Giustino (Vivaldi)

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Work data
Title: Giustino
Title page of the libretto, Rome 1724

Title page of the libretto, Rome 1724

Shape: Opera seria in three acts
Original language: Italian
Music: Antonio Vivaldi
Libretto : probably Antonio Maria Lucchini
Literary source: Nicolò Beregan , Pietro Pariati
Premiere: 1724
Place of premiere: Teatro Capranica , Rome
Playing time: approx. 4 ½ hours
Place and time of the action: Constantinople and environs, around 500
people
  • Anastasio ( Anastasios I ), Emperor of Byzantium ( soprano , castrato)
  • Arianna ( Ariadne ), his wife, empress (soprano, castrato)
  • Giustino ( Justin I ), first farmer, then emperor, brother Vitalianos and Andronicos ( old , castrato)
  • Leocasta, sister of Anastasios (soprano, castrato)
  • Vitaliano ( Vitalian ), tyrant of Asia Minor ( tenor )
  • Andronico, brother of Vitaliano, in love with Leocasta (soprano or alto, castrato)
  • Amantio / Amanzio, General of the Byzantine Army (soprano, castrato)
  • Polidarte , captain of Vitaliano's bodyguard (tenor)
  • the goddess Fortuna on her chariot (soprano, castrato)
  • the voice of old Vitaliano (tenor)
  • Princes, noblemen, guards, entourage ( choir )
  • People, soldiers, a wild bear, a sea monster, songbirds (extras)

Giustino (also Il Giustino , RV 717) is an opera in three acts by Antonio Vivaldi . The libretto was probably created by Antonio Maria Lucchini on the basis of Nicolò Beregan's libretto for Giovanni Lenzeni's opera Giustino (1683) and Pietro Pariati's libretto for Tomaso Albinoni's opera Giustino (1711). The first performance took place in January or February 1724 at the Teatro Capranica in Rome. All parts were originally sung by men or castrati, including the famous female actor Giacinto Fontana "il Farfallino" as prima donna Arianna.

action

Historical bases

The opera is based freely on historical events about the Byzantine emperor Anastasios I (here called Anastasio in Italian), his successor Justin I (Giustino), the empress Ariadne (Arianna) and the rebellion of Vitalian (Vitaliano), which the Byzantine historian Prokop around 553 in his work Anekdota . After the death of Emperor Zenon in 491, his widow Ariadne married the sixty-year-old Anastasios against the opposition of her family, who thereby became emperor. The Illyrian farmer Justin went to Constantinople around 470 as a young man with two companions , joined the bodyguard of Emperor Leo I and rose to become its commander. In 518, at an advanced age, he was crowned emperor as successor to Anastasios. The Thracian general Vitalian rebelled against Anastasios twice. The historical model of Amantius was a palace eunuch of the same name, which also instigated an uprising. The love entanglements described are fictitious.

short version

Act One. The Byzantine Empress Arianna marries her confidante Anastasio and appoints him co-emperor. However, the realm is threatened by Vitaliano, who desires Arianna himself and makes her hand a condition of peace. Meanwhile, the farmer Giustino longs for a glorious life. The first opportunity arises when he has to save Anastasio's sister Leocasta from a bear. They give him access to the imperial court. Vitaliano's brother Andronico, who has fallen in love with Leocasta, takes on a position as her lady-in-waiting disguised as a woman. When Arianna is captured by Vitaliano, Anastasio names Giustino a knight in order to free her with his help. Since Arianna continues to firmly reject Vitaliano's advertising, he orders his captain Polidarte to throw her to a sea monster for food.

Act two. Anastasio and Giustino, who were shipwrecked in a storm, save themselves on the coast. Polidarte has Arianna chained to a rock and leaves her to the monster who usually goes for food at this point. When the sea monster appears, Arianna calls for help. Giustino rushes over and kills the monster. The meanwhile repentant Vitaliano is too late. Andronico continues to court Leocasta's favor in disguise. The decisive battle ends in Anastasio's favor, and Giustino is able to capture Vitaliano. Anastasios General Amanzio, who envies Giustino's success, intrigues against him. Andronico lures Leocasta into a forest to rape her. Giustino saves her again and has Andronico arrested.

Third act. Vitaliano and Andronico manage to escape. When Arianna generously rewarded Giustino for rescuing Leocasta, Anastasio, made suspicious by Amanzio, interprets this as a token of love. He banishes Arianna and sentences Giustino to death. Amanzio's goal is now the Byzantine throne. He plans an armed uprising among his supporters. Giustino escapes with Leocasta's help. When he is surprised by Vitaliano and Andronico while sleeping in the wilderness, the voice of their late father can be heard announcing that Giustino is her brother. Giustino persuades them to switch to Anastasio's side and together put down the Amanzio uprising. Shortly before Amanzio's accession to the throne, the three enter the palace and overwhelm it. Vitaliano and Andronico swear allegiance to Anastasio and receive his forgiveness. Giustino is appointed co-regent and marries Leocasta.

first act

State hall for the coronation of Anastasio and his wedding to Empress Arianna

Scene 1. In front of the assembled court and people, Empress Arianna marries her confidante Anastasio and appoints him co-emperor (Aria breve Arianna / choir: "Viva Augusto eterno impero" - Anastasio / choir: "Viva Arianna e il suo bel core"). General Amanzio interrupts the festivities to warn of the tyrant Vitaliano, who has already conquered the Bosphorus and is now threatening the city.

Scene 2. Vitaliano's captain Polidarte arrives with an offer of peace from his master. However, the condition is that Arianna agrees to marry Vitaliano. Anastasio firmly rejects this. He is ready for war. He wants to draw his strength from the loving eyes of Arianna (Aria Anastasio: “Un vostro sguardo”).

Scene 3. Impressed by her husband's energy, Arianna decides to follow him into battle (Aria Arianna: “Dà tuoi begl'occhi impara”).

