Giustino (Lefiniti)
| Opera dates | |
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| Title: | Giustino |
Title page of the libretto, Venice 1683 |
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| Shape: | "Melodramma" in three acts |
| Original language: | Italian |
| Music: | Giovanni Lenzei |
| Libretto : | Nicolò Beregan |
| Literary source: | Procopius : Anecdota |
| Premiere: | February 7, 1683 |
| Place of premiere: | San Salvatore Theater |
| Playing time: | approx. 3 ½ hours |
| Place and time of the action: | Constantinople and environs, around 500 |
| people | |
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Giustino is an opera (original name: "Melodramma") in three acts by Giovanni Lenzei (music) with a libretto by Nicolò Beregan . It processed an episode from the Anekdota des Prokop and was premiered on February 7, 1683 in the Teatro San Salvatore in Venice.
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 Eufemia from a wild man. They give him access to the imperial court. Vitaliano's brother Andronico, who has fallen in love with Eufemia, takes on a position as her lady-in-waiting disguised as a woman. Vitaliano captures Arianna. Since she continues to reject his wooing, he orders his captain Polimante to throw her to a sea monster for food. In Constantinople, Eufemia organized a festival in honor of Giustino.
Act II. Anastasio makes Giustino a knight in order to free Arianna with his help. They are shipwrecked in a storm and escape to the coast. Polimante 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. In the palace garden, Andronico continues to campaign for Eufemia's favor in disguise. The decisive battle ends in Anastasio's favor, and Giustino is able to capture Vitaliano.
Third act. Anastasio's General Amantio intrigues against Giustino, whose success he envies. He gives Anastasio the jeweled belt of the defeated Vitaliano. Andronico lures Eufemia outside to rape her. Giustino saves her again and has Andronico arrested. As a reward, Arianna gives Giustino the jeweled belt that Anastasio has given her in the meantime. Vitaliano and Andronico manage to escape. When Arianna generously rewarded Giustino for saving Eufemia, Anastasio, made suspicious by Amantio, interprets it as a token of love and betrayal. He sentences Giustino to death and casts out Arianna. Amantio's goal is now the Byzantine throne. He plans an armed uprising among his supporters. Giustino can flee. When he is surprised by Vitaliano in his sleep in the wilderness, the voice of his late father can be heard announcing that Giustino is his brother. Giustino persuades him to take Anastasio's side and work with him to put down the Amantio uprising. Shortly before Amantio's accession to the throne, the two enter the palace and overpower it. At Giustino's request, Anastasio forgives Vitaliano and Andronico. Giustino is appointed co-regent and marries Eufemia.
first act
Festive place for Anastasios' coronation and his wedding to Empress Arianna
Scene 1. In front of the assembled court society, Empress Arianna crowns Anastasio with a diadem (“Il diadema, ch'al crin ti stringo”). Anastasio assures her of his love ("Sei sì bella, che non v'è"). The giant Atlante ( Atlas ) appears with the globe on his back and assures the couple of his respect. The ball breaks and shows the palace of Venus with graces, various allegorical figures and cupids . The wedding god Himeneo ( Hymen ) congratulates personally (“Brilli 'l sol, rida ogni stella”).
Scene 2. General Amantio interrupts the festivities to warn of the tyrant Vitaliano, who has already conquered the Bosporus and is now threatening the city. Anastasio wants to oppose him ("Al girar di questa spada"), which worries Arianna ("Non partirai no no").
Scene 3. Vitaliano's captain Polimante arrives with an offer of peace from his master. The condition is, however, that Arianna agrees to marry Vitaliano ("Il tuo fasto andrà sotterra"). Anastasio firmly rejects this. He is ready for war ("Un tuo guardo"). Arianna fears separation ("Senza te mio ben, mia vita"), but Anastasio calms her down ("Ti lascio l'alma in pegno").
