Elisabetta regina d'Inghilterra

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Opera dates
Title: Elizabeth, Queen of England
Original title: Elisabetta regina d'Inghilterra
Title page of the libretto, Naples 1815

Title page of the libretto, Naples 1815

Shape: Dramma per musica in two acts
Original language: Italian
Music: Gioachino Rossini
Libretto : Giovanni Schmidt
Literary source: Carlo Federici after Sophia Lee
Premiere: October 4, 1815
Place of premiere: Naples, Teatro San Carlo
Playing time: approx. 2 ½ hours
Place and time of the action: London, around 1570
people

Elisabetta regina d'Inghilterra (German: Elisabeth, Queen of England ) is an opera (original name: "dramma per musica") in two acts by Gioachino Rossini . The libretto by Giovanni Schmidt is based on the play Il Poggio di Leicester (1814) by Carlo Federici on the novel The Recess (1783-85) by Sophia Lee . The first performance took place on October 4, 1815 in the Teatro San Carlo in Naples.

action

The English Queen Elisabetta ( Elizabeth I ) is in love with her successful general Leicester . When she learns from his adversary Norfolc that Leicester has secretly married Matilde, the daughter of the Scottish Queen Maria Stuart , she arrests him, Matilde and her brother Enrico as traitors. Norfolc's plans don't work out, however, as Elisabetta disapproves of his insidious behavior. He is therefore planning a popular uprising in which he wants to involve Leicester. These plans are foiled by Leicester, Matilde and Enrico, thereby proving their loyalty to the Queen. They get their freedom back.

«Avvertimento

Il soggetto inedito di questo dramma, scritto in prosa dal signor avvocato Carlo Federici, e tratto da un romanzo inglese, comparve nell'anno scorso sul teatro del Fondo. L'esito fortunato che ottenne ha fatto sì che, a richiesta del'Impresa de 'reali teatri, ho dovuto trattarlo per la musica. Mancavami il manoscritto originale (perchè di pertinenza della comica compagnia, che da più mesi partì di Napoli) onde poter minutamente seguirne le tracce. Essendomi trovato varie volte alla recita, le ho calcate per quanto ha potuto assistermi la memoria, riducendo cinque atti ben lunghi di prosa in due molto brevi in ​​versi. Non mi dichiaro in conseguenza autore se non che delle parole, e di qualche leggiero cambiamento, a cui mi hanno astretto le leggi dell'odierno nostro teatro melodrammatico.

Giovanni Schmidt,

poeta addetto a 'reali teatri di Napoli. "

"Note

The unpublished subject of this drama, written in prose by the lawyer Carlo Federici and based on an English novel, was published last year at the Teatro del Fondo. The happy result that this achieved meant that, at the request of the management of the royal theaters, I was commissioned to edit it for music. I did not have the original manuscript (as it was in the possession of the Comedy Company, which left Naples a few months ago) from which I could have followed the sketches very precisely. Since I was present several times at the performance, I tried to remember as much as I could and reduced the five very long prose acts to two very short ones in verse. I therefore do not call myself an author, apart from the words and a few small deviations that I was forced to make due to the laws of today's melodramatic theater.

Giovanni Schmidt,

poet responsible for the royal theaters of Naples. "

- Foreword from the libretto, Naples 1815

first act

Throne room

Scene 1. After Leicester's troops have defeated the Scots, Norfolc, Captain Guglielmo and other nobles await the arrival of Queen Elisabetta (introduction: “Più lieta, più bella”). Norfolc reacts bad-tempered and jealous to the choir's hymn of praise because he himself was not involved in the fight. Even Guglielmo's persuasion cannot appease him.

Scene 2. Elisabetta appears with her entourage and is greeted by the choir (choir and cavatine: “Esulta, Elisa, omai” - “Quant'è grato all'alma mia”). She prepares for the honor of Leicester and ascends the throne, led by Guglielmo.

Scene 3. Leicester, accompanied by his officers, enters the hall (chorus: “Vieni, o prode”). This is followed by the Scottish nobles who have been taken hostage, including Matilde disguised as a man (his secret wife and a daughter of Queen Mary of Scots ) and her brother Enrico. After the choir praises him, he kneels before the throne and receives an order from Elisabetta. Only now does he, horrified, discover his wife among the hostages. Elisabetta magnanimously names the hostages her pages. She descends from the throne and offers Leicester her hand to kiss. Norfolc is furious. But Matilde can hardly hide her jealousy and has to be held back by her brother. While everyone else is leaving, Leicester waves to Matilde to speak to her.

Scene 4. Leicester reproaches Matilde for following him despite the dangers (duet: "Incauta! Che festi!").

Scene 5. Enrico arrives and is reprimanded as well. He justifies himself by saying that he could not hold back his sister and only came with him to protect her. Leicester points out that Elisabetta swore to die all descendants of Maria Stuart and advises greater caution. He goes to ask his friend Norfolc for assistance.

