Dorilla in Tempe

Opera dates
Title:	Dorilla in Tempe
Title page of the libretto, Venice 1726
Shape:	“Melodramma eroico pastorale” in three acts
Original language:	Italian
Music:	Antonio Vivaldi
Libretto :	Antonio Maria Lucchini , Bartolomeo Vitturi (arrangement for RV 709c)
Premiere:	November 9, 1726
Place of premiere:	Teatro Sant'Angelo , Venice
Playing time:	approx. 2 ¼ hours
Place and time of the action:	Tempe in Thessaly
people
Admeto , King of Thessaly ( tenor or bass ) Dorilla, his daughter, Elmiro's lover ( alto / mezzo-soprano ) Elmiro, shepherd from Tempe (alto ( trouser role ) or soprano ( castrato )) Nomio, shepherd, later recognized as Apollo (soprano (castrato or trouser role)) Eudamia, nymph, unrequitedly in love with Elmiro (alto or soprano) Filindo, shepherd, unrequitedly in love with Eudamia (alto (castrato) or soprano (castrato)) Choir

Dorilla in Tempe is a pastoral opera (original name: "melodramma eroico pastorale") in three acts by Antonio Vivaldi (music) with a libretto by Antonio Maria Lucchini . It was premiered on November 9, 1726 at the Teatro Sant'Angelo in Venice. The scores of the original version from 1726 ( RV  709a) and a Prague version from 1732 (RV 709b) have been lost. More recently, a pasticcio version with some arias by other composers from 1734 (RV 709c) has been played, the score of which has been preserved in a revised version (RV 709d).

action

The following table of contents corresponds to the version of 1734 RV 709c. The titles of the exchange arias from RV 709d are also given.

The opera takes place in Tempe , a lovely place in Thessaly .

Preface to the libretto, Prague 1732

“At the time when Apollo was driven out of heaven into the world, when in his misery under the name Nomii, he guarded the sheep of Admeti, the king of Thessaly; when he was exposed to his daughter Dorillam, who had been exposed by the Oraculo to devastating the whole country, and every manly snake Pythoni, violently inflamed with love. But these, although by the miraculous hand of Apollini, as the supposed shepherd's nomii, had already been torn from the throat of the adventurous Pythonis; If only she clung to her beloved Elmiro so that, regardless of the benefit received, she could not be entombed by her Savior to show him a counter-love. Now the whole reason consists in the fable, which not only because of the delicate and simple-minded arrangement, but also, and much more because of the wonderfully enjoyable harmony of Mr. Don Antonii Vivaldi, as which through present composition, and at the same time the strength of his spirits Ideas, as well as special applause on several Italian theaters as Admirung deserves his music, should be kept from pleasant. According to this, however, not only shepherds, but other kinds of people will appear; as if the action melodrama was proclaimed. Your usual willingness will make her pleasant, and this time me because of the Germanization that has been left behind, as which the shortness of time does not allow, (without any hope that it would have to be the otherwise here local gentlemen who are so well-bored as well-bored gentlemen To understand the Italian language that has become completely familiar to Messrs. Spectatoribus, after having enjoyed about fifty operational actions in this royal capital city, it is no longer difficult. Live happily. "

short version

First act. Dorilla, the daughter of King Admetus , loves the shepherd Elmiro in an improper manner. The two keep their relationship a secret. When the dragon Pitone threatens the kingdom, the oracle proclaims that Dorilla must be sacrificed to appease the wrath of heaven. Admeto has no objection, and Dorilla agrees to do so too. The shepherdess Eudamia, who is in love with Elmiro, tries in vain to comfort him. For her part, Eudamia is loved by the shepherd Filindo and uses his feelings for her own purposes. Immediately before the sacrifice on the seashore, the supposed shepherd Nomio (in reality the god Apollo ) kills the dragon and saves Dorilla.

Act II . Nomio asks Admeto to hand Dorilla as reward for his heroic deed. Admeto agrees. In order to put her rival under pressure, Eudamia, with Filindo's help, reveals Dorilla's relationship with Elmiro. Nomio, who sees through Eudamia's jealousy, promises her success. While Elmiro looks for a way out, the residents celebrate their rescue from the dragon with a feast and a hunting trip.

Third act. Dorilla and Elmiro fled together. However, Admeto believes his daughter was kidnapped. Nomio tracks down the couple and brings them back. Admeto sentences Elmiro to death, and Dorilla must continue to marry Nomio. She is also said to watch Elmiro's execution. In desperation, she throws herself into a river, but is saved by Nomio. He now openly reveals himself as Apollo and renounces Dorilla, whom Elmiro is allowed to marry. Filindo receives Eudamia as his wife.

first act

Lovely landscape with hills and blooming meadows

Scene 1. Shepherds and nymphs cheerfully sing about the coming spring (chorus: “Dell 'aura al sussurar”). Among them is the couple Dorilla and Elmiro. Dorilla worries about their future together. So far they have been able to keep their improper relationship a secret from their father, King Admeto, but if he learns about it, his anger will be great. Elmiro assures her that he will always be loyal to her (Aria Elmiro: “La speranza lusinghiera” or “Mi lusinga il dolce affetto”).

