Don Chisciotte alle nozze di Gamaccio
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| Title: | Don Chisciotte alle nozze di Gamaccio |
Title page of the libretto, Cádiz 1830 |
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| Shape: | "Melodramma giocoso" in one act |
| Original language: | Italian |
| Music: | Saverio Mercadante |
| Libretto : | Stefano Ferrero |
| Literary source: | Miguel de Cervantes: Don Quixote |
| Premiere: | February 10, 1830 |
| Place of premiere: | Teatro Principal, Cadiz |
| Playing time: | approx. 1 ¾ hours |
| Place and time of the action: | Partly in Don Diego's house and partly at the wedding location |
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Don Chisciotte alle nozze di Gamaccio (Spanish title: Don Quijote en las bodas de Camacho ; German for example: "Don Quijote at the wedding of Gamaccio") is an opera buffa (original name: "Melodramma giocoso") in an act by Saverio Mercadante ( Music) with a libretto by Stefano Ferrero. It deals with an episode from Miguel de Cervantes' Don Quixote and was premiered on February 10, 1830 in the Teatro Principal in Cádiz, Spain.
action
Courtyard in Don Diego's house
Scene 1. The villagers are looking forward to the upcoming wedding of Gamaccio and Chiteria. They are particularly excited about the traveling knight Don Chisciotte, who wants to come to the festival with his squire Sancio Pansa (No. 1 introduction: “Per le nozze di Gamaccio”).
Scene 2. Sancio Pansa arrives to prepare to receive his master (Cavatine Sancio: “Basta, basta, vi ringrazio”). The villagers make fun of him and his donkey Ruccio (Stretta Sancio / chorus: “Caro il mio Ruccio, povero ciuccio”).
Scene 3. After the country folk have withdrawn into the house, Sancio is annoyed by the cold reception. He rides back again.
Room in the house of Chiterias
Scene 4. Chiteria is deeply unhappy because, on the instructions of her father Bernardo, she has to marry the wealthy Gamaccio instead of her lover Basilio (Cavatine Chiteria: “Tutto s'allegra intorno”).
Scene 5. Basilio himself arrives. In order not to be recognized, he has wrapped himself in a cloak. After Chiteria has described the situation to him, Basilio asks her to explain herself for him (Duet Chiteria / Basilio: "Giura crudel che mia per semper"). You would then be poor, but happy. However, Chiteria fears her father's revenge. She begs Basilio to flee alone and leave her in desperation.
Scene 6. Gamaccio is excitedly talking to his future father-in-law, Bernardo. He asks him to fetch Chiteria because he wants to hug her beforehand. Bernardo agrees. When Chiteria arrives in a sad mood, her father tells her to forget about Bernardo. The two men move away.
Scene 7. Chiteria laments her father's cruelty.
Village square
Scene 8. Don Diego, who has just arrived, makes his wife Cristina curious about his original friend Don Chisciotte. Shouts of joy from the villagers already announce its appearance (choir: “Viva, viva, Don Chisciotte”).
Scene 9. Don Chisciotte and Sancio ride in. When the former notices some barrels made in Toboso , he dismounts his horse Rozinante and surrenders to his memories of the Dulcinea he admires . He apologizes for this to Cristina with a reference to his strong feelings of love (Cavatine Don Chisciotte: “Perdon ti chiedo, o donna”). Sancio tries in vain to keep the villagers from laughing.
Scene 10. Don Diego presents the knight Don Chisciotte, known throughout Spain, to his wife. Sancio feels reset by it. Don Chisciotte offers his services to Cristina.
Scene 11. In the square, the surrounding peasants and Gamaccio's friends talk animatedly about Don Chisciotte and his squire. They report to Gamaccio that the two of them want to come to his wedding and persuade him to practice a proper greeting (choir and aria Gamaccio: "Hai veduto? Cosa è stato?").
Scene 12. Under no circumstances does Basilio want to leave his lover to Gamaccio.
Room in Don Diego's house
Scene 13. While Sancio is taking off Don Chisciotte's armor, the two are talking about Dulcinea. A clumsy remark by Sancio leads Don Chisciotte to believe that something has happened to him. Sancio struggles to calm his master (duet Don Chisciotte / Sancio: “Ah parla, scudiero infame”).
Scene 14. Cristina leads Gamaccio and some friends into the house. Gamaccio does not believe that "the fool" Basilio could get in his way at Chiteria. Sancio tells him that Don Chisciotte is well equipped for a formal appearance at the wedding reception.