Scene 6. Enrico tries in vain to encourage Matilde. She leaves the room after a desperate aria (Cavatine: “Sento un'interna voce”).

Scene 7. Enrico has bad premonitions.

Queen's apartments

Scene 8. Leicester tells Norfolc about his association with Matilde. After being separated from his companions during a storm in Scotland, he was taken in by a farmer, with whom he had come to know and love Matilde as his supposed daughter. Norfolc pledges its support. Leicester goes.

Scene 9. Norfolc enjoys this opportunity to get revenge on Leicester.

Scene 10. Norfolc tells Elisabetta about Leicester's secret marriage to Maria Stuart's daughter and reveals that she and her brother are among the hostages. He pretends to be saddened by this news and wants to prove Leicester's loyalty (duet: “Perchè mai, destin crudele”). Elisabetta is appalled by Leicester's betrayal and resolves his death. Both go.

Scene 11. Guglielmo worries about the queen, whom he has never seen so angry. He suspects Norfolc's intrigue.

Scene 12. Elisabetta tells Guglielmo to summon Leicester and then the Guards and the Scottish pages. Guglielmo rushes to carry out the assignment.

Scene 13. Elisabetta laments Leicester's treason and swears vengeance.

Scene 14. Leicester, Matilde, Enrico and the other hostages enter the room from different sides. Elisabetta realizes from the behavior of Leicester and Matilde that Norfolc's allegations are true. She lets Leicester step forward and promises him the reward due to his fame: She has chosen him to be king and husband (Finale I: “Se mi serbasti il ​​soglio”). A guard brings a vessel with a scepter and a crown. Leicester and his people are shaken. He tries to convince himself that he is not worthy of this honor. After a short silent scene in which Elisabetta observes the restlessness of the spouses, she declares that she knows the truth and calls the guards.

Scene 15. Guglielmo and the guards and guards enter the room. Elisabetta has Leicester, Matilde and Enrico arrested. Your asking for forgiveness is of no avail. They are led away separately while the choir laments the sad turn of events.

Second act

room

Scene 1. Norfolc feels a remorse and encourages himself.

Scene 2. Guglielmo tells him that the Queen doesn't want to see him at the moment and that he is free to leave. He goes.

Scene 3. Norfolc hopes for a later opportunity to pursue his plans. He goes too.

Scene 4. Elisabetta tells Guglielmo to bring Matilde to her.

Scene 5. Matilde is shown in by the guard. After the guard leaves, Elisabetta declares that she is willing to forgive her if she breaks away from Leicester. Matilde remains steadfast for a long time. Only after repeated orders from Elisabetta does she sit down to sign the document presented (Terzett: “Pensa che sol per poco”). At that moment Leicester appears at the entrance.

Scene 6. Leicester enters the room and reads the document. When Elisabetta asks him to follow his wife's example, he tears up the sheet. Despite Elisabetta's threats, the spouses encourage each other. You will be taken away by the guards.

Scene 7. Elisabetta remembers her love for Leicester.

Scene 8. Guglielmo tells Elisabetta that Norfolc wants to see her. Elisabetta reacts angrily and banishes Norfolc for his treachery at Leicester. She goes.

Scene 9. Guglielmo hopes that Norfolc's falsehood will soon be fully exposed. He goes to inform him of his exile.

Place by the prison cells

Scene 10. Choirs of the people and soldiers lament the fate of the national hero Leicester (choir: “Qui soffermiamo il piè”). You go to the dungeon entrance.

Scene 11. Norfolc, indignant about his exile, speaks to the soldiers passing by. In order to still be able to exercise his revenge, he persuades her to storm the prison to free Leicester. When the choir advises him to rely on the justice of the throne, he replies that Elisabetta disregards the prince's heart and friendship.

The interior of a spacious dungeon vault

Scene 12. Leicester contemplates its changeable fortunes that day. He is overwhelmed by tiredness and dreams of a conversation with his wife (scene and aria: "Della cieca fortuna").

Scene 13. Norfolc enters the cell with two carpenters and greets Leicester as a friend. However, he knows through Elisabetta that Norfolc has revealed his secret. Norfolc denies this and replies that he campaigned for him in vain with Elisabetta. Now he wants to free him, Matilde and Enrico. The carpenters should first break down the wall between their cells. Leicester finally believes his pledges of friendship and asks forgiveness for his suspicions (duet: "Deh! Scusa i trasporti"). After the two have sworn their friendship, Norfolc informs Leicester that the people in front of the prison are ready to help and follow him to freedom. However, Leicester declares that it does not want to become a traitor to the Reich and refuses.

