Il re pastore (metastasis)
| Work data | |
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| Title: | Il re pastore |
Second act, scene IV. |
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| Shape: | Opera seria |
| Original language: | Italian |
| Music: | First setting by Giuseppe Bonno |
| Libretto : | Pietro Metastasio |
| Literary source: | Curtius Rufus: Historiae Alexandri Magni Macedonis, Diodor: Bibliotheca, Justin / Pompeius Trogus: Historiae Philippicae |
| Premiere: | October 27, 1751 |
| Place of premiere: | Vienna |
| Place and time of the action: | The Phoenician royal city of Sidon , 332 BC. Chr. |
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Il Re Pastore is an opera - libretto in three acts by Pietro Metastasio . It was performed for the first time in the setting by Giuseppe Bonno on October 27, 1751 in the garden theater of Schönbrunn Palace in Vienna. Compared to other libretti Metastasios, the libretto was only moderately successful and was set to music less than thirty times. The best known is the version by Wolfgang Amadeus Mozart (→ Il re pastore ).
A German translation of the libretto by Johann Anton Koch appeared in 1774 under the name The Royal Shepherd in the sixth volume of his unfinished complete edition Des Herr Abbot Peter Metastasio Kayserl. Royal Court Poet's Dramatic Poems.
action
Alexander the Great conquered the Kingdom of Sidon and overthrew the tyrant Stratone ( Straton II ). Now he plans to reinstate the rightful ruler Abdolonimo ( Abdalonymos ), who lives as a shepherd in the country without suspecting his origin.
“Among the most glorious deeds of Alexander, King of Macedonia, one counts justly these that he freed the kingdom of Sidon from its tyrant, and instead of retaining control over it, the only branch of the rightful royal tribe, which was unknown to itself, and on lived a poor and peasant life in the neighboring country, put back on the throne.
How this historical ground was built will be seen in the course of this show game.
The show place is in the country, in the area of the city of Sidon, where the Macedonian camp is pitched. "
The following table of contents follows the German translation by LL von C. of the libretto of the setting by Giuseppe Bonno, published in Vienna in 1752 and 1762 under the name Der Königliche Schäffer .
first act
Wide and pleasant landscape with herds of sheep and shepherds, through which the Bostreno river flows
A large simple bridge crosses the river. In front are shepherds' huts, in the distance the city of Sidon.
The shepherd Aminta sits on a stone and sings to the accompaniment of a shepherd's pipe. His lover Elisa, a distinguished noble lady, brings the good news that her mother has finally agreed to their wedding. When Aminta points out the class differences, she assures him that she loves him because of his language, his good looks, his heart and even because of his poverty.
After Elisa leaves, Alexander and his confidante Agenore come and ask Aminta where he comes from. Alexander was impressed by his modest but confident answers. He is now convinced that Aminta is the wanted heir to the throne.
Tamiri, the daughter of the previous King Stratone, fled after her father was overthrown and was supported by Elisa disguised as a shepherdess. Her lover Agenore advises her to confide in Alexander.
Elisa tells Aminta that her father has now also agreed to the wedding. Agenore arrives with the royal guard and Sidon nobles who bring the royal insignia. He pays homage to Aminta and explains to him that he is actually the heir to the throne, Abdolonimo. After his father was driven out by the tyrant Stratone, he handed him over to Agenore as a child. Old Alceo then teased him unrecognized. Alexander now await him to crown him. Aminta assures Elisha that he will continue to love her as king.
Second act
The great precious tent of Alexander
On one side there are overgrown ruins, on the other the Greek camp with guards at various points.
Elisa brings Tamiri over to ask Alexander for help for her. However, the latter does not believe in his support and continues to run. Elisa now wants to talk to Alexander alone at first. Agenore informs her that Alexander is still in a council meeting but will come to her later. After she leaves, Agenore approaches the passing Aminta and gives him some moral advice.
The session is over. Alexander wonders why Aminta is still wearing his shepherd's clothes. He sends him away to change. Alexander is now talking to Agenore about Tamiri. He fears that he has given her the impression of an unjust ruler. If she hadn't fled, he would have taught her better long ago, because he plans to marry her to the new King Aminta.
Aminta comes back regally dressed. Agenore tells him about Alexander's plan. However, Aminta declares that she will never be able to part with Elisa. When Tamiri and Elisa arrive, Aminta and Agenore initially cannot find the right words. The two women feel disrespected by their lovers.