Field with fruit trees

Fortuna appears to Giustino sleeping on his plow. Image from the libretto of Giovanni Llimi's opera Giustino , Venice 1683

Scene 4. Farmer Giustino has had enough of his stressful life. He longs for glory on the battlefield and sits down wearily on his plow (Aria Giustino: “Bel riposo dè mortali”).

Scene 5. Accompanied by geniuses with sceptres, garlands and treasures, the goddess Fortuna appears in a magnificent machine (Sinfonia) and asks Giustino to accept his fate: kingdoms and treasures are waiting for him (Aria Fortuna: “Della tua sorte”). Giustino gets up full of energy.

Scene 6. Suddenly Leocasta, the Emperor's sister, appears on the run from a wild bear. She begs Giustino for help. After he has killed the beast, the impressed Leocasta invites him to the royal court, where he is to receive his reward (Aria Leocasta: "Nacque al bosco e nacque al prato").

room

Scene 7. Arianna asks General Amanzio for assistance in her war plans.

Scene 8. Anastasio introduces Arianna to her new lady-in-waiting, Flavia. In reality, however, it is Vitaliano's brother Andronico disguised as a woman. Arianna sends her to Leocasta and thanks her husband with a love song (Aria Arianna: "Sole degl'occhi miei"). Amanzio goes to prepare for battle (Aria Amanzio: “La gloria del mio sangue”). Anastasio wants to follow him after a short visit to his sister. He finds it difficult to part with Arianna (Aria Anastasio: “Vedrò con mio diletto”).

Scene 9. Leocasta welcomes the supposed Flavia in a friendly manner. Andronico, who is in love with her, casually mentions a suffering that her presence makes up for. Thereupon Giustino offers her his assistance against the perpetrator - which causes jealous feelings in Leocasta and Andronico.

Scene 10. Anastasio brings the news that Arianna has been captured by the enemy. Leocasta then suggests that Giustino carry out a surprise attack. Anastasio names him his knight.

Scene 11. Giustino promises loyalty to Leocasta until death (Aria Giustino: “Allor che mi vedrò”). Flavia / Andronico carefully indicates her / his love affair, but without revealing himself to her. Leocasta recommends that she keep this love in silence (Aria Leocasta: “No bel labro men sdegnoso”).

Scene 12. Andronico sees his goal of winning Leocasta in danger (aria Andronico: “È pur dolce ad un anima amante”).

Wide plain in front of Constantinople with the Vitalianos camp

Scene 13. Vitaliano calls his people to fight (Aria Vitaliano: “All'armi o Guerriri”). Polidarte presents him the captured Arianna. Vitaliano renews his offer to marry, which Arianna contemptuously refuses. He loses patience with her and orders Polidarte to throw her to a monster to be eaten (Arie Vitaliano: “Vanne sì superba và”).

Scene 14. Arianna is determined never to give in to Vitaliano if it costs her life too. She dedicates one last greeting to her beloved husband (Aria Arianna: “Mio dolce amato sposo”).

Second act

Open forest with a view of the sea moved by the storm

Scene 1. Anastasio and Giustino get out of a ship that capsized on the beach. Despite all the setbacks, Giustino is confident they can beat Vitaliano. They seek shelter in a shepherd's hut. Anastasio fears that Arianna will sink into a flood of tears (Aria Anastasio in the original version: "Sento in seno ch'in pioggia di lagrime").

Scene 2. Polidarte brings the captured Arianna over. Here he wants to feed them to the sea monster. While he sings a contemptuous song, his people tie Arianna to a rock (Arie Polidarte: "Ritrosa bellezza").

Scene 3. A fearsome monster swims up and gradually climbs the rock. Arianna's calls for help are reinforced by the echo (Arioso Arianna / Echo 1 / Echo 2: “Per me dunqu'il ciel non ha”). Giustino rushes over, defeats the monster in battle and frees her.

Scene 4. Arianna and Anastasio fall into each other's arms with relief (duet Arianna / Anastasio: “Mio bel tesoro”). Anastasio promises Giustino the fulfillment of any wish as a reward. Giustino modestly refuses.

Scene 5. Fortunately, Anastasios General Amanzio arrives with a ship so that the stranded can leave the place of horror. Arianna prays for a quiet ride (Aria Arianna: “Per noi soave e bella”).

Scene 6. Vitaliano's anger with Arianna has now subsided. He ruefully lets Polidarte lead him to the coast to rescue her or at least kiss her remains one last time. Then he discovers the dead monster on the beach. He hopes that Arianna is still alive and can be soothed by his tears (Arie Vitaliano: "Quel torrente che s'inalza").

garden

Scene 7. Andronico / Flavia tries to drive away Leocasta's jealousy by assuring her that although he loves Giustino for his bravery, he does not desire him. Leocasta is confused by his speeches. She tells him about Arianna's rescue by Giustino.

Scene 8. Arianna reports to the two that the decisive battle is imminent and that Giustino has sworn to lay Vitaliano's head at her feet. Leocasta suggests conjuring up the gods together with Flavia. Andronico / Flavia precedes them under the pretext of wanting to leave them alone for a moment (Aria breve Andronico: “Più bel giorno e più bel fato”). Leocasta asks the Empress to stay in the garden for a while to enjoy its beauties (Aria Leocasta: "Senti l'aura che leggiera"). Arianna still has to think of her husband, who is endangered by the battle (Aria breve Arianna: "Augelletti garruletti").

room

Scene 9. Anastasio lets himself be celebrated as the winner (Aria breve Anastasio: “Verdi lauri cingetemi il crine”). Giustino has captured Vitaliano. He insists that his demise was only due to fate and not to Giustino's arm. Anastasio, however, grants Giustino sole fame - much to the displeasure of his general Amanzio, for whom Giustino is just a simple farmer. Giustino asks to bring the prisoner to the empress. Meanwhile, he wants to repel the last remaining enemies (Aria Giustino: "Sù l'altar di questo nume").

