The burbero di buon cuore
| Opera dates | |
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| Title: | The burbero di buon cuore |
Libretto of the Prague production from 1786 |
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| Shape: |
Dramma giocoso in two acts |
| Original language: | Italian |
| Music: | Vicente Martín y Soler |
| Libretto : | Lorenzo Da Ponte |
| Premiere: | January 4, 1786 |
| Place of premiere: | Theater next to the castle , Vienna |
| Playing time: | around 3 hours |
| Place and time of the action: | Ferramondo's house (where his relatives also live), present |
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The opera Il burbero di buon cuore (The curmudgeon with the good heart) is a joint work by the Venetian Lorenzo Da Ponte ( libretto ) and the Valencian Vicente Martín y Soler (music). It was the first of her five Drammi giocosi in Vienna in 1785/1786 and is based on the comedy Le Bourru bienfaisant (The benevolent curmudgeon) by Carlo Goldoni .
Da Ponte and Martín y Soler
Emperor Joseph II , who ruled the states of the House of Austria from 1780–1790 in the spirit of the Enlightenment , was his own theater director. After an attempt to help the German Singspiel break through, he employed an Italian opera company again. Da Ponte arrived in Vienna at the same time as Mozart in 1781. Although he had not yet written a single libretto, the emperor hired him as a theater poet in 1783. His first work in this field - Il ricco d'un giorno for Salieri (1784) - was granted only moderate success. By contrast, when Martín moved to Vienna in autumn 1785, he had already created several operas, including for the courts of Joseph's sisters Maria Carolina in Naples and Maria Amalia in Parma . According to Da Ponte, the composer was also patronized by the wife of the Spanish ambassador in Vienna, Isabel de Llano (1751–1821) . Joseph II personally initiated the collaboration between the two artists. According to Count Zinzendorf's diary, Da Ponte was able to read the libretto aloud as early as October 10, 1785 in the house of Oberst kämmerer Rosenberg .
Buffo and Seria elements
As Ulrich Konrad writes, Da Ponte wanted to curb the typical comedy of dramma giocoso in favor of a greater balance between buffo and seria elements and an intensification of expression, thereby creating a new kind of musical drama. The libretto still contains a lot that is characteristic of the opera buffa : disguises, love affairs, arias with philosophical - moralizing content and extensive finals . While the librettist has otherwise largely followed the template, he has adapted the dialogues to the demands of the composer and the singers. The obligatory reduction in the number of acts from three to two required the invention of a comic episode (Valerio in Ferramondo's bedroom), which could be expanded into a first finale. At the very end, however, Da Ponte merely added a moralizing ending that is typical of opera buffa.
The editor of the score , Leonardo J. Waisman, identified extensive quotations from Martín's own works written in Italy.
20-year-old English woman as Angelica
For various reasons, Zinzendorf found three performers remarkable at the premiere: "The Storace sang well, Benucci played perfectly, the Mandini let us see her beautiful hair." The Italian-British soprano Nancy Storace (1765–1817) played Angelica. Da Ponte writes of the sister of the composer Stephen Storace : “She was in her prime and the whole delight of Vienna.” In the Gazzetta di Napoli of January 9, 1786, it says: “(...) the mastery of Frau Storace was not only admired in their singing, but also in their well-understood acting. ”Ferramondo was embodied by the primo buffo Francesco Benucci (1745–1824), who was also praised by Mozart , and his housekeeper Marina was embodied by the expressive French Maria Mandini (Marie Vésian). Her husband Stefano Mandini sang Dorval, Vincenzo Calvesi the Giocondo, Michael Kelly or Paolo Mandini the Valerio, Celeste Coltellini or Caterina Cavalieri the Lucilla.
action
Il burbero di buon cuore plays in the aristocratic - upper - class world of the theater and opera audience of the time . It castigates the restriction of freedom of choice in love and the deportation of people to monasteries - topics that Da Ponte and Martín later took up again in agreement with their enlightened client Joseph II in Una cosa rara and L'arbore di Diana . The libretto does not deny its origins in French spoken theater: if the emperor noticed the "enormous number of notes" in Mozart's score of the Abduction from the Seraglio , then in the Burbero it is probably the many errors and confusions with which the plot is peppered for an opera .