Scene 2. King Admeto informs his daughter that the dragon Pitone is threatening the city and the kingdom. Dorilla believes that only a sacrifice can appease the gods and suggests consulting the oracle (Aria Dorilla: "Vedrai, che se sdegnata" or "La speranza ch'in me sento")

Scene 3. The shepherd Nomio asks Admeto what reward he will give to whoever kills the monster. Admeto says he can't put anyone in such danger. He wants to rely on the planned sacrifice and makes his way to the oracle (Aria Admeto: “Dall 'orrido soggiorno”).

Scene 4. Left alone, Nomio (actually god Apollo himself) laments his fate of having to live as a shepherd on earth, to which he was condemned by the king of the gods. He thinks of his former lovers Dafne and Clizia and wonders where his current love for Dorilla will lead him (Aria Nomio “Se al mio ben rivolgo il ciglio”).

A place dedicated to the Oracle of Tempe with an altar and a statue, surrounded by plane trees and laurel

Scene 5. Admeto, Dorilla, Elmiro and the shepherds conjure up the oracle (chorus: “Gemiti, lagrime d'un Popol misero”). To everyone's amazement, some of the plane trees and bay trees turn into cypresses, while the leaves of the others show blood. Above the statue a text appears: “Anger will be appeased when Dorilla is sacrificed to Pitone.” Elmiro does not want to allow this, but Admeto sees no other way out. He says goodbye to his daughter. As he leaves the scene, the trees are covered with golden leaves and the altar flame is lit.

Scene 6. Dorilla and Elmiro complain about the spell and their heartless father. Still, Dorilla is ready to make the sacrifice.

Scene 7. The shepherdess Eudamia tries to comfort the desperate Elmiro by declaring her love for him. When he rejects her, she threatens to tell Admeto about his relationship with Dorilla. Elmiro doesn't care about anything (Aria Elmiro: “Non è ver, ch'il nostro core” or “Saprò ben con petto forte”).

Scene 8. Eudamia has another admirer of her own, the shepherd Filindo. Although she doesn't reciprocate his feelings, she gives him hope. She instructs him to shadow Elmiro (Aria Eudamia: "Al mio amore il tuo risponda").

Scene 9. Filindo realizes that Eudamia only wants to take advantage of him (Aria Filindo: “Rete, lacci e strali”).

Seashore

Scene 10. Temple servants lead Dorilla to the sacrificial site and tie her to a rock. The monster can already be seen in the distance.

Scene 11. Nomio kills the dragon and frees Dorilla. Her father takes her away.

Scene 12. While Nomio looks after the rescued, the shepherds cut off the dragon's head as a trophy, put it on a spearhead and dance (chorus: “Lieta, o Tempe, già spirò” - Solo: “Ogni cuor grato si mostri” - Choir: “Quel teschio orribile”).

Second act

Grotto overlooking the water

Scene 1. Elmiro and Dorilla are happy to be saved. Still, Elmiro worries about the future. He fears that the victor, Nomio, might woo her. Dorilla assures Elmiro of her loyalty (Aria Dorilla: "Come l'onde in mezzo al mare").

Scene 2. Elmiro doesn't believe that Dorilla can withstand her father's power (Aria Elmiro: “Vorrei da lacci sciogliere”).

Scene 3. Admeto offers Nomio a reward for what he did. He asks for Dorilla's hand. Admeto agrees.

Scene 4. Admeto leads Nomio to his daughter and introduces her to him as her bridegroom.

Scene 5. Before Dorilla can answer, Eudamia appears and uses Filindo's testimony to reveal her relationship with Elmiro. Although Dorilla insists that this connection is completely innocent, Admeto gives her an ultimatum: Either she marries Nomio this evening, or she is no longer his daughter (Aria Admeto: "Se ostinata à me resisti").

Scene 6. Dorilla asks Eudamia why she betrayed her. Eudamia first tries to talk herself out of it. However, Nomio reveals her feelings for Elmiro. Dorilla explains that love cannot be forced. Therefore, both Eudamias and Nomios attempts are pointless (Aria Dorilla: "Se amarti non poss'io").

Scene 7. Nomio assures Eudamia that Elmiro will turn to her after Dorilla's wedding (Aria Nomio: “Se penar per un bel volto” or “Bel piacer saria d'un core”).

Scene 8. Filindo accuses Eudamia of her hard-heartedness. She explains that he is not the only one who suffers from lovesickness (Aria Eudomia: "Arsa da rai cocenti").

Scene 9. Filindo no longer wants to endure these humiliations, but wants to drive Eudamia out of his heart (Aria Filindo: “Non vo 'che un infedele”).

Wooded mountain area

Scene 10. Elmiro is desperately looking for a way to win Dorilla over anyway.

Scene 11. Admeto, Nomio, Dorilla, Eudamia and other shepherds descend from the mountain top (chorus: “Con eco giuliva”). A feast in honor of Nomios is being prepared (choir: "Si beva, si danzi, si canti").

Scene 12. Filindo arrives with a group of hunters and rangers, and they all go hunting (chorus: “Alla caccia ogn'uno presti”). The hunters dance.

