Ivanhoé (Rossini)
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| Title: | Ivanhoé |
Title page of the 1847 edition |
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| Shape: | Opera in three acts |
| Original language: | French |
| Music: | Gioachino Rossini , compiled by Antonio Pacini |
| Libretto : | Émile Deschamps and Gabriel Gustave de Wailly |
| Literary source: | Walter Scott : Ivanhoe |
| Premiere: | September 15, 1826 |
| Place of premiere: | Théâtre Royal de l'Odéon , Paris |
| Place and time of the action: | England, 1194 |
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Ivanhoé is an opera - pastiche in three acts with music by Antonio Pacini from various operas of Gioachino Rossini was compiled. The libretto by Émile Deschamps and Gabriel Gustave de Wailly is based on Walter Scott's novel Ivanhoe . The first performance took place on September 15, 1826 in the Théâtre Royal de l'Odéon in Paris.
action
The opera is set in England in 1194. It deals with the clashes between Saxons and Normans against the background of an impending French invasion. During a storm, the Saxon Cédric takes the Muslim Ismaël and his daughter Léila into his castle. You are on the run from the Norman Boisguilbert, who desires Léila. Cédric's son Ivanhoé has also appeared there - disguised as a pilgrim, as his father believes he is an apostate because of his support for King Richard. He falls in love with Léila. Boisguilbert and his knights attack and kidnap Léila. She is imprisoned in a tower chamber, where Boisguilbert tries in vain to win her love. The Normans intercept a letter from Léilas in which she asks Ivanhoé for help and sentenced her to death as a traitor. Their only chance of salvation is a divine judgment if a knight is found to fight for them. Ivanhoé reports and defeats Boisguilbert, who competes for the Normans. It turns out that Léila is actually Edith, the daughter of the last male descendant of the Saxon King Alfred . Now nothing stands in the way of her wedding to Ivanhoé. The Normans and Saxons unite to fight back the French together.
first act
A gothic hall
War and hunting equipment hangs on the walls. There is a large window in the background and a large fireplace on the left. A storm can be heard when the curtain is opened.
Scene 1. The Saxon Cédric and his knights sit at the table. A pilgrim has taken a seat near the fireplace. After a comment about the stormy weather, everyone is drinking to victory in tomorrow's fight (introduction: “Quel temps affreux”).
Scene 2. Ismaël and his daughter Léila ask to be admitted (trio and choir: “Seigneur, dans votre demeure”). While the knights would like to chase the two Muslims away, the pilgrim invites them to join him by the fireplace (Stretta, Quartet (Léila, Ivanhoé, Ismaël, Cédric): "Vaine prière! Vil téméraire"). Cédric agrees in the spirit of hospitality, since tomorrow the armistice between France and England ends and war is imminent. Still, the Muslim awakens bad memories of his time in Palestine. Olric, the last male descendant of the Saxon King Alfred, died there and his daughter Edith fell into the hands of the enemy. In addition, Cédric has not yet got over the fact that his son Ivanhoé has joined the Norman King Richard . Ismaël introduces himself to those present as a poor trader. He says that after attending the Ashby tournament, they were attacked by archers under the Norman Boisguilbert (aria: “Boisguilbert, dont la vengeance”). Mention of it is enough for the knights to offer them protection. You leave the room with Cédric to ensure the security of the castle. Léila withdraws to a room assigned to her.
Scene 3. The pilgrim confronts Ishmael. He knows that this is not just a poor trader and reminds him of an earlier encounter in Palestine. At that time he had sought refuge in Ismaël's house after being wounded. Even though his daughter had taken him in, Ishmael showed him the door. It was only for the sake of Léila that he did not reveal this to Cédric.
Scene 4. After Ismaël has left, the pilgrim confesses his love for Léila. He vows to protect her (aria: "Blessé sur la terre étrangère").
