The great Egyptian queen Oronthea
| Data | |
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| Title: | The great Egyptian queen Oronthea |
| Original title: | Orontea regina d'Egitto |
| Genus: | play |
| Original language: | Italian |
| Author: | Giacinto Andrea Cicognini |
| Literary source: | El mármol de Felisardo, La vendadora de las mujeres by Lope de Vega and El pintor de su deshonra by Pedro Calderón de la Barca |
| Premiere: | ? |
| Place of premiere: | ? |
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The great Egyptian Queen Oronthea is a play in three acts, the direct model of which is Giacinto Andrea Cicognini's opera libretto Orontea regina d'Egitto and was performed by the German-speaking traveling theater of the 17th century under various titles. ( The translucent Oronthea queen of Egypt or The translucent Mahler ).
Templates and tradition
The Italian model is believed to have originated in the last months of 1648 and at the same time as the completion of the opera Il Giasone ( Jason ). The dramaturgy of the piece shows a montage technique typical of Cicognini in that he processed existing texts by himself or other authors, whereby it is striking that his prose dramas often form the starting point for his libretti. On the one hand, the piece shows close contextual references to his drama Adamira ovvero la statua dell'onore, written in prose (German play text by the Wanderbühne Adamira or Das verliebte und beliebte Ehrenbild ), as well as to various dramaturgies of the Spanish Siglo de Oro , including Lope de Vega ( El mármol de Felisardo, La vendadora de las mujeres ) and Pedro Calderón de la Barca ( El pintor de su deshonra ). As in the case of the Orontea , Italian libretti were often translated by German-speaking professional theater and then served as a template for their plays. Probably in order to be able to use the popularity and fame of this opera and also of Giacinto Cicognini himself as an economic advantage, the libretto was taken over from the traveling theater of the 17th century and appears under various titles in the repertoire lists of well-known theater principals of that time. The play was given for the first time on November 4, 1667 at the court of Carl Ludwig von der Pfalz in Mannheim under the direction of Ernst Hoffmann and Peter Schwarz, who brought it with them from their time at the Innsbruck Court Theater, which they directed between 1659 and 1662. The connection to the Innsbruck principals, however, also suggests that Orontea already made her debut as a play at the Innsbruck court, the place where the opera L'Orontea was given for the first time with a score by Antonio Cesti in 1656 . The play later found itself in the repertoire of the theater principal Carl Andreas Paulsen under the title Die große Königin Oronthea , from whose troupe, the "Hamburgische Komödianten", it was performed between 1674 and 1979. Paulsen bequeathed his son-in-law and principal of the High German court comedians Johannes Velten the repertoire including the theater privilege. As can be seen from the correspondence with the Electoral Palatinate court, Johannes Velten presented the Elector Carl Ludwig with an extensive program of 87 pieces to choose from, including The Great Egyptian Queen Oronthea . Even if the play appears on the various, established principals of the German touring stage, only one text of the play has survived, the handwriting of the anthology Ia 38.589 of the Vienna Library. Heinrich Rademin of the so-called “Viennese comedians” is assumed to be the author of this manuscript, which suggests a proximity to the beginnings of the Kärntnerthortheater and also explains the change in the alcoholic servant Gelone from the Italian model in the court servant Hans Wurst .
content
The Egyptian queen Oronthea swears off love at the beginning of the play and does not want to choose any other man, but soon falls in love with the particularly good-looking painter Alidoro, who had just arrived from Phenicia with his foster mother Aristea. The lady-in-waiting, Silandra, also falls in love with the irresistible stranger and leaves her lover, Prince Corindo for Alidoro, causing confusion of love between the four people involved. In a letter, Oronthea reveals her love for Alidoro and declares her willingness to make him her husband and King of Egypt, whereupon Alidoro again leaves the newly conquered Silandra. In the meantime, however, Creonte, the queen's council, was able to exert its influence, reminding her of a monarch's obligations in matters of marriage and getting her to abandon the improper association with Alidoro. Silandra can win back her Corindo, who, however, now swears revenge against the strange painter. The events of the plot are accompanied, underlined and connected by the court servants Tiberino and the always drunk Hans Wurst. Aristea, a pirate widow and Alidoro's foster mother, falls in love with Hiacintha, who is disguised as a man and who also raves about her beautiful son. Through these various confusions the fateful coincidence results in which a precious medallion changes different owners and ultimately Alidoro can prove to be a lost and yet living prince. Since Alidoro is now of high nobility and has the appropriate status, nothing stands in the way of a connection with Oronthea and the piece closes with two happy couples.
literature
- L'Orontea Drama Musicale. del D. Hiacinto Andrea Cicognini. Da Rappresentarsi in Venetia nel Theatro di SS. Apostoli. Nell'Anno 1649. Venezia: Appresso Giacomo Batti, 1657.
- Diego Símini: Il corpus teatrale di Giacinto Andrea Cicognini. Opere autentiche, apocrife e di dubbia attribuzione. (= Studi & testi. Collana del Dipartimento di Lingue e letterature straniere dell'Università del Salento. 46). Pensa multimedia, Lecce et al. a. 2012, ISBN 978-88-8232-951-8 .
- Anna Tedesco: Il metodo compositivo di Giacinto Andrea Cicognini nei suoi drammi per musica veneziani. In: Il prisma di Proteo. 2012.
- Flavia Cancedda, Silvia Castelli: Per una bibliografia di Giacinto Andrea Cicognini. Successo teatrale e fortuna editoriale di un drammaturgo del Seicento . (= Secoli d'oro. 24). Alinea, Firenze 2001, ISBN 88-8125-512-X .
- Grete Goldschmit: The repertoire of the traveling troops in Austria . Phil. Diss. Vienna 1930.
- Ludwig Grashey: Giacinto Andrea Cicognini's life and works. With special consideration of his drama 'La Marienne ovvero il maggior mostro del mondo' . (= Munich contributions to Romance and English philology. 43). A. Deichert, Leipzig 1909.
- Bärbel Rudin: Liselotte von der Pfalz as a theater godmother. Comedians under the patronage of the Electorate of the Palatinate. In: Heidelberg. Yearbook on the history of the city 2008. Vol. 12, 2007, pp. 9–21.
Web links
Individual evidence
- ^ Anna Tedesco: Il metodo compositivo di Giacinto Andrea Cicognini nei suoi drammi per musica veneziani . In: Il prisma di Proteo . 2012, p. 54 .
- ^ Anna Tedesco: Il metodo compositivo di Giacinto Andrea Cicognini nei suoi drammi per musica veneziani . In: Il prisma di Proteo . 2012, p. 51 .
- ^ Anna Tedesco: Il metodo compositivo di Giacinto Andrea Cicognini nei suoi drammi per musica veneziani . In: Il prisma di Proteo . 2012.
- ↑ Alberto Martino: Italian literature in the German-speaking area: additions and corrections to Frank-Rutger Hausmann's bibliography . In: Chloe . tape 17 . Amsterdam 1994.
- ^ Bärbel Rudin: Liselotte von der Pfalz as a theater godmother. Comedians under the patronage of the Electorate of the Palatinate . In: Heidelberg. City history yearbook 2008 . Vol. 12, 2007, p. 9-21 .
- ↑ Correspondence files 1033/1 . No. 80 . Secret House Archive Munich.
- ^ Otto G. Schindler: Theater history of Baden near Vienna in the 18th century. With special consideration of the "Badner Troupe" and their repertoire. With an appendix: unpublished play texts, scenarios and theater slips. Dissertation. University of Vienna 1971, p. 33 .