Third act

A courtyard leading to the Admetos apartments

Scene 1. Filindo tells Admeto that Elmiro kidnapped Dorilla. He promises to do everything possible to avenge this crime (Aria Filindo: "Col piacer del tuo comando").

Scene 2. Nomio tells Admeto that he has already tracked the couple down and brought them back. He asks the king to only impose the punishment on Elmiro, because Dorilla was forcibly kidnapped.

Scene 3. The two fugitives are brought before the king. Both try to protect the other and take the blame on themselves. This angered Nomio so much that he gave up his claims on Dorilla and wanted to leave both of them to die (Aria Nomio: "Fidi amanti al vostro Amore").

Scene 4. Dorilla continues to try to deflect her father's anger from Elmiro and on herself. Admeto remains tough, however. He sentences Elmiro to death and orders her to marry Nomio. Dorilla replies that she would rather take her own life in order to die with Elmiro (Aria Dorilla: "Il povero mio core").

Scene 5. Admeto orders that Elmiro be guarded until he is executed.

Scene 6. Elmiro is not afraid of death, just of having to leave Dorilla. He rejects Eudamia again, which offends her deeply (Aria Elmiro or Eudamia: “Più non vo 'mirar quel volto”).

Scene 7. Elmiro laments his fate (Aria Elmiro: “Non à più pace il cor amante”).

Grove with a river

Scene 8. Dorilla is also deeply desperate.

Scene 9. Admeto brings the shackled Elmiro to his daughter so that she can watch his execution. Dorilla can't stand this and she throws herself into the river.

Scene 10. Admeto and Elmiro watch helplessly as Dorilla threatens to drown.

Scene 11. Nomio appears with the rescued Dorilla in his arms (chorus: “Ceda il duolo in riso, in giubilo”). He finally reveals himself to be Apollo and now realizes that he was deceived by love. On his divine command, Elmiro must be released and marry Dorilla. Eudamia must marry the faithful Filindo. Everyone celebrates the happy ending (choir: “Il cielo ancora”).

music

The surviving score RV 209d requires two recorders , two trumpets , two horns , strings and basso continuo . As pasticcio it contains a large number of arias by other composers, which it has not yet been possible to identify in all cases. The identified pieces come from Johann Adolph Hasse , Geminiano Giacomelli , Leonardo Leo and Domenico Sarro .

In contrast to what is usual with Vivaldi, the sinfonia here clearly relates to the opera itself. In the score it is not in front of the title page, but behind it. The last movement is a C major version of the opening movement of Vivaldi's violin concerto “The Spring”, RV 269, from the Four Seasons and appears again in the introductory choir of the opera, in praise of spring. The unusually extensive choir and ballet interludes correspond to the pastoral character of the opera.

The opera contains the following musical numbers:

RV 709a (libretto), Venice 1726

first act

• Scene 1. Choir: "Dell'aura al susurar" = RV 909d I: 1
  • Duet: "Senti quell'Usignuolo" = RV 909d I: 1
  • Choir: "E in noi la Primavera" = RV 909d I: 1
  • Duet: "Ride in Colle, e ride il Prato" = RV 909d I: 1
  • Choir: "Questa à le bella Stagion novella" = RV 909d I: 1
  • Aria (Elmiro): "Gran piacer d'amante core"
• Scene 3. Aria (Dorilla): "Nel tuo gelo (zelo) ogn'or riposa"
• Scene 4. Aria (Admeto): "Troppo cieco è chi presume"
• Scene 5. Aria (Nomio): “Vincerò quel duro petto” - cf. Questa Eurilla gentil RV 692.22; Fede tradita e vendicata RV Anh 127a.17 (Prague 1727)
• Scene 6. Choir: “Gemiti, lagrime d'un Popol misero” = RV 909d I: 5
• Scene 7. Aria (Dorilla): "Vado a morir, tu resta"
• Scene 8. Aria (Elmiro): "Non può dar questo mio core" - cf. Questa Eurilla gentil RV 692.4
• Scene 9. Aria (Eudamia): “Al mio amore il tuo risponda” = RV 909d I: 8; see. Aristeo RV Anh 127a.4 (Prague 1729) and Semiramide RV Anh 127a.35 (Livorno 1728)
• Scene 10. Aria (Filindo): "Rete lacci e strali adopra" = RV 909d I: 9 (music possibly by Geminiano Giacomelli )
• Scene 12. Duet (Admeto, Dorilla): "L'anima già smarrita"
• Scene 13. Aria (Nomio): “Da più venti scossa fronda” - cf. Questa Eurilla gentil RV 692.11
  • Choir: "Lieta, o Tempe, già spirò" = RV 909d I: 12
  • Solo: "Ogni cuor grato si mostri" = RV 909d I: 12
  • Choir: "Quel teschio orribile" = RV 909d I: 12

Second act

• Scene 1. Aria (Dorilla): "Se non conosci ingrato"
• Scene 2. Aria (Elmiro): "Penò sin ora il cor"
• Scene 5. Aria (Admeto): "Ti consiglia col tuo onore"
• Scene 6. Aria (Dorilla): "E l'amor mio sì forte"
• Scene 7. Aria (Nomio): "Su la sponda sta languendo"
• Scene 8. Aria (Eudamia): "Per te mio dolce amore"
• Scene 9. Aria (Filindo): "L'ingrata fuggirò"
• Scene 11th choir: "Con eco giuliva" = RV 909d II: 11
  • Choir: "Si beva, si danzi, si canti" = RV 909d II: 11
• Scene 12th choir: "Alla caccia ogn'uno presti" = RV 909d II: 12

