Ermione

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Opera dates
Title: Hermione
Original title: Ermione
Title page of the libretto, Naples 1819

Title page of the libretto, Naples 1819

Shape: Azione tragica in two acts
Original language: Italian
Music: Gioachino Rossini
Libretto : Andrea Leone Tottola
Literary source: Jean Racine : Andromaque
Premiere: March 27, 1819
Place of premiere: Teatro San Carlo , Naples
Playing time: about 2 hours
Place and time of the action: Buthrote , capital of Epirus , Greece, after the Trojan War
people

Ermione (Eng .: Hermione ) is an opera (original name: "azione tragica") in two acts by Gioachino Rossini (music) with a libretto by Andrea Leone Tottola based on Jean Racine's Andromaque from 1667. It was premiered on March 27, 1819 in Teatro San Carlo in Naples.

action

The action takes place after the fall of Troy in the Trojan War in Buthrote , the capital of Epirus . The surviving Trojans are in the hands of King Pirros ( Neoptolemos / Pyrrhos) in Epirus , among them Andromaca ( Andromache , Hector's widow ), and her young son Astianatte ( Astyanax ). Pirro desires Andromaca and has turned away from his lover Ermione ( Hermione , daughter of Menelaus and Helenas ), who, however, refuses to accept it. Ermione also has an admirer: Oreste ( Orestes , son of Agamemnon ), who is an envoy in Epirus to demand the death of Astianattes, heir to the Trojan line, on behalf of the Greek kings. After Pirro persuaded Andromaca to marry by blackmail, the vengeful Ermione asks Oreste to kill him - but then denies him his wages. While Oreste flees with his people, Ermione collapses.

"Pirro, figlio di Achille e Re di Epiro, preso da invincibile amore per la sua bella prigioniera Andromaca, vedova del troiano Ettore, decise d'impalmarla ad ogni costo, rendendosi cosi spergiuro alia fede che ad Ermione, figlia di Menelao, giurata avea , e non curando le incessanti premure di tutti i Re di Grecia, che nel piccolo Astianatte, figliuolo dello stesso Ettore, spento volevano il solo superstite della regal stirpe troiana. Oreste, sprezzato amante di Ermione, si reca in Epiro, come ambasciadore delle greche potenze, per ridestare nel core di Pirro le voci dell'assopita gloria e del dovere. Ermione, che vede estinta ogni speme a 'suoi delusi aspetti, sceglie la mano di Oreste come ultrice de' torti suoi, lusingandolo del di lei amore al prezzo della morte di Pirro, che nel tempio, ove il solo amor di madre avea trascinata la infelice Andromaca, fu da piu colpi trafitto, mentre a costei stendeva la destra, e giurava in faccia a 'Greci di sbare gli odiati giorni del fanciullo Astianatte.

Ecco l'argomento del presente drammatico componimento. Le sue tracce, i principali episodi sono stati somministrati dalla rinomata tragedia Andromaca del chiarissimo Racine. »

“Pirro, the son of Achilles and King of Epirus, was overwhelmed by an insurmountable love for his beautiful prisoner Andromaca, the widow of the Trojan Hector. He decided to lead her to the altar at all costs, breaking the oath of allegiance he had given to Ermione, Menelaus' daughter, and not caring about the incessant pressure of all the other Greek kings, who were with little Astianatte, his son Hector, the sole survivor of the Trojan royal family. Oreste, disdained lover of the Ermione, went to Epirus as the ambassador of the Greek powers, in order to awaken the voices of fame and duty in Pirro's heart. Ermione, having seen all her hopes destroyed, chose the hand of Orestes to avenge her torments, flattering his love at the cost of the death of Pirro, who, while the unhappy Andromaca felt only motherly love, was pierced with greater guilt, while he extended his right hand to the latter and swore in the presence of the Greeks to guard the hated days of the boy Astianatte.