Outside Don Diego's house
Scene 15. Don Diego has noticed the love between Basilio and Chiteria. He considers the marriage arranged by her father to be wrong.
Scene 16. Sancio puts on Don Chisciotte's armor. He dreams of committing heroic deeds as a knight himself.
Scene 17. While Sancio is playing knight, Basilio enters. He takes Sancio for Don Quixote and begs him to help him rescue Chiteria (Duet Basilio / Sancio: "Cavalier, deh m'ascoltate"). However, after hearing the case, Sancio advises Basilio to abandon Chiteria. Basilio feels mocked by him and draws his sword. Then Sancio reveals himself to him and anxiously begs for mercy.
Lovely landscape
Scene 18. The preparations for the wedding feast have now been completed. The guests and the bride and groom arrive in a solemn wedding procession: at the head Don Diego with his wife and their entourage, then the carriage drawn by four farmers with Chiteria and Gamaccio, flanked by Don Chisciotte and Sancio. The conclusion is formed by Bernardo and the farmers who cheer the bride and groom (chorus: “Viva i sposi”). Then Basilio appears in a black tunic with flamed edges. In his hands he carries a cypress crown and a stick with an iron tip. In a dramatic appearance, he explains that Chiteria has sworn allegiance to him (Basilio: "Quanto imponi la sacra legge"). He affirms his own unwavering loyalty, pretends to kill himself with his stick and falls to the ground. With his supposedly last words, he asks to be united with Chiteria before his death. Gamaccio and Bernardo initially reject this. Don Chisciotte, however, insists on granting his wish. Since Don Diego and the villagers also agree, Chiteria kneels down in front of Basilio and swears the wedding vow. Immediately afterwards, Basilio jumps up again. He and Chiteria reaffirm the oath. Gamaccio does not want to accept that. He draws his sword and calls on Basilio to fight. Don Chisciotte intervenes and declares that in love as in war all means are allowed. Gamaccio has enough money to look for another beautiful bride. The wedding guests cheer, and the bride and groom celebrate their newly found happiness. Everyone recognizes that Don Chisciotte brought this about.
layout
Mercadante's opera not only relies on the burlesque elements of the original and situation comedy, but also shows the different character traits of the characters. The subtitle “Melodramma giocoso” also suggests this more serious content. The characterization takes place exclusively with the help of the respective style level. Sancio's first aria (scene 2), for example, is a typical Neapolitan buffo part with the use of the parlando . Chiteria's Cavatine (scene 4) and her duet with Basilio (scene 5), on the other hand, show elements of the opera seria . Mercadante even combines different styles within the same musical number. The tragic-comic character of the title character becomes clear in his performance aria (scene 9), in which he dreams of Dulcinea while the villagers laugh at him. In scene 17, in his confrontation with Basilio, Sancio first imitates Don Chisciotte's singing style before switching to his own Parlando style. Conversely, Basilio uses the easy style to show his submissiveness when asking for help, and then switches to the serious style that is typical for him.
The “Pezzo concertato” for the finale, intended for eight singers, is in the Neapolitan tradition. The choir is of unusually great importance. He contributes to the plot like an independent character. A special feature of this opera is the use of typical Spanish melodies, which the libretto from 1830 already indicates. One example is Don Chisciotte's appearance, labeled “Tempo di mancieca”. The finale is introduced with a “Tempo di Bolero”, and the Cavatine Chiterias and the final rondo use the bolero “Cuanta veces mis ojas”, which appeared in print in 1812. Mercadante combined all of these elements with Gioachino Rossini's innovations, such as the typical crescendo in the overture. The Cavatine Sancios is obviously based on Figaro's Cavatine "Largo al factotum" from Il barbiere di Siviglia .
orchestra
The orchestral line-up for the opera includes the following instruments:
- Woodwinds : flute piccolo , flute , two oboes , two clarinets in Bb and A, bassoon
- Brass : trumpets in C, D, Eb, F and G, trombone
- Timpani in C and G
- Strings : violins 1, violins 2, violas , cellos , double basses
- Basso continuo (secco recitatives)
In addition to the secco recitatives, there are also companion recitatives accompanied by strings.