Third act

• Scene 1. Aria (Filindo): "Col piacer del tuo comando" = RV 909d III: 1
• Scene 3. Aria (Nomio): "Fidi amanti che costanti"
• Scene 4. Aria (Dorilla): “Il povero mio core” = RV 909d III: 4 (composer unknown); see. Fede tradita e vendicata RV Anh 127a.16 (Graz 1736)
• Scene 5. Aria (Admeto): "Mille stragi, e mille morti"
• Scene 6. Aria (Eudamia): "Ah se mi sei lontano"
• Scene 7. Aria (Elmiro): "Arsa da rai cocenti" = RV 909d II: 8
• Scene 12. Choir: “Ceda il duolo in riso, in giubilo” = RV 909d III: 11
  • Choir: "Il Cielo ancora" = RV 909d III: 11

Exchange arias in the appendix to the libretto

• Scene I: 3. Aria (Dorilla): "Da una nube oscura, e densa"
• Scene I: 4. Aria (Admeto): "Hai forte il braccio, il core"
• Scene I: 5. Aria (Nomio): "Giace languente" - cf. La Sena festeggiante RV 693: 33
• Scene I: 8. Aria (Elmiro): "Se il fiero Sibilo d'Augel rapace" - cf. Questa Eurilla gentil RV 692: 4
• Scene I: 13. Aria (Nomio): “Con qual piacer, oh Dio!” - cf. Questa Eurilla gentil RV 692: 11
  • Choir: "A te Nomio, a te il Trofeo"
• Scene II: 2. Aria (Elmiro): "Misero è quel Nocchier"
• Scene II: 6. Aria (Dorilla): "Semplici se credete"
• Scene II: 8. Aria (Eudamia): "Tortora innamorata"
• Scene III: 1. Aria (Filindo): "In campo armato"
• Scene III: 6. Aria (Eudamia): "Non mi manca o luci amate"

RV 709b (libretto), Prague 1732

first act

• Scene 1. Choir: “Dell 'Aure all sussurar” = RV 709d I: 1
  • Duet: "Senti quel'usignuolo" = RV 709d I: 1
  • Choir: "E in noi la Primavera" = RV 709d I: 1
  • Duet: "Ride il Colle, e ride il Prato" = RV 709d I: 1
  • Choir: "Questa à le bella Stagion novella" = RV 709d I: 1
  • Choir (with Dorilla): "Tutto il mondo spira amore"
  • Aria (Dorilla): "Nel tuo zelo ogn'or riposa"
• Scene 3. Aria (Admeto): "Troppo cieco è chi presume"
• Scene 4. Aria (Nomio): "Vincerò quel duro petto"
• Scene 5. Choir: “Gemiti, lagrime d'un Popol misero” = RV 709d I: 5
• Scene 6. Aria (Dorilla): "Vado a morir, tu resta"
• Scene 8. Aria (Eudamia): "Sperasi, che menzognera"
• Scene 9. Aria (Filindo): "Non mi è caro amar penando"
• Scene 10. Aria (Nomio): "Un bell'ardire può innamorarmi"

Second act

• Scene 2nd choir: "Lieta, o Tempe, già spirò"
• Scene 3. Aria (Nomio): "Resto qual Pastorello"
• Scene 4. Aria (Dorilla): "Se non conosci, ingrato"
• Scene 5. Aria (Elmiro): "Fra le pene di Sorte spietata"
• Scene 6. Aria (Eudamia): "T'amo, o Caro idolo mio"
• Scene 7. Aria (Filindo): "Se vedi che splenda"
• Scene 8. Choir: “D'un Ecco giuliva” = RV 709d II: 11
  • Choir: "Qui si beva, si danzi, si canti" = RV 709d II: 11
  • Choir: "Alla caccia ogn'uno presti"

Third act

• Scene 1. Aria (Filindo): “Chi vuol goder d'amor” - cf. Arsilda, regina di Ponto RV 700 III: 5
• Scene 3. Aria (Nomio): "Fidi amanti - Che costanti"
• Scene 4. Aria (Dorilla): "Il povero mio core" (composer unknown)
• Scene 5. Aria (Admeto): "Mille stagi, e mille morti"
• Scene 6. Aria (Nomio): "Prenditi pur il core"
• Scene 8. Choir: "Ceda il duol, che in riso, e in giubilo" = RV 709d III: 11
  • Choir: "Il Cielo ancora" = RV 709d III: 11

