I Lombardi alla prima crociata

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Work data
Title: The Lombards on the First Crusade
Original title: I Lombardi alla prima crociata
Title page of the libretto from 1843

Title page of the libretto from 1843

Shape: Opera in four acts
Original language: Italian
Music: Giuseppe Verdi
Libretto : Temistocle Solera
Literary source: I Lombardi alla prima crociata by Tommaso Grossi
Premiere: February 11, 1843
Place of premiere: Milan , Teatro alla Scala
Playing time: approx. 140 minutes
Place and time of the action: Milan , Antioch , Jerusalem , late 11th century
people
  • Arvino, son of Folco ( tenor )
  • Pagano, his brother ( bass )
  • Viclinda, Arvino's wife ( soprano )
  • Giselda, Arvino's daughter (soprano)
  • Pirro, Arvinos Waffenknecht (bass)
  • Milanese Prior (tenor)
  • Acciano, tyrant of Antioch (bass)
  • Oronte, his son (tenor)
  • Sofia, wife of the tyrant - secretly baptized (soprano)
  • Priests, soldiers, crusaders, Saracens, people ( choir )

I Lombardi alla prima crociata (The Lombardi on the First Crusade) is an opera in four acts by Giuseppe Verdi (1813–1901). The libretto (text) comes from Temistocle Solera based on the epic verse of the same name by the Milanese poet Tommaso Grossi . The world premiere took place on February 11, 1843 at the Teatro alla Scala in Milan . The German premiere was on August 25, 1845 in Berlin .

action

First act: “La vendetta” - The revenge

First image: the square of Sant'Ambrogio

A thanksgiving service is being held in the Sant'Ambrogio church in Milan for the brothers Pagano and Arvino, who, as rivals for Viclinda's hand, fought a bloody dispute that led to Pagano's exile. Viclinda, Arvino's wife, and their daughter Giselda hope that the newly found peace agreement will continue (quintet T'assale un tremito! / A shudder seizes you! ).

Second picture: Gallery in the Palace of Folco

A priest reports that Arvino is said to be the leader of the Lombard troops on the crusade. Pagano, however, still intends to win Viclinda for himself, which he entrusts to his brother's arm in arms , Pirro (Aria Sciagurata! Hai tu creduto / shameful! You believed ). This provides him with a group of hired murderers for his plans. While Pirro's cronies set fire to the hostile brothers 'parents' palace, Pagano intrudes into Arvino's rooms, kills his father Folco instead of Arvino's brother and tries to kidnap Viclinda.

Before he can escape, he is caught by Arvino and sent back into exile.

Second act: "L'uomo della caverna" - The man of the cave

First image: Hall in the Palace of Acciano in Antioch

In Antioch, Acciano, the tyrant of the city, is informed of the approaching crusaders, who leave a trail of destruction through the country. Sofia, his wife, learns from her son Oronte that he loves the Christian Giselda imprisoned in his father's harem. Sofia was secretly baptized herself and approves of Orontes' love for Giselda (Cavatine La mia letizia infondere / Could I be happy ).

Second picture: Raising a mountain with the entrance of a cave

After participating in the parricide of Pagano, Pirro fled to Antioch and converted to the Muslim faith. He comes to a hermit, tells him about his whole life and learns from the holy man that he can be forgiven if he opens the city gates to the approaching crusaders, since he is responsible for the safety of the city gates of Antioch.

The crusaders come to the cave of the hermit, who meets them with his helmet visor lowered. Arvino tells him about the arrest of his daughter Giselda and is comforted by the hermit who prophesies that the crusaders could spend the next night in the city of Antioch.

Third picture: In the harem

Crusaders invade the harem where Giselda is (Rondo O madre dal cielo soccorri / O mother from heaven, help me ). Sofia excitedly reports that Acciano and Oronte have fallen. When Arvino enters, Giselda recognizes in him the murderer of her lover and his father and pushes him back. She prophesies serious calamity for him. The hermit can prevent Arvino from killing his half-insane daughter (Finale II No, no, giusta causa non è / No, no, it is not God's just will ).

Third act: “La conversione” - The conversion

First picture: The valley of Giosafat

In the Arvino tent camp near the Mount of Olives, Giselda meets Oronte, who tells her that he has only been injured and that he has been looking for her - in the disguise of a Lombard. Together they flee from the camp.