Scene 4. Arianna decides to follow her husband into battle. She asked General Amantio for assistance
Scene 5. Anastasio introduces Arianna to her new lady-in-waiting, Flavia. In reality, however, it is Vitaliano's brother Andronico disguised as a woman. He pretends to be the daughter of Konstanz the great. Arianna welcomes him and explains that despite the warlike times she is looking for peace and love ("Cerco pace in mezzo all'armi").
Scene 6. Andronico explains his disguise in a self-talk: He loves Eufemia and wants to win her over (“Beltà, ch'allo splendore”).
Landscape on the Ismenos River
Scene 7. The farmer Giustino has had enough of his poor life (“O del cielo ingiusta legge!”). He longs for glory on the battlefield and sits down wearily on his plow ("O ristoro de 'mortali").
Scene 8. After nightfall, the goddess Fortuna appears with her bike and lets Giustino dream of a magnificent palace (“La Fortuna, ch'errando va”). She asks him to accept his fate. Giustino gets up full of thirst for action ("Mi chiama nel campo").
Scene 9. Suddenly Eufemia, the emperor's sister, and her servant Brillo appear. You are being pursued by a wild man. Brillo anxiously climbs a tree and Eufemia calls for help. Giustino drives out the attacker ("Mostro orrendo invan ti scoti"). Impressed, Eufemia invites him to the royal court, where he is to receive his reward. Giustino follows her modestly ("Non son vago").
Scene 10. Eufemia falls in love with Giustino (“Va alla caccia l'arciero volante”).
Scene 11. Riding an elephant, Vitaliano encourages his people to fight (“All'armi, o guerrieri”).
Scene 12. Polimante has captured Arianna, dressed as a warrior, and brings her to Vitaliano. The latter renews his offer to marry ("Si tronchino i lacci"), which Arianna contemptuously rejects ("T'inganni se speri"). He loses patience with her and orders Polimante to throw her to a monster to eat ("Vanne ingrata crudele spietata").
Scene 13. Arianna is determined never to give in to Vitaliano if it costs her life (“Così vago è quel sembiante”).
Eufemia's apartments in the Imperial Palace
Scene 14. Eufemia leads Giustino into the palace and overwhelms him with expressions of love (“Baciami o bella bocca”). She has prepared a splendid feast for him.
Scene 15. Allegrezza, the allegory of joy, leads knights and court ladies to dance in a stage machine (“Si rida, si canti, si balli sì sì”). Giustino explains to Eufemia that he was born not to love but to war ("Io non son nato o bella").
Second act
Scene 1. Anastasio learns that Arianna has been captured by the enemy. The whole western world is in danger (“Vada l'Asia a ferro, e foco”). Eufemia then suggests that Giustino be asked for help. Anastasio makes him his knight and tells him to free Arianna ("Se non miro il sol ch'adoro"). Giustino accepts the challenge (“Beltà Circe vezzosa”).
Scene 2. Flavia / Andronico tries to belittle Giustino at Eufemia. Eufemia, however, is violently in love with him ("È un foco Amore"). Your servant Brillo wonders about it.
Scene 3. Andronico sees his goal of winning Eufemia for himself in danger (“Amor consigliami” - “Non v'è peggio in amor”).
Rugged cliffs on the stormy sea
Scene 4. 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 thinks of Arianna ("Ovunque il passo giri").
Scene 5. Giustino ponders the changing fate of the people (“Io mi rido di quel bendato”).
Scene 6. Polimante has the captured Arianna chained to a rock to feed her to the sea monster.
Scene 7. While Arianna is praying (“Numi o voi, ch'il ciel reggete”), a terrifying monster swims up and gradually climbs the rock. Arianna's calls for help are reinforced by the echo (“Per me dunque il ciel non ha”). Giustino rushes over, defeats the monster in battle and frees her. Arianna longs for her husband ("Se non torno a chi m'innamora").
Scene 8. Arianna and Anastasio fall into each other's arms, relieved (“Corri, vola tra queste braccia”). Anastasio promises Giustino the fulfillment of any wish as a reward. Giustino modestly refuses.
