Erismena
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| Title: | L'Erismena |
Title page of the libretto, Venice 1655 |
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| Shape: | Opera in a prologue and three acts |
| Original language: | Italian |
| Music: | Francesco Cavalli |
| Libretto : | Aurelio Aureli |
| Premiere: | December 30, 1655 |
| Place of premiere: | Teatro Sant'Apollinare , Venice |
| Place and time of the action: | Tauris in media |
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Prologue (1655)
action
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Erismena (also L'Erismena ) is an opera in a prologue and three acts by Francesco Cavalli (music) with a libretto by Aurelio Aureli . It was premiered on December 30, 1655 at the Teatro Sant'Apollinare in Venice.
action
The opera takes place in Tauris , the old residence of the Medes .
prehistory
The Median prince Erimante falls in love with Arminda, the sister of King Artamene, while visiting Armenia. They are expecting a child, but Erimante's father, the king of the media, dies in the last month of pregnancy. Erimante is called back to his homeland to succeed him. Arminda dies shortly after giving birth. Lady-in-waiting Ercinia takes the girl, Erismena, and raises her. When Erimante learns of the death of his beloved, he swears to remain loyal to her until death. Nevertheless, he later falls in love with his slave Aldimira - in reality the Iberian princess Stella, who, together with her wet nurse, had been kidnapped by pirates and taken to the media.
Ercinia dies without telling Erismena about her father. Erismena falls in love with the Iberian prince Idraspe, who came to Armenia in search of adventure. He promises her marriage - but after a while he gives in to his urge for adventure and sets off on a journey to the media to see the much-vaunted beauty of Aldimiras (his unrecognized sister). Because the media and Iberia are enemies, he takes the name Erineo. He finds a cupbearer at the royal court and immediately falls in love with Aldimira.
At this time the Armenian King Artamene is on a campaign against the media and besieges Erimante's residence Tauris with his army. Erismena, who cannot forgive Idraspe for his betrayal and thirst for revenge, learns of his stay in the media. She joins the Armenian army disguised as a man. Prince Orimeno of Colchis, another admirer of Aldimira, comes to the aid of Erimante with his army, defeats Artamene and kills him in the course of the battle.
short version
After the victory against the Armenians, King Erimante dreams that a knight is robbing him of his crown. Orimeno's servant Argippo finds a wounded Armenian soldier (the disguised Erismena) in a tent and brings him to his master, who in turn entrusts him to his lover Aldimira. She falls in love with him on the spot and gives her previous admirers Orimeno and Erineo the pass. Erimante, who recognizes the soldier as the knight from his dream, orders Erineo to poison him. He also orders the release of his slave girl Aldimira, whom he wants to marry. Aldimira wants him to release the prisoner, which Erimante promises her only in appearance.
When Erineo enters Erismena's apartment to carry out the king's orders, she recognizes him as her faithless fiancé Idraspe. She faints without even drinking the poison. Erimante assumes that she is dead and cynically promises Aldimira that she can marry the soldier if she can wake him. This succeeds without any problems, and Erismena apparently agrees to the marriage with Aldimira, as she wants to hand this over to Erineo / Idraspe in return. Erimante, however, does not know anything about this, but shortly afterwards announces that he will marry Aldimira himself. When she instead presents him with the Armenian soldier as a fiancé, he has her, the soldier and Erineo / Idraspe (who did not carry out his murder order) thrown into dungeon.
The king learns that Orimeno has freed the prisoners and orders them to be pursued. Erismena flees together with Erineo / Idraspe, as she hopes for an opportunity to take revenge on him. However, the two are quickly arrested again. Orimeno continues to woo Aldimira, who asks him to free the Armenian soldier again. Erineos / Idraspe's confidante Clerio (a moor) fears that his master will die of lovesickness and writes an epitaph in which he reveals his true identity. When he recites it to Aldimira and her wet nurse Alcesta, the latter recognizes Aldimira's brother in Idraspe and reveals their Iberian descent. The king, meanwhile, orders that Erineo / Idraspe and the Armenian soldier kill each other in a duel. Erismena takes off her armor and reveals herself to Idraspe. The two make up again. From a medallion on her neck, Erimante recognizes that she is his own daughter. Erismena will marry Idraspe and Aldimira will be married to Orimeno.