Scene 14. The carpenters break down the wall and move away. Before Norfolc can force Leicester to flee again, Elisabetta appears in simple clothes with a security guard who lights her up. Norfolc is hiding behind a pillar. Matilde and Enrico can be seen behind the wall breakthrough, but are not noticed by those present. The guard puts down the torch and withdraws. Leicester throws herself at the Queen's feet. Elisabetta tells him that she had to sign the death sentence imposed on him by the lords as queen, but that "Elisabetta" was not behind it. She therefore wanted to help him escape. Leicester declares that under no circumstances does he want to flee because it can be interpreted as evidence of his betrayal - although he is guilty of love, he has not committed a crime against the throne. He asks Elisabetta only to save his wife and her brother. Elisabetta replies that this is not possible because Norfolc had named the two as fellow traitors in the presence of the lords. Leicester now realizes the insidiousness of his alleged friend and reveals Elisabetta his plan to put him at the head of the people. Enrico and Matilde step out and point to the hidden Norfolc. He draws his sword and pounces on Elisabetta. However, he is disarmed by Enrico and Matilde. Leicester calls for the guards.

Scene 15. Guglielmo and the guards enter. Elisabetta arrests Norfolc and sentences him to death (Finale II: “Fellon, la pena avrai”). He is being led away. Elisabetta hugs Matilde and Enrico and leads them to Leicester. As the three fall at the Queen's feet, the choir can be heard outside calling for Leicester. The prison gates are opened.

Last scene. The choir of soldiers and people appear and throw themselves at the Queen's feet. Elisabetta reinstates Leicester in his honor and gives up hope in his love.

layout

According to the Reclam opera lexicon, Rossini's Elisabetta is considered the “prototype of historical-romantic opera”. Here for the first time he completely dispensed with secco recitatives . In addition, he wrote out - also for the first time - all the ornamentation of the vocal parts, which the soloists should now sing exactly as specified.

As an overture, Rossini again used that of Aureliano in Palmira from 1813, which he also used in 1816 for Il barbiere di Siviglia . However, it was probably originally composed for L'equivoco stravagante as early as 1811 . For Elisabetta, Rossini adapted the instrumentation to the orchestra of the Teatro San Carlo . The crescendo of the overture is repeated at the end of the first act. For the orchestral introduction to the prison scene in the second act, Rossini used music from Ciro in Babilonia . The Cavatine of Elisabetta in the first act comes from Aureliano in Palmira and was later also used in Il barbiere di Siviglia .

Instrumentation

The orchestral line-up includes the following instruments:

Music numbers

  • Sinfonia

first act

  • No. 1. Introduction (choir, Norfolc): "Più lieta, più bella" (scene 1)
  • No. 2. Choir and Cavatine (Elisabetta): "Esulta, Elisa, omai" - "Quant'è grato all'alma mia" (scene 2)
  • No. 3. Choir: "Vieni, o prode" (scene 3)
  • No. 4. Duet (Leicester, Matilde): “Incauta! che festi! "(Scene 4)
  • No. 5. Cavatine (Matilde): "Sento un'interna voce" (scene 6)
  • No. 6. Duet (Norfolc, Elisabetta): "Perchè mai, destin crudele" (scene 10)
  • No. 7. Finale I: "Se mi serbasti il ​​soglio" (scene 14)

Second act

  • No. 8. Trio (Elisabetta, Matilde, Leicester): "Pensa che sol per poco" (scene 5)
  • No. 9. Choir, scene and cavatine (Norfolc): “Qui soffermiamo il piè” - “Deh! troncate - i ceppi suoi "(Scene 10)
  • No. 10. Scene and aria (Leicester): "Della cieca fortuna" (Scene 12)
  • No. 11. Duet (Leicester, Norfolc): “Deh! scusa i trasporti "(scene 13)
  • No. 12. Finale II: "Fellon, la pena avrai" (scene 15)

music

Particularly successful positions are:

  • Elisabetta's performance aria (first act, scene 2), which can also serve as an example of Rossini's method of adopting musical elements from earlier works
  • Matilde's duet with Leicester (first act, scene 4), which was particularly praised at the premiere
  • The Cavatine Matildes (first act, scene 6) especially because of the orchestral accompaniment
  • Norfolcs Verrat (first act, scene 10), whose music consists of an accompaniment recitative with tremoli and string pizzicati, as well as his subsequent duet with Elisabetta.
  • The finale of the first act with its combination of splendor and inwardness
  • Leicester's dream scene (second act, scene 12) with wind choir and broken vocal line

