Issipile
| Work data | |
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| Title: | Issipile |
Second act, scene XII. |
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| Shape: | Opera seria |
| Original language: | Italian |
| Music: | First setting by Francesco Bartolomeo Conti |
| Libretto : | Pietro Metastasio |
| Premiere: | February 7, 1732 |
| Place of premiere: | Vienna |
| Place and time of the action: | Lemnos , mythical time |
| people | |
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Issipile is an opera - libretto in three acts by Pietro Metastasio . It was first performed in the setting by Francesco Bartolomeo Conti on February 7, 1732 in Vienna. In total it was set to music almost thirty times.
A German translation of the libretto by Johann Anton Koch appeared in 1769 under the name Hypsipyle in the second volume of his unfinished complete edition Des Herr Abbot Peter Metastasio Kayserl. Royal Court Poet's Dramatic Poems.
action
In prehistory, the soldiers of the Greek island of Lemnos occupied the neighboring country of Thrace and founded new families there. Five years later they return to Lemnos. The first wives who remained there under the leadership of Eurinome are now taking revenge with a massacre of all men. Only Hypsipyle (here called Issipile), the fiancée of the Argonaut leader Jason (Giasone), resists and saves her father, King Thoas (Toante). Eurinome has a son, Learco, who used to be in a relationship with Issipile's confidante Rodope but left her when he fell in love with Issipile. Since she did not return his love, he tried to kidnap her. He was banished and faked his own death to pursue the pirate trade. In the course of the opera he returns and tries again to conquer Issipile.
“The ancient inhabitants of Lemnos, today Stalimene, one of the most noble islands of the so-called Archipelagi or Ægeische Sea, had sailed to the nearby Thracia and became masters of it through arms; But while they tried to establish themselves firmly in their conquest, they allowed themselves to be captured by their caressing enemies, the daughters of the same country, to such an extent that they almost completely forgot about their return to their fatherland and the wives and children they had left there Contempt and faked longing that were driven to transform their previous love into a violent hatred.
Whether Toantes, her king and military leader, finally persuaded her to go home because he had the engagement of his only daughter and heiress, Issipile (actually written Hypsipile from Greek) with Jason, the prince of Thessaly, and since they wanted to be present themselves, the women in Lemnos did not like the return of this at all, because they not only had resentment about their husbands staying out for a long time, but also a false scream had spread among them as if their hated rivals were coming with them from Thracia to the most sensitive scolding and abortion: what then turned jealousy into such anger that they unanimously decided to murder all the men upon their arrival, which they also under the guise of one tender welcome and embrace brought about what they did with what occurred to them at the same time The Bacchus festival was all the more beneficial than at which, by virtue of the customary Heydnian idolatry, women were free to get drunk and to rave and rush at will, and therefore the pitiful screams of those who perished could not so easily be heard under such noise .
Issipile, who cheaply bore the utmost disgust at killing her father and had no opportunity to see him before he reached Lemnos, therefore took the wise advice to show himself mad and angry, like the rest of the women, and delivered him under this disguise, confessing that she had killed him with her own hand; But the virtuous princess found the sympathetic ruse very dear, for she was not allowed to reveal the truth, because otherwise she would not have been sure of life herself, and since she kept silent about it, she attracted the hatred of her beloved Jasons Hals, who at that time also landed on the coast of Lemnos with his Argonauts (called after the well-known Fabul a nucleus of Hertzhaffter soldiers and seafarers who, under his leadership, conquered the dragon-guarded Güldne Vlie zu Colchis).
Eurinome, who, in addition to a general cause, had a particular cause, threw herself up as the ringleader of the female conspiracy: Because after Learchus, her son, who had loved Issipile for a long time and in vain to be a bride, even tried to kidnap her In order to escape the anger of Toantes, he had to flee the country, whereupon he broke up a rumor as to whether he had killed himself out of desperation, his avoided death at the Eurinome caused an irreconcilable greed for revenge against the king, which she returned upon his return , under the pretext of a punishable insult to the female sex in general, was intended to cool and exercise.
In the meantime, the exiled Learchus had formed a band of sea robbers, whose chief man he had become, and because, despite his long distance, he still had a love for Issipile, he dared, when he was interrogated, that their wedding was with him Jason was supposed to go one more trick for himself, and got out with his rabble on the Eylande Lemnos unnoticed to undertake the kidnapping of the princess, or at least to prevent the marriage, in which he succeeded so far that he got old Toantes prisoner and hoped to force his daughter to love him.