Scene 9. Fortunately, Anastasio's general Amantio arrives with a ship so that the stranded can leave the place of horror (Anastasio: "Lascia le sponde" - Arianna: "Perché tra le procelle" - Giustino: "Per le chiome ho la fortuna" ).
Scene 10. Vitaliano's anger with Arianna has now subsided. He ruefully lets Polimante lead him to the coast to free her or at least kiss her remains one last time. Then they discover the dead monster on the beach. Vitaliano hopes that Arianna is still alive and that his tears will calm her down (“Sì vaghe luci adorerò”).
Garden with fountain
Scene 11. Andronico / Flavia tries to charm Eufemia with a love song (“Aure dolci, e lusinghiere”). He / she carefully indicates her / his love affair without revealing himself to her. Eufemia recommends keeping this love in silence (“Pur sei vaga, leggiadra vezzosa” - “Se di strali v'armato Cupido”). Brillo reports in clumsy words about Arianna's rescue.
Scene 12. Arianna enthusiastically tells the others about Giustino's heroic deed and adds that he swore to lay Vitaliano's head at her feet (“Caderà chi mi fa guerra”).
Scene 13. Eufemia has become jealous of Arianna and complains to Flavia / Andronico of her suffering. Andronico suggests taking a walk together to get them thinking of different things through the beauty of nature. Eufemia agrees (“Sull'ale d'un sospiro”).
Scene 14. Andronico continues to use cunning and deceit to force Eufemia's love (“Se la bella ch'adoro penando”).
Battlefield
Scene 15. Andronico looks confidently towards the battle (“Su struggete ferite pugnate”). Vitaliano approaches with his troops, and Giustino cheers on the Byzantine soldiers (“A guerra a battaglia”). During the fight (ballet) Vitaliano falls from his car. Giustino takes him prisoner.
Third act
Imperial palace
Scene 1. Vitaliano insists that his capture was only due to fate and not to Giustino's arm. Amantio takes a jeweled belt from him. Giustino has Vitaliano presented to the emperor (“Scherza, e ride la sorte incostante”).
Scene 2. Amantio hands Anastasio the precious belt with a reference to the increasing closeness of the empress to Giustino.
Scene 3. Anastasio gradually becomes jealous of Giustino (“Non m'uccider gelosia”).
Lovely area in front of Constantinople
Scene 4. Andronico reveals himself to Eufemia as a man and forcibly drives away her servant Brillo, who is indignant about this deception. Then he declares his love for her, which he wants to force himself if necessary (“Con quel labbro, ch'alletta ai baci”). Eufemia rejects him ("Puoi languire, morire, e penar").
Scene 5. Brillo has brought Giustino and some soldiers to Eufemia's rescue. Giustino arrests Andronico and has him taken away under the supervision of Brillo.
Scene 6. Giustino now returns Eufemia's love (“Bella mia, dunque ver me” - “Pur ch'il foco, ond'io m'infiammo”).
Lustgarten with a tower on one side
Scene 7. In the garden, Arianna has found her good mood again (“Grazie, ed amori scherzatemi intorno”). Amantio's captain Erasto shows her the captured Vitaliano and leads him into the tower. Vitaliano tries again to charm Arianna (“Un guardo di quegl'occhi”).
Scene 8. Arianna points out to Anastasio that Giustino deserves a generous reward. Anastasio does not go into that. Instead, he gives her the belt Vitaliano received from Amantio and assures her of his love ("Bella moro per te").
Scene 9. Giustino ponders his fame ("Si raddoppin gl'allori al mio crine"), and Arianna praises his bravery. Eufemia shows them the captured Andronico, who is also being led into the tower. She wants to punish him severely ("Mio cor all'armi").
Scene 10. Overheard by Amantio, Arianna rewards Giustino with the jewel belt. Her thoughts wander back to her love for Anastasio, from whom she does not want to be separated for a moment (“Così cara è quella face”).