The core of the same can be told in one sentence: The 16-year-old orphan Angelica should forego her luck with the young Valerio and become a nun or marry the 40-year-old bachelor Dorval because her brother Giocondo is out of love for his unsuspecting wife Lucilla Has incurred debts - from which the supposedly misanthropic Uncle Ferramondo finally freed him.
The following summary follows the existing recording, which has been somewhat streamlined compared to the critical edition of the work.
1st act (salon)
Scenes 1–3: After the overture ( video on YouTube ) we see the young Angelica sending her lover Valerio away. This out of fear of her uncle Ferramondo, who, according to his housekeeper Marina, is humane and generous, but also grouchy and strict. Angelica swears eternal loyalty to Valerio. He declares that he is determined to stop Angelica's hand from his friend Giocondo, who is the guardian of the orphaned sister.
Marina, however, reveals to the couple that the "Herr Ritter" (Giocondo) wants to send Angelica to the monastery. Because nothing is left of his fortune and perhaps also of his sister's dowry that can be traced back to the debt management of his wife, "Madamchen" Lucilla:
“Se in casa ella resta,
Gran pranzi, gran cene,
l'un va, l'altro viene:
D'un mese in un giorno l'entrata sen va.
Gran mode, se sorte, bijous d'ogni sorte,
Cappelli, cimieri, cavalli, forieri:
E un libro ha il mercante,
se manca il contante,
Che i debiti accoglie di mezza città. "
“She stays at home -
Big lunches and dinners,
one coming, one going:
A month's earnings - gone in a day.
Haute couture , when it goes out, jewelry of all kinds,
hats, plumes, horses, servants:
And if you are not fluent,
the merchant has a book
where half the city can be written on. "
Valerio assures Angelica that she will remain his first and only love. He would sooner die than give up her.
Scenes 4–6: Ferramondo's passion is the game of chess . When his friend Dorval, which the servant to bring Castagna, he wants to for a lost game of revenge. Castagna's report that Giocondo wanted to speak to him is ignored. Marina, on the other hand, manages to inform him that his beloved niece Angelica should be put into the convent by her brother. Ferramondo then declared in his capacity as head of the family that this could not be done without his consent. Marina should call Angelica over. The housekeeper asks him not to worry the girl.
Scenes 7 f .: Angelica's shyness and Ferramondo's impatience make communication between them difficult. Finally the uncle finds out that Angelica does not want to go to the monastery but wants to get married. On the other hand, she doesn't dare to admit that she loves Valerio. Ferramondo therefore decides to look for a husband for her, although as a bachelor he cannot understand why she wants to forego freedom and tranquility. He has already left when the girl - hand on heart - sings:
"Voglio marito, ma voglio quello
Ch'è tanto bello, che qui mi sta.
Solo per ridere vo maritarmi
E non per piangere la libertà. "
“I want a husband, but I want the one who is
so beautiful, who is in here.
I want to get married just to laugh
and not to weep for freedom. "
Ferramondo's thoughts, however, are already revolving around the upcoming chess game.
Scenes 9 f .: When Giocondo wants to speak to him, Ferramondo leaves the room furiously. Giocondo complains Dorval that Lucilla's uncle wrongly condemned Lucilla. His wife thought he was richer than he really was and knew nothing of his financial difficulties. Giocondo tells ( video on YouTube , until 3.55):
“Degli anni sul fiore amore ci unì,
Nè mai di tal fiamma scintilla ne dramma
Finora languì.
Io stesso i piaceri l'ho avvezzata a seguir,
E ognor suoi voleri cercai prevenir. "
“In the prime of the years, love united us,
And from this flame not a spark, not a tiny bit
has gone out so far.
I myself got her used to having fun,
and read all her wishes in her eyes. "
Dorval promises to put in a good word for Giocondo at Ferramonte, even if he cannot spare him the accusation of having made a great fortune in just four years. Then he asks about Angelica, who is getting more and more beautiful and (so he suggests) is in danger of losing her virginity . Giocondo reports that he therefore wanted to put the sister - even if only temporarily - in a convent, which earned him a “Bravo!” From the bachelor Dorval.