Scene 10. Amanzio hands the emperor a jeweled belt, which he has taken from the defeated Vitaliano, and warns him not to trust Giustino too much because he could develop into a new usurper (Aria Amanzio: “Candida fedeltà”). Anastasio is worried. He now also notices Giustino's closeness to Arianna (Aria Anastasio: “Taci per poco ancora”).

Scene 11. Vitaliano confesses to Arianna all of his crimes, which he only committed out of love for her. He puts his fate in her hands. She does not want to listen to his love vows and lets him throw the dungeon. Vitaliano shows no remorse because his actions corresponded to reason (Aria Vitaliano: "Quando serve alla ragione").

Scene 12. Anastasio gives Arianna the precious belt of the vanquished. She asks him to generously reward Giustino too. Anastasio ignores this suspiciously. He prefers to celebrate and in future to rule in the spirit of Cupid (Aria Anastasio: “Se all'amor ch'io porto al trono”). Arianna is concerned (Aria breve Arianna: "Dalle gioie del core amor pendea").

Forest

Scene 13. Andronico has led Leocasta into a forest. There he reveals himself to her as a man, declares his love for her and threatens to force her favor. Fortunately, Giustino comes by and can respond to her calls for help. He has Andronico taken away. Leocasta and Giustino recognize their mutual love. Giustino asks his companions to bring Leocasta, still shaken by Andronico's attack, to the palace (Aria Leocasta: "Sventurata navicella"). He himself wants to continue to trust in fate and his bravery (Aria Giustino: "Hò nel petto un cor si forte").

Third act

Forest in front of the city with a tower

Scene 1. The brothers Vitaliano and Andronico have escaped from the prison tower. Vitaliano now wants to take revenge on his enemies (Aria Vitaliano: "Il piacer della vendetta").

room

Scene 2. Overheard by Amanzio, Giustino tells Arianna of Leocasta's rescue. As a reward she gives him the Vitalianos jeweled belt. Giustino is grateful, but fears that his success could provoke envious people (Aria Giustino: “Zefiretto che scorre nel Prato”). Arianna's thoughts wander back to her love for her husband, from whom she does not want to be separated for a moment (Aria Arianna: "Quell'amoroso ardor").

Scene 3. Amanzio tells the emperor about Giustino's reward and claims that the belt is a sign of Arianna's love. Anastasio's jealousy is now completely kindled. When Giustino and Arianna arrive, he demands clarification about their behavior. The two do not understand his unexpected anger and cannot give satisfactory answers, especially since the emperor angrily interrupts them. Finally Anastasio sends Arianna into exile and sentenced Giustino to death.

Scene 4. Giustino says goodbye to Leocasta and asks her not to mourn for him - he will die happily. Inwardly, however, he suffers (Aria Giustino: "Il mio cor già più non sà"). Leocasta wants to save him at all costs (Aria Leocasta: “Senza l'amato ben”).

Scene 5. Amanzio sees himself shortly before the goal of his dreams: He wants to seize power in the empire and has already won thousands of armed supporters for an uprising (Aria Amanzio: “Si vuò à regnar”).

Rugged mountain landscape

Scene 6. Giustino managed to escape with Leocasta's help. He accepts his changing fate and goes to sleep. Vitaliano and Andronico find him in this helpless position. Before they can kill him, a flash of lightning illuminates the area and shows the tomb of Vitalianos the Elder, her father. His voice warns her not to kill Giustino: he is her brother and the only one who can help them to life and power. When Giustino wakes up, they explain the situation to him and hug him. Giustino persuades them to put down the revolt of the traitor Amanzio and to restore Anastasio's honor.

room

Scene 7. Leocasta worries about her lover Giustino. Arianna tells her about Amanzio's uprising, which Leocasta already knows about. Arianna compares her situation with that of a timid deer (Aria Arianna: “La cervetta timidetta”).

Scene 8. Crowned with laurel, Amanzio is looking forward to his accession to the throne (Aria Amanzio: "Or che cinto ho il crin d'alloro").

Scene 9. Anastasio and Arianna are shown in chains. Amanzio sentences her to death. The judgment is to be carried out immediately.

Scene 10. Trumpets and kettledrums tell of a fight at the gates. The crowd cheers Giustino, who shortly afterwards storms in with Vitaliano and Andronico and overwhelms Anastasio. Anastasio asks Giustino for forgiveness for believing Amanzio's lies. Giustino is not resentful. In return, he asks for his brothers Vitaliano and Andronico. The two swear their loyalty to Anastasio. Anastasio then appoints Giustino Caesar and co-regent and promises him the hand of his sister Leocasta. The imperial couple themselves have also been reconciled (duet Arianna / Anastasio: “In braccio a te la calma”).

Scene 11. Leocasta had fled at the beginning of the uprising. Now she dares to come out again and inform herself about the fate of Anastasios, Ariannas and Giustino from Polidarte. Then she asks him to tell Giustino that she will be back with him soon (Aria Leocasta: “Lo splendor ch'à sperare”).