Such is the content of the present drama. His traces, the essential episodes were taken from the famous Andromaca tragedy by the honorable Racine. "

- Foreword to the libretto, Naples 1819

first act

Underground place where the prisoners are guarded. Towards the end of the night

Scene 1. In King Pirros 'prison, the Trojans' choir mourns the downfall of their hometown (chorus: “Troy! Qual fosti un dì!”), Among them the sleeping Astianatte. Andromaca and her confidante Cefisa are brought in by Pirro's tutor Fenicio and his servant Attalo. You are allowed to visit the prisoners for an hour. Andromaca takes care of her son immediately (Cavatine Andromaca: “Mia delizia!”). Attalo tries to persuade her to give in to Pirro's wooing in order to save herself. Fenicio contradicts because he does not trust Attalo and fears a new war. Andromaca does not think of listening to Pirro, however. It will continue after the visiting hours have ended.

Outside the palace by the lovely gardens. breaking Dawn

Scene 2. Cleone appears with a group of Spartan girls who are preparing to hunt (chorus: “Dall'Oriente l'astro del giorno”). They try to convince Ermione to participate. However, Ermione has no sense of amusement. She is jealous because the king turned away from her to court Andromaca.

Pirro arrives and asks the girls about Andromaca. He does not see Ermione at once. When she sarcastically confronts him, he reacts angrily (duet Ermione / Pirro: "Non proseguir! Comprendo"). Some nobles report the arrival of the Greek envoy Oreste ("Sul lido, di Agamennone il figlio, Oreste è giunto"). Pirro has bad premonitions, but Ermione hopes for his help - Oreste was once her lover. Pirro orders the emissaries to be invited into the hall. Andromaca and Ermione are also to attend the meeting. He plans to prove his power to everyone there. He leaves with the nobles.

Ermione fears that Pirro Andromaca will win for himself. Cleone reminds her how much Oreste still adores her. Ermione is confused about her feelings.

Majestic palace with a rich and magnificent throne on the side

Scene 3. Oreste and his friend Pilade enter the palace. Oreste is upset by the behavior of Ermione, which his love so harshly rejected. Pilade tries to calm him down and reminds him of his duties as an envoy of the Greeks (Cavatine and duet Oreste / Pilade: "Che sorda al mesto pianto" - "Ah! Come nascondere la fiamma vorace").

Scene 4. To the sound of a march, Pirro and the greats of the empire appear, accompanied by guards and other courtiers. Ermione, Fenicio and Attalo follow. Pirro goes to the throne, and the others sit on precious chairs at his gesture. Oreste and Pilade stand before the throne. Finally, Andromaca also appears. Oreste can hardly bear the presence of Ermione. The fact that Pirro calls Andromaca to him arouses Ermione's jealousy. Oreste now delivers the message of the Greeks: They are demanding the death of little Astianatte, who, as Hector's son, poses a threat to Greece and will later take revenge for the death of his father. Pirro declares that he has no fear and that he will deal with the spoils as he likes. It is possible that Astianatte will one day rule with him (Aria Pirro: "Balena in man del figlio"). Ermione and Andromaca see their hopes destroyed. When Pirro asks Andromaca again to hear him, Ermione can no longer contain her anger and curses him. Pirro finally renounces her and asks her to return to Sparta. Since a war between Epirus and Greece now seems inevitable, Pilade urges Oreste to leave. Andromaca wants to make it clear to Pirro that she will never be his wife.

Area outside the palace, as before

Scene 5. Ermione tells Cleone that her love for Pirro has now turned into hate and that she is thirsty for revenge. Cleone thinks Oreste can help her. She moves away. Oreste comes and confesses his continued love to Ermione. However, your thoughts are with Pirro. She cannot hear Oreste, but wishes that he might find peace. Together they both complain of their grief (duet Ermione / Oreste: "Amarti?").