Scenes 11 f .: Giocondo also asks Castagna to intercede for him at Ferramondo. He promises to reward him for getting money back. But the servant, who is no longer a comical figure like the Arlecchino in the Commedia dell'arte , but has a wife and four children, replies that nothing is wrong with him. A good wage and a good gentleman - that's enough for him:
“Son trent'anni che porto livrea.
È il mestier che mio padre facea.
Non studiai la moral, la politica,
Anzi appena so far l'abbicì.
Pur in fondo un uom dotto mi credo,
E a un filosofo nulla noch cedo
Per le cose imparate in prattica,
Miglior libro che s'abbia oggidì. "
“I've been wearing the livery for thirty years .
It's the job my father did.
I studied neither morals nor politics ,
yes I hardly master the ABC.
But basically I believe to be a learned man,
And I am in no way inferior to a philosopher
. What I have learned in practice,
the best book that exists today. "
He learned to differentiate between real and imagined needs and not to spend more than he received. If he had no capons and no wine, he knew how to be content with water and cabbage (a meager diet, even by the standards of the day!). In an emergency, however, he could rely on Ferramondo's generosity.
Scenes 13 f .: Giocondo wants to prevent his beloved wife from finding out about his bankruptcy . When Lucilla complains that the “crazy” Ferramondo treats her with contempt, he asks her to be patient with her uncle - one day they might need him. Then Lucilla asks the ( rhetorically meant) question whether she might be a spendthrift. When she asks what is bothering her husband, he evades and talks about his sister. Lucilla asks Giocondo not to send Angelica to the monastery but to marry her. The girl has a good match in prospect with Valerio. But Giocondo does not want to go into the topic. Finally, Lucilla asks if he is interested in Angelica's dowry. Completely insecure, she sings:
"Chi sa, chi sa qual sia l'affanno del mio bene,
Se sdegno, gelosia, rabbia, dispetto, amor?
Voi che wallpaper, o Dei, i puri affetti miei,
Voi questo dubbio atroce, toglietemi dal cor! "
“Who knows, who knows what it is that oppresses my loved one,
Whether indignation, jealousy, anger, anger, love?
You who know my pure feelings, oh gods,
take this terrible uncertainty from my heart! "
Scenes 15-18: Lucilla assures Angelica that she has nothing to do with the "monastery thing". The desperate replies that the cause of her misfortune is the bankruptcy of her brother. Lucilla, falling from the clouds, demands clarification. Angelica then calls her sister-in-law a "vicious vixen". Only because of her does she lose her loved one. For her part, Lucilla accuses Angelica of insulting Giocondo. Marina does not manage to calm the arguments. When Ferramondo comes home, he explains harshly that women have no business in his salon . Angelica does not have a say again, and Lucilla does not manage to apologize for her willingness to spend.
Scenes 19–21: Dorval is no better off when he wants to talk to Ferramondo about Giocondo. He should be silent, he heard, "from a light footed man, a madman, a slave to his own wife". While Ferramondo concentrates on the game of chess, Dorval tries to explain the difference in temperaments to him, quoting a Latin philosopher : he describes his friend as a choleric , and himself as a phlegmatic . ( Video on YouTube )
Ferramondo wins the game. When Angelica returns, despite her uncle's good mood, she still doesn't dare to confess her love for Valerio. At the sight of the girl, Dorval escapes the comment: “What a graceful creature!” To which Ferramondo explains straightforwardly: “If you want her, you can have her!” He gave him another ten thousand billins .
The finale of the first act begins with objections by Dorval - especially because of the age difference - which Ferramondo wipes under the table. Dorval insists, however, that Angelica must sign the marriage contract herself. Ferramondo goes straight to the notary to draw up the aforementioned document. ( Video on YouTube )
Scenes 22 f .: Giocondo waited anxiously at the door. He concludes from snatches of conversation that Dorval had caused a change of heart at Ferramondo. The fact that the uncle calls his friend “my dear nephew” refers to himself. He also believes that Ferramondo went to the notary to avert his bankruptcy. When Dorval announces that he will marry Angelica, he is at first amazed, but then delighted. He calls Lucilla over and asks her to hug the future brother-in-law. He does not worry about his sister's opinion on the marriage agreed behind her back.