In addition to this main storyline, there are some entanglements in the minor characters. Both Orimeno's servant Argippo and Erineos / Idraspe's confidante Clerio fall in love with the seraglio lady Flerida, and the old nurse Alcesta is always looking for a lover.
Prologue (1655)
Blooming garden
The allegories of eloquence (“La Facondia”) and peculiarity (“La Bizzaria”) wonder why the whims (“Capricci”) put on a show without their support. Both consider themselves indispensable. The peculiarity thinks it can do without the eloquence. Before they end their argument, the spectacle of whims is over.
first act
Medes camp with a view of the defeated Armenian army
Scene 1. The day after the victorious battle against the Armenians, King Erimante wakes up from sleep. He dreamed that a knight would rob him of his crown. His captain Diarte pulls him out of his thoughts.
Scene 2. Meanwhile, Argippo, Orimeno's servant, finds a wounded Armenian soldier in a tent. It is about Erismena in disguise, who is looking for her faithless lover Idraspe.
Scene 3. Since he had noticed this soldier in battle because of his courage, Orimeno decides to bring him back to Medien (Orimeno: “Faville d'amore”).
Courtyard of the Seraglio
Scene 4. The slave Aldimira looks at the portraits of her two lovers, the supposed cupbearer Erineo and the prince Orimeno (Aldimira: "O care effigie, o care").
Scene 5. Her servant Flerida encourages her to get more lovers. Argippo reports to the two women Erimante's victory in the battle and the early release of Aldimira, which the king, who was in love with her, had promised. He takes the opportunity to court Flerida.
Scene 6. The old nurse Alcesta joins them. She expresses her anger at two young noblemen who mocked her.
Scene 7. Orimeno assures Aldimira of his love and asks her to take care of the wounded soldier, as he must return to the king.
Scene 8. Aldimira falls in love with the soldier at the first glance and forgets her other admirers. Alcesta and Flerida encourage her flightiness.
Scene 9. The wet nurse regrets that no one falls in love with her because of her age (Alcesta: “Maledetto sia del tempo”).
Scene 10. Meanwhile, Erineo / Idraspe informs his confidante, the Moor Clerio, that he wants to postpone his return to Iberia because of Aldimira. Clerio, on the other hand, pushes to leave. He reminded Idraspe of the Armenian whose love he had spurned.
Scene 11. Clerio pities the women who fall for unfaithful seducers.
Scene 12. Erismena, on the other hand, hopes for a turn of fate.
Scene 13. She confides in Orimeno that she is suffering from an impermanent heart. The prince encourages her.
seraglio
Scene 14. Erimante asks Alcesta to lead Aldimira to him. Alcesta comments on the king's obvious feelings for his slave.
Scene 15. Argippo reports the arrival of his general Oriste to Erimante.
Scene 16. Oriste pays his respects to the king.
Scene 17. Orimeno leads in the Armenian prisoner (Erismena) and at the same time begs Erimante for mercy for him.
Scene 18. The king is frightened because he recognizes in the prisoner the knight from his dream.
Scene 19. Erimante orders the terrified Erineo to poison the prisoner.
Scene 20. When Aldimira comes in with Alcesta, the king orders her to be released so that he can marry her and make her queen.
Scene 21. Erimante promises Aldimira to grant her every wish. Aldimira asks for the release of the mysterious prisoner. Erimante realizes that she loves this one. Still, he vows that he will hand it over to her. Aldimira cheers - she doesn't know that Erimante only wants to give her his corpse.
Here the prisoners remove the chains from their feet, intertwine them and dance for joy at their regained freedom.
Second act
Erimante's apartments
Scene 1. Erismena's feelings fluctuate between despair and hope (Erismena: “O fiere tempeste” - “Speranze, voi che siete avvezze a lusingar”).
Scene 2. Flerida tells the captured soldier (Erismena) that Aldimira had given up her other admirers out of love for him. She hands him the pictures of his two rivals that Aldimira gave her for this purpose.
Scene 3. Erismena feels sorry for the deceived Aldimira, whose feelings she cannot return (Erismena: “Sventurata Aldimira”). Then her gaze falls on the pictures. She recognizes her faithless fiancé Idraspe on one of them and lets her anger run wild.
Scene 4. At that moment, Erineo enters to poison the prisoner. Erismena recognizes her faithless lover Idraspe in him and faints before she can drink the poison.