Scene 6. Pirro arrives with the nobles and his entourage, shortly afterwards Andromaca, Pilade, Fenicio, Attalo, Cefisa and Cleone. The nobles announce that Pirro has decided to return to Ermione (chorus: “Alfin l'eroe da forte”). Pirro confirms that he now wants to do his duty and hand Astianatte over to the Greeks in order to secure the peace. He offers Ermione his hand - at the same time he wants to punish Andromaca for her rejection. While Ermione draws hope again, Andromaca, Pilade and Fenicio react in horror (Nonett: "Sperar poss'io?"). Pirro instructs Attalo to fetch Astianatte. Andromaca asks Pirro to think it over. She would rather die than lose her son. When Pirro seems to give in, Ermione feels betrayed. Pilade urges Oreste to leave again. The first act ends in general consternation.

Second act

Lobby of the palace. The sea can be seen in the distance, with magnificent arcades in between

Scene 1. Attalo brings Pirro the news that Andromaca is now ready to marry him, as this is the only way she can save her son. Cleone has listened and goes to Ermione to tell her. Andromaca and Cefisa appear, and Andromaca confirms they have given in. Pirro sends Attalo to the temple to prepare for the wedding. Astianatte should also be released. But Andromaca plans to save her son without being unfaithful to her late husband Hector: Pirro is to swear to protect Astianatte. Then she wants to kill herself (duet Andromaca / Pirro: "Ombra del caro sposo").

Scene 2. After Pirro leaves, Ermione appears, followed by Cleone and Fenicio. Ermione insults the already desperate Andromaca as a seductive sorceress. Andromaca forgives her outburst and moves away. Ermione instructs Fenicio to go to Pirro and remind him one last time of his previous love and vows (Arioso Ermione: “Dì che vedesti piangere”). If he should actually marry Andromaca, she wants to kill herself in order to remain loyal to him forever (Arioso Ermione: “Amata, l'amai”).

Festive marching music can be heard in the distance. In the arcades in the background, Pirro Andromaca leads across the stage at the head of the wedding procession (choir: “Premia o Amore sì bella costanza”). Ermione sees all hope fade and collapses.

Scene 3. Ermione's girls and friends come for consolation, but Ermione only thinks of revenge. Oreste appears and assures her that he still loves her. Ermione hands him her dagger and tells him to prove his love and kill Pirro. Oreste leaves, shocked. Cleone and the choir commented on the action (Duet Ermione / Oreste with choir: “Il tuo dolor ci affretta”). Ermione leaves the scene angrily, followed by the others.

Scene 4. Fenicio and Pilade worry about Pirro, whose behavior is causing war between their peoples. They ask the gods to save Greece (Duettino Fenicio / Pilade: “A così trista immagine”). Both go in different directions.

Scene 5. Ermione returns, disturbed. She still loves Pirro and now regrets having incited Oreste to murder him. She decides to forgive Pirro and call Oreste back (Aria Ermione: "Che feci? Ove son?" - "Parmi che ad ogn'istante"). But it's too late for that. Oreste appears, hands her the blood-stained dagger and tells the horrified Ermione that she has been avenged: Pirro was about to make Astianatte co-king when the Greeks rose to fight. Pirro was surrounded and he saw him fall. Instead of thanking Oreste, Ermione calls him a murderer. He should have realized that her heart didn't really want Pirro's death. Oreste feels betrayed by her.