Music numbers
The opera contains a total of eight musical numbers, which are spread over eighteen scenes:
- Sinfonia: Allegro moderato
- No. 1 Introduction (choir, sancio): "Per le nozze di Gamaccio" (scene 1)
- Cavatine (Sancio, choir): "Basta, basta, vi ringrazio" (scene 2)
- Stretta (Sancio, choir): "Caro il mio Ruccio, povero ciuccio" (scene 2)
- Recitative (Sancio): "Corpo di cento, mille molini a vento" (scene 3)
- No. 2 Cavatine (Chiteria): "Tutto s'allegra intorno" (scene 4)
- No. 3 recitative, scene and duet (scene 5)
- Recitative (Chiteria): "Che far dovrò?" (Scene 5)
- Scene (Chiteria, Basilio): “Chi veggo? Chi è mai costui? "(Scene 5)
- Duet (Chiteria, Basilio): "Giura crudel che mia per semper" (scene 5)
- Recitative (Bernardo, Gamaccio, Chiteria, Don Diego, Cristina): "Oh caro il mio Gamaccio" (scene 6)
- Recitative (Chiteria): "Padre, inhumano padre" (scene 7)
- Recitative (Don Diego, Cristina, choir): "Di poche ore ho preceduto" (scene 8)
- No. 4 Choir and Cavatine (Choir, Don Chisciotte, Sancio, Cristina): "Viva, viva, Don Chisciotte" (scene 8)
- Recitative (Don Chisciotte): "Cielo, che miro?" (Scene 9)
- Cavatine (Don Chisciotte, choir, Cristina, Don Diego, Sancio): "Perdon ti chiedo, o donna" (scene 9)
- Recitative (Don Diego, Sancio, Don Chisciotte, Cristina): "In bando, cavalier, le tristi idee" (scene 10)
- No. 5 Choir and Aria (Gamaccio): “Hai veduto? Cosa è stato? "(Scene 11)
- Recitative (Basilio): "Tutto tentar saprò" (scene 12)
- Recitative (Sancio, Don Chisciotte): "Dove trovar potrassi uno scudier più fino?" (Scene 13)
- No. 6 duet (Don Chisciotte, Sancio): "Ah parla, scudiero infame" (scene 13)
- Recitative (Cristina, Gamaccio, Sancio): "Entri, signor Gamaccio" (scene 14)
- Recitative (Don Diego): "Eppur da quel che intesi" (scene 15)
- Recitative (Sancio): "Io sfido tutti i sguatteri di Spagna" (scene 16)
- Recitative (Don Diego, Sancio, Basilio): "Ecco lo trovo alfin" (scene 17)
- No. 7 duet (Basilio, Sancio): "Cavalier, deh m'ascoltate" (scene 17)
- No. 8 choir and finale (tutti): "Viva i sposi" (scene 18)
- (Basilio, Tutti) "Quanto imponi la sacra legge" (scene 18)
Work history
The Italian opera composer Saverio Mercadante got a job in Madrid in 1826, which at the time did not have its own opera house. In the following year he moved to the Teatro São Carlos in Lisbon as chief conductor for this reason . However, after Dom Miguel's coup in 1828, this house was closed and Mercadante went to Cádiz in Spain with his ensemble in early 1829 . In the 1830/1831 season he was reappointed as Opera Director in Madrid. His comic opera Don Chisciotte alle nozze di Gamaccio , composed for the carnival season of 1829/1830, is considered to be his “farewell present” to Cadiz, whom he valued.
The libretto was written by the singer Stefano Ferrero. He also took on the title role at the premiere. In December 1829 he had already given Mercadante the text for a cantata for the wedding of King Ferdinand VII with Christina of Naples . The text of the opera is based on chapters 19-21 of the second book of Miguel de Cervantes' novel Don Quixote .
The premiere took place on February 10, 1830 in the Teatro Principal in Cádiz. In addition to the aforementioned Ferrero, Gaetano Marconi (Sancio Pansa), Adelaide Varese Pedrotti (Chiteria), Luigi Rigola (Gamaccio), Ignazio Pasini (Basilio), Luigi Vaccani (Bernardo), Teresa Zappucci (Cristina) and Antonio sang in the printed libretto Garcia (Don Diego). The opera was well received and there were five follow-up performances in February. In 1841 it was played in the Teatro del Circo with some changes in the libretto under the title Don Quixote de la Mancha in Madrid. There were two follow-up performances there and another in the Teatro de la Cruz. In 1869 the work was converted into a Zarzuela and played in Spanish at the Teatro de la Zarzuela in Madrid.