Scenes 24-27: Angelica laments her fate without knowing what is in store for her. When Valerio comes to ask Ferramondo for her hand, Angelica and Marina hide him (since they find Giocondo's door locked) in the master's room, who has just returned from the notary. Ferramondo sends Dorval to this room to teach Angelica about her "happiness" in private. When opening the door he discovers Valerio, who is unknown to him, and shouts Zetermordio. Now the rest of the house residents rush over. To annoy Angelica, Lucilla says that Valerio wanted to see her himself and made a mistake in the door. Ferramondo, however, speaks of treason and threatens revenge. The others withdraw so as not to irritate the madman even more. ( Video on YouTube )
2nd act (hall)
Scenes 1–3: Ferramondo asks Marina about the identity of the stranger in his room. The housekeeper claims it is a fashion retailer who brought Lucilla jewelry. Ferramondo then asks what the man's relationship is with Angelica. However, he does not give Marina an opportunity to answer. In the meantime, Valerio has entered, whom Angelica tries in vain to stop. Ferramondo demands to see the goods of the "merchant", but Valerio can only show the engagement ring that he wanted to bring to his lover. With the presence of mind, he enumerated a number of items that were available in his shop. Ferramondo remains suspicious, but postpones the niece's interrogation until later.
Scenes 4 f .: Lucilla tells Giocondo that she took responsibility for Valerio's presence in order to confuse his “ungrateful” sister. Angelica had told her that he was bankrupt and that she, Lucilla, was responsible for that. At that moment, Castagna brought a letter with further bad news that Giocondo gave Lucilla to read. After taking note of the content, she sings ( video on YouTube ):
"Vado. Ma dove, o Dei,
Se de 'tormenti suoi,
Se de' sospiri miei
Non sente alcun pietà?
Tu che mi parli al core,
Guida i miei passi, Amore,
Tu quel ritegno or togli,
Che dubitar mi fa! "
"I go. But where to, oh gods,
If with his torments,
If no
one feels pity for my sighs ?
You who speak to my heart,
guide my steps, Cupid, free
me from this fear that makes
me insecure! "
Scenes 6–10: As Valerio Marina explains, he wants to offer Giocondo all his fortune and marry Angelica without a dowry. For her part, Marina promises Angelica to appeal to Ferramondo's good heart. Then he would surely agree to her marriage to Valerio.
Angelica doesn't know anything about the uncle's plans yet. Dorval meets her alone and, in view of her beauty, forgets all concerns about the planned mesalliance . In response to Angelica's anxious questions, he reveals that Ferramondo has found a bridegroom for her, and describes him as follows:
“Immaginate, o cara, un uom tutto buon cor
Che da quegli occhi impara a sospirar d'amor.
Un uom immaginatevi senza capricci in testa.
La faccia è lieta e placida, la taglia come questa.
È sano, lo vedrete, e pieno di vigor.
Non è ricchissimo, ha quanto basta.
Tutti lo credono di buona pasta (...) "
“Imagine, oh love, a man with a heart, Who
learns to sigh with love from your eyes.
Imagine an uncomplicated man,
cheerful, calm face, of this size,
healthy, as you will see, and full of strength,
not the richest, but wealthy enough.
Everyone thinks he's a good guy (...) "
The fact that Angelica looks at him furtively during these words continues to inflame Dorval. ( Video on YouTube ) When he has to admit that the person described is of advanced age, he meets with disbelief. The uncle didn't want to marry her off against her will. When Dorval states that it was he who talked Ferramondo into the plan, Angelica replies that he could talk him out of it again. Dorval comes to her senses and promises her this. The marriage candidate is a mutual acquaintance. Angelica no longer hides the fact that her heart is taken. She promises to be eternally grateful to Dorval if he brings it to a point where she can marry her lover. He replies that even if the “friend” has to do without her, he is pleased to make her happy.
Dorval and Angelica give each other an innocent kiss, which the approaching Ferramondo misinterprets: He asks the niece to give Dorval a real hug. This finally makes it clear to her who he wanted to marry her off to. Dorval teaches Ferramondo that the planned marriage will not work. Ferramondo then accuses him of breaking his word. After Dorval's departure, he vented his anger on Castagna, who fell in shock. Ferramondo now regrets his lack of restraint: he tells the injured person to have his wife fetched from the surgeon and to pay the costs. The servant then praises the goodness of his master: Even if he had broken his neck, he should have forgiven him for this (which is of course bitter irony ).