As far as Rodope is concerned, she plays her part rather indifferently in a certain way, but her generosity comes to the fore, since she also takes note of her false lover, Learchus, and she can serve as a mirror for many overly heated women.
At last everything achieves a desired outcome, and Issipile, after the madly in love Learchus has done her enough hertzens-torment, sees the same, punishing himself and his malice, freed her father, appeased the unrest in Lemnos, and got Jason after his behavior cherished doubt, as a husband at her side.
Such is roughly the content of the present story, of which Herodotus, Ovidius, Statius, Apolodorus and other old scribes can be read, but considering the fictions that have been added, the German translator must, to the glory of the Italian poet, say that everything here that is intrigue, Surprise, moral doctrine, elevation, contest, and mingling of affects, etc., into a righteous theatrical play is required, is incomparably well appropriate, in particular the tenderness of the child's duty stands out, since it even shows the love of a perfectly worthy bridegroom gives way, therefore one could not avoid giving Wercke the title, victory of childlike love. The excellence of the music of this singing game is not to be emphasized for a long time, but the judgment of it is left to the delicate taste of an impartial connoisseur; Finally, remaining unconcerned about the Midas ears and Thamyras blindness of a nasal Geelschnabels or some other incomprehensible blasphemer, as whom one will never pay attention to any answer.
- O lamp that you think you shine quite nicely,
- You just stink yourself, and still stink with others,
- Let your wisdom shine only with the Hottentots,
- With a thousand lights the show-place must mock you! "
The following table of contents is based on the German translation of the libretto by Christoph Gottlieb Wend , based on Francesco Bartolomeo Conti's setting from 1737.
first act
Bacchus Temple
On the occasion of Issipile's wedding with Giasone, her father, King Toante, returns to Lemnos with his soldiers. However, they are already awaited by their vengeful wives, who have sworn an oath to invariably kill them. Since a Bacchus festival is taking place at the same time, the murders should take place in this context, as it were, inconspicuously, without attracting much attention. Issipile, however, only took the oath in pretense in order to be able to save her father without arousing suspicion among the others. The leader Eurinome has a special hatred for Toante because she blames him for the death of her son Learco. She therefore proposes to Issipile to kill him himself, which she refuses. However, it is already too late to give the warning because Toante has already come ashore. He is surprised by Issipile's cool greeting after the long separation.
Believed to be dead Learco appears at his former lover Rodope and explains to her that he spread the rumor of his death himself to deceive Toante. She doesn't think he has returned because of her, but still warns him of the impending massacre. Learco is secretly planning to kidnap Issipile.
Forest
Issipile has brought her father Toante to safety. She wants to pretend Eurinome to have killed Toante with the help of a slaughtered lamb. However, Learco overhears the conversation. After she leaves, Learco comes out of hiding and, by lying, leads Toante to leave the area. The first step in his plan has thus been successful.
Royal hall
Rodope now also believes Issipile killed her father. Issipile wants to clear up the mistake, but is interrupted by Eurinome. She reports that a man was seen on the street. One of them must therefore be a traitor.
Giasone came early to the planned wedding with Issipile because he wanted to surprise her. He is annoyed by the reception that has been given him and drives some of the women dressed as Bacchantes with swords. Since he did not come from Lemnos with the other men, he should of course be spared the massacre. Eurinome now tells him about the act of revenge. He is horrified and vows to avenge the king. When Eurinome declares that he had been killed by his bride Issipile himself, he leaves her indignant. However, Issipile wants her father safe first before she can tell Giasone the truth.
Second act
Garden with a small gloomy forest
Learco is waiting in hiding for Issipile. First, however, comes his mother Eurinome. She catches sight of him for a moment and is amazed because she thinks she has seen her dead son. In search of her father, Issipile comes along. Because it is dark, she takes Eurinome for Rodope and tells her to tell Giasone that the king is still alive and that Giasone should be ready with his army to help them escape. Eurinome has now discovered her betrayal and runs angrily away. Now Learco comes out of hiding. She thinks he is Toante and tells him about the expected support from Giasone. Because they hear people coming, Learco goes into hiding again. Eurinome comes back accompanied by armed bacchantes to arrest Toante and confronts Issipile. She orders the whole forest to be set on fire and draws her sword to kill the expected Toante. She almost meets her son Learco, who reveals himself to her, but is arrested by the Bacchantes. Rodope also joins them. She still has feelings for Learco and decides to use a ruse to save him. To do this, she orders the Bacchantes to tie him up a tree and shoot him. So that his mother doesn't have to watch it, she is led away. Issipile is also moving away. Rodope sends the remaining Bacchantes away on the pretext of wanting to make the execution a public performance, for which they are supposed to build a scaffolding. Finally she is alone with Learco, explains her ruse to him and releases him. Learco worries about his lack of virtue.