Subsequently, Mercadante's opera fell into oblivion. Only the libretto and the overture were available in print. The latter achieved some notoriety as a concert piece entitled Sinfonia caratteristica spagnuola . Mercadante brought the autograph manuscript to Italy in 1831. After the Italian state acquired his estate in 1895, it went to the Conservatory of Naples , where it was cataloged under an incorrect title: “La rappresaglia (Don Chisciotte alla nozze di Gamacio)”. It was therefore thought to be lost for a long time until Doménico Carboni, director of the music library of the “Santa Cecilia” Conservatory in Rome, rediscovered it in 2005. Carboni, together with the maestro Pedro Oltra, created a critical edition, which was presented in 2006 in the Aula Magna of the Palacio de la Cancillería in Rome and played on January 26, 2007 in a version for piano and voices in Madrid. In 2007 she was also played under the direction of Antonino Fogliani at the Rossini Festival in Wildbad . A recording was released on CD by Naxos .
Recordings
- July 2007 - Antonino Fogliani (conductor), Czech Chamber Soloists (Brno), Choir of San Pietro a Majella (Naples).
Ugo Guagliardo (Don Chisciotte), Domenico Colaianni (Sancio Pansa), Laura Catrani (Chiteria), Ricardo Mirabelli (Gamaccio), Hans Ever Mogollon (Basilio), Giulio Mastrototaro (Bernardo), Marisa Bove (Cristina), Filippo Polinelli (Don Diego ).
Live, in concert from the Rossini Festival in Wildbad ; New edition by Florian Bauer.
Naxos 8.660312-13.
literature
- Adela Presas: Don Quixote en la ópera italiana del siglo XIX. Don Chisciotte alle nozze di Gamaccio, de Saverio Mercadante. In: Actas del VI congreso internacional de la Asociación de Cervantistas. Centro de Estudios Cervantinos, Alcalá de Henares 2008, ISBN 978-84-96408-51-7 , pp. 623-636 ( online ).
- Maria Caterina Ruta: Apostillas al libreto de Don Chisciotte alle nozze di Gamaccio de Saverio Mercadante. In: Actas del X Congreso de la Asociación Internacional Siglo de Oro (Venecia, 14-18 de julio de 2014). ISBN 978-88-6969-164-5 , pp. 1065-1076 ( online )
Web links
- Libretto (Italian / Spanish), Cadiz 1830. Digitized at Google Books
- Libretto (Italian) as full text on CD label Naxos
- Don Chisciotte alle nozze di Gamaccio (Saverio Mercadante) in the Corago information system of the University of Bologna
Remarks
- ↑ a b The roles of Bernardo and Don Diego are musically reduced and written more for comedians than for singers. See Presas, p. 633.
- ↑ According to the libretto in Naxos. In the libretto from 1830, the place only changes to the village square with scene 11. In terms of content, it fits better in scene 8.
- ↑ Scene 7 is missing from the CD. The text given here is therefore taken from the 1830 libretto.
Individual evidence
- ^ A b Don Chisciotte alle nozze di Gamaccio (Saverio Mercadante) in the Corago information system of the University of Bologna , accessed on December 23, 2018.
- ↑ a b c d Adela Presas: Don Quixote en la ópera italiana del siglo XIX. Don Chisciotte alle nozze di Gamaccio, de Saverio Mercadante. In: Actas del VI congreso internacional de la Asociación de Cervantistas. Centro de Estudios Cervantinos, Alcalá de Henares 2008, ISBN 978-84-96408-51-7 , pp. 623-636 ( online ).
- ↑ List of persons in the libretto from 1830.
- ↑ a b c d e f Michael Wittmann : Supplement to the CD Don Chisciotte alle nozze di Gamaccio. Naxos 8.660312-13, pp. 11-13 ( online ).
- ↑ Richard Lawrence: CD Review. In: Gramophone , October 2012, accessed December 23, 2018.
- ^ Supplement to the CD Don Chisciotte alle nozze di Gamaccio. Naxos 8.660312-13.
- ↑ José Ramón Ripoll: El Quijote de Mercadante on cervantes.es (Spanish), January 17, 2017, accessed on December 27, 2018.
- ↑ Sofía M. Carrizo Rueda: Las bodas de Camacho y una relectura del mito de D. Quijote desde versiones operísticas del episodio cervantino. In: Número monográfico Discursos de la representación Teoría y crítica. No. 63-64, 2001, ISSN 0326-3363 , pp. 5-18 ( online ).
- ↑ "Three weddings and (not) a death ..." Don Quixote in the Black Forest. In: Deutschlandradio Kultur , July 21, 2007, accessed on December 23, 2018.
- ↑ Saverio Mercadante. In: Andreas Ommer: Directory of all complete opera recordings (= Zeno.org . Volume 20). Directmedia, Berlin 2005, p. 9917.