Scene 5. Erimante appears, believes the soldier is dead, and orders Erineo / Idraspe to fetch Aldimira. Erineo has no way of explaining the situation to him. The king is amazed at the strange feeling of pity that he has.
Scene 6. When Aldimira enters, Erimante quickly regains his composure. He cynically promises her that she will be able to marry the unknown soldier if she can wake him up. Then he leaves the room.
Scene 7. Aldimira wakes the soldier (Aldimira: “Vaghe stelle”). Before Erismena fully regains consciousness, she curses the cruel Idraspe and mentions her own name. When Aldimira asks her about her identity and the named people, Erismena poses as her own brother and claims to be persecuting Idraspe, who seduced and left his sister and lives here under the name Erineo. Aldimira promises to hand this over to him if he agrees to marry her. Erismena accepts pretend, and the scene ends with a love duet.
Scene 8. Orimeno, who has been listening to the conversation with Argippo, tries to give up Aldimira. But he is not sure whether his resolve is sufficient.
Scene 9. Argippo comments on the sufferings of the unhappy in love and the inconstancy of women.
Scene 10. Flerida is determined not to give in to Argippus' wooing (Flerida: "Vaghi Adoni"). But when she realizes that he was listening, she changes her mind and confesses her love to him.
Royal Palace courtyard
Scene 11. Erineo / Idraspe accuses Aldimira of not loving him anymore, but of getting a different suitor. He threatens suicide, but she doesn't respond.
Scene 12. Clerio accuses Alcesta of looking for lovers among his people. Alcesta boasts of the advantages of its old age (Alcesta: "Vecchiarella, che d'amore"). Clerio replies that a woman with white hair should no longer play herself, but should instead help others play.
Scene 13. Erimante has a tournament held to celebrate his victory over the Medes. He tells Diarte, Orimeno and Erineo / Idraspe that he wants to marry Aldimira and make her queen of the media. Orimeno and Erineo are horrified.
Scene 14. Aldimira appears, thanks Erimante and, to his surprise, introduces him to her chosen husband - Erismena, who still appears as a soldier. Beside himself with anger, the king orders Aldimira, her husband and the traitor Erineo, who was supposed to kill him, to be thrown into dungeon.
Scene 15. Erismena lost the portrait of her fiancé at the end of the previous scene. This (Erineo / Idraspe) picks it up and recognizes that Aldimira no longer loves him. Diarte says he can comfort himself with the thought that he will be in the same prison as her.
Scene 16. Alcesta harasses Argippo with her lust for love and claims that Flerida is unfaithful to him.
Scene 17. Flerida joins them. She and Argippo make fun of the old woman and leave.
Scene 18. Alcesta now turns to the Moor Clerio and wants to marry him. But Clerio also rejects them.
Here follows a ballet by Moors and Mohrinnen.
Third act
Royal garden
Scene 1. Diarte begs King Erimante for mercy for Aldimira. But he remains tough, even though he is torn between anger and pity.
Scene 2. Flerida praises the power of love and laments that women are so easily moved by it. But in the end, that's exactly what she likes.
Scene 3. Argippo and Clerio court Flerida. She chooses Argippo and rejects Clerio.
Scene 4. Erimante still cannot decide whether to follow love or anger.
Scene 5. The prison guard informs Erimante that Orimeno freed the prisoners and stole Aldimira. The king furiously swears vengeance and orders the fugitives to be pursued.
Prison yard
Scene 6. Even though she has gotten rid of her chains, Erismena does not feel free at heart yet.
Scene 7. Erineo / Idraspe suggests that the soldier / Erismena flee together. She likes to respond as she hopes for an opportunity to revenge.
Scene 8. Orimeno vigorously advertises Aldimira. She feels pressured by him and accuses him of separating her from her lover.
Scene 9. Argippo urges Orimeno and Aldimira to hurry because the soldiers have already arrested Erineo and the Armenian soldier again. Aldimira begs Orimeno to free her husband. Orimeno wants to grant the wish of his beloved and asks in return for a look in love from her.
Scene 10. Orimeno suffers from his unrequited love for Aldimira.
Scene 11. Clerio also curses love and laments his master Idraspe, whose death he fears. So that everyone knows of his royal ancestry, he decides to write an epitaph.
