Il Flaminio

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Opera dates
Title: Il Flaminio
Title page of the libretto, Naples 1735

Title page of the libretto, Naples 1735

Shape: Commedia per musica in three acts
Original language: Italian , Neapolitan
Music: Giovanni Battista Pergolesi
Libretto : Gennaro Antonio Federico
Premiere: Fall 1735
Place of premiere: Teatro Nuovo, Naples
Playing time: approx. 4 hours
Place and time of the action: a village outside Naples with country houses
people
  • Polidoro, brother of Agata, in love with Giustina ( tenor )
  • Flaminio, under the name Giulio, in love with Giustina ( soprano )
  • Giustina, widow, in love with Flaminio ( old )
  • Agata, also in love with Flaminio, whom she thinks is Giulio (soprano)
  • Ferdinando, fiancé Agata (soprano)
  • Checca, Giustina's maid (soprano)
  • Vastiano / Bastiano, servant Polidoros ( bass )
  • Farmers (extras)

Il Flaminio is a commedia per musica (comic opera ) in three acts by Giovanni Battista Pergolesi (music) with a libretto by Gennaro Antonio Federico . The premiere took place in the autumn of 1735 at the Teatro Nuovo in Naples.

action

The opera is set in a village near Naples around 1730. Polidoro, who always likes to joke, loves the young widow Giustina, who has already promised him marriage. The wedding of his sister Agata to Ferdinando, who has been absent for a few months, has already been arranged. The third pair are Polidoro's servants Vastiano and Giustina's maid Checca. But some time ago Polidoro took in his new accountant Giulio, who is messing everything up. Giustina is sure that this is in reality her old admirer Flaminio, who had tried to help her with her first husband before her wedding and was turned away by her at the time. Giustina falls in love with him and rejects Polidoro on the pretext that he is doing too much nonsense. Agata also falls in love with Giulio and separates from her fiancé, who has since returned. After all sorts of turbulence and misunderstandings, Giulio admits that he is actually Flaminio and that he wants to woo Giustina again. The two find each other, Agata returns to Ferdinando, and Vastiano and Checca also overcome their last disagreements. Only Polidoro comes away empty-handed, but does not want to let it spoil his mood.

first act

Scenes 1. Polidoro sings a song to the guitar (Polidoro: "Mentre l'erbetta pasce l'agnella"). His servant Vastiano reminds him that Giustina had made him promise not to make any more nonsense, otherwise she would not marry him. Vastiano himself has a similar problem with his lover Checca, Giustina's maid. Since she comes from Pisa, she doesn't like it at all when Vastiano speaks in his Neapolitan dialect - he has to learn Tuscan first.

Scene 2. When Giustina appears on the balcony, Vastiano seizes the guitar with presence of mind and pretends to have been the player himself. Giustina asks Polidoro about his sister Agata's wedding date. Polidoro replies that the bridegroom Ferdinando is expected at any moment.

Scene 3. Vastiano is already looking forward to the upcoming triple wedding because he himself wishes to marry Checca. But when she appears, he already pronounces her name incorrectly (“Cecca” instead of “Checca”) - extremely poor prerequisites for winning her love. Checca had picked flowers, which she is now giving to Polidoro at Giustina's request.

Scene 4. After Giustina leaves, Polidoro grabs the guitar again and repeats his opening song.

Scene 5. Vastiano argues again with Checca about his language. But he tries hard, and finally they both profess their mutual love (Vastiano: “Con queste paroline”).

Scene 6. Giustina explains to her maid that her request that Polidoro behave better was just an excuse to get rid of him. Because actually she now loves his manager Giulio. She believes this is actually Flaminio - her former admirer from Rome, whom she turned down before marrying her first husband Fabio. However, she fears that Giulio is in love with Agata (Giustina: "D'Amor l'arcano ascoso").

Scene 7. Agata is confused and desperate about her newly inflamed infatuation with Giulio so shortly before her wedding to Ferdinando.

