Il signor Bruschino

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Work data
Title: Il signor Bruschino
Title page of the libretto, Venice 1813

Title page of the libretto, Venice 1813

Shape: Number opera with secco recitatives
Original language: Italian
Music: Gioachino Rossini
Libretto : Giuseppe Maria Foppa
Literary source: Le fils par hasard, ou ruse et folie by Alizan de Chazet , ETM Ourry
Premiere: January 27, 1813
Place of premiere: Venice, Teatro San Moisè
Playing time: approx. 75 minutes
Place and time of the action: an Italian country house, around 1800
people
  • Gaudenzio ( bass )
  • Sofia, his ward ( soprano )
  • Bruschino padre, the father ( bass baritone )
  • Bruschino figlio, the son ( tenor )
  • Florville, Sofia's lover (tenor)
  • Police Commissioner (tenor)
  • Filiberto, host (bass baritone)
  • Marianna, maid ( mezzo-soprano )
  • Servants (extras)

Il signor Bruschino, ossia Il figlio per azzardo is a one-act opera (original name: “farsa giocosa per musica”) by Gioachino Rossini based on a libretto by Giuseppe Foppa based on the comedy Le fils par hasard, ou ruse et folie by Alissan de Chazet and ETM Ourry is based. The first performance took place on January 27, 1813 in the Teatro San Moisè in Venice .

action

Gaudenzio has promised his ward Sofia to old Bruschino's son, although he and Sofia have never seen him. In addition, Sofia is already in a relationship with Florville. Bruschino figlio is now to be introduced to his future wife, but stops at an inn on the way and is held there so that he can settle his debts. This gives Florville the opportunity to pretend to be Bruschino figlio and show up in Gaudenzio's country house. Bruschino padre appeared there after a short time, which posed serious problems for Florville. Nevertheless, he manages to make Gaudenzio believe that he is Bruschino's son. In a rousing trio, which represents the climax of the opera, he asks his "father" for forgiveness, while Gaudenzio rebukes him for his lack of paternal affection. The old Bruschino finally learns the background of the prank and turns the tables by coupling Florville - the son of an old enemy of Gaudenzio - with his ward.

Ground floor hall with access to the garden; a nice park some distance away

Scene 1. Florville loves Sofia, Gaudenzio's ward. His father was once enemies with Gaudenzio, but has since passed away. So he hopes to be able to successfully solicit her hand. First, however, he meets Sofia's maid Marianna in the garden, who is preparing him for a great disaster (introduction: "Deh tu m'assisti amore"). Finally Sofia herself comes too. Both assure each other of their love, but then Sofia has to inform him that her guardian has promised her in a letter to the son of Mr Bruschino. But neither she nor her guardian know him. Florville doesn't let that discourage her. He already has a plan. But since Marianna hears someone coming, he can't give Sofia any details yet.

Scene 2. The newcomer is the innkeeper Filiberto. Florville hides to overhear his self-talk. Filiberto mentions that Bruschino owes him money. Florville emerges and introduces himself as Gaudenzio's administrator. Filiberto tells him that young Bruschino, whose father suffers from gout, has been staying with him for three days. The gullible Bruschino was exempt from scroungers and now owes him 400 francs. He will not let him go until he has paid it back. Bruschino had given him a letter that Gaudenzio should forward to his father. Florville claims that young Bruschino is his cousin. He asks Filiberto to keep the matter quiet from Gaudenzio and to keep Bruschino at his hotel. In return, he pays him part of the debt and promises to reimburse the rest (duet: “Io danari vi darò!”). Filiberto hands the letter to Florville and leaves.

Scene 3. Florville's plan is to pretend to be young Bruschino. He hopes for Marianna's support.

Scene 4. Gaudenzio is happy to have found a good role for Sofia in the young Bruschino (Cavatine: “Nel teatro del gran mondo”). In the background you can see Florville handing Marianna a letter (forged by him). This brings him to Gaudenzio, who reads him in surprise. Old Bruschino complains about his son's way of life and asks Gaudenzio to have him taken into custody. Since he is still unknown in Gaudenzio's house, Bruschino has enclosed a description (in reality a description of Florville himself). Gaudenzio sends his servants out to look for young Bruschino and orders Marianna to keep quiet about it from Sofia.

Scene 5. Gaudenzio's servants bring Florville over. When asked, he admits to be the young Bruschino. He feigns remorse for his frivolous behavior and gives Gaudenzio the letter from the real Bruschino that he received from Filiberto as proof. Gaudenzio is touched. Florville kisses his hand in gratitude and then enters the house with Marianna and the servants.