Second picture: The Arvino tent

Arvino is reported to have seen his wicked brother Pagano in the Crusader camp, which is interpreted as an evil sign from heaven.

Third picture: the inside of a grotto

Giselda and the wounded Oronte rested in a grotto on the banks of the Jordan, feeling that his end was near. The hermit gives Oronte the sacrament of baptism before he dies. The hermit tries in vain to comfort Giselda (Finale III, Terzett Qual voluttà / What lust I feel ).

Fourth act: "Il Santo Sepolcro" - The Holy Sepulcher

First picture: a cave

In a vision, the sleeping Giselda sees her dead lover, who gives her hope and prophesies the victory of the crusaders. Giselda feels her calling (Aria Qual prodigio! / What a miracle! ).

Second picture: The tents of the Lombards near Rachel's tomb

A fresh spring is discovered behind the barren camp, which is said to bring refreshment to the exhausted crusaders.

Third picture: The Arvino tent

Arvino and Giselda bring the fatally wounded hermit to Arvino's tent. He confesses that he is the parricide Pagano and that he also wanted to kill his brother. As he dies, he begs for forgiveness.

Fourth image: [The sight of Jerusalem]

Before his death, he takes one last look at the walls of Jerusalem, already adorned with the flags of the crusaders (Finale IV, hymn Te lodiamo, gran Dio / We praise you, great God ).

layout

Instrumentation

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

Music numbers

first act

  • No. 1. Preludio
  • No. 2. Introduction
    • Choir: Oh nobile esempio! (Chorus) - scene I.
    • Scene: Qui nel luogo santo and pio (Pagano, Arvino, Viclinda, Giselda, Pirro, Chor) - Scene II
    • Quintet: T'assale un tremito!… - sposo, che fia? (Viclinda, Giselda, Arvino, Pagano, Pirro) - Scene II
    • Seguito dell'Introduzione: Or s'ascolti il ​​voler cittadino! (Priore, Arvino) - Scene II
    • Stretta dell'Introduzione: All'empio che infrange la santa promessa (Viclinda, Giselda, Pirro, Arvino, * Pagano, choir) - Scene II
  • No. 3. Choir and aria by Pagano
    • Choir: A te nell'ora infausta (Choir interno di Claustrali) - Scene III
    • Recitative: Vergini! ... il ciel per ora (Pagano) - Scene IV
    • Aria: Sciagurata! hai tu creduto (Pagano) - Scene IV
    • Tempo di mezzo: Molti fidi qui celati (Pirro, Pagano) - scenes IV – V
    • Choir: Niun periglio il nostro seno (Chor di Sgherri) - Scene V
    • Cabaletta: O speranza di vendetta (Pagano, choir) - Scene V
  • No. 4. Recitative and Ave Maria
    • Recitative: Tutta tremante ancor l'anima io sento… (Viclinda, Arvino, Giselda) - Scene VI
    • Preghiera / Prayer: Salve Maria (Viclinda) - Scene VI
  • No. 5. Finale I.
    • Scene: Vieni!… Già posa Arvino (Pirro, Pagano, Viclinda, Arvino) - scenes VII – VIII – IX
    • Finale I: Mostro d'averno orribile (Pagano, Pirro, Viclinda, Arvino) - Scene IX
    • Seguito del Finale: Parricida!… E tu pure trafitto (Arvino, Giselda, Pagano, Pirro, choir) - Scene IX
    • Stretta del Finale: Ah! sul capo mi grava l'Eterno (Pagano, Pirro, Viclinda, Arvino, choir) - Scene IX

Second act

  • No. 6. Introduction
    • Choir: È dunque vero? (Ambasciatori, Acciano, Choir) - Scene I.
  • No. 7. Cavatine des Oronte
    • Scene: O madre mia, che fa colei? (Oronte, Sofia) - Scene II
    • Cavatine: La mia letizia infondere (Oronte) - Scene II
    • Tempo di mezzo: Oh! ma pensa che non puoi (Sofia, Oronte) - Scene II
    • Cabaletta: Come poteva un angelo (Oronte, Sofia) - Scene II
  • No. 8. Scene, March of the Crusaders and Hymn
    • Scene: E ancor silenzio! (Pagano) - Scene III
    • Adagio: Ma quando un suon terribile (Pagano) - Scene III
    • Scene and march: Ma chi viene a questa volta? (Pagano, Pirro) - Scene III – IV – V
    • Duettino: Sei tu l'uom della caverna? (Arvino, Pagano) - Scene V.
    • Inno / Hymn: Stolto Allah… sovra il capo ti piomba (chorus) - Scene V
  • No. 9. Choir
    • Choir: La bella straniera che l'alme innamora! (Chor nell'Harem) - Scene VI
  • No. 10. Finale II
    • Scene: Oh madre, dal cielo soccorri al mio pianto (Giselda) - Scene VII
    • Rondò: Se vano è il pregare che a me tu ritorni (Giselda, Sofia, Pagano, Arvino, choir) - Scene VII – VIII
    • Stretta del Finale: Ah taci, incauta! (Pagano, Arvino, Giselda, choir) - Scene VIII