Forest with tents
Giasone sits alone on a rock and falls asleep. Learco finds him and spontaneously pulls his sword to kill his rival. But since he has just decided to lead a better life, he changes his mind and stops thinking. Issipile is still looking for her father. She sees Learco with the sword. He has now decided to carry out the push, but is prevented by her at the last moment. Finally he gives her the sword, wakes Giasone and flees. Giasone now believes Issipile tried to kill him. She explains to him that she has protected him and that her father is still alive. You don't believe Giasone, however. He stops her desperate attempt to kill herself and sends her away. Sadly, she goes to find solace in the wilderness.
Courtyard in the royal palace
Giasone meets Toante and is surprised to find him alive. Now he realizes that Issipile wasn't lying. Because the danger from the Bacchantes is not over yet, he calls his Argonauts to arms and goes in search of Issipile.
Third act
Remote secluded area between the city and the sea
Learco and two of his pirates were looking for Issipile in vain. Then he sees Toante and sends his companions off to fetch reinforcements. He appears to ask Toante's forgiveness for his past deeds. Since he seems to have improved, Toante is ready for it. Learco lengthens his thanks until his cronies come back and take Toante prisoner.
Rodope has seen the kidnapping and asks Learco to rescue Toante. In this way he could redress his past offenses. Learco, however, confesses to her that he himself arrested Toante and instructs her to inform Issipile of this. After he leaves, Issipile comes and tells Rodope that Giasone has defeated the Bacchantes and that the danger is finally over. Rodope now tells Issipile about Toante's capture by Learco and the pirates. They tell Giasone, who immediately sets off with his Argonauts to free Toante.
Eurinome is looking for her son Learco and asks Rodope about him. However, she now regrets having freed him previously and leaves Eurinome alone. Eurinome loves her son for all his flaws.
Sea coast and Learco's ships with a landing stage
Giasone, the Argonauts, Issipile and Rodope are on the shore while Learco threatens Toante on one of the ships. Learco suggests an exchange. Her father will be left alive when Issipile comes to him and becomes his bride. Issipile sets off, but is turned back by Toante, who refuses to allow her to marry a robber. He'd rather die. Now Eurinome is added. She is immediately arrested by Giasone, who now has leverage and offers Learco an exchange of his mother for Toante. However, Learco is not interested in her and refuses. Only when Giasone raises his arm to kill her does he give up. He stabs himself and falls into the sea, dying. Eurinome faints. The Argonauts free Toante and bring him ashore. Issipile, Giasone and Toante are finally happily reunited, and Rodope also shares in the joy.
history
The mythical saga of the Hypsipyle is reported in several classical sources. These include in particular the first book of the Argonautica by Apollonios and the second book of the Argonautica by Gaius Valerius Flaccus . Further sources are the first book of the library of Apollodorus , the sixth book of the Histories of Herodotus , the number 15 of the Fabulae of Hyginus , the sixth letter of the Heroides of Ovid and the fifth book of the Thebais of Statius .
Metastasio may have known Aurelio Aureli's libretto L'Issifile amazone di Lenno , which was performed in Pesaro in 1697 in a setting by Pietro Porfiri . Certainly, however, Metastasio's version itself served as a template for the tragedy Zelmire by Pierre-Laurent Buirette de Belloy, written in 1762 .
The world premiere took place in February 1732 in the Small Court Theater in Vienna. Giuseppe Galli da Bibiena designed the sets for the elaborate production . It was Metastasios second work written for Vienna and was written by Emperor Charles VI. valued.
A concert performance of the opera by Francesco Bartolomeo Conti took place in 2014 at Wigmore Hall in London.