Scene 6. Despite his gout pain, old Bruschino pays Gaudenzio a visit to inquire about his son, about whom Filiberto has spread bad rumors. He is surprised when Gaudenzio informs him that he is holding him prisoner in his house. Since Bruschino wants to see his son, a servant goes to fetch him. Meanwhile, Gaudenzio asks Bruschino not to be so strict with his son, as he has shown sincere repentance (trio: “Per un figlio già pentito”). Florville comes in and continues playing his part, addressing old Bruschino as father and begging for forgiveness on his knees. Of course, he doesn't recognize his son in Florville and declares that he has never seen him in his life. Since both of them stick to their testimony, they all decide to ask the police for help with the investigation.

Room in the country house

Scene 7. Marianna impatiently awaits the results of the investigation. Gaudenzio enters and tells her to fetch Sofia.

Scene 8. Gaudenzio tells Sofia that old Bruschino is denying his son. He asks her to try to make him see reason. After all, it's about her groom.

Scene 9. After Gaudenzio and Marianna have withdrawn, a servant leads in old Bruschino. Sofia introduces herself to him as the bride of his son, accuses him of his cruelty towards him and begs him to show compassion and agree to their connection (aria: "Ah donate il caro sposo"). Then she leaves Gaudenzio alone.

Scene 10. The police superintendent, who has meanwhile arrived, is led to Bruschino by a servant. Bruschino complains that they want to force him to recognize a complete stranger as a son. The policeman has a letter with him whose handwriting old Bruschino unequivocally identifies as his son's. He is sure that he can clear up the fraud.

Scene 11. Gaudenzio returns with the servants. Florville and Sofia appear shortly afterwards. Gaudenzio shows the Commissioner the letter he has received from Florville. To Bruschino's horror, the handwriting matches that of the other letter. This proves for the police officer that Florville is actually Bruschino's son. Bruschino gets into a rage (aria: “Ho la testa o è andata via?”). When he is angry about to leave the room, he meets Filiberto, whom he greets happily and leads back into the room with him. Sofia and Florville are already afraid that their ruse will be exposed - Filiberto knows Bruschino's real son, after all. The superintendent simply asks him whether Florville is his debtor. Filiberto confirms this truthfully - further proof of Florville's identity with the young Bruschino. Everyone urges the old man to finally recognize his son and leaves the room in confusion.

Scene 12. Only Filiberto stayed because he still hasn't received his money. Now he demands the other two hundred francs from old Bruschino. He replies that he should reclaim it from his "son", who is still here. Filiberto replies that his son is locked up in the inn. His cousin, the young Bruschino present, had insisted. Bruschino now understands the situation and hurries off with Filiberto.

Scene 13. Gaudenzio believes he has recognized the reason for the behavior of young Bruschino and wants to promote his planned wedding with Sofia. So he asks her if she likes the young man she has just seen. Since she hesitates to answer, he describes the feeling of love for her until she admits that she actually feels that way (duet: “È un bel nodo che due cori”).

Scene 14. Bruschino is on the trail of the truth, but doesn't yet know who the trickster actually is. Florville enters without noticing him. Bruschino now hears Florville identifying himself as the son of Gaudenzio's enemy Florvil in a self-talk. Bruschino triumphs. Now it's his turn to spin the comedy on.

Scene 15. Everyone comes into the room one by one. First, Gaudenzio asks old Bruschino if he finally wants to recognize his son (finale: “Ebben, ragion dovere”). Bruschino says yes, apologizes for his stubbornness and warmly hugs Florville, who has just entered. When Sofia arrives, they don't want to waste any more time. Gaudenzio brings them together with Florville. He and Bruschino are happy for the happy couple. Marianna reports Filiberto's return. He tells Florville that the debts have been paid and that he could therefore no longer hold young Bruschino. He had brought him with him to take him to his father, old Bruschino. Gaudenzio is amazed that he is supposed to be his cousin's father - what a mess. Young Bruschino steps in and asks his father for forgiveness. Filiberto explains to Gaudenzio that Florville is called Bruschino, but is not the old man's son. Gaudenzio demands an explanation from Florville. Since he is silent, Bruschino takes over: Florville loved his daughter and wanted to make sure in this way that she would be married. He was the son of Senator Florvil, Gaudenzio's old opponent. Florville admits this. But he is a man of honor and his father has already died. Bruschino supports him. He refers to the great love between Sofia and Florville and adds that Bruschino had already agreed to their marriage. The two also ask Gaudenzio for forgiveness, so that he has no choice but to forgive them. At the end everyone cheers love together.

layout

Instrumentation

The opera was written for a very small orchestra, consisting of a flute , two oboes (also English horn ), two clarinets , a bassoon , two horns , strings and basso continuo for the secco recitatives .