Third act

  • No. 11. Introduction
    • Coro della Processione: Gerusalem… Gerusalem… la grande (choir) - Scene I
  • No. 12. Recitative and duet by Giselda and Oronte
    • Recitative: Dove sola m'inoltro? (Giselda, Oronte) - Scene II – III
    • Duet: O belle, a questa misera (Giselda, Oronte) - Scene III
  • No. 13. Arvino's scene and aria
    • Scene: Che vid'io mai?… (Arvino) - Scene IV
    • Aria: agony nuova? - Sì!… Del ciel che non punisce (Arvino, choir) - Scene V
  • No. 14. Scene and Terzetto
    • Scene: Qui posa il fianco!… (Giselda, Oronte, Pagano) - Scene VI – VII
    • Trio : Qual voluttà trascorrere (Oronte, Giselda, Pagano) - Scene VII

Fourth act

  • No. 15. Introduction
    • Scene: Vedi and perdona! (Giselda, Pagano, Arvino) - Scene I.
  • No. 16. Vision
    • Choir: Componi, o cara vergine (Chor di Celesti) - Scene II
    • Vision: Oh! di sembianze eteree (Giselda) - Scene II
    • Aria: In cielo benedetto (Oronte) - Scene II
    • Aria: Non fu sogno! ... in fondo all'alma (Giselda) - Scene II
  • No. 17. Ultimate finale
    • Choir: O Signore, dal tetto natio (Crociati, Pellegrini, Donne) - Scene III
    • Scene: Al Siloe! al Siloe! (Choir, Giselda, Arvino) - Scene III – IV
    • Inno / Anthem: Guerra! guerra! s'impugni la spada (choir) - Scene IV
    • Scene: Questa è mia tenda… (Arvino, Giselda, Pagano) - Scene V
    • Terzettino: Un breve istante (Pagano, Giselda, Arvino) - Scene V
    • Inno finale: Dio pietoso!… Di quale contento (Pagano, Arvino, Giselda, choir) - Scene VI

Work history

This article or the following section is not adequately provided with supporting documents ( e.g. individual evidence ). Information without sufficient evidence could be removed soon. Please help Wikipedia by researching the information and including good evidence.

The first performance on February 11, 1843 in Milan was again a great success for the young composer, and the work was put on the program again for the opening of the 1844/1845 season. Then I Lombardi alla prima crociata quickly spread throughout Europe and was performed in Odessa, Barcelona, ​​Bucharest, Berlin and St. Petersburg in 1845. In 1847 the opera was first performed in the United States at New York's Palmo's Opera House. For the performance at the Paris Opéra , Verdi reworked the work into a French grand opéra with ballet and many post-composed parts. This revised version was premiered on November 26, 1847 under the title Jérusalem .

After a translation back into Italian, Jérusalem was brought to the season opening of La Scala in Milan under the title Gerusalemme 1850/1851.

Today I Lombardi is one of Giuseppe Verdi's early works, which are rarely performed.

literature

  • Christoph Schwandt: Verdi - The Biography (updated new edition) . 1st edition. Insel Verlag, Berlin 2013, ISBN 978-3-458-35911-1 .

Web links

Commons : I Lombardi alla prima crociata  - collection of images, videos and audio files

Individual evidence

  1. ↑ Schwandt: Verdi. 2013, p. 40.
  2. ^ Kurt Malisch: I lombardi alla prima crociata / Jérusalem. In: Piper's Encyclopedia of Musical Theater. Volume 6: Works. Spontini - Zumsteeg. Piper, Munich / Zurich 1997, ISBN 3-492-02421-1 , p. 392.