RV 709c (libretto), Venice 1734

first act

• Scene 1. Choir: "Dell 'aura al sussurar" = RV 709d I: 1
  • Duet: "Senti quell'Usignuolo" = RV 709d I: 1
  • Choir: "E in noi la Primavera" = RV 709d I: 1
  • Duet: "Ride il Colle, e ride il Prato" = RV 709d I: 1
  • Choir: "Questa à le bella Stagion novella" = RV 709d I: 1
  • Aria (Elmiro): "La speranza lusinghiera"
• Scene 2. Aria (Dorilla): "Vedrai, che se sdegnata"
• Scene 3. Aria (Admeto): “Dall 'orrido soggiorno” = RV 709d I: 3
• Scene 4. Aria (nomio): “Se al mio ben rivolgo il ciglio” = RV 709d I: 4
• Scene 5. Choir: “Gemiti, lagrime d'un Popol misero” = RV 709d I: 5
• Scene 7th aria (Elmiro): "Non è ver, ch'il nostro core"
• Scene 8. Aria (Eudamia): "Al mio amore il tuo risponda" = RV 709d I: 8
• Scene 10 [9]. Aria (Filindo): "Rete, lacci e strali" = RV 709d I: 10 (music by Geminiano Giacomelli )
• Scene 12th chorus: "Lieta, o Tempe, già spirò" = RV 709d I: 12
  • Solo: "Ogni cuor grato si mostri" = RV 709d I: 12
  • Choir: "Quel teschio orribile" = RV 709d I: 12

Second act

• Scene 1. Aria (Dorilla): "Come l'onde in mezzo al mare" = RV 709d II: 1
• Scene 2. Aria (Elmiro): "Vorrei da lacci sciogliere" = RV 709d II: 2 (music by Leonardo Leo )
• Scene 5. Aria (Admeto): "Se ostinata à me resisti" = RV 709d II: 5
• Scene 6. Aria (Dorilla): "Se amarti non poss'io" = RV 709d II: 6 (without text underlay)
• Scene 7. Aria (Nomio): "Se penar per un bel volto"
• Scene 8. Aria (Elmiro): “Arsa da rai cocenti” = RV 709d II: 8; see. Farnace RV 711b II: 4th
• Scene 9. Aria (Filindo): "Non vo 'che un infedele" = RV 709d II: 9 (music by Geminiano Giacomelli )
• Scene 11th choir: "Con eco giuliva" = RV 709d II: 11
  • Choir: "Si beva, si danzi, si canti" = RV 709d II: 11
• Scene 12th choir: "Alla caccia ogn'uno presti" = RV 709d II: 12

Third act

• Scene 1. Aria (Filindo): "Col piacer del tuo comando" = RV 709d III: 1
• Scene 3. Aria (Nomio): "Fidi amanti al vostro Amore"
• Scene 4. Aria (Dorilla): "Il povero mio core" = RV 709d III: 4 (composer unknown)
• Scene 6. Aria (Elmiro): "Più non vuò mirar quel volto" = RV 709d III: 6
• Scene 7. Aria (Elmiro): "Non à più pace il cor amante" = RV 709d III: 7 (music by Johann Adolph Hasse )
• Scene 11th choir: "Ceda il duolo in riso, in giubilo" = RV 709d III: 11
  • Choir: "Il cielo ancora" = RV 709d III: 11

RV 709d (score), without specifying place and date

• Sinfonia
  • 1.… (C major) - for strings and basso continuo; see. Farnace RV 711.1
  • 2. Andante (C major) - for violin I / II, viola and basso continuo; see. Farnace RV 711.2
  • 3. Allegro (C major) - for strings and basso continuo; see. Violin Concerto in E major “La primavera” RV 269.1 from the Four Seasons

first act

• Scene 1. Choir (SATB): “Dell'aura al sussurar dall'onde al Mormorar” - Allegro (C major); for strings and basso continuo
  • Solo (two nymphs in unison): "Senti quel Usignuolo siù la nacente fronda" - Allegro (C major); for strings and basso continuo
  • Choir (SATB): “E in noi di Primavera d'amor lieta” -… (C major); for strings and basso continuo
  • Solo (two shepherds in unison): “Ride il colle e ri de il Prato” -… (C major); for two flutes, strings and basso continuo (without harpsichord)
  • Choir (SATB): “Quest'è la bella stagion” -… (C major); for strings and basso continuo
  • Recitative: "Or frà questi ò Dorilla"
  • Aria (Elmiro): “Mi lusinga il dolce affetto” -… (B flat major); for strings and basso continuo (from Johann Adolph Hasse : Catone in Utica )
• Scene 2. Recitative: "Figlia, Nomio, oh Dei!"
  • Aria (Dorilla?): “La speranza ch'in me sento” - Vivace (G minor); for strings and basso continuo (probably not by Vivaldi)
• Scene 3. Recitative: “Quale signor daresti”
  • Aria (Admeto): “Dall'orrido soggiorno” - Un poco Andante (G minor); for strings and basso continuo (probably not by Vivaldi)
• Scene 4. Recitative: "Se Apollo io son sotto mentite spoglie"
  • Aria (Nomio): “Se al moi ben rivolgo il ciglio” -… (D major); for strings and basso continuo (probably not by Vivaldi)
• Scene 5. Recitative (Admeto): “Nume tu che di tempre” - Adagio (G minor); for strings and basso continuo
  • Choir (SATB): “Gemiti e lagrime d'un popol misero” -… (C minor); for strings and basso continuo
  • Recitative: “Quale portento? Oh Dio! "
• Scene 6. Recitative: "Fiero destin che sento?"
• Scene 7. Recitative: "Senza l'uso de 'sensi immobil resto"
  • Aria (Elmiro): "Saprò (pri) ben con petto forte" - Allegro (G major); for strings and basso continuo (music by Johann Adolph Hasse )
• Scene 8. Recitative: "D'un tal disprezzo à fronte"
  • Aria (Eudamia): "Al mio amore il tuo risponda" - Allegro non molto (B flat major); for violin I / II, viola and basso continuo (probably not by Vivaldi)
• Scene 9. Recitative: “Ancor questo di più. Mio cuor, che dici? "
  • Aria (Filindo): “Rete lacci e strali adopra” -… (D major); for strings and basso continuo (from Geminiano Giacomelli : Alessandro Severo , there on the text "Forte lume esposto al vento")
• Scene 10. Recitative: "Quest'è il Campo fatal"
  • Recitative (Dorilla): “Numi ch'il Ciel reggete” - for harpsichord
  • Recitative: “Già viene il mostro. Oh Dio "
• Scene 11. Recitative: "Non temer, ò Dorilla!"
• Scene 12. Recitative: "Parte cosi Dorilla, senza gettarmi in volto"
  • Choir (S / A, T / B): “Lieta o Tempe già spirò” -… (A major); for violin I / II, viola and basso continuo (probably by Vivaldi)
  • Solo: "Ogni cuor gratto si mostri" - Allegro (C major); for strings and basso continuo
  • Choir (SATB): “Quel teschio orribile in alto appendasi” - Allegro (A major); for strings and basso continuo (probably by Vivaldi)