Ferramondo laments the wickedness of the world, especially the alleged stupidity and depravity of women. Angelica, on the other hand, laments her fate: she cannot shake hands with her lover, even if he takes her without a dowry, because then she appears ungrateful to her uncle.
Scene 11: Giocondo is tired of life, and with his solvency he thinks he has lost his honor. Dorval suggests talking to creditors and friends. If not from these, he could hope for rescue from Ferramondo. Dorval, however, does not think she is up to a confrontation with her uncle. He had brought through the income of the next ten years and the wife's fortune. Orval replies that the whole town is living on credit and that Lucilla herself wasted her dowry . However, it is bad that even the sister's is gone, but this can also be solved. Together they call out to the audience that the wallet is the most important thing to watch out for in life.
Scenes 12–15: Giocondo asks Ferramondo for forgiveness. What he did wrong happened out of innocent love. He would have to die if his uncle didn't save his honor. ( Video on YouTube , from 3.56 onwards) The appeal to Ferramondo's sympathy has the hoped-for result: He takes over all the debts of the nephew - albeit cursing. But Lucilla should never appear before his eyes again. Giocondo asserts in vain that his wife was not to blame for his bankruptcy.
The finale of the opera begins with Ferramondo chasing away the nephew and revoking the promise he just made. He loathes Lucilla. Giocondo asks him not to say this, otherwise he will die of grief.
Lucilla appears in a messy dress and asks her pardon. In doing so, she sinks passed out at Ferramondo's feet. Then she agrees to leave the house and Giocondo. Touched, the curmudgeon takes pity on her and tells her to stay and love her husband.
Marina reminds her master of the fate of Angelica, whereupon he has her called. Your "crazy" groom could also come. Dorval leads Angelica and Valerio in and offers to be their best man. The happy ending is once again on a knife's edge when Ferramondo recognizes the alleged fashion retailer in Valerio. Ultimately, however, he forgives those involved for this “villainy”. On the other hand, he considers the fact that Angelica should marry without a dowry to be incompatible with the honor of his house and therefore promises to expose her to such an honor. At least partially converted to the optimism of the Age of Enlightenment , he proclaims at the end:
“Questa vita è bella e cara,
Non v'è nulla da ridir.
Ma vivendo ognun impara
che bisogna assai soffrir. "
“This life is
all well and good, this cannot be denied.
But everyone learns down here
that you have to suffer a lot. "
The others supplement this statement with the following appeal:
“Negli affanni e nelle pene
Non perdiam mai la sperenza!
Presto o tardi vien il bene
E compensa ogni martir. "
“Let us
never lose hope in afflictions and suffering!
Sooner or later the good comes and makes up
for all the sacrifices. "
success
According to Da Ponte, his competitor Casti had spread that Goldoni's comedy was unsuitable for being converted into an opera buffa . From the premiere, however, the poet reports that “many spectators, including the emperor, even applauded a few times after recitatives ”. Joseph II said to him: “We have won.” He liked both the music and the words. In line with this, the Gazzetta di Napoli reports : "The play received a lot of applause (...)" Il burbero di buon cuore made Martín the emperor's favorite composer.
In 1789, seven more were added to thirteen performances at the Burgtheater. At that time Mozart replaced Lucilla's arias "Chi sa, chi sa qual sia" ( KV 582, video on YouTube ) and "Vado. Ma dove, o Dei ”(KV 583, video on YouTube ). Il burbero di buon cuore was less successful in Vienna than Martín's later works Una cosa rara and L'arbore di Diana , but at least as successful as Mozert's Nozze di Figaro and more successful than his Don Giovanni and Così fan tutte .
This was followed by productions in Prague , Venice , Trieste , Dresden , Rome , Bologna , Paris , Madrid , London , Barcelona and Saint Petersburg . After an “inimitable performance” in Venice, the English agronomist Arthur Young was full of praise in 1789 for “the genius and taste of Signore Martini”. Haydn wrote the duet “Quel cor umano e tenero” ( Hob. XXV / a Anh., Video on YouTube ) for a London production in 1794/1795 .
literature
- Le Bourru bienfaisant, Comédie en trois actes et en prose, de M. Goldoni ; Dédiée à Madame Marie Adélaïde de France (…) représentée pour la première fois par les Comédiens François Ordinaires du Roi, le Lundi November 4, 1771. Veuve Duchesne, Paris 1771 ( digitized ).