Temple of the Goddess Fama (Metamorphosis)

Scene 12. Everyone except Amanzio celebrates Giustino's wedding to Leocasta and his coronation (chorus: “Doppo i nembi e le procelle”).

layout

orchestra

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

Music numbers

The opera contains the following musical numbers:

Sinfonia

  • 1. […] (C major) - for strings and basso continuo
  • 2. Andante (C minor) - for violins I / II, viola and bass without harpsichord
  • 3. Allegro (C major) - for violins I / II, viola and basso continuo

first act

  • Scene 1. Recitative: "Febo, che non mai stanco"
    • Aria breve with choir (Arianna, SAT): “Viva Augusto eterno impero” - Allegro (A major); for strings and basso continuo
    • Recitative: "Dà questa man, ch'al mio destin dà legge"
    • Aria breve with choir (Anastasio, SAT): “Viva Arianna e il suo bel core” - Allegro (A major); for strings and basso continuo
    • Recitative: "Ah mio Sovrano Augusto"
  • Scene 2. Recitative: "Vitaliano, il di cui il nome vola"
    • Aria (Anastasio): “Un vostro sguardo” - Allegro (D minor); for strings and basso continuo
  • Scene 3. Recitative: "Arianna che pensi?"
    • Aria (Arianna): "Da tuoi begl'occhi impara" - Allegro (F major); for violin I / II, viola and basso continuo; see. Tieteberga RV 737 III: 2
  • Scene 4. [Singing Giustino]: "Misero è ben colui che dopo nata" (not in the libretto; the score contains only one note)
    • Recitative: "Deh perche non poss'io destin crudele"
    • Aria (Giustino): “Bel riposo dè mortali” (in the libretto: “ristoro”) - Andante (C major); for two flutes, two oboes, violin I / II, viola / violoncello, violone without harpsichord
  • Scene 5. Sinfonia “La Fortuna in macchina” - Allegro; for strings and basso continuo (incidental music)
    • Recitative (Fortuna): “Giustin lascia i riposi” - for strings and basso continuo
    • Aria (Fortuna): "Della tua sorte" (1st setting) - Allegro (A major); for strings and basso continuo
    • Recitative: “O 'chiunque; tu sij, ch'ora m'inviti "
  • Scene 6. Recitative: "Cieli numi soccorso"
    • Aria (Leocasta): "Nacque al bosco e nacque al prato" - Allegro (B flat major); for strings and basso continuo
  • Scene 7. Recitative: "Amanzio?" - "Alta reina"
  • Scene 8. Recitative: "Io t'offro, ò Augusta questa real donzella"
    • Aria (Arianna): "Sole degl'occhi miei" - Allegro non molto (C minor); for strings and basso continuo; see. Ottone in villa RV 729A I: 2
    • Recitative: "Già s'avvanza la notte"
    • Aria (Amanzio): “La gloria del mio sangue” - Allegro (F major); for two oboes, strings and basso continuo; see. Il Teuzzone RV 736 II: 8; Tieteberga RV 737 II: 7
    • Recitative: "Corro all'impresa e dell'orgoglio insano"
    • Aria (Anastasio): "Vedrò con mio diletto" - Larghetto (D major); for strings and basso continuo
  • Scene 9. Recitative: "O 'come volontier ti stringo al seno"
  • Scene 10. Recitative: "Del greco impero à i danni"
    • [Aria (Anastasio): "Non si vanti un'alma audace"] (not set to music)
  • Scene 11. Recitative: "Gran Signora, ove il fato"
    • Aria (Giustino): “Allor che mi vedrò” - Allegro (D major); for strings and basso continuo; see. Tieteberga RV 737 I: 8
    • Recitative: "Vedesti Flavia come seppe unir"
    • Aria (Leocasta): “No bel labro men sdegnoso” - Allegro (F major); for strings and basso continuo; see. Armida al campo d'Egitto RV 699A III: 3
  • Scene 12 (score: no number). Recitative: "Lacci che impreggionate"
    • Aria (Andronico): “È pur dolce ad un anima amante” - Allegro (C major); for violin I / II and viola / basso continuo; see. Tito Manlio RV 738 I: 6
  • Scene 13 (score: XII). Aria (Vitaliano): "All'armi o guerriri" - Allegro (D major); for two trumpets, two oboes, strings, timpani and basso continuo
    • Recitative: "Signor s'arrise il fato" (in the libretto: "t'arrise")
    • Aria (Vitaliano): "Vanne sì superba và" - Allegro (D major); for strings and basso continuo
  • Scene 14 (score: XIII). Recitative: "Bella cangia desio, cedi à chi d'ama"
    • Aria (Arianna): "Mio dolce amato sposo" - Andante (E flat major); for strings and basso continuo