Scene 8. Giulio arrives too. He wonders why Agata doesn't seem to be looking forward to her wedding at all. Agata describes her confusion to him (Agata: "Tu il mio desir non vedi").

Scene 9. Giulio tells Agata that he cannot reciprocate her love because he will love Giustina forever. Giustina's wedding vows to Polidoro do not change anything (Flaminio: “Scuote, e fa guerra vento spietato”).

Scene 10. Ferdinando, who has meanwhile arrived from Salerno, questions Vastiano about what happened during the eight or nine months of his absence. Of course, he is particularly interested in whether Agata's feelings towards him have changed. Vastiano calms him down.

Scene 11. After a joke fencing match with a farmer, Polidoro warmly greets his friend Ferdinando.

Scene 12. Checca joins them too. Ferdinando is happy for Polidoro because Vastiano told him about his planned wedding with Giustina. Checca says aside that this will take place when the donkeys fly.

Scene 13. Ferdinando's bride Agata appears. But she is far from happy with his return. Disappointed at this cold greeting, Ferdinando assumes that she has now had another admirer (Ferdinando: “Non si cchella, ch'io lassaje”). Checca enters the house to tell her mistress about it.

Scene 14. Polidoro asks his sister the reason for her behavior. She explains to him that she no longer likes Ferdinando and that he should look for another love (Agata: "Non vo tal sposo").

Scene 15. Polidoro and Vastiano continue to puzzle over Agata's moods.

Scene 16. Giulio arrives and asks why Agata is angry. Polidoro is now enraged about his sister's behavior.

Scene 17. Giustina and Checca leave the house. Polidoro tries to tell Giustina about Agata's change of opinion, but is still too upset. Vastiano takes on this task. Then he retires to the garden with Checca. Giustina and Polidoro suspect that Agata has a new lover. Polidoro instructs Giulio to take care of this problem - but Giustina suspects of all people as the culprit. Polidoro then asks Giustina not to behave like Agata, but to keep her feelings for him. Giustina quickly changes the subject because she has already changed her mind (Polidoro: “Da so dolce spene”).

Scene 18. Giustina confronts Giulio and speaks directly to him when she suspects that he is actually Flaminio and that he is staying with Polidoro under a false name in order to be near Agata. Giulio firmly rejects this (Flaminio: "O Dio! Sei troppo barbara"). He goes.

Scene 19. Giustina doesn't find Giulio's answer convincing. She is sure that he is Flaminio (Giustina: “Più crudel non mi dirai”).

Scene 20. Checca and Vastiano are talking in the garden.

Scene 21. They are interrupted by Polidoro, who is desperate to enjoy himself now to cool his anger. He suggests having fun with Checca while Vastiano watches. The two are reluctant to participate. Finally, Checca breaks off the game and declares that he can only love Vastiano (Checca: “A lui donai mi core”).

Scene 22. Polidoro says it was all a joke. Vastiano doesn't believe him. He compares Polidoro to a fox who couldn't reach the grapes and now claims that they are sour. But this “delicacy” (Checca) is intended only for him (trio: “Quel morzelletto cannarutetto sta sol per me”).

Second act

Scene 1. Polidoro, in the presence of Giulio, makes fun of Vastiano's anger after his joke. Giulio can well understand his jealousy. Then Polidoro's thoughts turn to Giustina again, whose demand for good behavior he cannot keep (Polidoro: “Amor, che si sta accolto”).

Scene 2. Agata tells Giulio that she is no longer interested in her bridegroom. It reminds her of her marriage promise. Ferdinando watches the conversation. When Giustina also shows up, Agata calls Giulio into the house so that they can talk undisturbed (and bewitch him).

Scene 3. Ferdinando complains to Vastiano about Agata's behavior. Vastiano introduces Giustina to him as his master's future wife. She promises to help him. Ferdinando tells them that Giulio went to their house with Agata and that they had spoken of their engagement (Ferdinando: “Lo caso mio e 'accosì barbaro”).