Scene 11. Meanwhile, the two brothers Vitaliano and Andronico flee from the tower and swear vengeance (Andronico: "Fortuna, e Amore assistimi tu" - Vitaliano: "Fuggo dalle catene").
Scene 12. Amantio tells the emperor about Giustino's reward and claims that the ribbon is a token of Arianna's love. Anastasio's jealousy is now completely kindled. When Giustino arrives, he demands clarification. Giustino doesn't know how to dispel the suspicion. He gives the belt back to Anastasio. Nevertheless, Anastasio sentenced him to death. Giustino continues to assure him of his loyalty ("Sin che de l'orbe il freno")
Scene 13. Next, Anastasio takes on Arianna. He ignores her attempts to defend herself and her oaths of love (“Mio bel sole, idolo mio”) and brutally rejects her. Arianna throws away her imperial insignia in despair and begs Cupid for consolation ("Consola Cupido").
Scene 14. Giustino is brought before the emperor once more to hand over his sword. Anastasio ignores his pleading and leaves the room angrily.
Scene 15. Before his execution, Giustino wants to see Eufemia one last time (“Eufemia idolo amato”).
Scene 16. Amantio now wants to seize power in the empire and, with the help of his confidante Erasto, start a revolt (“La forza, e l'ingegno”).
Mountain landscape with tree trunks on the sides
Scene 17. Giustino remembers the luck promised him by the goddess Fortuna. Suddenly lightning bolts illuminate the scene and reveal a cave in the mountain in which the tomb of Vitaliano's father is located. He regained courage, threatened one of the guards with a sword and drove the others away, with only a slight injury to his arm. Then he sits down exhausted on a rock.
Scene 18. Vitaliano finds Giustino sleeping and takes his sword to kill him. At that moment his father's ghost rises from the tomb and warns him of the murder, because Giustino is his brother and the only one who can help him to life and power. Vitaliano finds family affiliation confirmed by a star-shaped mark. When Giustino wakes up, he explains the situation to him.
Scene 19. After Amantio comes to power, Eufemia wants to flee with Brillo. The two meet Giustino and Vitaliano. They decide to stand by Anastasio and put down the Amantio uprising. Andronico appears shortly afterwards.
Scene 20. Surprised by the events, Anastasio decides to follow his brothers (“Non l'intende in amor chi vuol penar”).
Imperial apartments
Scene 21. Amantio and Erasto have captured Anastasio and Arianna. Trumpet signals herald the arrival of Giustino.
Scene 22. Giustino, Vitaliano and Eufemia penetrate the palace and free the imperial couple. Amantio is led away.
Scene 23. Anastasio admits his mistake about the relationship between Arianna and Giustino. Giustino begs his mercy for his brothers Vitaliano and Andronico. Anastasio grants this. He also appoints Giustino Caesar and co-regent and promises him the hand of his sister Eufemia. The two couples are happily united (Anastasio / Arianna: "Non più truci tiranni" - Eufemia / Giustino: "Son tua mio sol, mia vita").
Scene 24. Andronico realizes that he has to renounce his love for Eufemia (“Ch'il dolce vuol provar”).
amphitheater
Scene 25. For Giustino's coronation, Olympus opens with the Temple of Eternity. Giustino celebrates the allegory of fame (Gloria) and eternity (Eternità) (Gloria: “Le sue glorie, sue vittorie”). Anastasio joins the praise (“Sì, sì all'uno, e all'altro polo”). Giustino concludes that virtue brings about fame.