Second act

  • Scene 1. Recitative: "Al dispetto dell'onde"
  • Scene 2. Recitative: "Quest'è la cruda spiaggia"
    • Aria (Polidarte): “Ritrosa bellezza” - Allegro (B flat major); for violin I / II and viola / basso continuo
  • Scene 3. Recitative: “Numi che il ciel reggete con destra” - for cello solo and harpsichord
    • Recitative: "Quali strida funeste"
    • Arioso (Arianna, Echo 1, Echo 2): “Per me dunqu'il ciel non ha” - […] (B flat major); for violin I / II and harpsichord
    • Recitative: “Che ascolto? queste selci con replicate voci "
  • Scene 4. Recitative: "Traveggo, ò pur la mente"
    • Duet (Arianna, Anastasio): “Mio bel tesoro” - Allegro (C major) for two solo violins, violin I / II and viola / basso continuo
    • Recitative: "Mà quall'orrendo, e formidabil mostro"
  • Scene 5. Recitative: "In traccia de 'tuoi legni"
    • Aria (Arianna): “Per noi soave e bella” - Allegro (G major); for strings and basso continuo
  • Scene 6. Recitative: "Troppo fosti, ò mio core"
    • Aria (Vitaliano): "Quel torrente che s'inalza" - Allegro (B flat major); for violin I / II, viola and basso continuo; see. Adelaide RV 695 II: 17; Farnace RV 711D III: 3rd
  • Scene 7. Recitative: "Flavia non hò più core"
  • Scene 8. Recitative: "Lascia, che per la gioia"
    • Aria breve (Andronico): "Più bel giorno e più bel fato" - Allegro (G minor); for violin I / II and viola / basso continuo
    • Recitative: "Quando è Flavia gentil!"
    • Aria (Leocasta): "Senti l'aura che leggiera" - Andante molto (A major); for strings and basso continuo; see. Farnace RV 711D III: 4; Tamerlano RV 703 I: 2nd
    • Recitative: "Dir so non poss'io"
    • Aria breve (Arianna): "Augelletti garruletti" - [...] (F major); three parts of the sentence with changing scoring: violin I / II, viola and harpsichord solo; see. Armida al campo d'Egitto RV 699A II: 7
  • Scene 9. Aria breve (Anastasio): “Verdi lauri cingetemi il crine” - Allegro (C major); for two trumpets, two oboes, strings and basso continuo
    • Recitative: "Vieni barbaro vieni al monarca del mondo"
    • Aria (Giustino): "Sù l'altar di questo nume" (2nd version) - [...] (C minor); for strings and basso continuo
  • Scene 10. Recitative: "Già con mortale eccidio oppresso"
    • Aria (Amanzio): "Candida fedeltà" - [...] (A major); for violin I / II and basso continuo; see. Ottone in villa RV 729A II: 8; Tito Manlio RV 738 II: 17
    • Recitative: "E sarà ver che l'alma d'un huom sì prode e valoroso" (Libretto: "d'un'uom sì forte")
    • Aria (Anastasio): "Taci per poco ancora" - Allegro (B flat major); for violin I / II, viola and basso continuo; see. Armida al campo d'Egitto RV 699C III: 9; Il Teuzzone RV 736 I: 5; Tieteberga RV 737 III: 13
  • Scene 11. Recitative: "Già il valor di Giustino hà domo"
    • Aria (Vitaliano): "Quando serve alla ragione" - Allegro (D major); for strings and basso continuo; see. Farnace RV 711DG I: 1; La verità in cimento RV 739 III: 3
  • Scene 12. Recitative: "A tutto pieno di gioia"
    • Aria (Anastasio): “Se all'amor ch'io porto al trono” - […] (A minor); for violin I / II and viola / bass without harpsichord; see. Il Teuzzone RV 736 II: 12
    • Recitative: "Giorno per me più chiaro"
    • Aria breve (Arianna): "Dalle gioie del core amor pendea" - Allegro (G major); for strings and basso continuo
  • Scene 13. Recitative: "Non son donna qual credi"
    • Recitative: "O 'come sì grand' uopo"
    • Aria (Leocasta): "Sventurata navicella" - Allegro (G major); for violin I / II, viola and basso continuo; see. Orlando finto pazzo RV 727 III: 7; Tito Manlio RV 738 I: 9
    • Recitative: "Sorte che m'invitasti"
    • Aria (Giustino): "Hò nel petto un cor si forte" - [...] (E minor); for salterio, violin I / II, viola and basso continuo

Third act

  • Scene 1. Recitative: "Germano eccoci in salvo"
    • Aria (Vitaliano): "Il piacer della vendetta" - Andante (F major); for violin I / II, viola and basso continuo
  • Scene 2. Recitative: "Il cielo, ò mia sovrana"
    • Aria (Giustino): "Zefiretto che scorre nel prato" - [...] (B flat major); for violin I / II, viola and basso continuo; see. Armida al campo d'Egitto RV 699B I: 12; Tieteberga RV 737 I: 4th
    • Recitative: "Mal soffre il core amante"
    • Aria (Arianna): “Quell'amoroso ardor” - Allegro e piano (G minor); for violin I / II and viola
  • Scene 3. Recitative: "E fia ver ch'infedele"
    • [Aria (Anastasio): “Di re sdegnato”] (not in the score); see. Tieteberga RV 737 III: 9; Ormisda RV app. 127a.29
  • Scene 4. Recitative: "Mia principessa almeno col tuo volta adorata"
    • Aria (Giustino): "Il mio cor già più non sà" - Allegro (E major); for strings and basso continuo
    • Recitative: "Vivrò, mà sol per tua salvezza ò caro"
    • Aria (Leocasta): "Senza l'amato ben" - Largo e staccato (D minor); for strings and basso continuo
  • Scene 5. Recitative: "Che piủ ti resta Amanzio?"
    • Aria (Amanzio): “Si vuò à regnar” - […] (A major); for strings and basso continuo; see. Armida al campo d'Egitto RV 699C II: 11; Il Teuzzone RV 736 III: 3; Tieteberga RV 737 II: 12
  • Scene 6. Recitative: "Fortunato, m'hai tradito"
  • Scene 7. Recitative: "Già dall'ingrate mura"
    • Aria (Arianna): “La cervetta timidetta” - […] (B flat major); for violin I / II and bass without harpsichord; see. Tamerlano RV 703 II: 6; Semiramide RV 733 III: 4; Catone RV app. 80, Orlando furioso (Pasticci) RV app. 127.23,24,25; Arien RV Anh. 127a.3,15,32,42
  • Scene 8. Aria (Amanzio): "Or che cinto ho il crin d'alloro" - Allegro (F major); for two horns, strings and basso continuo
    • Recitative: "Pur m'arrisero i fati"
  • Scene 9. Recitative: "E dove mi traete empi inumani?"
  • Scene 10. Recitative: "Qual fragor bellicoso odo d'intorno?"
    • Duet (Arianna, Anastasio): “In braccio a te la calma” - Allegro (A major); for strings and basso continuo; see. La Gloria e Himeneo RV 687.22; La Sena festeggiante RV 693.31
  • Scene 11. Recitative: "Delle [Dalle?] Rubelli sheer"
    • Aria (Leocasta): “Lo splendor ch'à sperare” - Allegro (B flat major); for strings and basso continuo; see. La verità in cimento RV 739 III: 1 and III: 6
  • Scene 12 (“Scena ultima”). Recitative: “Vieni famoso eroe? Dà quel mio soglio "
    • Choir: “Doppo i nembi e le procelle” - Allegro (C major); for strings and basso continuo; see. La Sena festeggiante RV 693.39; Ipermestra RV 722 III: 14; La verità in cimento RV 739 III: 10

