Il più bel nome

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Work data
Title: Il più bel nome
Title page 1708

Title page 1708

Shape: Componimento da camera in two parts
Original language: Italian
Music: Antonio Caldara
Libretto : Pietro Pariati
Premiere: August 2, 1708
Place of premiere: Llotja de Mar in Barcelona
Playing time: about 2 hours
Place and time of the action: Elysian realms
people

Il più bel nome (English: “The most beautiful name”) is a serenata (original name: “componimento da camera”) in two parts by Antonio Caldara (music) with a libretto by Pietro Pariati . It was composed on the occasion of the wedding of Archduke Karl of Austria (later Emperor Karl VI ) with Elisabeth Christine von Braunschweig-Wolfenbüttel and performed for the first time on August 2, 1708 in the Llotja de Mar in Barcelona.

action

As music of homage, the serenata has no actual dramatic plot. Instead, it is a contest between the goddesses Venus (called “Venere” in Italian) and Juno (“Giunone”) over the priority of beauty or virtue. The goddess of beauty Venus is supported by Paris (called “Paride” here), and Juno by the hero Heracles (“Ercole”). An allegory of fate ("Il Fato") takes on the role of referee. Towards the end it turns out that neither of the two goddesses deserves the award, as they are both dwarfed by “Elisa” - Elisabeth Christine von Braunschweig-Wolfenbüttel , whose wedding formed the occasion for the Serenata.

first act

Elysian realms

In a garden full of blooming myrtles and other flowers, Paris sits on one side next to a statue of Cupidos . On the other hand, Heracles is leaning against a heap of weapons. Behind a myrtle, Venus approaches Paris. Followers of beauty ask to use the presence of the goddess and to be aflame for love (chorus: "Correte, amori"). Venus wants to know how strong the love of her followers is (aria: "S'egl'è ver che amasti un dì"). Paris assures her that his love will last until death. Once you have experienced love, you will never lose it (aria: “Chi ben ama un solo istante”). Heracles, however, does not believe in an everlasting love. His feelings for Dejanira have already been replaced by virtue (aria: “Spezzar quella catena”). Venus explains that love occurs in two ways, a star-derived form that contains divine fire and a short-lived flame that feeds on foul celestial vapors.

Juno descends from heaven on a cloud and sits down next to Heracles. At the same time the garden is transformed. It now shows fountains and waterfalls and in the distance the Lethe river . Heracles and followers of virtue cheer the arrival of their goddess (chorus: "Qui dove ha lieta"). Juno already feels strengthened just by the presence of the heroes (aria: “Cari Elisi, stanze amate”). Venus, supported by Paris, declares that Juno will always find an opponent in her. Let a beautiful face be like the sun, and just as the stars in heaven draw their fire from the sun, so a pretty face gradually inflames all hearts (aria: “Dati pace, e credi a me”). Heracles and Juno disagree. On the contrary, the sun corresponds to the virtue that drives away all fleeting enthusiasm. Paris believes that Juno has still not got over the fact that he once awarded Venus the beauty prize . He is still certain that beauty should take precedence over virtue (aria: “Guarda la palma”). When Heracles refers to the fleeting nature of beauty, Paris means that another pretty face can always be found. Juno insists again on the primacy of virtue and compares beauty with a glow-worm that looks like a star up close, but turns out to be a deception in the distance (aria: “Quando si mira”). After a request from the two goddesses, their respective followers list their own experiences with beauty and virtue, but no one can win the competition.

Then the allegory of fate appears. It proclaims that reason should have the last word: beauty without vanity is virtue, and virtue without boasting is beauty (aria: "La beltà ch'è troppo vana"). Paris and Heracles, however, persist in their position. Heracles compares the attitude of Paris with the folly of a butterfly burning near a dangerous flame (aria: “Così fai, semplicetta farfaletta”). Venus points out that Paris' name has already become immortal. This is the fame of a faithful lover (aria: "Il bel nome di amante fedele").

Second act

The dispute between the two parties continues. Juno and Heracles explain that without wisdom, love has no value. Paris replies that his love has always been pure and continues despite his suffering (aria: “Amor risponderà”). Juno is not convinced. Venus then attacks Heracles, who brags about his victory over monsters and is encouraged by Juno. Juno points out that Heracles had proven his fidelity with his choice between virtue and happiness (aria: "Quella Liria innamorata").