- Memorie di Lorenzo Da Ponte, da Cèneda . Scritte da esso. 2nd edition, 1st volume, part 2, Lorenzo Da Ponte, Nuova-Jorca 1829 ( digitized version ), pp. 46, 56, 64 f., 69, 72, 112.
- Vicente Martín y Soler, Lorenzo Da Ponte: Il burbero di buon cuore. Dramma giocoso in due atti. Edición crítica: Leonardo J. Waisman. Instituto Complutense de Ciencias Musicales (Música Hispana. Partituras. Música Lírica. Orquesta. 42), Madrid 2003, ISBN 84-8048-399-7 . English version of the introduction: mundoclasico.com, June 10, 2004 ( digitized version ).
- Vicente Martín y Soler, Lorenzo Da Ponte: Il burbero di buon cuore. Dramma giocoso in due atti. Edición crítica: Leonardo J. Waisman. Reducción para canto y piano. Instituto Complutense de Ciencias Musicales (Música Hispana. Partituras. Música Lírica. Canto y Piano. 18), Madrid 2004, ISBN 84-8048-558-2 .
- Leonardo J. Waisman: Vicente Martín y Soler. Un músico español en el Clasicismo europeo. (...) Instituto Complutense de Ciencias Musicales (Colección Música Hispana. Textos. Series Biografías. 16), Madrid 2007, ISBN 978-84-89457-35-5 , pp. 68–73, 240–270 et passim .
Discography
- Teatro Real , Madrid, Christophe Rousset . Dynamic, CD and DVD (2007). Libretto with translation into English ( digitized ).
Web links
- Il burbero di buon cuore : Sheet music and audio files in the International Music Score Library Project
- Il burbero di buon cuore (Vicente Martin y Soler) in the Corago information system of the University of Bologna
- Work data for Il Burbero di buon cuore based on the MGG with discography at Operone
- University of Music Mainz , Oliver Weder , 2008 ( digitized version ). Plot ( digitized version ). Ulrich Konrad : Materials ( digitized version )
- Gran Teatre del Liceu , Barcelona, Jordi Savall , 2012. Promo ( video on YouTube )
References and comments
- ↑ From Latin angelus (" angel "), in Goldoni Angélique.
- ^ Italian "radiant", in Goldoni Madame Dalancour.
- ^ At Goldoni Marton ("little Martha").
- ^ Italian "happy, carefree", from Goldoni Monsieur Dalancour.
- ↑ From Latin valere ("healthy, strong") and argentum ("silver"), in Goldoni Valère.
- ↑ Echoing French or ("gold") and val ("valley").
- ↑ From Italian ferrare ("to shod with iron or nails") and mondo ("world"), in Goldoni Monsieur Géronte ("old man").
- ^ Italian "Kastanie" ("Raue shell, soft core"), in Goldoni Picard (" Picarde ").
- ↑ Alternative spelling: Il burbero di buon core.
- ↑ Contemporary translations: Der gutherzige Grämling, Der gutherzige Murrkopf, Der gutherzige Polterer.
- ↑ Afterwards the two wrote Una cosa rara (Vienna 1786), L'arbore di Diana (Vienna, 1787), La capricciosa corretta and L'isola del piacere (both London, 1795).
- ↑ Le Bourru bienfaisant, Comédie en trois actes et en prose, de M. Goldoni (…) Veuve Duchesne, Paris 1771 ( digitized version ). The piece was performed in Vienna in 1781. Cf. Hochschule für Musik Mainz , 2008, Ulrich Konrad : materials ( digitized ).
- ↑ See Rudolf Payer von Thurn (ed.): Joseph II. 1783 as theater director, unprinted letters and files from the Burgtheater's childhood years, Vienna / Leipzig 1920.
- ↑ Joseph II called him a "virgin muse". Cf. Memorie di Lorenzo Da Ponte (...) 2nd edition, 1st volume, part 2, Nuova-Jork 1829, p. 46.