Scene 4. Giustina has once again lost her hope in Giulio / Flaminio.

Scene 5. She tells Checca about it and then lets her feelings run free (Giustina: “In mezzo a questo petto”).

Scene 6. Checca is surprised by her mistress' emotional outburst. She herself would have behaved very differently in this situation (Checca: “I 'son d'un'animuccio”).

Scene 7. Agata confesses her love to Giulio. He rejects her, but shows compassion (Flaminio: “Del fiero tuo dolore”).

Scene 8. Agata is deeply disappointed with Giulio's rejection after she turned Ferdinando down on his account (Agata: “Da rio funesto turbine”).

Scene 9. Polidoro consults with Ferdinando how the matter could be put right again. He is angry with Giulio, whom he blames for it, but doesn't know a way out. Since Vastiano repeatedly interrupts the discussion with joking objections, Ferdinando runs away in despair.

Scene 10. Polidoro rebukes Vastiano and starts to beat him up.

Scene 11. Checca appears in time to stop Polidoro. Then she gives Vastiano a lecture herself. After everyone has calmed down, Vastiano suggests playing fools to improve the mood. That works very quickly. Since it is Checca's birthday, they decide to have a party. There should be musicians, dancing and a race (Vastiano: “Quanno voi vi arrosseggiate”; here Vastiano imitates the meowing of a cat).

Scene 12. Polidoro is talking to Checca.

Scene 13. Polidoro dismisses Giulio and throws him out.

Scene 14. Giulio suspects that there is an intrigue behind his dismissal by Agata who wants to take revenge for the rejection.

Scene 15. Giustina, who learned of Giulio's dismissal from Checca, tries to comfort him. Giulio reassures her that he is not interested in Agata. Gradually they get closer, although Giulio continues to deny his identity with Flaminio (duet Giustina / Flaminio: “Se spiego i senti miei”).

Scene 16. Polidoro and Vastiano make final preparations for the birthday party.

Scene 17. Checca joins them, pleased. A peasant band is playing and there is dancing. Next up is a round of sack race, in which Polidoro and Vastiano also take part.

Scene 18. Now Giustina appears too, who immediately points out that there is no way she will marry such a silly boy as Polidoro. She goes away indignantly.

Scene 19. Polidoro has passed the laughter. He also curses Vastiano who makes fun of him together with Checca (Terzett Polidoro / Vastiano / Checca: "Cacciatemi, cacciatemi").

Third act

Scene 1. Ferdinando talks to Vastiano.

Scene 2. Polidoro is saddened by Giustina's behavior. In his sadness he only sees sacks everywhere (Polidoro: "Queste frondi, e questi sassi"). Ferdinando, on the other hand, prefers to talk about his own worries. When Polidoro notices Giustina, he runs away and asks Vastiano and Ferdinando to speak for him.

Scene 3. Giustina confirms that she no longer loves Polidoro. That also helps Ferdinando, because nothing stands in the way of his marriage to Agata. Ferdinando draws hope again (Ferdinando: “Sta varca desperata”).

Scene 4. When Giustina notices Giulio nearby, she instructs Vastiano to tell Polidoro that such a simple-minded and ridiculous man like him has no chance with her and should look for another woman. She hopes that Giulio has heard her words.

Scene 5. Giustina sends Checca away to speak to Flaminio in private. Checca is supposed to take care of her problem with Vastiano.

Scene 6. Giulio approaches Giustina in the hope that she will finally confess her love for him. Noticing this, Agata steps in and asks the two of them to explain. Giulo should also reveal the truth. Giustina declares that she loves him, but not Giulio. Giulio is delighted to hear these words (Flaminio: “L'oggetto del cor mio”).

Scene 7. Agata is completely unclear to Giustina's answer. She curses the day she fell in love with Giulio (Agata: "Ad annientarmi potea discendere").

