by Florian Leopold Gassmann (Pressburg 1761), Niccolò Piccinni (Naples 1762, Rome 1765 as Il finto astrologo ), Pedro Avondano (Lisbon 1765), Michele Neri Bondi (Florence 1790) and Marcos António Portugal (Lisbon 1791 , as O lunático iludido ). Giovanni Paisiello used the subject four times: La luna abitata (Naples 1768, text by Giovanni Battista Lorenzi with Neapolitan characters), Il credulo deluso (Naples 1774, based on Goldoni's text), a one-act festa teatrale ( Bolshoi Theater Saint Petersburg 1783) and an abridged two-act version of Il credulo deluso with the title Il mondo della luna (Naples 1784, arrangement by Marco Coltellini ).

The sources are complex. There is a partially autograph copy of the complete work from the 18th century and various different autograph versions of individual parts, of which the chronological order is known, but not the exact date. In part, they could have been written before the premiere due to the line-up for Lisetta and Ecclitico. A revision for a planned resumption could also have been an occasion. The last version of Flaminia's aria “Ragion nell'alma siede” (No. 16, I: 7) is possibly a concert version. Some changes, such as those for Buonafede's series of cavatines in I: 1, could also have been made for artistic reasons. The instrumental preludes of the second and third act were probably added later. The roles of Ecclitico, Ernesto and Lisetta were originally notated in the alto, tenor and soprano clefs, but the voices of the two male roles were subsequently swapped and Lisetta's role was set lower.

The first recorded performance took place on August 3, 1777, the wedding anniversary of the count couple. But there may already have been performances in July. Since mainly Italian singers were used, this work was apparently part of the regular operation of the Eszterháza Castle Opera House . According to the information in the libretto, the singers were Guglielmo Jermoli (Ecclitico), the castrato Pietro Gherardi (Ernesto), Benedetto Bianchi (Buonafede), Katharina Poschwa (Clarice), Marianna Puttler (Flaminia), Maria Jermoli (Lisetta) and Leopold Dichtler (Cecco) intended. However, since Maria and Guglielmo Jermoli resigned at the end of July, it is unclear who ultimately sang the roles of Lisetta and Ecclitico. In the disguise scene of the second act, the actor who played Ernesto as Hesperos wore the costume of Orfeo from Gluck's Orfeo ed Euridice , which had been shown on Esterháza the previous year.

Since it apparently remained with this one production, Haydn later used a few pieces in other compositions. Haydn used a modified version of the overture as the first movement of his 63rd symphony (“La Roxelane”, 1778/1779). The instrumental movement No. 44 (II / 11) appeared in a concert version of the overture to his opera La vera costanza (1779) from around 1782/83 and, together with five other movements of the second act, in some trios for flute, violin and violoncello (Hob. IV: 6, 7, 8, 10 and 11, 1784). A variant of Ernesto's aria “Qualche volta non fa male” (No. 37, II: 6) became the Benedictus of his Missa Cellensis from 1782. The second part of the duet “Un certo ruscelletto” (No. 53, III: 2) appeared slightly arranged in the duet "Cara, sarò fedele" at the end of the first act of his opera Armida (1784). Flaminia's aria “Se la mia stella” (No. 46, II: 11) appeared around 1799 with the German text “Dir der Innocent Bliss” in an arrangement of his puppet opera Philémon et Baucis .

The work only became successful after a production by the Mecklenburg State Theater in Schwerin on Haydn's 200th birthday in 1932. For this purpose, Mark Lothar created a fundamental revision in a prelude and two acts, which also contains pieces from other operas by Haydn and his instrumental works. The German translation came from Wilhelm Michael Treichlinger and Mark Lothar. This version was then played in other houses, e.g. B. 1932 at the Hochschule für Musik Berlin and 1933 in Basel, but also in 1953 at the Vienna Chamber Opera .

A more faithful arrangement by HC Robbins Landon based on the 18th century copy was published in 1958. In this version, a baritone instead of an alto is provided for the role of Ernesto. After a radio broadcast of the first two acts by the RAI, it was performed for the first time in 1959 at the Holland Festival under Carlo Maria Giulini and then played at the Festival d'Aix-en-Provence (also 1959) as well as in Austria, Germany, England and Italy. A German translation by Hans Swarowsky was sung at the Salzburg Festival in 1959 . One reason for the popularity of the productions of this time may have been the launch of the first Sputnik satellite two years earlier.

A source-critical score was published 1979–1982 as part of the Haydn Complete Edition. It contains all the versions by Haydn himself.

Further verifiable productions are:

Recordings

literature

  • Michael Brago: Haydn, Goldoni, and Il mondo della luna. In: Eighteenth-Century Studies Vol. 17, No. 3. Johns Hopkins University Press, Spring 1984, pp. 308-332, DOI: 10.2307 / 2738171 .
  • Pierpaolo Polzonetti: Haydn and the moon: from utopia to revolution. In: Walter Reicher (Ed.): Eisenstädter Haydn reports. Volume 11. Hollitzer, Eisenstadt 2019, ISBN 978-3-99012-572-4 , pp. 263-282.