layout
music
The instrumental line-up for the opera consists of a trumpet , strings and basso continuo . The score contains a total of 77 (81 according to another number) arias, 63 of which are only accompanied by basso continuo. They are formally very varied and mostly kept very short. There are also many ariosis within the recitatives . The music is always based on the action situations and the moods of the respective characters. Instrumental and vocal parts are closely related in terms of motifs. Often the arias begin with an instrumental motto. Some arias such as Anastasio's farewell aria “Ti lascio l'alma in pegno” (I.3) or Giustino's “O ristoro de 'mortali” (I.7) develop over an ostinato bass line. L Limiti uses the trumpet in four arias of a military nature. They are all assigned to the combative characters Giustino and Vitaliano, but not to the Emperor Anastasio. In his performance aria “O del cielo ingiusta legge!” Giustino complains about the “heavenly law”, through which unworthy people often come to power. In terms of music, Lenzei depicts the legal strictness here through the strict form of a canon of vocals and bass voices.
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 opera 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 by Giovanni Lenzei described here proved to be 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 the following decades there were operas by Luigi Mancia (arranged by: Silvio Stampiglia ; Rome 1695), Johann Christian Schieferdecker ( Justinus, Leipzig 1700 and Käyser Justinus, Hamburg 1706, who was raised to the throne by the Ackers-Plow ), Domenico Scarlatti (arranged by : Giulio Convò; Naples 1703) and Tomaso Albinoni (arranged by: Pietro Pariati ; Bologna 1711). Antonio Vivaldi used a further revision of the latter version for his opera Giustino (arranged by: probably Antonio Maria Lucchini ; Rome 1724). This in turn became the basis of Georg Friedrich Handel's Giustino (arranged by: unknown; London 1737).
Work history
The Giustino is the last completely preserved of L Limiti's 19 operas. It is dedicated to Alessandro Farnese , the Prince of Parma. The libretto is by Nicolò Beregan . The premiere of the first version took place on February 7, 1683 as the second and last carnival opera in the Teatro San Salvatore in Venice. There were follow-up performances until Shrove Tuesday. In a letter from the Florentine artist Matteo de Teglia dated February 13, quoted by Rudolf Bossart, he wrote that the plant opened “yesterday”. In the literature, February 12th is often incorrectly stated as the date of the premiere. De Teglia found the work “majestic” (“maestoso”) in its use of stage machinery and also noted that the musicians were “exquisite”. In addition to the stage equipment, a carriage drawn by two live horses and a giant of "impressive appearance" also performed. Contemporary reports also mention the scenes with the victory over the monster, with flying angels, land and sea battles and an elephant carrying twenty people. Due to the unusual popularity of the work, the open seats on the ground floor had to be reserved two days in advance. By 1699 there were eleven other productions in different cities. The Giustino thus became Llimi's most popular opera.
For the 23rd birthday of King Charles II , the opera was revised by Andrea Perrucci (text) and Alessandro Scarlatti (music). Instead of the various allegorical scenes there was now a new prologue in homage to the king, and another comic role was added, the nurse Gelidia sung by a man. This version was played for the first time on November 6th, 1684 in the Palazzo Reale in Naples and then also in the Teatro San Bartolomeo there.
The autograph of the score is lost. Copies are kept in the Biblioteca Nazionale Marciana Venice, the Biblioteca Casanatense Rome and the library of the Conservatorio San Pietro a Majella (second version). Luigi Bettarini published a performance score based on these three sources in Milan in 1980. Textbooks from Venice (1683), Naples (1684), Milan (1689) and Rome (1695) have also been preserved.
In 2007, at the Schwetzingen Festival, Llimis Giustino experienced a highly acclaimed new production by Nicolas Brieger (set design: Katrin Nottrodt , costumes: Jorge Jara), which was voted “Rediscovery of the Year” in Opernwelt magazine's critics' survey . Thomas Hengelbrock directed the Balthasar Neumann Ensemble . He also set up the score. The leading roles were sung by Georg Nigel (Anastasio), Cornelia Ptassek (Arianna), Elisabeth Kulman (Giustino), Delphine Galou (Eufemia), Peter Kennel (Vitaliano), Terry Wey (Andronico) and Hermann Oswald (Amantio). The premiere on April 26, 2007 was recorded by radio SWR2 . The production was also shown in November 2008 at the Grand Théâtre in Luxembourg - now under the direction of the conductor Michael Behringer in a scenic facility by Alexander EL Schulin with costumes by Cornelia Brunn. Here the soprano Jacek Laszczkowski took over the title role.