Music numbers

The opera contains the following musical numbers:

  • Sinfonia
  • No. 1. Introduction: "Deh tu m'assisti amore" (scene 1)
  • No. 2. Duet (Florville, Filiberto): "Io danari vi darò!" (Scene 2)
  • No. 3. Cavatine (Gaudenzio): "Nel teatro del gran mondo" (scene 4)
  • No. 4. Trio (Bruschino, Florville, Gaudenzio): "Per un figlio già pentito" (scene 6)
  • No. 5. Recitative and aria (Sofia): "Ah voi condur volete" - "Ah donate il caro sposo" (scene 9)
  • No. 6. Aria (Bruschino): "Ho la testa o è andata via?" (Scene 11)
  • No. 7. Duet (Gaudenzio, Sofia): "È un bel nodo che due cori" (scene 13)
  • No. 8. Finale: "Ebben, ragion dovere" (scene 15)

music

The most famous piece from the opera is the overture , which caused a scandal at the premiere, as the second violins were instructed to knock with their bows on the tin lids of the candlesticks on their music stands. This rhythmic sound effect can be heard four times during the entire overture.

The music of the overture contains a theme from Rossini's Sinfonia in D “al Conventello” (1806 or 1807). He took the love duet “Quant'è dolce a un'alma amante” within the introduction from Demetrio e Polibio .

According to an anecdote passed down by Azevedo, which probably does not correspond to the facts, Cera, the impresario des San Moisè, slipped him an inferior libretto out of anger that Rossini had accepted a commission from the competitive theater La Fenice. In return, Rossini avenged himself by deliberately overloading the music with exaggerations and contradictions in order to provoke failure. He composed wild music for gentle scenes, wrote funeral music for comic scenes and vice versa, countered the singers' peculiarities with unsuitable music and built an endless funeral march into the short comic opera. During the performance, the initiated would have laughed at these jokes, while the other listeners whistled furiously. The Rossini biographer Herbert Weinstock assumes that this legend has its origin in the special sound effect of the overture, which is created when the bows of the second violins hit the lids of their lamp stands. The funeral march actually exists, but is only 16 bars long. Another reason for the audience's displeasure could have been that the performance only started two hours late. Richard Osborne also points out the unusual “hardness and angularity” of the music, which could have had a disturbing effect for some of the audience at the time.

Bruschino's protest in the trio “Per un figlio già pentito” (No. 4, scene 6) is underlaid with an ostinato figure which, together with Bruschino's growl, creates a bizarre sound effect.

Sofia's aria "Ah donate il caro sposo" (No. 5, scene 9) is accompanied by an English horn , the timbre of which fits the tense context of the scene well.

In Bruschino's aria “Ho la testa o è andata via?” (No. 6, Scene 11), his confusion is expressed by a line consisting of octave jumps, which is accompanied by cackling effects in the orchestra. Sofia replies "in a sensual G minor with ascending fifths and minor sixths". This juxtaposition of burlesque and soulful elements is typical of the entire opera.

Work history

Il signor Bruschino is the last of the five comic one-act operas that Rossini composed for Venice between 1810 and 1813. The other “farse” are La cambiale di matrimonio , L'inganno felice , La scala di seta and L'occasione fa il ladro . This type of opera was very popular in Venice in the late 18th and early 19th centuries . The pieces usually consisted of only five to eight singers, including a pair of lovers, in this case Sofia and Florville, at least two comic roles, here Bruschino padre, Gaudenzio and Filiberto, as well as one or more supporting roles, here Marianna, Bruschino figlio and der Police officer.

The libretto is by Giuseppe Foppa. It is based on the French comedy Le fils par hasard, ou ruse et folie by Alissan de Chazet and E. T. M. Ourry, performed in Paris in 1809 . Rossini composed the music in a particularly hurry, as he already had another commission for the Teatro La Fenice . This opera, Tancredi , was premiered there just a few days after Signor Bruschino's premiere.

At the world premiere on January 27, 1813 in the Teatro San Moisè in Venice, the work was performed together with the two-act "dramma eroicomico" Matilde or La donna selvaggia by Carlo Coccia . The singers in Il signor Bruschino were Nicola De Grecis (Gaudenzio), Teodolinda Pontiggia (Sofia), Luigi Raffanelli (Bruschino padre), Gaetano Del Monte (Bruschino figlio and policeman), Tommaso Berti (Florville), Nicola Tacci (Filiberto) and Carolina Nagher (Marianna).