Scene 5. Cédric asks the recently returned pilgrim from Palestine about news from the Holy Land. The pilgrim tells of a tournament in which Boisguilbert, the Marquis de Beaumanoir and Albert de Malvoisin fought against three opponents and lost. The winners were King Richard, Sir Henry Douglas and the young Saxon knight Wilfrid d'Ivanhoé. The sounds of a horn can be heard from outside as a warning signal.
Scene 6. Léila and Ismaël return frightened to the hall (quartet and choir “Ah! Point d'alarmes”).
Scene 7. An emissary from Boisguilbert calls on those present to hand over Léilas and Ismaëls. The pilgrim replies that he is well known to his master as a knight and that he will defend them both. He then reveals himself to be Cédric's son Ivanhoé. Having fallen out of favor with his father, he hopes the fight will appease him. Cédric and the other knights follow his example to face their opponents.
Scene 8. Ismaël is almost frightened, but Léila has faith in the brave knight who wants to risk his life for her. During an orchestral ritornel, a group of distraught women rush into the hall. They fear for the happy outcome of the fight and beg Ismaël and Léila to leave the castle (chorus: “Malheureuse! Le combat s'engage”).
Scene 9. Ivanhoé is brought in wounded by two knights. He urges Léila to flee because he can no longer protect her. Léila doesn't want to leave him alone, but rather to take care of his wounds. The defenders are beaten, and outside the Normans cheer their victory (beginning of Finale I - duet and chorus: "Ô douleur! Ô jour funeste!" - "Victoire! Honneur!"). Ivanhoé is still a sword with which he wants to defend Léila despite his injury.
Scene 10. Boisguilbert and his soldiers push in (quartet and choir: “Ô sort infidèle”). There is nothing Ivanhoé can do about it but seize Léila and drag her away with him. He swears revenge.
Second act
A room in the castle of St. Edmond
A tall watchtower with a window and an outside platform with no railings.
Scene 1. Léila, imprisoned in a tall watchtower, writes a letter to Ivanhoé, informing him of her situation and pleading with him and the Saxons for help (aria: “En vain mon âme espère”).
Scene 2. Boisguilbert tries to approach her. In her distress, Léila takes refuge on the platform and threatens to jump. Boisguilbert assures her of his honest feelings and swears that he won't harm her - but she doesn't trust him (duet: “Que vois-je? Ô ciel!”).
Scene 3. Albert de Malvoisin was commissioned by the other Norman knights to inquire about the reason for Boisguilbert's unauthorized attack on Cédric's castle - at a time when the Normans and Saxons were to unite against the French invasion. He would have to justify himself to the Marquis de Beaumanoir. In addition, a letter from Léila was found under the tower, in which she asked the Saxons and French for help against the Normans. Malvoisin finally informs Boisguilbert that Ivanhoé had returned from the crusade, that the Muslim was a servant of the French king Philippe and that he had sent his daughter - Ivanhoé's mistress - to Cédric to incite the Saxons against the Normans. Trumpets herald the arrival of General Beaumanoir, and Malvoisin goes to meet him.
Scene 4. Boisguilbert turns to Léila again. He informs her that she will be accused of treason and assures her that he will do everything possible to save her, although that will also put him in danger. Nevertheless, Léila prefers to hope for the general's justice.
Scene 5. There is no more time to escape because Malvoisin returns with the news that the court is meeting and the judge has already received the compromising letter. Léila's fate seems sealed (trio: “Souffrance cruelle”).
Scene 6. Léila is picked up for the hearing (chorus: “Suivez-nous, le conseil vous demande”). Boisguilbert feels guilty. He promises to defend her in court.
Scene 7. Malvoisin advises Boisguilbert against speaking out for Léila. He won't achieve anything, just make himself suspicious. Instead, he should appear incognito with his visor closed. Boisguilbert writes a message in which he asks Léila to accept the help of the knight whom she deems worthy of her love.
The great hall in the castle of St. Edmond
The Marquis Lucas de Beaumanoir presides over the tribunal. The knights sit on a lower level. It's night; the council hall is lit by torches.
Scene 8. The Norman knights announce that they want to set an example: Léila is to die (beginning of Finale II - chorus: “Race infidèle”). At Beaumanoir's gesture, the accused is brought before the judge. Boisguilbert and Malvoisin follow her.