additions

  • 1st act, scene 5th aria (Fortuna): "Della tua sorte" (replacement piece, 2nd setting) - [...] (A major); for strings and basso continuo
  • 2nd act, scene 1st aria (Anastasio): "Sento in seno ch'in pioggia di lagrime" (not used) - Allegro (E minor); for strings and bass without harpsichord; see. Armida al campo d'Egitto RV 699B III: 10; Tieteberga RV 737 II: 13
  • 2nd act, scene 9th aria (Giustino): "Sù l'altar di questo nume" (exchanged, 1st version) - [...] (C minor); for strings and basso continuo
  • 2nd act, scene 12th aria (Anastasio): (beginning of aria without text, only 11 bars preserved) - Allegro (?) Alla francese (C major); for strings and basso continuo
  • 3rd act, scene 7th aria (Arianna): "Sentire che nel sen un cor piagato sta" (not used) - [...] (B flat major); for violin I / II, viola and basso continuo; see. Orlando finto pazzo RV 727 I: 7
  • 3rd act, scene 8th aria (Amanzio): "Or che cinto ho il crin d'alloro" (fragment) - [...] (D major); for two trumpets, timpani (“tamburi”), strings and basso continuo

libretto

The text of the opera is typical of the libretti popular in the 17th century. Topics such as love, war, eroticism, violence, miracles and visions are combined with show elements and superimposed on a political plot. The first version by Nicolò Beregan was published in 1683, the year of the second Turkish siege of Vienna . Therefore the text also contains some references to the resistance of the Holy Roman Empire against the Ottomans . The first setting, Giovanni Lenzeis Giustino , proved extremely popular. Until 1699 it was played in Venice, Naples, Genoa, Milan, Bologna, Lucca, Verona, Modena, Vicenza and Udine.

Beregan's libretto has been edited several times by other authors. In addition to the version used by Vivaldi, which also had the textbook of a setting by Tomaso Albinonis (arranged by Pietro Pariati ; Bologna 1711) as a template, there were operas by Luigi Mancia (arranged by: Silvio Stampiglia ; Rome 1695), Johann Christian Schieferdecker ( Justinus , Leipzig 1700 and Käyser Justinus, who was raised to the throne from the Ackers plow, Hamburg 1706) and Domenico Scarlatti (arranged by: Giulio Convò; Naples 1703). Georg Friedrich Handel used a new arrangement of the text set by Vivaldi for his Giustino from 1737.

music

The sinfonia anticipates some motifs from arias by Anastasio (I.2), Leocasta (I.6) and Arianna (III.7sub). This is one of the earliest examples of such a thematic connection in an opera. A detailed comparison can be found in Reinhard Strohm's book Dramma per Musica. Vivaldi wrote the sinfonia explicitly for this opera, while for the rest of Giustino's music he often went back to earlier works. This affects a total of 21 or 22 movements, at least seven of which come from his Tieteberga from 1717. Often the original texts were retained or only slightly adapted to the plot of Giustino . The fact that the libretto of Tieteberga comes from Antonio Maria Lucchini supports the assumption that he also edited the text of Giustino . Unlike in Ercole sul Termodonte , for example , Vivaldi did not specifically assign old or new arias to certain singers, but instead distributed them indiscriminately. Vivaldi mainly used the adopted arias to depict varied musical moods, which, like the libretto, corresponded aesthetically to the older Venetian opera. The newly composed pieces, on the other hand, are modern for this period. The final chorus "Doppo i nembi e le procelle" (III.12) comes from La verità in cimento from 1720.

The types of arias vary. There are traditional da capo arias as well as two-part arietas and canzonet-like songs. Arianna's aria "Dalle gioie del core amor pendea" (II.12b) is actually a madrigal due to the text form, which is almost completely without repetitions, and the narrative mythological content .

The concertante salterio in Giustino's aria “Hò nel petto un cor si forte” is unusual . Apparently an excellent player of this instrument was available in Rome that year. Even Leonardo da Vinci opera Farnace, which was given in the same season at the Teatro Alibert, requires a salterio in an aria.

Giustino's performance scene in the first act begins with a non-composed introduction to the text “Misero è ben colui che dopo nata”, of which Vivaldi only noted a single note in addition to the text entered in the score. He apparently assumed that the singer was improvising here. This is followed by a C major sleep aria with recorders (“Bel riposo dè mortali”), which Handel inspired in 1734 for a pastoral symphonia in the first act of his opera Ariodante . The appearance of the goddess Fortuna is announced by a version of the first movement from “Spring” (“La primavera”) of the Four Seasons, played in E major . Reinhard Strohm described the entire scene as "both symbolically moralistic", in that the young farmer wakes up to his glorious destiny, and "self-referential", since Vivaldi represented his own awakening life force or that of his music.

Johann Joachim Quantz wrote in his autobiography that Vivaldi introduced the fashion of the Lombard rhythm (the short-long sequence) in Rome “with one of his operas” . This is heard in Arianna's aria “Dalle gioie del core amor pendea” (II.12b).

Work history

Antonio Vivaldi stayed in Rome from around December 1723 to March 1724, as he had been seeking opera commissions outside of Venice for some time. For the Teatro Capranica there , he first composed the opera Ercole sul Termodonte, which was played in the 1723 carnival season. The first carnival opera of the following year, 1724, was the joint work La virtù trionfante dell'amore e dell'odio, overo Il Tigrane, for which Vivaldi wrote the second act, while the first act by Benedetto Micheli and the third act by Nicola Romaldi. The second opera of the season was the Giustino described here . The libretti of both operas are dedicated to the Duchess Faustina Mattei dei Conti, a niece of Pope Innocent XIII. Vivaldi wrote the manuscript exclusively on Roman paper. The autograph kept in the National Library of Turin shows clear traces of the composition process. In addition to unused drafts, there are a number of corrections and many lines. He took many sentences from older works. The best known of these is the first movement of "Spring" ("La primavera") from the four seasons used for the sinfonia at the appearance of the goddess Fortuna (I.5) . In the Giustino , however, the solo violin is missing. The instrumentalists play on the stage. He did not publish the concert collection until the following year as his Op. 8th; however, the music had already been played - possibly also in Rome at a private concert.