Third act
The inside of a large stone grotto with creepers and a water source
Various hills can be seen in the distance through the openings. A little closer is the Greek camp.
Aminta now has to choose between Elisa and the throne. Because Agenore has advised him to act with honor, he tells him ambiguously that he has chosen honor and that he would already love his bride. He goes away. Agenore is relieved that nothing stands in the way of his own virtue.
Elisa has heard that Aminta will marry Tamiri, and Agenore confirms it. However, Elisa is determined not to give up on Aminta. She doesn't believe Aminta's consent either and goes to speak to Alexander.
Tamiri sarcastically asks Agenore why he didn't bring her the news of their planned wedding himself. After all, he stood up for her with Alexander. When he declares that he does not want to be present at the wedding, Tamiri expressly orders him to attend.
Courtyard of the great temple of Tyrian Hercules
For the coronation of the new King of Sidon, the entire square is adorned with golden vessels, foreign carpets, green plants and columns surrounded by flowers. On the right side there is a rich and raised throne with two seats, on which the royal crown and the scepter lie; a little further away is the wide staircase to the temple entrance. Outside the forecourt, on the right side, are the Pharo River and the port of Sidon, manned by many ships, and on the left, opposite the throne, the neatly organized Macedonian army. Citizens and shepherds pour in from all sides.
Alexander appears to the accompaniment of martial music. The Greek captains precede him. The Sidon nobles follow. Last come Tamiri and Agenore. After invoking the gods, Alexander greets Tamiri. She pays homage to him and then tells him that Agenore wants to renounce his love for her so that she can ascend the throne. Alexander should judge it. Since Agenore confirms this, it is clear to Alexander that both want the best for the other. Now Elisa also comes and explains that she has been with Aminta since she was a child and that she will never be without him. Alexander points out to her that she was loved by the shepherd Aminta, but never by the king Abdolonimo.
Aminta comes in in shepherd's clothes. He declares that he wants to return to his flock. Elisa is more important to him than the throne. Alexander now makes a decision. He wants to see them all happy. Therefore he unites Aminta with Elisa and Agenore with Tamiri. Aminta and Elisa will rule Sidon, and Agenore and Tamiri will also receive a kingdom.
history
The historical basis of the drama can be found in the fourth book of the Historiae Alexandri Magni Macedonis by the Roman historian Curtius Rufus and in the seventeenth book of the Bibliotheca by Diodor as well as in Justin's excerpt from the eleventh book of Pompeius Trogus ' Historiae Philippicae . Metastasio also knew the shepherd poem Aminta (1573) by Torquato Tasso .
Metastasio was reluctant to write this libretto at the request of Empress Maria Theresa for a series of performances in the garden theater of Schönbrunn Palace , which were performed by members of the imperial court - one man and four women. The libretto was completed in April 1751. The premiere, originally planned for December, took place in October. The role of Alessandro was sung by the Count of Bergen, and the two lovers were portrayed by the ladies Frankenberg, Kollonitz, Lamberg and Rosemberg. Metastasio was not only active here as a librettist, but was also responsible for stage design, direction and the voice training of the amateur singers. Despite previous concerns, he eventually expressed satisfaction with the performance. The success then led to another contract for the same line-up the following year. This work, L'eroe cinese , was also set to music for the first time by Giuseppe Bonno .
Just a month after the premiere, Metastasio recommended the libretto to Farinelli, then Madrid's theater director . Giuseppe Sarti used it with great success in 1752 in his first opera written for Venice. The version by Francesco Antonio Uttini (Drottningholm 1755) was the only Italian opera to appear in print. The composer Maria Teresa Agnesi Pinottini chose it for her only opera based on a text by Metastasio. At the premiere of Christoph Willibald Gluck's setting on December 8, 1756, the sisters Caterina and Francesca Gabrielli sang the roles of Elisa and Tamiri. On this day the Archduke Maximilian II. Franz was born. When he visited Salzburg in 1775, Wolfgang Amadeus Mozart used an arrangement of this libretto for his homage music . Mozart probably already knew it from a performance of the setting by Felice Giardini that had taken place in London in 1765.