Scene 9. Beaumanoir brings the indictment and the verdict right away: Léila is accused of inciting the Saxons against the Normans on behalf of King Philip. Your letter to Ivanhoé is proof. She is sentenced to death at the stake. Léila and Malvoisin are horrified (trio: “Quel coup m'accable!”). Léila is given no opportunity to defend herself. Boisguilbert was able to send her his message, which she is now reading secretly. She throws her glove and, to everyone's surprise, demands a divine judgment - a duel should decide her fate.
Scene 10. Suddenly Léila's father Ismaël appears (quartet and choir: “Que vois-je? - Ô transports!”). Léila calls out to him that she must die and that he should flee. Boisguilbert is ready to stand up for her - but Beaumanoir lets him pass the glove and tells him to fight for the indictment to make up for his mistake. Léila, Boisguilbert, Malvoisin and Ismaël pray to God for salvation, but there seems to be no more hope.
Third act
In the background on the left the castle of Saint-Edmond, in the foreground on the right a fenced area. At night.
Scene 1. After the sounds of a military march, Malvoisin orders his soldiers to guard the entrances to the square and, in particular, not to let in any Saxons or even Muslims.
Scene 2. The knights prepare for this task (chorus: “Faisons silence”).
Scene 3. Wrapped in a cloak, Ivanhoé appears on the scene. Though he doesn't have a gun yet, he is determined to challenge Boisguilbert to save Léila.
Scene 4. Ismaël informs Ivanhoé of Léila's death sentence. Their only hope is that they will find a knight who will win their battle for them. Ivanhoé is ready immediately. Ismaël wants to provide the necessary weapons.
Scene 5. Malvoisin noticed them. He hires one of his men to arrest her.
Scene 6. Boisguilbert asks Malvoisin to help him rescue Léila. Malvoisin points out her ingratitude, which has preferred a Saxon to him. Boisguilbert finally agrees to fight. Malvoisin enters the castle.
Scene 7. Left alone, Boisguilbert doubts again (scene and aria: "Combat terrible"). He feels guilty about Léila's fate and wants to save her. But if he loses the fight for her sake, he is dishonored. In his mind he asks her for forgiveness.
Scene 8. The other knights try to arouse Boisguilbert's courage to fight (Boisguilbert and Chor: “Avançons; au chagrin qui l'opprime”). Although he wants to prove himself worthy on them, he must think of his love for Léila.
Scene 9. Léila is led into the square to the sounds of a funeral march. Malvoisin, Beaumanoir, knights and farmers gather to watch the fight. While the women beg God for help for the innocent, the men demand the traitor's death (march and chorus: “Dieu! Signals ta clémence! - Dieu! Confirme la sentence”). Boisguilbert tries to approach Léila. Malvoisin holds him back, but Beaumanoir is of the opinion that anything is allowed before a divine judgment that can bring the truth to light. Boisguilbert paints Léila the horrors of her impending execution. He promises to save her if she confides in his arms. But Léila rejects him. The guards carry them away. Before Boisguilbert and Malvoisin can follow them, shouts can be heard.
Scene 10. A knight with a closed visor appears and challenges Boisguilbert to a fight in order, with God's help, to prove Léila's innocence. Since Malvoisin mockingly refuses to participate as a nameless person, he reveals himself to be Ivanhoé. Boisguilbert does not want to play against Ivanhoé because of his injuries. But now Ivanhoé reminds him of his victory in the tournament in St. Jean d'Acre. Boisguilbert now has the opportunity to restore the honor he lost there. If he refuses, he will expose him as a coward in all the courts of Europe. Now Boisguilbert accepts the challenge. They both move away to make their preparations. Fanfares signal the upcoming fight.
Scene 11. Ishmael is deeply concerned about the outcome of the fight. Fanfares are already announcing the end of God's judgment.