Scene 12. Aldimira enters with Alcesta. The latter is initially hiding to await the result of Orimeno's petition for mercy. Aldimira remains, however (Aldimira: "Ch'io parta? Non posso"). Clerio asks them to engrave the epitaph on his grave after Erineo's death. As he recites it, the two women learn that Erineo is really the Iberian prince Idraspe. Alcesta is deeply shocked. She steps forward and reveals to Aldimira that Idraspe is her brother: As a child, Aldimira was kidnapped by pirates together with her (Alcesta) and given to the king of the media. You have so far had to keep your identity a secret because of the old hostility of Aldimira's father and Erimante. Aldimira decides to free her brother and ask the king for mercy for him.
Scene 13. Flerida tries to stop Argippo from leaving, but he finally convinces her to go with him.
Erimantes Palace
Scene 14. Idraspe and Erismena, who have been arrested again, lament their fate.
Scene 15. Erimante enters and promises them an imminent death. Both want to take the blame on themselves to relieve the other. The King then orders Diarte to give everyone a sword so that they can kill each other in battle. Diarte and Erimante go out.
Scene 16. When she is alone with Idraspe, Erismena insists that they fight on equal terms. She takes off her armor and reveals herself to her unfaithful fiancé - ready to kill him afterwards. But Idraspe asks her on her knees for forgiveness for his actions and swears his love to her. Erismena, overwhelmed by her feelings, forgives him. Both fall reconciled into each other's arms.
Scene 17. When Erimante returns and finds that the prisoners are still alive, he reacts angrily. Only when he realizes that Erismena is a woman does he calm down. To his surprise, he discovers a medallion on her neck that he had once given to his childhood sweetheart Arminda. Erismena says that she was given the portrait by her nurse Ercinia as a child in Armenia. The king realizes that Erismena is his daughter and Arminda's. So his dream did not mean a violent robbery of the throne, but was merely an indication of their birthright.
Scene 18. Aldimira and Alcesta arrive and, to their astonishment, find the king embracing the strange soldier, Aldimira's bridegroom. Gradually everything clears up. Idraspe gives up his disguise and Alcesta informs him that Aldimira is really his sister Stella. The king thereupon declares the old enmity with Iberia over and promises Idraspe the hand of his daughter Erismena.
Scene 19. Finally Orimeno appears and asks the king for forgiveness, which he receives immediately. In addition, Erimante now renounces Aldimira, who is therefore allowed to marry Orimeno. Her brother Idraspe also agrees. Everyone celebrates the joy and peace that have finally returned after the long suffering.
layout
The original orchestral line-up for the opera consists only of a three-part string ensemble and basso continuo .
As was customary in Venice back then, Erismena is referred to as “dramma per musica”. Apart from the prologue, the opera dispenses with mythological figures, gods or allegories. Instead, more human characters act here, as they also appeared in the contemporary novels.
Like most of Cavalli's operas, Erismena has a hybrid character. Tragedy and comedy stand side by side on an equal footing. Cavalli increasingly developed closed musical forms such as arias, which alternate with recitatives in the style of recitar cantando . The action takes place in the dialogical recitatives.
Aldimira's performance aria "O care effigi" (I, 4) is particularly beautiful. As she looks at the pictures of her admirers, she sings dreamily in a high register to a passacaglia-like bass line. This aria has an ABCCA form, an extension of the usual three-part ABA song form.
A sequence of scenes of masterful drama can be found at the beginning of the second act (II, 4-7): Erineo enters the room of the disguised Erismena in order to poison her. She recognizes in him her faithless lover Idraspe and faints. King Erimante, who commissioned the murder, thinks her dead, and Aldimira wakes her up with an aria.
Aldimira's aria “Ch'io parta? non posso ”(III, 12) begins and ends with this chorus line set as a recitative, while the rest of the text is composed of three meters in the form of eight senars . Cavalli reinforces the contrast between these two parts through harmonics. The refrain ends openly in C major, which turns out to be the dominant feature of the actual aria, which modulates via F major to C minor and finally to B major. The repetition of the refrain ends again on the dominant, which is then resolved by the continuo. The musical contrast thus reinforces the drama of the plot. Since the text itself does not require such a contrast, it is obviously a decision of the composer.