Second act

• Scene 1. Recitative: "Ah che da tanta gioia"
  • Aria (Dorilla): “Come l'onde in mezzo al mare” -… (E flat major); for strings and basso continuo (probably not by Vivaldi)
• Scene 2. Recitative: "Ah che non val costanza"
  • Aria (Elmiro): “Vorrei da lacci sciogliere” -… (G minor); for strings and basso continuo (from Leonardo Leo : Demetrio )
• Scene 3. Recitative: "Admeto Padre, e Rè se hà quanto basta"
• Scene 4. Recitative: "Del Genitor ai cenni"
• Scene 5. Recitative: "Mà in tal contrasto il fine tuo più degno"
  • Aria (Admeto): “Se ostinata à me risisti” -… (F major); for strings and basso continuo (music by Domenico Sarro )
• Scene 6. Recitative: "Mà dimmi tu qual parte"
  • Aria (Dorilla): (without lyrics, prepared for a setting of “Se amarti non poss'io”) -… (G minor); for violin I / II and basso continuo (probably not by Vivaldi)
• Scene 7. Recitative: "Grande fatalità de nostri affetti"
  • Aria (Nomio): "Bel piacer saria d'un core" - Largo (A major); for strings and basso continuo (from Geminiano Giacomelli : Semiramide riconosciuta )
• Scene 8. Recitative: "Ingrata Eudamia, à rendermi infelice"
  • Aria (Eudomia): "Arsa da rai cocenti" - Allegro non molto (F major); for strings and basso continuo (probably by Vivaldi); see. Farnace RV 711d II: 9
• Scene 9. Recitative: "Che deggio far?"
  • Aria (Filindo): “Non vo 'che un infedele” -… (G major); for strings and basso continuo (from Geminiano Giacomelli : Alessandro Severo )
• Scene 10. Recitative: "Misero Elmiro, oh Dio"
• Scene 11th choir (SATB): “Con eco giuliva” - Allegro (C major); for two horns, strings and basso continuo (probably by Vivaldi)
  • Recitative: "Tempe qui tutta vedi"
  • Choir (SATB): "Si beva, si danza, si canti" - Allegro (C major); for strings and basso continuo (probably by Vivaldi)
• Scene 12. Recitative: "Stuolo da cacciatori"
  • Sinfonia al ballo - Presto (F major); for two horns, strings and basso continuo (probably by Vivaldi)
  • Choir (SATB): “Alla caccia ogn'uno presti” - Allegro (C major); for two horns, strings and basso continuo (probably by Vivaldi)