Scene 12. While cries of victory can be heard in the background, Ismaël and Cédric meet (Finale: “Victoire”). Ismaël begs Cédric to save Léila. She is only his foster daughter and in reality Edith, the daughter of Cédric's former comrade in arms Olric and a descendant of Alfred the Great.
Scene 13. After his victory, Ivanhoé leads Léila to her father. Your innocence is now proven. Cédric teaches them about their true origins and encourages them to return to the faith of their family. He gives her and his son Ivanhoé his blessing. Ivanhoé asks her to become his wife.
Scene 14. Beaumanoir and the Norman knights accept God's judgment. The real traitor has now also confessed. Ivanhoé calls on the Saxons and Normans to resolve their dispute. After all, they are all English. All agree.
Scene 15. In view of the impending French invasion, Malvoisin calls the knights to arms. The knights join the battle cry. Now it is against a common enemy.
Music numbers
The opera contains the following musical numbers:
- Overture - from Semiramide
first act
- No. 1. Introduction
- Choir: “Quel temps affreux” (scene 1) - from La Cenerentola , second act, scene 6
- Trio (Léila, Ivanhoé, Ismaël) and choir: "Seigneur, dans votre demeure" (scene 2) - from La Cenerentola, first act, scene 4
- Stretta, quartet (Léila, Ivanhoé, Ismaël, Cédric): “Veine prière! Vil téméraire ”(scene 2) - from La Cenerentola, second act, scene 6
- No. 2. Aria (Ismaël and choir): “Boisguilbert, dont la vengeance” (scene 2) - from La Cenerentola, aria by Don Magnifico
- No. 3. Aria (Ivanhoé): "Blessé sur la terre étrangère" (scene 4) - from Bianca e Falliero , aria of Contareno, first act, scene 8
- Horn solo - from the London autograph
- No. 4. Quartet (Léila, Ivanhoé, Ismaël, Cédric) and choir “Ah! point d'alarmes ”(scene 6–7) - from Armida , first act, scene 3
- Embedded recitative: “Boisguilbert vous propose ou la guerre ou la paix” (scene 7) - from the London autograph
- No. 5. Choir: “Malheureuse! le combat s'engage “(scene 8) - from Maometto II , second act, scene 6
- No. 6. Finale I.
- Duet (Léila, Ivanhoé) and choir: “Ô douleur! Ô jour funeste! ”-“ Victoire! honneur! ”(scene 9) - from Aureliano in Palmira , first act, scene 2–3
- Quartet (Léila, Ivanhoé, Ismaël, Boisguilbert) and choir: "Ô sort infidèle" (scene 10) - from La gazza ladra , second act, scene 11
- Stretta - from Armida, first act, scene 13 finale
Second act
- No. 7. Aria (Léila): "En vain mon âme espère" (scene 1) - from Sigismondo , Aria des Sigismondo, second act, scene 16
- No. 8. Duet (Léila, Boisguilbert): “Que vois-je? ô ciel! “(scene 2) - from Torvaldo e Dorliska , first act, scene 5
- No. 9. Trio (Léila, Malvoisin, Boisguilbert): “Souffrance cruelle” (scenes 5–6) - from Mosè in Egitto , third act, scene 3
- Choir: "Suivez-nous, le conseil vous demande" (scene 6)
- No. 10. Finale
- Choir: “Race infidèle” (scene 8) - from La gazza ladra, second act, scene 9
- "Judgment" trio (Léila, Malvoisin, Boisguilbert) and choir (scene 9): "Quel coup m'accable!" - from Semiramide, first act, scene 8
- Quartet (Léila, Malvoisin, Boisguilbert, Ismaël) and choir (scene 10): “Que vois-je? - Ô transports! “- from Mosè in Egitto, first act, scene 7
- No. 11. Between act music - from Semiramide, first act, scene 2
Third act
- No. 12. Choir: "Faisons silence" (scene 2) - from Tancredi , second act, scene 16
- No. 13. Scene and aria (Boisguilbert): "Combat terrible" (scene 7) - from Semiramide, second act, scene 9
- (Boisguilbert and Chor): “Avançons; au chagrin qui l'opprime "(scene 8)
- No. 14. March and choir: “Dieu! signals ta clémence! ”(scene 9) - from Bianca e Falliero, second act, scene 7
- Fanfare - Passo doppio for military band, 1822 (?), Later reused as a gallop at the end of Guillaume Tell's overture
- No. 15. Finale: “Victoire” (scene 12) - from Torvaldo e Dorliska, first act, scene 10–11 finale
Work history