Settings
The following composers used this libretto for an opera:
| year | composer | premiere | Performance location | Remarks | |
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| 1751 | Giuseppe Bonno | October 27th, garden theater at Schönbrunn Palace | Vienna |
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| 1751 | anonymous | after 1751, new theater | Hamburg |
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| 1752 | Arvid Niclas von Höpken | 1752 | |||
| 1752 | Giuseppe Sarti | Carnival 1752, Teatro del Sole | Pesaro | first version; also around December 28, 1752 in the Teatro San Moisè in Venice; in September 1753 in San Giovanni in Persiceto |
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| 1753 | anonymous | 1753, Teatro de la Santa Cruz | Barcelona | ||
| 1755 | Maria Teresa Agnesi Pinottini | probably 1755 | |||
| 1755 | Francesco Antonio Uttini | July 24, 1755, Castle Theater | Drottningholm Palace | ||
| 1755 | Johann Adolph Hasse | October 7, 1755, for the Dresden court of August III. | Hubertusburg | also on October 7, 1762 as Le Roi pasteur ou Abdolonime in the Royal Polish Opera House in Warsaw; 1770 in the Royal Theater in Sanssouci , Potsdam |
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| 1756 | Antonio Ferrandini | 1756, Real Teatro del Buen Retiro | Madrid | ||
| 1756 | Davide Perez | Spring 1756, Nuovo Teatro | Cremona | ||
| 1756 | Christoph Willibald Gluck | December 8, 1756, Burgtheater , a. a. with Caterina Gabrielli | Vienna | ||
| 1757 | Antonio Maria Mazzoni | 11 July 1757, Marsigli-Rossi Theater | Bologna | also in 1757 in the Real Teatro del Buen Retiro in Madrid | |
| 1758 | Giovanni Battista Lampugnani | April 1758, Teatro Regio Ducale | Milan |
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| 1760 | Giuseppe Zonca | June 15, 1760, court theater | Munich |
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| 1760 | Niccolò Piccinni | August 27, 1760, Teatro della Pergola | Florence | also on May 30, 1765 at the Teatro San Carlo in Naples | |
| 1762 | Baldassare Galuppi | Spring 1762, Teatro Ducale | Parma | also Carnival 1762 in the Teatro Ricci d'Andono in Cuneo ; revised in September 1766 in Saint Petersburg; on July 17, 1769 at the Teatro San Benedetto in Venice |
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| 1762 | Johann Christoph Richter | 1762, Small Court Theater | Dresden | ||
| 1764 | Niccolò Jommelli | November 4, 1764, Castle Theater | Ludwigsburg | Revised in 1770 by João Cordeiro da Silva in the Teatro de Salvaterra in Lisbon |
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| 1764 | George Rush | 1764, Theater Royal, Drury Lane | London | Libretto edited by Richard Rolt as The Royal Shepherd | |
| 1765 | Felice Giardini | March 3, 1765, King's Theater on Haymarket | London | ||
| 1766 | Antonio Tozzi | 1766–67? | Braunschweig | ||
| 1767 | Pietro Alessandro Guglielmi | May 1767, Teatro San Benedetto | Venice | also in 1774 in the New Court Theater in Munich |
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| 1770 | Pietro Pompeo Sales | 1770 | Koblenz | ||
| 1771 | Giuseppe Sarti | 1771, Det Kongelige Teater | Copenhagen | second version | |
| 1774 | Anton Adam Bachschmid | 1774, court of Raymund Anton von Strasoldo | Eichstatt | ||
| 1775 |
Wolfgang Amadeus Mozart → Il re pastore |
April 23, 1775, Palace of Prince Archbishop Hieronymus von Colloredo | Salzburg | Libretto edited as Serenata in two acts, probably by Giambattista Varesco | |
| 1778 | Tommaso Giordani | May 30, 1778, King's Theater on Haymarket | London | ||
| 1778 | Ignazio Platania | 1778, Teatro San Carlo | Naples | ||
| 1784 | Matteo Rauzzini | Carnival 1784, Smock Alley Theater | Dublin | ||
| 1780 | Paolo Francesco Parenti | composed in the 1780s; probably not listed | |||
| 1797 | Luciano Xavier Santos | 1797 |
Recordings and performances in recent times
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Antonio Maria Mazzoni :
- 2006: Performance at the days of early music in Herne and CD. Real Compañía Ópera de Cámara, directed by Juan Bautista Otero . Singers: Leif Aruhn-Solén (Alessandro), Anna-Maria Panzarella (Aminta), Delphine Gillot (Elisa), Céline Ricci (Tamiri), Marina Pardo (Agenore).
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Wolfgang Amadeus Mozart (selection):
- 1952: record. Orchestra of the Stuttgart recording studio, conductor: Gustav Lund . Singers: Albert Weikenmeier (Alessandro), Agnes Giebel (Aminta), Käthe Nentwig (Elisa), Hetty Plümacher (Tamiri), Werner Hohmann (Agenore).