Third act

• Scene 1. Recitative: "Di Dorilla ò signor tosto in soccorso"
  • Aria (Filindo): “Col piacer del tuo comando” -… (D major); for strings and basso continuo (probably not by Vivaldi)
• Scene 2. Recitative: “Ah indegna figlia! Forse serbata fosti in vita "
• Scene 3. Recitative: "E tu audace sù l'orme"
• Scene 4. Recitative: "Ah Padre deh permetti"
  • Aria (Dorilla): "Il povero mio core nell'aspro" - Tempo giusto (A minor); for violin I / II, viola and basso continuo (probably not by Vivaldi); see. Catone in Utica RV 705 II: 12; Ipermestra RV 722 II: 12; Siroe re di Persia RV 735b II: 15
• Scene 5. Recitative: "Olà costui fra tanto"
• Scene 6. Recitative: “Ne all'amor della vita già infelice”
  • Aria (Eudamia): "Più non vo 'mirar quel volto" - Allegro (E flat major); for strings and basso continuo (probably by Vivaldi); see. L'Atenaide RV 702b III: 5
• Scene 7. Recitative: "Eh ch'in vano tu speri"
  • Aria (Elmiro): "Non ha più pace il cor amante" - Allegro (A major); for strings and basso continuo (from Johann Adolph Hasse : Cajo Fabrizio )
• Scene 8. Recitative: "Desolata Dorilla volger l'incerto piè"
• Scene 9. Recitative: "All'immimente scena spettatrice"
• Scene 10. Recitative: “Ahimè! Ferma deh oh Dio soccoretela "
• Scene 11th choir (SATB): “Ceda il duolo in riso in giubilo” - Allegro molto (D major); for two trumpets, strings and basso continuo (probably by Vivaldi)
  • Recitative: "Admetto ecco tua Figlia"
  • Choir (SATB): "Il cielo an cora tal s'inna mora" - Allegro molto (D major); for two trumpets (?), strings and basso continuo (presumably by Vivaldi)

Work history

The premiere of the first version of Vivaldi's opera Dorilla in Tempe took place on November 9, 1726 in the Venetian Teatro Sant'Angelo . The libretto was by Antonio Maria Lucchini . Lorenzo Moretti (Admeto), Angela Capuano (Dorilla), Maria Maddalena Pieri (Elmiro), Filippo Finazzi (Nomio / Apollo), Anna Girò (Eudamia) and Domenico Giuseppe Galletti (Filindo) sang. The mezzo-soprano Anna Girò sang here for the first time in a work by Vivaldi, to which she subsequently remained lifelong. She sang the two arias “Al mio amore il tuo risponda” (Eudamia) and “Il povero mio core” (Dorilla) from this opera again and again later. Antonio Mauro created carefully elaborated sets. The ballets, to which the choir often sang, were partly choreographed by Giovanni Galletto. Only the libretto of this version has survived. Some of the original arias have probably come down to us in the score of RV 709d (see below). The work was revised during the series of performances. The texts of eleven exchanged pieces can be found in a subsequently printed appendix to the libretto. According to a contemporary report, the production was far better attended than “the work on San Moisè ”, the opera L'amor indovino , which is attributed to Antonio Cortona .

A handwritten libretto with identical text without the changes to the appendix has survived from a performance in a “Teatro Brugnolo in Campo a Santa Margherita” (probably also in Venice) in 1728. It is uncertain whether Vivaldi was involved in this production. His name is just as little mentioned as that of the librettist or the singer.

German title page of the libretto, Prague 1732

In the spring of 1732 Dorilla was played in Tempe in the theater of Count von Sporck in Prague. Of this, too, only the libretto (with a German translation) has survived. It differs significantly from the original version and bears the number 709b in the Ryom directory. Giovanni Micheli (Admeto), Anna Cosimi (Dorilla), Antonio Denzi [o] (Elmiro), Giacinta Costantini (Nomio / Apollo), Cecilia Ramis (Eudamia) and Margherita Flora (Filindo) sang.

A pasticcio version of the opera (RV 709c), in which arias by other composers were also sung, was shown again in the Teatro Sant'Angelo during the carnival season of 1734. The libretto was revised by Bartolomeo Vitturi . The score used has not survived. The singers were Massimiliano Miller (Admeto), Anna Caterina della Parte (Dorilla), Francesco Bilanzoni (Elmiro), Angela Zanucchi (Nomio / Apollo), Marta Arrigoni (Eudamia) and Mariano Nicolini (Filindo). The audience received the premiere “with applause”. However, the production subsequently lost popularity. The fact that the cast, which was completely replaced in comparison to 1726, without the participation of Anna Girò, suggests that Vivaldi was not in Venice at the time.

No performance score has survived from any of the known productions. Instead, an incomplete, partially autographed score has survived in Turin. It apparently belongs to a re-performance of the 1734 version that cannot be otherwise verified. While the text of the recitatives remained unchanged compared to RV 907c, there are major deviations in the music: several arias were exchanged, and in some cases Vivaldi personally adapted the cadences of the Recitatives to the changed keys of the respective following pieces.

In 1993 there was a new production in Nice under the direction of the conductor Gilbert Bezzina, of which a CD was also released.

The conductor Diego Fasolis presented the work in a concert in Lausanne in 2014. He then recorded it on CD.

In April 2019 the opera returned to Venice. The ensemble of the Teatro La Fenice showed it in the Teatro Malibran in a production by Fabio Ceresa. The musical direction was again Diego Fasolis. Manuela Custer sang the title role . The production was taken over by the Wexford Festival Opera in November of the same year , broadcast on the radio and put on the Internet as a video stream.