Settings
The following composers used this libretto for an opera:
| year | composer | premiere | Performance location | Remarks | |
|---|---|---|---|---|---|
| 1732 | Francesco Bartolomeo Conti | February 7, 1732, Court Theater | Vienna | also in the autumn of 1733 in Jarmeritz ; 1733 in Braunschweig; Revised as Sieg der Kindlichen Liebe, or Issipile (partly German translation by Christoph Gottlieb Wend ) on February 20, 1737 in the opera on Gänsemarkt in Hamburg |
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| 1732 | Antonio Bioni | Carnival 1732, Theater im Ballhaus | Wroclaw | ||
| 1732 | Johann Adolph Hasse | October 1, 1732, Teatro San Bartolomeo | Naples | ||
| 1732 | Giovanni Porta | November 22nd 1732, Teatro San Giovanni Crisostomo | Venice | also in the autumn of 1735 in Lucca and in the spring of 1737 in the Teatro de 'Nobili in Perugia | |
| 1733 | Francesco Feo | 1733, Teatro Regio | Turin | ||
| 1733 | Nicola Antonio Porpora | Carnival 1733, Palazzo Rucellai | Rome | originally composed in 1732 for the Teatro delle Dame | |
| 1735 | Pier Giuseppe Sandoni | April 8, 1735, King's Theater on Haymarket | London | Libretto edited by Angelo Maria Cori | |
| 1737 | Baldassare Galuppi | December 26th 1737, Teatro Regio | Turin | first version | |
| 1740 | Pietro Chiarini | Carnival 1740, Teatro dell'Accademia degli Erranti | Brescia | ||
| 1741 | Konstantin Bellermann | 1741 | Mainz | ||
| 1742 | Leonardo Leo | December 19, 1742, Teatro San Carlo | Naples | ||
| 1743 | John Christopher Smith | 1743 | |||
| 1743 | Giovanni Verocai | 1743 | Braunschweig | as a hissifile |
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| 1748 | Antonio Maria Mazzoni | January 15, 1748 | Macerata | ||
| 1750 | Baldassare Galuppi | 1750 | Bologna | second version; also Carnival 1756 in the Teatro Ducale in Parma | |
| 1752 | Christoph Willibald Gluck | Carnival 1752, Nuovo Teatro | Prague | ||
| 1754 | Ignaz Holzbauer | November 4, 1754, court theater | Mannheim | ||
| 1754 | Pasquale Errichelli | December 18, 1754, Teatro San Carlo | Naples | ||
| 1758 | Florian Leopold Gassmann | Carnival 1758, Teatro San Moisè | Venice |
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| 1758 | Gioacchino Cocchi | May 14, 1758, King's Theater on Haymarket | London | ||
| 1760 | Giuseppe Scarlatti | Autumn, Burgtheater | Vienna |
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| 1761 | Giuseppe Sarti | Spring 1761, Det Kongelige Teater | Copenhagen | ||
| 1763 | anonymous | December 26th 1763, Teatro San Carlo | Naples | also in the summer of 1764 at the Teatro di Santa Cecilia in Palermo | |
| 1766 | Johann Gottfried Schwanenberger | 1766, court theater | Braunschweig | Revised February 10, 1767; also in Kassel in 1772 | |
| 1784 | Pasquale Anfossi | May 8, 1784, King's Theater on Haymarket | London | Libretto arranged in two acts by Antonio Andrei |
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| 1796 | Gaetano Marinelli | November 12th 1796, Teatro La Fenice | Venice | in two acts |
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| 1818 | Johann Nepomuk of Poissl | not listed | |||
| 1825 | John Lodge Ellerton | probably 1825 | Attribution uncertain |
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. Second volume. Krauss, Frankfurt and Leipzig in 1769 as digitization at the Munich digitization center .
- ↑ a b Libretto (German) of the opera by Francesco Bartolomeo Conti, Hamburg 1737 as a digitized version at the Berlin State Library .
- ^ Libretto (Italian) of the opera by Francesco Bartolomeo Conti, Vienna 1732. Digitized in the Corago information system of the University of Bologna .
- ^ Libretto (Italian) of the opera by Giovanni Porta, Venice 1732. Digitized in the Corago information system of the University of Bologna .
- ^ Libretto (German) of the opera by Giovanni Verocai, Braunschweig 1743 as digitized version at the Munich Digitization Center .
- ^ Libretto (Italian) of the opera by Baldassare Galuppi, Parma 1756. Digitized in the Corago information system of the University of Bologna .
- ^ Libretto (Italian) of the opera by Florian Leopold Gassmann, Venice 1758. Digitized in the Corago information system of the University of Bologna .
- ^ Libretto (Italian) of the opera by Giuseppe Scarlatti, Vienna 1760 as a digitized version in the Museo internazionale e biblioteca della musica di Bologna .
- ^ Libretto (Italian / English) of the opera by Pasquale Anfossi, London 1784 as digitized version in the Museo internazionale e biblioteca della musica di Bologna .
- ^ Libretto (Italian) of the opera by Gaetano Marinelli, Venice 1796. Digitized in the Corago information system of the University of Bologna .