Work history
The libretto for the opera is by Aurelio Aureli . Apart from completing the Eliogabalo , it is the only operatic libretto that Cavalli wrote for Cavalli. Cavalli received 150 ducats for the composition. The impressive dungeon scene - one of Cavalli's most touching lamentations - he adopted from his opera L'Ormindo from 1644.
The first performance took place on December 30, 1655 at the Teatro Sant'Apollinare in Venice - with subsequent performances until February 28, 1656. Giovanni Battista Volpe (Rovettino) was the musical director. The set was by Simon Guglielmi, the costumes by Paulo Morandi and the dances by Giovanni Battista Martini. Angelica Felice Curti, Anna Felicita Chiusi, Orsetta Parmine, Giovanni Battista Veralli, Giacinto Zucchi, Amato Riminuzzi, Antonio Draghi, Girolamo Zorzi (as Vecchia), Stefano Costa, Zanetto Caliari and Pietro Veralli sang. The opera was u. a. A great success because of the memorable arias.
In the following two decades, Erismena was played a lot in Italy and revised several times. There is evidence of performances in Bologna (1661 and 1668 in the Teatro Formagliari), Milan (February 11, 1661), Florence (February 22, 1661 in the Teatro del Cocomero), Ferrara (1662 and 1669), Ancona (1666), Brescia (1666) , Genoa (1666 in the Teatro Falcone), Lucca (1668), Venice (13 February 1670 in the Teatro Vendramin ) and Forlì (1673). There were a total of 32 performances in front of an ever larger audience. Seven performances are known to have had more than 200 paying visitors. Only once were fewer than 100 tickets sold.
The autograph of the score has not survived. There are two different copies in the Biblioteca Marciana in Venice. The first (Cod. It. IV. 417) corresponds to the original libretto from 1655, the other (Cod. It. IV. 360) a revision from 1670. Cavalli changed the voices of some parts for the latter: Idraspe became soprano (previously alt ), Alcesta a tenor (previously alto) and Orimeno a mezzo-soprano (previously soprano). The supporting roles of Diarte and Argippo changed from bass to alto. The score of the original prologue, the choirs and the ballets mentioned in the libretto have not survived. The libretto, on the other hand, has come down to us in six different editions (Venice 1655 and 1670, Bologna 1661 and 1668, Lucca 1668 and Forlì 1673). There are three different prologues in the different versions. In the Lucca version, the characters of Venus and Mars appear in it. In Venice in 1670 the prologue was omitted entirely. Some of the arias were included separately in contemporary aria collections.
In the 1670s a copy of the score was also made in English, which was found by J. Stevens Cox around 1960. It is believed that this version was played in London's Drury Lane Theater in 1674 . This would make Erismena the first opera to be performed in Great Britain - thirty years before the first recorded performances of Italian operas there. This score was acquired by the Bodleian Library Oxford in 2009 .
In the 18th century, Charles Burney mentioned that he had seen an Italian manuscript in a private collection.
The first recent productions were in 1967 (radio broadcast on BBC Radio 3 in a version by Lionel Salter) and 1968 (staged in Berkeley, CA). In 1974 a performance followed at the Holland Festival in Rotterdam under the musical direction of Alan Curtis , which was also released on record.
Ireland's Opera Theater Company played the work in 2002. This production was made in 2006 as part of the English Touring Opera's Baroque festival with Rachel Nicholls in the title role, Jonathan Peter Kenny as Idraspe, Laura Mitchell as Almirena, Patricia Orr as Orimeno and Andrew Slater as Erimante resumed. Brian Gordon was the musical director.
In May 2015, Erismena was performed by students at the University Theater there under professional direction (conductor: Grant Herreid, director: Ethan Heard) as part of the Yale Baroque Opera Project.
The Festival d'Aix-en-Provence included the opera in 2017. Leonardo García Alarcón directed the Orchestra Cappella Mediterranea. A recording was broadcast on the radio on France Musique and made available as a video stream on Culturebox.
Recordings
- 1968 - Alan Curtis (conductor), Oakland Symphony Orchestra.
Delreen Hafenrichter (Erismena), Melvin Brown (Idraspe), Leslie Retallick (Clerio), Carole Bogard (Aldimira), Walt McKibben (Alcesta), Paul Esswood (Orimeno), Edward Jameson (Argippo), Holly Alonso (Flerida), Walter Matthes (Erimante), Edgar Jones (Diarte).