- ↑ Cf. Memorie di Lorenzo Da Ponte (…) 2nd edition, 1st volume, part 2, Nuova-Jork 1829, pp. 60–64.
- ^ Dorothea Link: The National Court Theater in Mozart's Vienna, Sources and Documents 1783–1792. Clarendon Press , Oxford 1998, p. 255.
- ↑ University of Music Mainz , 2008. Ulrich Konrad : materials ( digitized ).
- ↑ Six of these self- quotations come from the cantata Philistaei a Jonatha dispersi ( Venice 1784), three each from the operas In amor ci vuol destrezza (Venice 1782), Vologeso ( Turin 1783) and La vedova spiritosa ( Parma 1785). Cf. Leonardo J. Waisman: Vicente Martín y Soler (...) Madrid 2007, p. 241.
- ^ Dorothea Link: The National Court Theater in Mozart's Vienna, Sources and Documents 1783–1792. Clarendon Press , Oxford 1998, p. 262.
- ↑ Memorie di Lorenzo Da Ponte (...) 2nd edition, 1st volume, part 2, Nuova-Jork 1829, p, 56: "(...) era nel suo fiore, e tutta la delizia di Vienna."
- ↑ Quoted from: Hochschule für Musik Mainz , 2008, Ulrich Konrad : materials ( digitized ).
- ↑ Leonardo J. Waisman: Vicente Martín y Soler (...) Madrid 2007, p. 71, note 166.
- ^ Teatro Real , Madrid, Christophe Rousset . Dynamic, CD and DVD (2007). Libretto with translation into English ( digitized ).
- ↑ Vicente Martín y Soler, Lorenzo Da Ponte: Il burbero di buon cuore. Dramma giocoso in due atti. Edición crítica: Leonardo J. Waisman. Reducción para canto y piano (...) Madrid 2004.
- ↑ aria "Guardiam Madamina" (Scene 1).
- ↑ aria “Da voi quest'alma amante” (scene 2).
- ↑ Scene 7.
- ↑ Scene 10.
- ↑ Scene 12.
- ^ "Quel nostro stravagante" (scene 13).
- ↑ 1789 by Mozart replaced aria (scene 14).
- ↑ "Volpe maligna" (scene 15).
- ↑ "Giochiam, ed ammutite (...) d'un fatuo, d'un sciocco, d'un schiavo della sua propria moglie!" (Scene 19)
- ↑ "Che vezzosa ragazza!" (Scene 20)
- ↑ "Se la volete è vostra." And: "volete Se io ve la Daro." (Scene 20)
- ↑ "Confonder volli l'ingrata vostra suora." (Scene 4)
- ↑ 1789 by Mozart replaced aria (scene 5).
- ↑ Scene 7.
-
^ "Nel sesso femminino finita è la prudenza,
Trionfa il babbuino, è morta l'innocenza." (Aria "Quando fui giovinetto", scene 9) - ↑ Scene 15.
- ↑ Memorie di Lorenzo Da Ponte (…) 2nd edition, 1st volume, part 2, Nuova-Jork 1829, pp. 64–66.
- ↑ Quoted from: Hochschule für Musik Mainz , 2008. Ulrich Konrad : materials ( digitized ).
- ^ Memorie di Lorenzo Da Ponte (…) 2nd edition, 1st volume, part 2, Nuova-Jork 1829, p. 68: “il Compositore allor favorito di Giuseppe”.
- ↑ Vicente Martín y Soler, Lorenzo Da Ponte: Il burbero di buon cuore, Dramma giocoso in due atti, Edición crítica: Leonardo J. Waisman, Reducción para canto y piano (…) Madrid 2004, pp. 345-361; see. Leonardo J. Waisman: Vicente Martín y Soler (...) Madrid 2007, p. 268.
- ↑ Leonardo J. Waisman: Vicente Martín y Soler (…) Madrid 2007, pp. 71–73.
- ^ Arthur Young: Travels during the years 1787, 1788 and 1789. Volume 1, Dublin 1793 ( digitized version ), p. 466 f. (November 7th): “(…) it is an inimitable performance; not only abounding with very pleasing airs, but the whole piece is agreeable: and does honor to the genius and taste of Signore Martini (...) "