The arguments of both parties are now known. But before fate announces its verdict, it wants to know why Juno is even here in the Elysium. Her place of residence is actually heaven. Juno replies that she wants to heal her wounds. She experienced strong resistance in heaven, and no one on earth adores her any more. Fate explains the reason for this: A new goddess appeared, in whose presence Juno's glory faded (aria: “Per lei tranquillo è'l mar”). Of course, Juno would like to know the name of her rival. Heracles has also become curious (aria: “Dimmi dov'è quel nume”). But before fate answers, she wants to hear from Venus what she is looking for in the Elysium. When Venus also reports rejection and contempt, Juno explains that the new goddess has also overshadowed her beauty. Venus is shaken (aria: "Più non sono la più bella").

Fate finally names the name of the new goddess: It is the great "Elisa". At that moment the fountains and waterfalls disappear. The field of flowers reappears. Paris is so impressed that he renounces Venus and now also wants to worship Elisa (aria: “Quel pastorello”). Juno, Venus and Heracles also pay their tribute (duet / quintet: "Quel core, quel viso"). When Venus asks which heaven or which earth is very fortunate to host such a beauty, fate replies that it is the region of the Ebro (Spain). Juno blesses this land (aria: "Quando a lei sarà vicino"). Then Paris notices that the statue of Cupidos has disappeared. Its fire is also extinguished compared to Elisha's. In its place stands a golden palm tree wrapped in laurel. Fate explains their meaning as a symbol for the union of Karl, who was decorated with laurel for his triumphs, and the fertile palm Elisa (trumpet aria: "Al grande onor di sposa"). Juno and Venus swear allegiance to her. Hercules also gives her priority over the two (aria: "Gran bellezza io veggo in questa"). Venus accepts that the beauty of Elisha is preferable because, in contrast to her, she also shows modesty (aria: "Te'l confesso, o bella Elisa"). Paris confesses that Elisa actually deserved its beauty award (aria: “Nel mio cor scritto vedrai”). At the end everyone praised the name Elisa (final chorus: “Chi sente di Elisa”).

layout

The Serenata orchestra consists of a three-part string ensemble with figured bass . The latter requires a bassoon and a theorbo in some places . There is also a wind ensemble consisting of two flutes, two oboes, two trumpets and two horns.

The Allegro symphony makes a double-choir impression by juxtaposing oboes and bassoon with the rest of the orchestra. The recitatives are exclusively the Secco variant. There are both strophic and da capo arias as well as variations. The melodies are mostly kept simple and dispense with superficial virtuosity. Larger music numbers are kept in concert style. Almost all numbers are in major keys.

Music numbers

According to the libretto, the opera contains the following musical numbers:

First part

  • No. 1. Sinfonia
  • No. 2. Choir (entourage of Belleza): "Correte, amori"
  • No. 3. Recitative: "A voi, spiagge felici, ove respira"
  • No. 4. Aria (Venere): "S'egl'è ver che amasti un dì"
  • No. 5. Recitative: "Io per tutti, cui serpe ancor nel seno"
  • No. 6. Instrumental ritornello
  • No. 7. Aria (Paride): "Chi ben ama un solo istante"
  • No. 8. Recitative: "Gloria vana e fugace"
  • No. 9. Aria (Ercole): "Spezzar quella catena"
  • No. 10. Recitative: "Perdona, o non amasti"
  • No. 11. Choir (entourage of Virtú): "Qui dove ha lieta"
  • No. 12. Aria (Giunone): "Cari Elisi, stanze amate"
  • No. 13. Recitative: "Spirti beati, e chiari"
  • No. 14. Instrumental ritornello
  • No. 15. Aria (Venere): "Dati pace, e credi a me"
  • No. 16. Recitative: "È una lusinga vil di cieco amante"
  • No. 17. Aria (Paride): "Guarda la palma"
  • No. 18. Recitative: "Or vedi quanto vile"
  • No. 19. Aria (Giunone): "Quando si mira"
  • No. 20. Recitative: "Or tu che a me contrasti"
  • No. 21. Ritornello instrumental
  • No. 22. Aria (Fato): "La beltà ch'è troppo vana"
  • No. 23. Recitative: "Io con modesto freno"
  • No. 24. Instrumental ritornello
  • No. 25. Aria (Ercole): "Così fai, semplicetta farfaletta"
  • No. 26. Recitative: "Ma tu qual ti prometti"
  • No. 27. Aria (Venere): "Il bel nome di amante fedele"