The music of Pasticcios Ivanhoé was compiled from various of his earlier operas by the music publisher and musician Antonio Pacini with Rossini's permission. The occasion was a request from Claude Bernard, the artistic director of the Théâtre Royal de l'Odéon in Paris. Since Rossini was busy converting his Maometto II into the French version Le siège de Corinthe , he was supposed to deliver a pasticcio. The libretto was written by Émile Deschamps and Gabriel Gustave de Wailly. It is based on Walter Scott's 1819 novel Ivanhoe , the title of which was retained due to Scott's great popularity for opera. Rossini himself also took part in the creation of the pasticcio, as can be seen in the preserved handwritten manuscript of some smaller fragments. He wrote a recitative and an orchestral introduction. Antonio Pacini should not be confused with the composer Giovanni Pacini , whose own Ivanhoe opera premiered in Venice in 1832.
In the libretto, the plot of the original has been greatly reduced. The main characters Robin von Locksley and Richard the Lionheart are missing. The Jew Isaac was replaced by the Muslim Ismaël and the female lead roles Rebecca and Rowena were merged in Léila. The music has also been slightly revised. Although the original keys were retained for the individual numbers, they were often shortened and the melodic lines simplified if necessary. This happened z. For example , Ismaël's aria from La Cenerentola in the first act, which was transferred from a comic to a serious context.
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The premiere took place on September 15, 1826, Théâtre Royal de l'Odéon in Paris - three weeks before Rossini's own opera revision Le siège de Corinthe at the Académie Royale de Musique . The soprano Lemoule (Léila), the tenors Leconte (Ivanhoé), Peyronnet (Malvoisin) and Masson (Herold) as well as the basses Adolphe (Cédric), Leclere (Boisguilbert), Charles (Beaumanoir) and Léon (Ismaël) sang. The opera brought in a lot of money, as the Rossini biographer Radiciotti wrote. Walter Scott, who attended one of the performances on October 31, reported about it in his memoir:
“In the evening at the Odeon where we saw Ivanhoe. It was superbly got up, the Norman soldiers wearing pointed helmets and what resembled much hauberks of mail, which looked very well. The number of the attendants. and the skill with which they were moved and grouped on the stage, were well worthy of notice. It was an opera, and, of course, the story sadly mangled, and the dialogue, in great part, nonsense. Yet it was strange to hear any thing like the words which I (then in an agony of pain with spasms in my stomach) dictated to William Laidlaw at Abbotsford now recited in a foreign tongue, and for the amusement of a strange people. "
“In the evening we saw Ivanhoe at the Odeon . It was set up excellently; the Norman soldiers wore pointed helmets and what looked like chain mail, which looked very good. The number of participants and the skill in moving and grouping on the stage were remarkable. It was an opera, and of course the plot was sadly garbled and the dialogue largely nonsensical. Still, it was strange to hear something like the words I had dictated to William Laidlaw at Abbotsford (then in great pain, with cramps in my stomach), now read in a foreign language and for the pleasure of a strange people. "
Several other performances followed in other cities such as Strasbourg (still 1826), Ghent and Lille (1827). An English version entitled The Maid of Judah or The Knight Templars appeared at Covent Garden in 1829 and was also performed in Dublin, New York and Philadelphia. In 1833 a German version was played in Coburg.
More recently there was a concert performance in 1992 in Siena under the direction of Peter Maag . The work was only shown again in 2001 at the Festival della Valle d'Itria in Martina Franca . A recording of it is available on CD.