The premiere was unsuccessful - in part because a short farse couldn't compete against the great Tancredi . The opera was quickly forgotten. Only after Rossini's fame had reached its peak was this work performed again, for example in the spring of 1844 at the Teatro Canobbiana in Milan, in 1858 in Madrid and Berlin, in 1859 in Brussels and in 1957 at the Piccola Scala in Milan. A French version, the music of which had been edited by Jacques Offenbach , had a huge success on December 29, 1857 at his Théâtre des Bouffes-Parisiens in Paris. Rossini was invited to a rehearsal, but replied: "I let you do what you wanted, but I have no intention of being your accomplice." It was given in the Circolo degli artisti in Turin in autumn 1874 and in May 1901 at the Teatro Contavalli in Bologna. In 1932 a heavily edited version was played as a prelude to Richard Strauss' Elektra at the Metropolitan Opera in New York . There were further performances in 1955 in Catania, 1963 in Spoleto and at the Teatro San Carlo in Naples and in 1965 at the Festival du Marais in Paris. In 1985 there was a successful performance based on the new critical edition at the Rossini Opera Festival Pesaro . The piece has been performed there several times since then. Also noteworthy are the performances of 1989 in Schwetzingen and 1992 at the Vienna Chamber Opera .

Recordings

  • September 9, 1951 (live, in concert from Milan, abridged): Carlo Maria Giulini (conductor), Orchestra della RAI di Milano. Sesto Bruscantini (Gaudenzio), Alda Noni (Sofia), Afro Poli (Bruschino padre), Tommaso Soley (Bruschino figlio), Antonio Spruzzola-Zola (Florville), Tommaso Dalamangas (Filiberto), Fernanda Cadoni (Marianna). VOCE LP: VOCE-32 (3), Golden Melodram GM 5.0046 (1 CD), Walhall WLCD 0089 (1 CD), GOP 66.329 (1 CD), Cantus Classics 500572 (2 CD).
  • 1954 (heavily abbreviated): Ennio Gerelli (conductor), Orchestra da Camera di Milano. Renato Capecchi (Gaudenzio), Elda Ribetti (Sofia), Carmelo Maugeri (Bruschino padre), Carlo Rossi (Bruschino figlio), Luigi Pontiggia (Florville), Ivo Vinco (Filiberto), Claudia Carbi (Marianna), Walter Tarozzi (Commissario). VOX Turnabout LP: TV 34158S, Archipel ARPCD 0351 (1 CD).
  • 1970: Robert Dunand (conductor), Collegium Academicum de Genève. Etienne Bettens (Gaudenzio), Evelyn Brunner (Sofia), Gaston Presset (Bruschino padre), Antonio Ribeiro Marao (Bruschino figlio), Mario Marchiso (Florville), Samuel Hasler (Filiberto), Della Jones (Marianna). Concert HALL SMSC-2724; Concert Hall SMS-2780 (Highlights).
  • 1985 (shortened secco recitatives): Jacek Kasprzyk (conductor), Orchestra of the Warshaw Chamber Opera. Jerzy Mahler (Gaudenzio), Alicia Slovakiewicz (Sofia), Jan Wolanski (Bruschino padre), Jószef Moldvay (Bruschino figlio), Kaszimierz Myrlak (Florville), Dariusz Niemirowicz (Filiberto), Halina Gorzynská (Marianna), Bojumil Jasisszario (Commander). Pavane ADW 7158 (1 CD), Pavane ADW 7158-9 (2 LP).
  • May 1987: Gianluigi Gelmetti (conductor), Symphony Orchestra of the SWR Stuttgart . Jean-Philippe Lafont (Gaudenzio), Amelia Felle (Sofia), Claudio Desderi (Bruschino padre), Maurizio Comencini (Bruschino figlio), Susanna Anselmi (Marianna).
  • 1988 (live from the Rossini Opera Festival Pesaro ): Donato Renzetti (conductor), Orchestra della RAI di Torino. Enzo Dara (Gaudenzio), Mariella Devia (Sofia), Alberto Rinaldi (Bruschino padre), Eugenio Favano (Bruschino figlio), Dalmacio Gonzalez (Florville), Alfonso Antoniozzi (Filiberto), Nicoletta Curiel (Marianna). Ricordi CD: 2002.
  • October 1988: Marcello Viotti (conductor), I Filarmonici di Torino. Bruno Praticò (Gaudenzio), Patrizia Orciani (Sofia), Natale de Carolis (Bruschino padre), Fulvio Massa (Bruschino figlio / Commissario), Luca Canonici (Florville), Pietro Spagnoli (Filiberto), Katia Lytting (Marianna). Claves CD: 50-8904 / 5, Brilliant Classics 92399 (8 CD).
  • 1989 (video from Schwetzingen, scene 13 slightly shortened): Gianluigi Gelmetti (conductor), Michael Hampe (director), Symphonie-Orchester des SWR Stuttgart . Alessandro Corbelli (Gaudenzio), Amelia Felle (Sofia), Alberto Rinaldi (Bruschino padre), Vito Gobbi (Bruschino figlio), David Kuebler (Florville), Carlos Feller (Filiberto), Janice Hall (Marianna), Oslavio di Credico (Commissario) . Teldec VI: 9031 71482 3 9, Teldec LD: 9031 71482 6, EuroArts 2054988 (1 DVD).
  • May 1991 ( Opernwelt CD tip: “artistically valuable”): Ion Marin (conductor), English Chamber Orchestra . Samuel Ramey (Gaudenzio), Kathleen Battle (Sofia), Claudio Desderi (Bruschino padre), Octavio Arévalo (Bruschino figlio / Commissario), Frank Lopardo (Florville), Michele Pertusi (Filiberto), Jennifer Larmore (Marianna). DG CD: 435 865 2 (1 CD), DGG 477 566 8 (1 CD).
  • August 19, 2000 (live from Wörgl ): Gustav Kuhn (conductor), Orchestra of the Tyrolean Festival Erl . Gianpiero Ruggeri (Gaudenzio), Hiroko Kouda (Sofia), Ezio Maria Tirsi (Bruschino padre), Johann Puchleitner (Bruschino figlio), Patrizio Sandelli (Florville), Aris Papagiannopoulos (Filiberto), Claudia Schneider (Marianna), Edvard Stroh (Commissario) . Arte Nova 74321 80783 2 (1 CD).
  • May 4, 2002 (live from Ferrara): Claudio Desderi (conductor), I Virtuosi Italiani. Maurizio Leoni (Gaudenzio), Elena Rossi (Sofia), Dario Giorgelè (Bruschino padre), Massimiliano Barbolini (Bruschino figlio), Alessandro Cordeluppi (Florville), Antonio Marani (Filiberto), Clara Giangaspero (Marianna), Vito Martino (Commissario). Naxos 8.660128 (1 CD).
  • March 2009 (live from Graz): Michi Gaigg (conductor), L'Orfeo Barockorchester . David Park (Gaudenzio), Olga Peretyatko (Sofia), Vladimir Chernov (Bruschino padre), Matthias Paar (Bruschino figlio), Kirlianit Cortes (Florville), Josef Pepper (Filiberto), Michaela Adamcova (Marianna), Ernst-Dieter Suttheimer (Commissario ). premiereopera.net (1CDR).