Recordings

• 1993 - Gilbert Bezzina (conductor), Ensemble Baroque de Nice, Chœur de l'Opéra de Nice .
  Philippe Cantor (Admeto), María Cristina Kiehr (Dorilla), John Elwes (Elmiro), Jean Nirouët (Nomio / Apollo), Consuelo Caroli (Eudamia), Laure Florentin (Filindo).
  Studio shot; Version from 1734, slightly shortened.
  Pierre Verany CD: PV 79409 2 (2 CDs).
• 1-9 May 2014 and 26.-29. July 2017 - Diego Fasolis (conductor), I Barocchisti , Coro della Radiotelevisione svizzera.
  Christian Senn (Admeto), Romina Basso (Dorilla), Serena Malfi (Elmiro), Marina de Liso (Nomio / Apollo), Sonia Prina (Eudamia), Lucia Cirillo (Filindo).
  Studio shot; Version from 1734; Edition by Alberto Stevanin; with Fédéric Delamea's reconstruction of the aria “Fidi amanti”.
  Naïve OP 30560, Vivaldi Edition Vol. 55.
• November 2, 2019 - Andrea Marchiol (conductor), Orchestra and Choir of the Wexford Festival Opera .
  Marco Bussi (Admeto), Manuela Custer (Dorilla), Josè Maria Lo Monaco (Elmiro), Veronique Valdés (Nomio / Apollo), Laura Margaret Smith (Eudamia), Rosa Bove (Filindo).
  Live from the O'Reilly Theater in Wexford; Version from 1734; also as a video.
  Video stream on the Internet; Radio transmission u. a. on hr2 culture .

Digital copies

• Dorilla in Tempe, RV 709 : Sheet music and audio files in the International Music Score Library Project
• Libretto (Italian), Venice 1726. Digitized version of the Munich digitization center
• Libretto (Italian / German), Prague 1732. Digitized at Google Books
• Libretto (Italian), Venice 1734. Digital copy from the Biblioteca Nazionale Braidense

Web links

Commons : Dorilla in Tempe  - collection of images, videos and audio files

• Dorilla in Tempe (Antonio Vivaldi) in the Corago information system of the University of Bologna
• Dorilla in Tempe - Live from Wexford Festival Opera on YouTube
• Information and program with libretto (Italian, PDF) from the Teatro La Fenice Venice, season 2018/2019

Remarks

1. ↑ The information on the vocal ranges differ in the different versions. For the first version that has not been preserved (RV 709a), the voices of the respective singers specified by Corago are used. The voices of the pasticcio version received (RV 709c) correspond to the information in the Ryom directory .
2. ↑ In the libretto of 1734 (RV 709c) this aria is assigned to Elmiro, in the score (RV 709d) to Eudamia.
3. ↑ Incorrectly referred to as scene 11 in the libretto.
4. ↑ In Ryom, indicated as scene III: 12. In the libretto of 1734 it bears the number 11. A scene 12 is missing there.

Individual evidence

1. ↑ Duration of the recording of Diego Fasolis with the preserved parts of RV 709c.
2. ↑ ^{a b c d} Eric Cross:  Dorilla in Tempe. In: Grove Music Online (English; subscription required).
3. ^ Siegbert Rampe : Antonio Vivaldi and his time. Laaber, 2010, ISBN 978-3-89007-468-9 .
4. ↑ ^{a b c d e f g h i} Peter Ryom : Vivaldi catalog raisonné. Breitkopf & Härtel, Wiesbaden 2007, ISBN 978-3-7651-0372-8 , pp. 390-397.
5. ↑ ^{a b c d e f} Supplement to CD Naïve OP 30560, Vivaldi Edition Vol. 55.
6. ^ Work information based on the Ryom catalog on musiqueorguequebec.ca.
7. ^ Record of the performance on November 9, 1726 in the Teatro Sant'Angelo in Venice in the Corago information system of the University of Bologna .
8. ↑ Vincent Borel: Dorilla, the season of Anna Girò, Vincent Borel. In: Supplement to CD Naïve OP 30560, Vivaldi Edition Vol. 55, pp. 31–33.
9. ^ ^{A b} Eleanor Selfridge-Field: A New Chronology of Venetian Opera and Related Genres, 1660-1760. Stanford University Press, Stanford 2007, ISBN 978-0-8047-4437-9 .
10. ^ Record of the performance on January 26, 1734 in the Teatro Sant'Angelo in Venice in the Corago information system of the University of Bologna .
11. ^ Neufert: Review of the production in Nice 1993. In: Opernwelt 6/1993, p. 43, according to the general register of Opernwelt .
12. ↑ ^{a b} Antonio Vivaldi. In: Andreas Ommer: Directory of all complete opera recordings (= Zeno.org . Volume 20). Directmedia, Berlin 2005, p. 22111.
13. ↑ Information on the production in Lausanne 2014 on operamusica.com, accessed on April 16, 2020.
14. ^ Julian Sykes: Un opéra méconnu de Vivaldi. Reference to the performance in Lausanne 2014. In: Le Temps, April 24, 2014, accessed on April 16, 2020.
15. ↑ Program (PDF) of the Teatro La Fenice , season 2018/2019.
16. ↑ Michael Struck-Schloen: Unbroken joy of discovery. Review of the performance in Wexford 2019. In: Opernwelt , December 2019, p. 18.
17. ↑ ^{a b} Vivaldi Opera from the Wexford Festival Opera in the program of hr2-kultur , January 25, 2020, accessed on April 14, 2020.
18. ↑ ^{a b} Dorilla in Tempe - Live from Wexford Festival Opera on YouTube , accessed April 14, 2020.