Second part

  • No. 28. Recitative: “Misero amor! Nome infelice! "
  • No. 29. Aria (Paride): "Amor risponderà"
  • No. 30. Recitative: "Odi l'audace!"
  • No. 31. Aria (Giunone): "Quella Liria innamorata"
  • No. 32. Recitative: "Dive, le gare intesi"
  • No. 33. Aria (Fato): "Per lei tranquillo è'l mar"
  • No. 34. Recitative: "Diva di me più grande?"
  • No. 35. Instrumental ritornello
  • No. 36. Aria (Ercole): "Dimmi dov'è quel nume"
  • No. 37. Recitative: "Il saprai per tua gloria"
  • No. 38. Aria (Venere): "Più non sono la più bella"
  • No. 39. Recitative: "Tu, Giuno, in Citerea"
  • No. 40. Aria (Paride): "Quel pastorello"
  • No. 41. Recitative: "Se tanto è gloriosa"
  • No. 42. Duet / quintet: "Quel core, quel viso"
  • No. 43. Recitative: "Quella che fa gl'eroi"
  • No. 44. Instrumental ritornello
  • No. 45. Aria (Giunone): "Quando a lei sarà vicino"
  • No. 46. Recitative: “Ma che vegg'io? Dov'è Cupid? "
  • No. 47. Aria with trumpets and instruments (Fato): "Al grande onor di sposa"
  • No. 48. Recitative: "Io che da gl'astri al suolo"
  • No. 49. Instrumental ritornello
  • No. 50. Aria (Ercole): "Gran bellezza io veggo in questa"
  • No. 51. Recitative: "Tanta beltà in Elisa?"
  • No. 52. Aria (Venere): "Te'l confesso, o bella Elisa"
  • No. 53. Recitative: “Dovuta lode! Ora si acresca a questa "
  • No. 54. Aria (Paride): "Nel mio cor scritto vedrai"
  • No. 55. Recitative: "Sù, risponda l'Eliso"
  • No. 56. Final chorus: "Chi sente di Elisa"

Work history

The music-loving Archduke Karl of Austria (later Emperor Karl VI. ) Moved with his court to Barcelona in 1705, where he built up his own musical life. On the occasion of his wedding to Elisabeth Christine von Braunschweig-Wolfenbüttel and the name day of Saint Elisabeth, he commissioned an operatic tribute music ( Serenata ), for which he hired some of the most important Italian artists. The libretto was by Pietro Pariati , the music by Antonio Caldara . The conductor of the alleged performance on August 2, 1708 in the Llotja de Mar was Giuseppe Porsile , and the set designer Ferdinando Galli da Bibiena . This team was to produce a number of other operas over the next five years. It is not known if Caldara was in Barcelona at the time. The performance on August 2nd is believed by some scientists to be likely. But there is also the assumption that the work was actually written on the Queen's name day on July 4th (anniversary of the death of Saint Elizabeth of Portugal ) or November 19 (Saint Elizabeth of Hungary ).

Il più bel nome is considered to be the first Italian opera to be performed in Spain. After the premiere, it was not played for three hundred years. It was not until November 3rd and 5th, 2006 that there were performances again at the Teatre Metropol in Barcelona with the Jove Orquestra de Cambra de la Ribera d'Ebre and the Coro Ciutat de Tarragona under the musical direction of David Magrané. Josep Maria Mestres was the director. The stage design came from Núria Baixeras. Mercé Baiget (Venere), Maité Perez (Giunone), Mireia Bonet (Ercole), Monserrat Bertral (Paride) and Josep Fort (Il Fato) sang. On November 4, 2009 a performance took place under the direction of the conductor Emilio Moreno in the Auditori Enric Granados in Lleida , a recording of which was released on CD.

Recordings

  • November 2009 - Emilio Moreno (conductor), El Concierto Español.
    María Espada (Venere), Raquel Andueza (Giunone), Robin Blaze (Paride), Marianne Beate Kielland (Ercole), Agustín Prunell-Friend (Il Fato).
    Live from the Auditori Enric Granados in Lleida .
    Glossa GCD 920310 (2 CDs).

literature

  • Rossend Arqués: Il più bel nome de Pietro Pariati, poeta cesari i víctima dels fills de Momo. In: Recerca Musicològica XIX, 2009 ( Online, PDF, Catalan ).

Web links

Commons : Il più bel nome  - collection of images, videos and audio files

Individual evidence

  1. ↑ a b c Lourdes Bonnet, Miguel Ángel Aguilar Rancel, Susanne Lowien (trans.): II. Antonio Caldara & Il più bel nome. In: Program for the CD Glossa GCD 920310, pp. 21–24.
  2. ↑ Miquel Desclot: I. The seed goes up. In: Program for the CD Glossa GCD 920310, p. 20 f.
  3. ^ Julie Anne Sadie: Companion to Baroque Music. University of California Press, Berkeley / Los Angeles, ISBN 0-520-21414-5 , 1998, p. 250 ( limited preview in Google Book Search).
  4. ↑ Information on the CD Glossa GCD 920310 on glossamusic.com, accessed on April 18, 2017.
  5. ↑ Information on the 2006 performance at usuaris.tinet.cat, accessed on April 18, 2017.
  6. ↑ CD information at Glossa, accessed on April 17, 2017.