Recordings
- April 26, 2007 - Thomas Hengelbrock (conductor), Nicolas Brieger (production), Balthasar Neumann Ensemble .
Georg Nigel (Anastasio), Cornelia Ptassek (Arianna), Elisabeth Kulman (Giustino), Delphine Galou (Eufemia), Peter Kennel (Vitaliano), Terry Wey (Andronico), Hermann Oswald (Amantio), Manfred Bittner (Polimante and Erasto), Thomas Stache (Brillo), Marina Bartoli (Allegrezza and Fortuna).
Live from Schwetzingen.
Broadcast on the radio SWR2 .
literature
- Rudolf Bossard: Giovanni Llimani: Il Giustino, a monographic study. Koerner, Baden-Baden 1988, ISBN 3873205793 .
Web links
- Libretto (Italian), Venice 1683. Digitized version of the Munich digitization center
- Giustino (Giovanni Lenzei) in the Corago information system of the University of Bologna
- Work information and libretto (Italian) as full text on librettidopera.it
- Work information (French) on operabaroque.fr
Individual evidence
- ↑ a b c d e f g h i 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.
- ↑ Reinhard Strohm : Giustino: Venetian fairy tale and Roman glory. In: Booklet of the CD Naïve OP 30571. 2008, pp. 38–41.
- ↑ a b c Harris S. Saunders: Giustino ('Justin') (i). In: Grove Music Online (English; subscription required).
- ↑ a b c Uwe Schweikert : Power, love, jealousy - Giovanni Lenzei's “Il Giustino” and Bernard Lang's “The Old Man from the Mountains” in Schwetzingen. In: Opernwelt July 2007, p. 16.
- ^ Reinhard Strohm : The Operas of Antonio Vivaldi. Leo S. Olschki, Florence 2008, ISBN 978-88-222-5682-9 , Volume I, pp. 340-376.
- ↑ Giustino (Giovanni Lenzei) in the Corago information system of the University of Bologna , accessed on January 10, 2019.
- ↑ Winton Dean , Nigel Fortune (Ed.): Music and Theater: Essays in Honor of Winton Dean. Cambridge University Press 2005, p. 133.
- ^ Il Giustino (Luigi Mancia) in the Corago information system of the University of Bologna .
- ^ List of libretto arrangements in the Corago information system of the University of Bologna , accessed on January 9, 2019.
- ^ Harris S. Saunders: Giustino ('Justin') (i). In: Grove Music Online (English; subscription required).
- ^ Il Giustino (Domenico Scarlatti) in the Corago information system of the University of Bologna .
- ^ 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.
- ^ A b c Eleanor Selfridge-Field: A New Chronology of Venetian Opera and Related Genres, 1660-1760. Stanford University Press, Stanford 2007, ISBN 978-0-8047-4437-9 , pp. 159-160.
- ↑ Uwe Schweikert : “Comedy is created through seriousness” - Klaus-Peter Kehr on Giovanni Llimi's “Giustino” and other discoveries at the Schwetzingen Festival. In: Opernwelt Jahrbuch 2007, p. 42.
- ↑ Reinhard Ermen Giovanni Llimi: "Il Giustino". Radio manuscript (PDF) . SWR2 , July 12, 2015, accessed January 10, 2019.
- ↑ Grand Théâtre Luxembourg - Giovanni Llimi - En version scénique on theatres.lu, accessed on January 11, 2019.
- ↑ Giovanni Lenzei. In: Andreas Ommer: Directory of all complete opera recordings (= Zeno.org . Volume 20). Directmedia, Berlin 2005, p. 8157.