Besides this pasticcio and Giovanni Pacini's opera, there were various other Ivanhoe operas in the 19th century . Particularly noteworthy are Heinrich Marschner's Der Templer und die Jüdin (1829), Otto Nicolais Il templario (1840) and Arthur Sullivan's Ivanhoe .
Recordings
- August 2001 (live from Martina Franca, dialogues heavily abbreviated): Paolo Arrivabeni (conductor), Prague Chamber Orchestra, Prague Chamber Choir . Simon Edwards (Ivanhoé), Massimiliano Chiarolla (Cédric), Soon-Won Kang (Boisguilbert), Salvatore Cordella (Malvoisin), Volodymyr Deyneka (Beaumanoir), Filippo Morace (Ismaël), Inga Balabanova (Léila), Cosimo d'Amato (Herold ). Dynamic CDS 397 / 1-2 (2 CD).
Web links
- Ivanhoé : Sheet Music and Audio Files in the International Music Score Library Project
- Libretto (French). In: Tutti i libretti delle opere di Gioachino Rossini in the Internet Archive , pp. 2110-2185
- Ivanhoé (Gioachino Rossini) in the Corago information system of the University of Bologna
- Discography on Ivanhoé (Rossini) at Operadis
- Detailed table of contents in the Tamino-Klassikforum
Individual evidence
- ↑ Supplement to CD Ivanhoé. Dynamic CDS 397 / 1-2, 2001, p. 27 ff.
- ↑ a b c d e Daniel Fesquet, Eva Pleus (transl.): Rossini conquers Paris. In: Supplement to CD Ivanhoé. Dynamic CDS 397 / 1-2, 2001.
- ^ A b Herbert Weinstock : Rossini - A biography. Translated by Kurt Michaelis. Kunzelmann, Adliswil 1981 (1968), ISBN 3-85662-009-0 .
- ↑ Arrigo Quattrocchi: The logic of self-plagiarism. In: Marco Beghelli: Rossini's "Eduardo e Cristina". Contributions to the first performance of the century. Leipziger Universitätsverlag, 1997, ISBN 3-931922-71-5 , p. 71.
- ^ Record of the performance on September 15, 1826 at the Théâtre Royal de l'Odéon in the Corago information system of the University of Bologna .
- ^ John Gibson Lockhart: Memoirs of the life of Sir Walter Scott. Volume 4. Baudry's, 1838 ( online at Google Books ).
- ^ A b Richard Osborne: Ivanhoe, Rossini (arr. A. Pacini). CD review from February 2003. In: Opera 2003, p. 102.
- ^ Gioacchino Rossini. In: Andreas Ommer: Directory of all opera complete recordings. Zeno.org , Volume 20, p. 15663.
Demetrio e Polibio (before 1810) | La cambiale di matrimonio (1810) | L'equivoco stravagante (1811) | L'inganno felice (1812) | Ciro in Babilonia (1812) | La scala di seta (1812) | La pietra del paragone (1812) | L'occasione fa il ladro (1812) | Il signor Bruschino (1813) | Tancredi (1813) | L'italiana in Algeri (1813) | Aureliano in Palmira (1813) | Il turco in Italia (1814) | Sigismondo (1814) | Elisabetta regina d'Inghilterra (1815) | Torvaldo e Dorliska (1815) | Il barbiere di Siviglia (1816) | La gazzetta (1816) | Otello (1816) | La Cenerentola (1817) | La gazza ladra (1817) | Armida (1817) | Adelaide di Borgogna (1817) | Mosè in Egitto (1818) | Adina (1826) | Ricciardo e Zoraide (1818) | Ermione (1819) | Eduardo e Cristina (1819) | La donna del lago (1819) | Bianca e Falliero (1819) | Maometto II (1820) | Matilde di Shabran (1821) | Zelmira (1822) | Semiramide (1823) | Ugo re d'Italia (1824) | Il viaggio a Reims (1825) | Le siège de Corinthe (1826) | Ivanhoé (Pasticcio, 1826) | Moïse et Pharaon (1827) | Le comte Ory (1828) | Guillaume Tell (1829) | Robert Bruce (Pasticcio, 1846)