- 1966: record, CD. The Orchestra of Naples, conductor: Denis Vaughan . Singers: Luigi Alva (Alessandro), Reri Grist (Aminta), Lucia Popp (Elisa), Arlene Saunders (Tamiri), Nicola Monti (Agenore).
- 1974: record, CD. Mozarteum Orchestra Salzburg , conductor: Leopold Hager . Singers: Peter Schreier (Alessandro), Edith Mathis (Aminta), Arleen Augér (Elisa), Sona Ghazarian (Tamiri), Werner Krenn (Agenore).
- 1989: CD. Academy of St Martin in the Fields , directed by Neville Marriner . Singers: Jerry Hadley (Alessandro), Angela Maria Blasi (Aminta), Sylvia McNair (Elisa), Iris Vermillion (Tamiri), Claes Haakon Ahnsjö (Agenore).
- 1995: CD (live). Concentus Musicus Wien , conductor: Nikolaus Harnoncourt . Singers: Roberto Saccá (Alessandro), Ann Murray (Aminta), Eva Mei (Elisa), Inga Nielsen (Tamiri), Markus Schäfer (Agenore).
- 2001: CD. Musica ad Rhenum, Capella Amsterdam, conductor: Jed Wentz . Singers: Alexei Gregorev (Alessandro), Johanette Zomer (Aminta), Francine van der Heyden (Elisa), Claudia Patacca (Tamiri), Marcel Reijans (Agenore).
Web links
- Several different versions of the libretto as full text (Italian) on progettometastasio.it.
Digital copies
- ^ Johann Anton Koch: The abbot Peter Metastasio Kayserl. Royal Court Poet's Dramatic Poems, translated from Italian. Sixth volume. Krauss, Frankfurt and Leipzig in 1774 as digitization at the Munich digitization center .
- ↑ a b Libretto (Italian / German) of the anonymous opera, Hamburg after 1751 as digitized version at the Berlin State Library .
- ^ A b Libretto of the opera by Giuseppe Bonno, German translation by LL von C., Vienna 1762 as digitized version at the Munich Digitization Center .
- ^ Libretto (Italian) of the opera by Giuseppe Sarti, Venice 1752. Digitized in the Corago information system of the University of Bologna .
- ^ Libretto (Italian / Spanish) of the anonymous opera, Barcelona 1753 as a digitized version on Google Books .
- ↑ Score of the opera by Francesco Antonio Uttini, 1755 as digitized version with the International Music Score Library Project .
- ^ Libretto (Italian) of the opera by Johann Adolph Hasse, Dresden 1755 as a digitized version at the Berlin State Library .
- ^ Libretto (Italian) of the opera by David Perez, Cremona 1756. Digitized in the Corago information system of the University of Bologna .
- ^ Libretto (Italian) of the opera by Antonio Maria Mazzoni, Bologna 1757 as digitized version in the Museo internazionale e biblioteca della musica di Bologna .
- ^ Libretto (Italian) of the opera by Giovanni Battista Lampugnani, Milan 1758. Digitized in the Corago information system of the University of Bologna .
- ^ Libretto (Italian) of the opera by Giuseppe Zonca, Munich 1760 as digitized version at the Munich Digitization Center .
- ^ Libretto (Italian) of the opera by Niccolò Piccinni, Florence 1760 as digitized version in the Museo internazionale e biblioteca della musica di Bologna .
- ^ Libretto (Italian) of the opera by Baldassare Galuppi, Venice 1769. Digitized in the Corago information system of the University of Bologna .
- ^ Libretto (Italian) of the opera by Niccolò Jommelli, Lisbon 1770. Digitized in the Corago information system of the University of Bologna .
- ^ Libretto (Italian) of the opera by Pietro Alessandro Guglielmi, Munich 1774 as digitized version at the Munich Digitization Center .
- ↑ Score of the opera by Wolfgang Amadeus Mozart, Breitkopf & Härtel, Leipzig 1879 as digitized version in the International Music Score Library Project .
Individual evidence
- ↑ a b c d Don Neville: Re pastore, Il. In: Grove Music Online (English; subscription required).
- ↑ Metastasio, Pietro in Die Musik in Geschichte und Gegenwart , p. 50861 ff (cf. MGG vol. 9, p. 229 ff.) Bärenreiter-Verlag 1986 ( digital library volume 60).