Individual evidence
- ↑ a b c d Don Neville: Issipile. In: Grove Music Online (English; subscription required).
- ↑ a b Metastasio, Pietro in The Music in Past and Present , p. 50861 ff (cf. MGG Vol. 9, p. 229 ff.) Bärenreiter-Verlag 1986 ( Digital Library Volume 60).
- ^ Francesco Bartolomeo Conti: L'Issipile . Report on the 2014 London performance on Opera Today , accessed November 19, 2014.
- ^ L'Issipile (Francesco Bartolomeo Conti) in the Corago information system of the University of Bologna , accessed on November 19, 2014.
- ^ List of the stage works by Francesco Conti based on the MGG at Operone, accessed on November 19, 2014.
- ↑ Issipile (Francesco Bartolomeo Conti) at operabaroque.fr , accessed on February 2, 2015.
- ↑ Issipile (Antonio Bioni) in the Corago information system of the University of Bologna , accessed on November 19, 2014.
- ^ Issipile (Johann Adolph Hasse) in the Corago information system of the University of Bologna , accessed on November 19, 2014.
- ^ L'Issipile (Giovanni Porta) in the Corago information system of the University of Bologna , accessed on November 19, 2014.
- ^ L'Issipile (Francesco Feo) in the Corago information system of the University of Bologna , accessed on November 19, 2014.
- ^ Issipile (Nicola Porpora) in the Corago information system of the University of Bologna , accessed on November 19, 2014.
- ↑ Issipile (Niccolo Porpora) at operabaroque.fr , accessed on February 2, 2015.
- ↑ Issipile (Pietro Giuseppe Sandoni) in the Corago information system of the University of Bologna , accessed on November 19, 2014.
- ^ A b L'Issipile (Baldassare Galuppi) in the Corago information system of the University of Bologna , accessed on November 19, 2014.
- ^ L'Issipile (Pietro Chiarini) in the Corago information system of the University of Bologna , accessed on November 19, 2014.
- ↑ Issipile (Konstantin Bellermann) at the opening night! Opera & Oratorio Premieres , Stanford University, accessed November 19, 2014.
- ↑ Issipile (Leonardo Leo) in the Corago information system of the University of Bologna , accessed on November 19, 2014.
- ^ List of stage works by John Christopher Smith based on the MGG at Operone, accessed on October 6, 2014.
- ↑ Hissifile (Giovanni Verocai) in the Corago information system of the University of Bologna , accessed on November 19, 2014.
- ^ List of the stage works by Giovanni Verocai based on the MGG at Operone, accessed on November 19, 2014.
- ^ L'Issipile (Antonio Mazzoni) in the Corago information system of the University of Bologna , accessed on November 19, 2014.
- ↑ Issipile (Christoph Willibald Gluck) in the Corago information system of the University of Bologna , accessed on November 19, 2014.
- ^ L'Issipile (Ignaz Holzbauer) in the Corago information system of the University of Bologna , accessed on November 19, 2014.
- ↑ Issipile (Pasquale Errichelli) in the Corago information system of the University of Bologna , accessed on November 19, 2014.
- ↑ Issipile (Florian Leopold Gassmann) in the Corago information system of the University of Bologna , accessed on November 19, 2014.
- ↑ Issipile (Gioacchino Cocchi) in the Corago information system of the University of Bologna , accessed on November 19, 2014.
- ^ L'Issipile (Giuseppe Scarlatti) in the Corago information system of the University of Bologna , accessed on November 19, 2014.
- ^ L'Issipile (Giuseppe Sarti) in the Corago information system of the University of Bologna , accessed on November 19, 2014.
- ^ L'Issipile (anonymous) in the Corago information system of the University of Bologna , accessed on November 19, 2014.
- ^ L'Issipile (Johann Gottfried Schwanenberger) in the Corago information system of the University of Bologna , accessed on November 19, 2014.
- ^ L'Issipile (Pasquale Anfossi) in the Corago information system of the University of Bologna , accessed on November 19, 2014.
- ^ Issipile (Gaetano Marinelli) in the Corago information system of the University of Bologna , accessed on November 19, 2014.
- ^ A b Don Neville: Metastasio [Trapassi], Pietro (Antonio Domenico Bonaventura). In: Grove Music Online (English; subscription required).
- ↑ List of stage works by Johann Nepomuk Poißl based on the MGG at Operone, accessed on September 30, 2014.
- ^ Issipile (John Lodge Ellerton). Record from Musicalics , accessed November 19, 2014.