Last scene. Pilade comes with his men to persuade Oreste to flee the revenge of Pirro's men. Oreste, who has lost the will to live, initially refuses, but is dragged away by the Greeks. Ermione collapses.

layout

Instrumentation

The orchestral line-up for the opera includes the following instruments:

  • Two flutes / piccolo, two oboes, two clarinets, two bassoons
  • Four horns, two trumpets, three trombones
  • Timpani, bass drum , cymbals , triangle
  • Strings
  • On stage: Banda

Music numbers

  • Sinfonia with choir

first act

  • No. 1 Introduction (choir, Fenicio, Andromaca, Cefisa, Attalo): “Troy! qual fosti un dì! "(scene 1)
  • No. 2 choir (Cleone): "Dall'Oriente l'astro del giorno" (scene 2)
  • No. 3 duet with choir (Ermione, Pirro): “Non proseguir! comprendo! "(Scene 2)
  • No. 4 Cavatine with Pertichini (Oreste, Pilade): "Reggia abborrita!" (Scene 3)
  • No. 5 March, scene and cavatine with choir (Pirro): "Balena in man del figlio" (scene 4)
  • No. 6 Finale I:
    • Duettino (Ermione, Oreste): "Amarti?" (Scene 5)
    • March and choir "Alfin l'eroe da forte" (scene 6)
    • Transition (Pirro, Cleone, Pilade, Fenicio, Andromaca, Cefisa, Attalo, Oreste, Ermione): "Dal valor de 'detti tuoi"
    • Nonet (Ermione, Pilade, Pirro, Andromaca, Oreste, Cleone, Cefisa, Attalo, Fenicio): "Sperar poss'io?"
    • Tempo di mezzo (Pirro, Andromaca, Ermione, Oreste, Pilade, Fenicio): "A me Astianatte!"
    • Stretta (Ermione, Pirro, Cleone, Cefisa, Oreste, Pilade, Attalo, Andromaca, Fenicio, choir): "Pirro, deh serbami la fè giurata"

Second act

  • No. 8 duet (Andromaca, Pirro): "Ombra del caro sposo" (scene 1)
  • No. 9 Big Scene (Ermione):
    • Recitative (Ermione): "Essa corre al trionfo!" (Scene 2)
    • Arioso (Ermione): "Dì che vedesti piangere"
    • Transition (Fenicio, Cleone, Ermione): "Ah, voglia il ciel"
    • Arioso (Ermione): "Amata, l'amai"
    • Transition “Ma che ascolto?”, March and choir (Cleone, Ermione): “Premia o Amore sì bella costanza”
    • Arioso (Ermione): "Un'empia mel rapì!"
    • Tempo di mezzo (choir, Ermione, Oreste): "Il tuo dolor ci affretta" (scene 3)
    • Stretta (Ermione, Cleone, choir): "Se a me nemiche, o stelle"
  • No. 10 Duettino (Fenicio, Pilade): "A così trista immagine" (scene 4)
  • No. 11 Finale II (Ermione, Oreste, Pilade, Choir): “Che feci? Ove son? "(Scene 5)

music

Stendhal rated Ermione negatively. He said that Rossini was trying to imitate Gluck's style and that the characters were just a bad mood. This is contradicted by newer authors. Charles Osborne points out that Rossini was far from imitating Gluck, but rather developed his own style, and Rossini researcher Philip Gossett considered the opera to be one of the best works in the history of 19th-century Italian opera. According to Richard Osborne, Rossini used the "solo arias and duet movements very appropriately to portray these proud and self-centered characters".

Like Rossini's predecessor Ricciardo e Zoraide , Ermione does not have a generic interchangeable overture, but one that joins the following work. Even before the curtain rises, the cries of “Troy! qual fosti un dì! ”of the captured Trojans.

In the literature, the following pieces of the first act are particularly emphasized:

  • The Andromaca's cavatine "Mia delizia!" (First act, scene 1), an Andantino in E flat major, which "with its sostenuto of violas and the enraptured cantabile [...] is already close to Bellini in its indulgence".
  • The dramatic duet No. 3 by Ermione and Pirro “Non proseguir! comprendo ”(first act, scene 2).
  • Orestes arrival in No. 4 “Reggia abborrita” (first act, scene 3). This movement begins as Cavatine Orestes and then turns into a duet with his confidante Pilade.
  • Pirro's three-part aria No. 5 “Balena in man del figlio” (first act, scene 4).
  • The nonet “Sperar poss'io?” And its march-like conclusion in the finale of the first act point to the tonal language Verdi.