Scene 8. Giulio is sorry to have hurt Agata's feelings so much (Flaminio: "Chi ha 'l cor fra le catene").

Scene 9. Vastiano delivers Giustina's words to the sad Polidoro. He advises him to let his anger out. They agree that he will take on Giustina's role, to which Polidoro can address his answer. The fake conversation goes as expected: Giustina / Vastiano responds with abuse to Polidoro's pleading. Finally, Polidoro pretends to faint.

Scene 10. Checca scolds Vastiano for laughing at Polidoro's misfortune instead of helping him get back on his feet. She brings them back to their senses with a magic key and a traditional poem (Checca: “Benedetto, maledetto”). Polidoro bites Checca's hand, gets up, curses Giustina (Polidoro: “Non abbia più riposo la cruda mia tiranna”) and walks away.

Scene 11. Vastiano explains Polidoro's behavior to Checca. Both get closer and confess their love (duet: “Ben te io puoi pensar”).

Scene 12. Polidoro tells Agata that he wants revenge on Giulio. He takes a shotgun and goes at him with it.

Scene 13. Fortunately, the shotgun wasn't loaded. Nothing happens to Giulio.

Scene 14. There is a debate between Polidoro and Giulio. It finally tells its story and reveals its true identity. After the death of Giustina's husband, he moved here under the name Flaminio to try his luck with her again. Since she had already promised Polidoro the marriage, he wanted to prevent the wedding without being recognized until he found out her feelings. Giustina replies that he deserves her love with it. Agata is forced to return to Ferdinando and asks his forgiveness. Vastiano and Checca also decide to get married. Only Polidoro is left alone. He consoles himself with the fact that he does not want to let a woman spoil his fun - he will already have fun elsewhere (Polidoro and final ensemble: "Ite a godere, ch'io non v'invidio" - "A ppazzeare spassà te può" ).

layout

The commedia per musica is a typical Neapolitan form of opera of the early 18th century. The action usually takes place in the (then) present in the area of ​​Naples. The scene is rigid and depicts a street between two country houses. The characters are either based on those of the Commedia dell'arte or are in love. Usually there is a foundling who grew up unrecognized and is loved by several other people at the same time. Towards the end, the real identity of this person turns out to be a close relative of most of the suitors, so that only one applicant remains. In addition to burlesque elements, there are allusions to the opera seria and social life. A frequently used form of music is the simple "canzona", which is often in verse form. The opera usually begins with such a “canzona” in Sicilian rhythm. The use of the Neapolitan dialect is also typical, but was gradually pushed back from 1720 and limited to the buffo parts. Further examples of this genre are Pergolesi's Lo frate 'nnamorato from 1732 and Leonardo Leo's opera L'Alidoro from 1740, which was rediscovered at the beginning of the 21st century .

As usual in the Commedia per musica, here too some parts (Ferdinando and Vastiano) are in the Neapolitan dialect. The music of the peasant band at the end of the second act is not mentioned in either the libretto or the score. It was probably improvised. Elements of Neapolitan folk music permeate several other pieces such as the Siciliano Polidoros performance at the beginning of the opera.

The extremely complex plot seems to parody the type of opera seria Metastasios and its successors. There are a number of parallels to this genre: Most roles and vocal subjects correspond to the types of these seria operas with a first pair (Flaminio and Giustina), a second pair (Ferdinando and Agata), all of which are soprano or alto voices, as well a tenor. The buffo roles Vastiano and Checca find their correspondence in the intermezzi that are often performed between the acts of an opera seria, but are here integrated into the main plot. The sequence of arias with a duet at the end of the first act, a trio at the end of the second and a final ensemble and the da capo structure of the arias are typical of the opera seria. In contrast to this one with its kings and heroes, Il Flaminio plays in a middle-class environment. Although the opera contains some slapstick elements from the Commedia dell'arte, the roles, especially those of Giustina and Flaminio, are drawn soulfully and realistically. Il Flaminio is thus a forerunner of Baldassare Galuppi's later buffa operas . Ulrich Schreiber even compares the servant Vastiano with a brother of Figaro in Mozart's Le nozze di Figaro because of his mature emotional language in “Con queste paroline” (first act, scene 5) .