- ↑ Il re pastore (Giuseppe Bonno) in the Corago information system of the University of Bologna , accessed on November 30, 2014.
- ↑ Il re pastore (Giuseppe Bonno) at operabaroque.fr (French), accessed on February 2, 2015.
- ↑ Il re pastore (anonymous) in the Corago information system of the University of Bologna , accessed on November 30, 2014.
- ^ A b c d e Don Neville: Metastasio [Trapassi], Pietro (Antonio Domenico Bonaventura). In: Grove Music Online (English; subscription required).
- ↑ Il re pastore [1a ver.] (Giuseppe Sarti) in the Corago information system of the University of Bologna , accessed on December 1, 2014.
- ↑ Il re pastore (anonymous) in the Corago information system of the University of Bologna , accessed on November 30, 2014.
- ^ Il re pastore (Maria Teresa Agnesi) in the Corago information system of the University of Bologna , accessed on December 1, 2014.
- ↑ Il re pastore (Francesco Antonio Uttini) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed December 1, 2014.
- ^ List of the stage works by Francesco Antonio Uttini based on the MGG at Operone, accessed on September 29, 2014.
- ↑ Il re pastore (Johann Adolph Hasse) in the Corago information system of the University of Bologna , accessed on December 1, 2014.
- ^ Il re pastore (Antonio Ferrandini) in the Corago information system of the University of Bologna , accessed on December 1, 2014.
- ^ Il re pastore (David Perez) in the Corago information system of the University of Bologna , accessed on December 1, 2014.
- ↑ Il re pastore (Christoph Willibald Gluck) in the Corago information system of the University of Bologna , accessed on December 1, 2014.
- ^ Il re pastore (Antonio Maria Mazzoni) in the Corago information system of the University of Bologna , accessed on December 1, 2014.
- ^ Il re pastore (Giovanni Battista Lampugnani) in the Corago information system of the University of Bologna , accessed on December 1, 2014.
- ^ List of stage works by Giovanni Battista Lampugnani based on the MGG at Operone, accessed on October 6, 2014.
- ^ Il re pastore (Giuseppe Zonca) in the Corago information system of the University of Bologna , accessed on December 2, 2014.
- ^ Il re pastore (Niccolò Piccinni) in the Corago information system of the University of Bologna , accessed on December 2, 2014.
- ^ Il re pastore (Baldassare Galuppi) in the Corago information system of the University of Bologna , accessed on December 2, 2014.
- ↑ List of stage works by Baldassare Galuppi based on the MGG at Operone, accessed on September 29, 2014.
- ↑ Il re pastore (Johann Christoph Richter) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed December 2, 2014.
- ^ Il re pastore (Niccolò Jommelli) in the Corago information system of the University of Bologna , accessed on December 2, 2014.
- ↑ The Royal Shepherd (George Rush) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed December 2, 2014.
- ^ Il re pastore (Felice Giardini) in the Corago information system of the University of Bologna , accessed on December 2, 2014.
- ^ Il re pastore (Antonio Tozzi) in the Corago information system of the University of Bologna , accessed on December 2, 2014.
- ↑ Il re pastore (Pietro Alessandro Guglielmi) in the Corago information system of the University of Bologna , accessed on December 2, 2014.
- ^ List of the stage works by Pietro Pompeo Sales based on the MGG at Operone, accessed on October 2, 2014.
- ↑ Il re pastore [2a ver.] (Giuseppe Sarti) in the Corago information system of the University of Bologna , accessed on December 2, 2014.
- ↑ Il re pastore (Anton Adam Bachschmid) in the Corago information system of the University of Bologna , accessed on December 2, 2014.
- ↑ Il re pastore (Wolfgang Amadeus Mozart) in the Corago information system of the University of Bologna , accessed on December 2, 2014.
- ↑ Il re pastore (Tommaso Giordani) in the Corago information system of the University of Bologna , accessed on December 2, 2014.
- ↑ Il re pastore (Ignazio Platania) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed December 2, 2014.
- ↑ Il re pastore (Matteo Rauzzini) in the Corago information system of the University of Bologna , accessed on December 2, 2014.
- ↑ Il re pastore (Luciano Xavier Santos) in the Corago information system of the University of Bologna , accessed on December 2, 2014.
- ↑ Work data on Aminta / Il re pastore by Mazzoni based on the MGG with discography at Operone, accessed on December 3, 2014.
- ↑ a b c d e f work data on Il re pastore by Mozart based on the MGG with discography at Operone, accessed on December 3, 2014.