The libretto is essentially based on Nicolò Beregan's text for Giovanni Lenzei 's opera Giustino, which premiered in Venice in 1683 . The unnamed arranger, who is probably Antonio Maria Lucchini , also used Pietro Pariati's libretto based on it for Tomaso Albinoni's opera Giustino, which was played in Bologna in 1711.

The first performance took place in January or February 1724 in the Teatro Capranica. Since women were not allowed to appear on stage in the Papal States at that time, all roles were sung by men, with castrati taking the high voices. The actors were Giovanni Ossi (Anastasio), Giacinto Fontana, called " Farfallino " (Arianna), Paolo Mariani (Giustino), Girolamo Bartoluzzi (Leocasta), Antonio Barbieri (Vitaliano), Francesco Antonio Giovenale (Andronico), Carlo Pera (Amanzio) , Francesco Pampani (Polidarte) and Biagio Ermini (Fortuna). Intermezzi played between the acts , the music of which was not by Vivaldi.

There were no further performances of the opera during Vivaldi's lifetime. He used some arias in later works. Even George Frideric Handel knew the opera, because he used several motifs in his own Giustino -opera from 1737 on a revised set to music by Vivaldi libretto.

More recently reception

The musicologist Reinhard Strohm prepared a critical edition of the score . It is the first modern critical edition of a Vivaldi opera. It was published by Ricordi in 1991 , but was already used by the conductor Alan Curtis in 1985 for performances at the 22nd Festival de Versailles in the Opéra royal du château de Versailles as well as in the Teatro Olimpico in Vicenza, in the Teatro La Fenice in Venice, in Como, Buenos Aires Aires and Houston used. Maryse Flach was responsible for the direction , and Pasquale Grossi for the set . Silvana Silbano, Alessandra Ruffini, Adelisia Tabiadon, Susanna Anselmi, Caterina Trogu, Silvano Manga, Claudia Bandera and Marina Bottancin sang in Versailles.

Since then the work has been played again several times:

At the beginning of the 21st century, Anastasio's aria “Vedrò con mio diletto” (I.8) was better known. In the interpretation by Jakub Józef Orliński, it achieved more than 2.5 million views on YouTube (as of January 2019). There have also been recordings of this aria by the countertenors Philippe Jaroussky and Reginald Mobley , as well as the mezzo-sopranos Romina Basso , Serena Malfi , Sonia Prina and Cecilia Bartoli . The violinist Nicola Benedetti recorded a violin version of the aria with the Scottish Chambers Orchestra . The Musica Antiqua Russica presented a version of the aria with the singer Victoria Evtodieva and the violinist Vladimir Shulyakovskiy. The falsetto singer DiMaio designed a new version of the aria with electronic accompaniment.

Recordings

  • September 1985 - Alan Curtis (conductor), Orchestra and Choir of the Teatro La Fenice Venice.
    Susanna Anselmi (Anastasio), Alessandra Ruffini (Arianna), Silvana Silbano (Giustino), Silvana Manga (Leocasta), Adelisa Tabiadón (Vitaliano), Caterina Trogu-Röhrich (Amanzio), Claudine Nicole Bandera (Polidarte), Marina Bottacin (Fortuna) .
    Video; live from Venice.
    House of Opera DVDCC 629 (1 DVD).
  • 21.-30. September 2001 - Estevan Velardi (conductor), Alessandro Stradella Consort, Complesso Vocale.
    Manuela Custer (Anastasio), Silvia Bossa (Arianna), Gianluca Belfiori Doro (Giustino), Linda Campanella (Leocasta), Leonardo de Lisi (Vitaliano), Cristiana Emoli (Andronico), Cristiana Presutti (Amanzio), Vincenzo di Donato (Polidarte) , Francesca Tancredi (Fortuna).
    Studio shot; entirely based on the autograph, with the exception of three arias adopted by Vivaldi from other operas.
    Bongiovanni GB 2307 / 10-2 (4 CDs).
  • 8th-9th October 2001 - Alan Curtis (conductor), Il complesso barocco .
    Marina Comparato (Anastasio), Dominique Labelle (Arianna), Francesca Provvisionato (Giustino), Geraldine McGreevy (Leocasta), Leonardo de Lisi (Vitaliano and Polidarte), Laura Cherici (Amanzio).
    Live, in concert from the great hall of the “Concert-en congresgebouw de Doelen” Rotterdam; greatly shortened.
    Virgin Classics 5455182 (2 CDs).
  • 8-16 April 2018 - Ottavio Dantone (conductor), Accademia Bizantina.
    Silke Gäng (Anastasio), Emőke Baráth (Arianna), Delphine Galou (Giustino), Veronica Cangemi (Leocasta), Emiliano Gonzalez Toro (Vitaliano), Alessandro Giangrande (Andronico and Polidarte), Arianna Venditelli (Amanzio), Rahel Maas (Fortuna) .
    Studio recording from the Sala Oriani, Antico Convento San Francesco, Bagnacavallo, Ravenna;
    after the critical edition by Reinhard Strohm .
    Naïve OP 30571 (Vivaldi Edition Vol. 58).
  • July 27, 2018 - Ottavio Dantone (conductor), Accademia Bizantina.
    Silke Gäng (Anastasio), Emőke Baráth (Arianna), Delphine Galou (Giustino), Ana Maria Labin (Leocasta), Emiliano Gonzalez Toro (Vitaliano), Alessandro Giangrande (Andronico and Polidarte), Ariana Vendittelli (Amanzio).
    Live, in concert from Beaune.
    Broadcast live on France Musique .