Web links

Commons : Il mondo della luna  - collection of images, videos and audio files

Remarks

  1. ↑ a b The name is written in the libretto "Buonafede", in the piano reduction by Bärenreiter, however, "Bonafede".

Individual evidence

  1. ↑ a b c d Dietmar Holland : Il mondo della luna. In: Attila Csampai , Dietmar Holland: Opera guide. E-book. Rombach, Freiburg im Breisgau 2015, ISBN 978-3-7930-6025-3 , pp. 178-182.
  2. ↑ a b c d e f g h i j k l m n Georg Feder: Il mondo della luna. In: Piper's Encyclopedia of Musical Theater . Volume 2: Works. Donizetti - Henze. Piper, Munich / Zurich 1987, ISBN 3-492-02412-2 , pp. 750-752.
  3. ↑ a b c d e f Caryl Clark:  Mondo della luna, Il ('The World on the Moon') (ii). In: Grove Music Online (English; subscription required).
  4. ↑ a b c d e II mondo della luna. In: Harenberg opera guide. 4th edition. Meyers Lexikonverlag, 2003, ISBN 3-411-76107-5 , pp. 344-345.
  5. ↑ a b Silke Schloen: Foreword to the piano reduction BA 4682a from Bärenreiter (PDF) , accessed on May 13, 2020.
  6. ↑ Supplement to CD Philips 432 420 2.
  7. ↑ Il mondo della Luna - Musica on librettidopera.it, accessed on May 15, 2020.
  8. ↑ Pierpaolo Polzonetti: Haydn and the moon: from utopia to revolution. In: Walter Reicher (Ed.): Eisenstädter Haydn reports. Volume 11. Hollitzer, Eisenstadt 2019, ISBN 978-3-99012-572-4 , pp. 263-282.
  9. ↑ Gordana Lazarevich:  Mondo della luna, Il ('The World on the Moon'). In: Grove Music Online (English; subscription required).
  10. ^ Marc Vignal, Klaus Guddat (trans.): Haydn's last “Opera Buffa”. In: Supplement to CD Philips 432 420 2, pp. 22–26.
  11. ^ A b c Horst Seeger : The great lexicon of the opera. VEB Deutscher Verlag für Musik, Leipzig 1978. Special edition for Pawlak, Herrsching 1985, p. 374.
  12. ↑ a b c Amanda Holden (Ed.): The Viking Opera Guide. Viking, London / New York 1993, ISBN 0-670-81292-7 , pp. 457-458.
  13. ↑ Holten: Review of the production in Hamburg 1971. In: Opernwelt 9/1971, p. 38, according to the general register of Opernwelt .
  14. ↑ Mahlke: Review of the production in Berlin 1974. In: Opernwelt 7/1974, p. 38, according to the general register Opernwelt .
  15. ↑ Asche: Review of the production in Hildesheim 1979. In: Opernwelt 6/1979, p. 46, according to the general register of Opernwelt .
  16. ^ Asche: Review of the production in Hamburg 1989. In: Opernwelt 11/1989, p. 30, according to the general register Opernwelt .
  17. ↑ Program of Opera della Luna , accessed on May 17, 2020.
  18. ^ Koegler: Review of the production in Stuttgart 1995. In: Opernwelt 7/1995, p. 53, according to the general register Opernwelt .
  19. ↑ Loskill: Review of the production in Gelsenkirchen 2002. In: Opernwelt 1/2003, p. 25, according to the general register of Opernwelt .
  20. ^ Persché: Review of the production in Vienna 2009. In: Opernwelt 2/2010, p. 10, according to the general register Opernwelt .
  21. ^ Program of the Stadttheater Aschaffenburg , November 25, 2016, accessed on May 17, 2020.
  22. ↑ Opera performances at Tabor Castle, Neuhaus am Klausenbach on jopera.at, accessed on May 17, 2020.
  23. ↑ Program of the Beethovenfest Bonn , September 27, 2019, accessed on May 17, 2020.
  24. ↑ a b c Franz Joseph Haydn. In: Andreas Ommer: Directory of all complete opera recordings (= Zeno.org . Volume 20). Directmedia, Berlin 2005.
  25. ↑ FJ Haydn Il Mondo Della Luna Direttore Bruno Nicolai in the Internet Archive , accessed on May 17, 2020.
  26. ↑ The Enchantment of the World. Review of DVD C Major 703604. In: Neue Zürcher Zeitung , November 5, 2010, accessed on May 13, 2020.
  27. ^ Haydn - Il Mondo della Luna (Monte Carlo 2014 - Webcast). In: OperaJournal, May 4, 2014, accessed May 17, 2020.