Studio recording; Editing by Alan Curtis in English with spoken summaries before each act.
Vox SVBX 5213 (3 LPs). - 2017 - Leonardo García Alarcón (conductor), Jean Bellorini (direction, stage and lighting design), Véronique Chazal (stage), Macha Makeïeff (costumes), Orchestra Cappella Mediterranea.
Francesca Aspromonte (Erismena), Carlo Vistoli (Idraspe), Moro Tai Oney (Clerio), Susanna Hurrell (Aldimira), Stuart Jackson (Alcesta), Jakub Józef Orliński (Orimeno), Andrea Vincenzo Bonsignore (Argippo), Lea Desandre (Flerida) , Alexander Miminoshvili (Erimante), Jonathan Abernethy (Diarte).
Live from the Festival d'Aix-en-Provence .
Video stream on Culturebox, radio broadcast on France Musique .
Web links
- L'Erismena : Sheet music and audio files in the International Music Score Library Project
- Libretto (Italian), Venice 1655. Digitized from the Library of Congress, Washington (DC)
- Libretto (Italian), Venice 1670. Digitized version of the Munich digitization center
- L'Erismena (Francesco Cavalli) in the Corago information system of the University of Bologna
- Video stream of the opera from the Festival d'Aix-en-Provence on YouTube . Conductor: Leonardo García Alarcón
- Erismena. Program (PDF) of the Festival d'Aix-en-Provence
- Erismena - Action éducative. Pedagogical program (PDF) of the Festival d'Aix-en-Provence
Remarks
- ↑ a b c d e f Missing from the performance of Aix-en-provence.
- ↑ Missing from the performance of Aix-en-provence. Instead, Argippo persuades Flerida to leave the country with him.
- ↑ Sung by Diarte in Aix-en-Provence.
- ↑ Incorrectly referred to as scene 13 in the libretto of 1655.
Individual evidence
- ↑ a b c d e f Wolfgang Osthoff : L'Erismena. In: Piper's Encyclopedia of Musical Theater . Volume 1: Works. Abbatini - Donizetti. Piper, Munich / Zurich 1986, ISBN 3-492-02411-4 , p. 522.
- ↑ a b c d e Erismena. Program (PDF) of the Festival d'Aix-en-Provence , accessed on November 23, 2017.
- ↑ a b Amanda Holden (Ed.): The Viking Opera Guide. Viking, London / New York 1993, ISBN 0-670-81292-7 , p. 193.
- ↑ a b Jane Glover : Cavalli. BT Batsford Ltd, London 1978, ISBN 0-7134-1007-8 .
- ^ Ellen Rosand: Opera in Seventeenth-Century Venice - The Creation of a Genre. University of California Press, Berkeley 1991/2007, ISBN 978-0-520-25426-8 , pp. 310-311.
- ↑ a b c d Martha Novak Clinkscale: Erismena. In: Grove Music Online (English; subscription required).
- ^ A b c d e Jonathan Glixon, Beth Glixon: Inventing the Business of Opera: The Impresario and His World in Seventeenth-Century Venice. Oxford University Press, 2006, ISBN 978-0-19-515416-0 , doi : 10.1093 / acprof: oso / 9780195154160.001.0001 .
- ^ Silke Leopold : The opera in the 17th century (= manual of musical genres. Volume 11). Laaber, 2004, ISBN 3-89007-134-1 , p. 158.
- ↑ L'Erismena (Francesco Cavalli) in Corago information system of the University of Bologna , accessed on 17 November 2017th
- ^ The earliest opera in English saved for the nation: The Bodleian library acquires Erismena , accessed on November 24, 2017.
- ↑ George Hall: Erismena. Article from October 9, 2006 in The Guardian , accessed November 23, 2017.
- ↑ Yale Drama Coalition - Erismena , accessed November 24, 2017.
- ↑ a b Erismena. Program information for the Festival d'Aix-en-Provence , accessed on November 23, 2017.
- ↑ Francesco Cavalli. In: Andreas Ommer: Directory of all complete opera recordings (= Zeno.org . Volume 20). Directmedia, Berlin 2005.
- ↑ L'Erismena: Venetian baroque opera (in English) in prologue and 3 acts. Entry on WorldCat , accessed November 23, 2017.