Work history

The opera's libretto was written by the Tuscan Giovanni Schmidt (1775? –1840?). It is based on the play Il paggio di Leicester (1814) by Carlo Federici based on the novel The Recess (1783–85) by Sophia Lee . According to his own information in the foreword of the libretto, Schmidt reconstructed the plot from memory after having attended the play several times. In some older publications, Andrea Leone Tottola was incorrectly named as the author of the libretto. Schmidt was the author of over a hundred librettos. Alexis Azevedo described him in his Rossini biography as follows: “Ce Schmidt manquait essentiellement de gaieté: il avait le caractère fort lugubre, et ne parlait jamais que de malheurs et de catastrophes. Rossini, dont sa conversation éteignait la verve, dut, pour pouvoir travailler, prier Barbaja de lui épargner les EntreVues avec ce navrant personage. " (" This Schmidt went above all joy; he always spoke only of misfortunes and disasters Rossini whose. The zest for life was suppressed by such conversation, it was necessary, in order to be able to work, to ask Barbaja to spare him meetings with this depressing man. ").

Giacomo Pregliasco: Isabella Colbran as Elisabetta - Teatro San Carlo, Naples 1815

The soprano Isabella Colbran (Elisabetta), the tenor Andrea Nozzari (Leicester), the soprano Girolama Dardanelli (Matilde), the mezzo-soprano Maria (?) Manzi (Enrico) sang at the premiere at the Teatro San Carlo in Naples on October 4, 1815 and the tenors Manuel García (Norfolc) and Gaetano Chizzola (Guglielmo). On the same day Gli amori di Adone e Venere was performed based on a libretto by Paul Duport . It was Rossini's first opera written for the Teatro San Carlo. The theater's autumn season opened with the performance. In addition, according to the title page of the libretto, the name day of the Hereditary Prince of the Two Sicilies , Francesco , was celebrated. Therefore King Ferdinand I and the court were also present.

The performance was a great success. This was mainly thanks to the singer of the title role, Isabella Colbran, for whom Rossini could write the most virtuoso coloratura . Nozzari and Garcia were among the best tenors of their time. The opera was given at the Teatro San Carlo until October and opened the winter season on December 26th.

In May 1816 the opera was performed again in Naples, this time at the Teatro del Fondo. Many other performances followed in Italian cities by around 1840. Outside Italy there were performances in Barcelona (August 1817), Dresden (1818 and 1819), Vienna (1818, failure), London (April 30, 1818), Saint Petersburg (1820 in Russian), Paris (1822 in Italian) , Berlin (1824), Odessa (1830) and Mexico (1834). In May 1822 the opera was performed as part of a Rossini cycle at the Kärntnertortheater in Vienna. Here, too, Isabella Colbran sang the title role and received overwhelming reviews. The Allgemeine Musikische Zeitung wrote: "Signora Colbran sang the title role wonderfully [...] and she was really the queen of this evening." Andrea Nozzari (Leicester) and Giovanni David (Norfolc) could be heard alongside Colbran . In 1824 Giovanni Battista Rubini took over the role of Norfolc in Vienna.

Recordings

Web links

Commons : Elisabetta regina d'Inghilterra  - Collection of images, videos and audio files

Individual evidence

  1. ↑ Elisabetta, regina d'Inghilterra. In: Reclam's Opernlexikon. Digital library volume 52. Philipp Reclam jun., 2001, p. 721.
  2. ↑ a b c d e f g Herbert Weinstock : Rossini - A biography. Translated by Kurt Michaelis. Kunzelmann, Adliswil 1981 (1968), ISBN 3-85662-009-0
  3. ^ A b Wilhelm Keitel , Dominik Neuner : Gioachino Rossini. Albrecht Knaus, Munich 1992, ISBN 3-8135-0364-X
  4. ↑ Elisabetta, regina d'Ighilterra the Center for Italian Opera Studies at the University of Chicago , accessed October 22, 2015.
  5. ^ Richard Osborne: Rossini - life and work. Translated from the English by Grete Wehmeyer. List Verlag, Munich 1988, ISBN 3-471-78305-9
  6. ^ A b Richard Osborne:  Elisabetta, regina d'Inghilterra. In: Grove Music Online (English; subscription required).
  7. ↑ Alexis Azevedo: G. Rossini - Sa vie et ses œuvres. Heugel, Paris 1864, p. 92 f. Translation in Weinstock, p. 59.
  8. ^ Record of the performance of Elisabetta regina d'Inghilterra on October 4, 1815 in the Corago information system of the University of Bologna
  9. ^ Michael Jahn, The Vienna Court Opera from 1810 to 1836. The Kärnthnerthortheater as a court opera. Vienna 2007, p. 265.
  10. ↑ a b c d e f g h i j Gioacchino Rossini. In: Andreas Ommer: Directory of all opera complete recordings. Zeno.org , volume 20.
  11. ^ Admission by John Burrows (1998) in the discography of Elisabetta regina d'Inghilterra at Operadis.
  12. ↑ Giorgio Paganini (2004) was included in the discography for Elisabetta regina d'Inghilterra at Operadis.