literature

Digital copies

Web links

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

Remarks

  1. ↑ In the overview of roles in the libretto from 1724, in Piper's Encyclopedia of Music Theater and in the Ryom directory , the name “Amantio” is written. In the libretto text itself and in Reinhard Strohm's The Operas of Antonio Vivaldi , the general is called "Amanzio".
  2. ↑ a b The aria “Per noi soave e bella” is assigned to Amanzio in the Ryom directory .
  3. ↑ Italian: "cinto di gioie"

Individual evidence

  1. ↑ a b c d e f g h i j Reinhard Strohm : Giustino. In: Piper's Encyclopedia of Musical Theater . Volume 6: Works. Spontini - Zumsteeg. Piper, Munich / Zurich 1997, ISBN 3-492-02421-1 , pp. 512-514.
  2. ↑ a b c d Peter Ryom : Vivaldi catalog raisonné . Breitkopf & Härtel, Wiesbaden 2007, ISBN 978-3-7651-0372-8 , pp. 424-433.
  3. ^ A b c Siegbert Rampe : Antonio Vivaldi and his time. Laaber, 2010, ISBN 978-3-89007-468-9 .
  4. ^ Bernd Edelmann: Giustino. In: Piper's Encyclopedia of Musical Theater . Volume 3: Works. Henze - Massine. Piper, Munich / Zurich 1989, ISBN 3-492-02413-0 , pp. 436-438.
  5. ^ A b Reinhard Strohm : Giustino: Venetian fairy tale and Roman glory. In: Booklet of the CD Naïve OP 30571. 2008, pp. 38–41.
  6. ^ Harris S. Saunders:  Giustino ('Justin') (i). In: Grove Music Online (English; subscription required).
  7. ↑ Work information on musiqueorguequebec.ca.
  8. ↑ a b c d e f g h i Reinhard Strohm : The Operas of Antonio Vivaldi. Leo S. Olschki, Florence 2008, ISBN 978-88-222-5682-9 , Volume I, pp. 340-376.
  9. ↑ Giustino (Giovanni Lenzei) in the Corago information system of the University of Bologna , accessed on January 9, 2019.
  10. ↑ Winton Dean , Nigel Fortune (Ed.): Music and Theater: Essays in Honor of Winton Dean. Cambridge University Press 2005, p. 133.
  11. ^ Il Giustino (Luigi Mancia) in the Corago information system of the University of Bologna .
  12. ^ List of libretto arrangements in the Corago information system of the University of Bologna , accessed on January 9, 2019.
  13. ^ Harris S. Saunders:  Giustino ('Justin') (i). In: Grove Music Online (English; subscription required).
  14. ^ Il Giustino (Domenico Scarlatti) in the Corago information system of the University of Bologna .
  15. ↑ Reinhard Strohm : Dramma per Musica. Italian Opera Seria of the Eighteenth Century. Yale University Press, 1997, ISBN 0-300-06454-3 , pp. 247-251.
  16. ^ Michael Talbot : The Vivaldi Compendium. The Boydell Press, Woodbridge 2011, ISBN 978-1-84383-670-4 , p. 90.
  17. ↑ a b c d Il Giustino by Antonio Vivaldi. Work information (French) from Opéra Baroque, accessed on January 9, 2019.
  18. ^ Renate Wagner: Vienna / Theater an der Wien: Il Giustino (concert version) . Review in Online Merker, accessed on January 9, 2019.
  19. ↑ Program of the Vivaldi Opera Festival Börstorp (PDF) on borstorp.se, accessed on January 9, 2019.
  20. ↑ a b 21h: Opéra en direct de la Basilique Saint-Jean de Beaune. Program information of July 27, 2018 from France Musique , accessed on January 9, 2019.
  21. ↑ YouTube : Vivaldi: il Giustino, “Vedro con mio diletto” par Jakub Józef Orliński (contre-ténor) , accessed on January 6, 2019.
  22. ^ Vivaldi-Philippe-Jaroussky-Jean-Christophe-Spinosi-Ensemble-Matheus-Heroes at Discogs .
  23. ↑ Dorothy Hindman: Seraphic Fire's countertenor hits a high note with deep artistry on southfloridaclassicalreview.com, March 13, 2014, accessed January 9, 2019.
  24. ^ “Baroque Divas” at Decca - Vierblättriges Kleeblatt on operalounge.de, accessed on January 9, 2019.
  25. ↑ Serena Malfi: Vedrò con mio diletto (Il Giustino) - Vivaldi on 1earthunite.wordpress.com, accessed on January 9, 2019.
  26. ↑ Sonia Prina - Vedrò con mio diletto - I will see with delight on it-vision.org, accessed on January 9, 2019.
  27. ↑ Information on the CD Antonio Vivaldi by Cecilia Bartoli on muziekweb.nl, accessed on January 9, 2019.
  28. ↑ Nicola Benedetti - Italia on deutschegrammophon.com, accessed on January 9, 2019.
  29. ^ Concert Dedicated to Farinelli. Radu Marian male soprano (Moldavia). MUSICA ANTIQUA RUSSICA. Artistic director and soloist - Vladimir Shulyakovsky. Trade. Vivaldi. Porpora. Hate. Performance information on balletandopera.com, accessed January 9, 2019.
  30. ^ “Debut” di DiMaio, arie barocche e musica elettronica on adnkronos.com, accessed on January 9, 2019.
  31. ↑ a b c Antonio Vivaldi. In: Andreas Ommer: Directory of all complete opera recordings (= Zeno.org . Volume 20). Directmedia, Berlin 2005.
  32. ^ Christiane Lehnigk: Review of Alan Curtis' CD recording on Deutschlandfunk , October 11, 2002, accessed on January 6, 2019.
  33. ^ Ingobert Waltenberger: Antonio Vivaldi: Il Giustino - Vivaldi Edition Vol. 58 - Naïve. CD review. In: Online Merker, October 29, 2018, accessed on January 7, 2019.