Web links

Commons : Il signor Bruschino  - collection of images, videos and audio files

Individual evidence

  1. ↑ a b Preface to the piano reduction based on the critical edition by Arrigo Gazzaniga. Casa Ricordi, Milan 2001, ISBN 88-7592-549-6 .
  2. ^ Il signor Bruschino ossia Il figlio per azzardo. Comments on the critical edition of Arrigo Gazzaniga ( memento of November 2, 2014 in the Internet Archive ).
  3. ↑ a b c d e Herbert Weinstock : Rossini - A biography. Translated by Kurt Michaelis. Kunzelmann, Adliswil 1981 (1968), ISBN 3-85662-009-0 .
  4. ↑ a b c d e Richard Osborne: Rossini - life and work. Translated from the English by Grete Wehmeyer. List Verlag, Munich 1988, ISBN 3-471-78305-9 .
  5. ^ A b Charles Osborne : The Bel Canto Operas of Rossini, Donizetti, and Bellini. Amadeus Press, Portland, Oregon, 1994, ISBN 978-0-931340-71-0 .
  6. ^ Data set for the performance in the Teatro San Moisè on January 27, 1813 in the Corago information system of the University of Bologna .
  7. ^ A b Il signor Bruschino, ossia Il figlio per azzardo (Gioachino Rossini) in the Corago information system of the University of Bologna .
  8. ↑ a b Il signor Bruschino. In: Harenberg opera guide. 4th edition. Meyers Lexikonverlag, 2003, ISBN 3-411-76107-5 , pp. 759 ff.
  9. ↑ a b c d e f g h i j Gioacchino Rossini. In: Andreas Ommer: Directory of all opera complete recordings. Zeno.org , volume 20.
  10. ^ Admission by Robert Dunand (1970) in the discography of Il signor Bruschino at Operadis.
  11. ↑ Recording by Michi Gaigg (2009) in the discography for Il signor Bruschino at Operadis.