Instrumentation

The opera's orchestra consists of two oboes , two horns , strings , guitar and basso continuo .

Work history

Il Flaminio is Pergolesi's last opera. It follows on from his Lo frate 'nnamorato, which he performed with great success in the same theater three years earlier .

Pietro Vitale (Polidoro), Antonia Colasanti (Flaminio), Anna Cialfieri (Agata), Paola Fernandes (Ferdinando), Margherita Pozzi (Checca) and Girolamo Piani (Vastiano) sang at the premiere in autumn 1735 at the Teatro Nuovo in Naples. There were dance interludes between the files, but these have not been preserved. The performance received great applause.

There were other well-known performances in the 18th century in 1737 (for this, the role of Ferdinando was rewritten into Tuscan) and in Naples in 1749 and in Siena in 1742.

The autograph of the first two acts has not survived. In 1919 Igor Stravinsky used three pieces of the opera in his ballet Pulcinella.

The work was occasionally played again in the 20th century, first in Siena in 1942 and in the Vienna Chamber Opera in 1961 . In 1982 at the Teatro Goldoni in Venice, under the direction of Marcello Panni, the first performance based on the score by Roberto De Simone , prepared as part of the critical complete edition , which had been rehearsed by the Teatro San Carlo in Naples. This production was given until 1986 in Naples, Charleston, Versailles (direction: Herbert Handt ), Jesi, Vienna, Wiesbaden and Dresden. The performance in Jesi was released on record. In 1994 there was another performance in Lille under the direction of Salvatore Accardo . In 2004 there was a new production by Michal Znaniecki in Beaune and Jesi with the Accademia Bizantina under the direction of Ottavio Dantone , which was taken up again in Jesi in 2010 and released on DVD.

Recordings

Web links

Remarks

  1. ↑ In the libretto, the servant's name is mostly written with the first letter “V”, but occasionally also with “B” in the recitatives.

Individual evidence

  1. ↑ a b c Gordana Lazarevich:  Flaminio. In: Grove Music Online (English; subscription required).
  2. ↑ Helmut Hucke: Lo frate 'nnamorato. In: Piper's Encyclopedia of Musical Theater. Vol. 4. Works. Massine - Piccinni. Piper, Munich and Zurich 1991, ISBN 3-492-02414-9 .
  3. ↑ a b c d e f g h i Helmut Hucke: Il Flaminio. In: Piper's Encyclopedia of Musical Theater. Vol. 4. Works. Massine - Piccinni. Piper, Munich and Zurich 1991, ISBN 3-492-02414-9 , pp. 690-692.
  4. ^ Ulrich Schreiber : Opera guide for advanced learners. From the beginning to the French Revolution. 2nd Edition. Bärenreiter, Kassel 2000, ISBN 3-7618-0899-2 , p. 248.
  5. ^ Record of the performances from autumn 1735 in the Teatro Nuovo in the Corago information system of the University of Bologna .
  6. ^ Il Flaminio (Giovanni Battista Pergolesi) in the Corago information system of the University of Bologna . Retrieved June 6, 2016.
  7. ↑ Il flaminio. In: Reclam's Opernlexikon. Philipp Reclam jun., 2001. Digital Library, Volume 52, p. 915.
  8. ↑ Information on the work, detailed table of contents and performance history at operabaroque.fr (Italian) , accessed on June 6, 2016.
  9. ^ A b Giovanni Battista Pergolesi. In: Andreas Ommer: Directory of all opera complete recordings. Zeno.org , volume 20.
  10. ↑ Product data set of the DVD from 2010 on arthaus-musik.com , accessed on April 15, 2018.