The second act is dominated by Ermione's big scene, a multi-part aria in which a wide variety of emotions are expressed. This scene contains two recitatives, a transition, three ariosi and a cabaletta with a final stretta .

Work history

The libretto for the opera is by Andrea Leone Tottola. The main features of the plot can be found in Euripides ' Andromache . Tottola's direct model, however, was the tragedy Andromaque by Jean Racines , published in 1667 , which he changed in some points - in particular, that in the libretto Hector's son Astyanax survived the war and served as the chess figure of King Pirros and the Greeks.

The opera's premiere took place on March 27, 1819 at the Teatro San Carlo in Naples. Only three months had passed since the premiere of his predecessor Ricciardo e Zoraide . It sang Isabella Colbran (Ermione) Rosmunda Pisaroni (Andromache), Andrea Nozzari (Pirro), Giovanni David (Oreste), Giuseppe Ciccimarra (Pilade), Michele Benedetti (Fenicio), Maria Manzi (Cleone), De Bernardis Minore (Cefisa) and Gaetano Chizzola (Attalo). The silent role of little Astianatte was played by a student of the royal dance school. Despite the first-class cast, the performance was received indifferently by the audience.

Although Ermione is now considered one of Rossini's finest serious operas, it was never performed again during his lifetime. In 1824 Rossini considered using the music in London for the commissioned opera Ugo re d'Italia . Not until 1977 was there another concert performance in Siena, which was followed by another in Padua in 1986. The opera was only staged again in 1987 at the Rossini Opera Festival Pesaro . Since then it has grown in popularity. In 1988 there were performances at the Teatro San Carlo and in Madrid. In 1991 it was received with great acclaim in Rome. There were further performances in London and in the USA.

Recycled pieces of music

Rossini used elements of the overture for the overture by Eduardo e Cristina , which he then used for Matilde di Shabran . A total of seven numbers by Eduardo e Cristina are based on music from Ermione.

The Canzonetta spagnuola (“En medio a mis dolores” or “Piangea un dì pensando”), published in Naples in 1821, is also based on music from Ermione. In 1824 the choir Dall'oriente l'astro del giorno was published separately in London.

Recordings

Web links

Commons : Ermione  - collection of images, videos and audio files

Individual evidence

  1. ↑ Ermione. Notes on the Critical Edition by Patricia B. Brauner and Philip Gossett , accessed January 17, 2016.
  2. ↑ a b c d e f g h i j k l Charles Osborne : The Bel Canto Operas of Rossini, Donizetti, and Bellini. Amadeus Press, Portland, Oregon, 1994, ISBN 978-0-931340-71-0 .
  3. ↑ a b c d e Richard Osborne: Rossini - life and work. Translated from the English by Grete Wehmeyer. List Verlag, Munich 1988, ISBN 3-471-78305-9 .
  4. ^ A b Richard Osborne:  Ermione. In: Grove Music Online (English; subscription required).
  5. ^ Ermione (performance data from March 27, 1818) in the Corago information system of the University of Bologna
  6. ^ A b Herbert Weinstock : Rossini - A biography. Translated by Kurt Michaelis. Kunzelmann, Adliswil 1981 (1968), ISBN 3-85662-009-0 .
  7. ↑ Ermione. In: Reclam's Opernlexikon. Philipp Reclam jun., 2001. Digital Library, Volume 52, p. 752.
  8. ↑ a b c d e f g h Gioacchino Rossini. In: Andreas Ommer: Directory of all opera complete recordings. Zeno.org , volume 20.
  9. ↑ Recording by Steven Mercurio (1995) in the discography of Ermione at Operadis.
  10. ^ Admission by Roberto Abbado (2008) in the discography on Ermione at Operadis.
  11. ↑ Ermione on opera-rara.com , accessed on February 10 2016th