L'Atenaide

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Opera dates
Title: L'Atenaide
Title page of the libretto, Florence 1729

Title page of the libretto, Florence 1729

Shape: “Dramma per musica” in three acts
Original language: Italian
Music: Antonio Vivaldi
Libretto : Apostolo Zeno
Premiere: December 29, 1728
Place of premiere: Teatro della Pergola , Florence
Playing time: approx. 3 ¾ hours
Place and time of the action: Imperial Palace in Constantinople , around 421
people

Score version:

L'Atenaide (also Atenaide , RV 702) is an opera seria (original name: "dramma per musica") in three acts by Antonio Vivaldi (music) with a libretto by Apostolo Zeno . It was premiered on December 29, 1728 for the 1729 Carnival season at the Teatro della Pergola in Florence. The score for this performance (RV 702a) has been lost. However, there is a copy of a different version (RV 702b) from Vivaldi's workshop.

action

The following table of contents is based on the libretto of the score version RV 702b.

Argomento

The previous history is given in the printed libretto as follows:

«Eudossa figliuola di Leonzio, o Leontino filosofo ateniese, si era rifugiata in Costantinopoli per sottrarsi dall'amor di Varane principe della Persia, e figliuolo dl re Isdegarde, quell'istesso, che il padre di Teodosio il Giovore nominate in morendo de, 'suoi figliuoli. Ella prima si chiamò Atenaide, ma dipoi essendo stata battezzata da Attico patriarca di Costantinopoli, aveva preso il nome di Eudossa. Avendola quivi veduta esso Teodosio, se ne invaghì, e mosso non tanto dalla bellezza del corpo, quanto dalla eccellenza dell'ingegno di lei, la quale era dottissima, essendo stata allevata dal padre nelle scienze, la prese per mogenso di Pulcheria sua sorella, la quale potea molto sull'animo dell'imperatore suo fratello. Parlano di questo fatto gl'istorici greci Zonara, Teofano, ed altri.

Ha servito all'intreccio del dramma il fingere, che Varane si portasse a Costantinopoli, seguendo la sua Atenaide con intenzione di sposarla, ancorché in Atene avesse ricusato di farlo, ed ivi insistesse, deposta l'alterigia del fasto, non per ottenerla ostante, che la trovasse già destinata a Teodosio, il quale meditava di darli la sorella Pulcheria amata da Marziano generale dell'impero. Il rimanente di ciò, che si finge, come la segreta corrispondenza di Pulcheria a Marziano, gli amori di Probo per la medesima, le sue gelosie, ed il suo tradimento, s'intendono facilmente nella tessitura del dramma intitolato Atenaide. »

"Eudossa ( Aelia Eudocia ), the daughter of the Athenian philosopher Leonzio or Leontino ( Leontius ), had fled to Constantinople to avoid the love reenactments of the Persian Prince Varane ( Bahram V ), the son of King Isdegarde ( Yazdegerd I ), who in turn had been appointed guardian by the dying father of young Teodosio ( Theodosius II ). She was originally called Atenaide, but took the name Eudossa after she was baptized by the Attic Patriarch of Constantinople. On seeing her, Teodosio fell in love with her not only because of her beauty but mostly because of her extraordinary intelligence and erudition, which had been taught by her father in the sciences, and married her with the consent of his sister Pulcheria ( Aelia Pulcheria ) who greatly influenced the spirit of the emperor, her brother. This is what the historians Zonaras , Theophanes and others reported.

For the plot of the play it is now assumed that Varane went to Constantinople to marry Atenaide, although she had rejected him in Athens. There he assured her that he had given up his boastful arrogance in order to win her over, although he found her already fiancé Teodosio. He considered giving Varane his sister Pulcheria, who was loved by the Imperial General Marziano ( Markian ). The rest, like the secret agreement between Pulcheria and Marziano, the love of Probos for the same, his jealousy and betrayal, can easily be taken from the text of the drama called Atenaide. "

short version

Act I. On the eve of the planned marriage of his daughter Atenaide, now called Eudossa, to the Byzantine emperor Teodosio, Leontino gives her some wisdom and says goodbye. When Teodosio's sister Pulcheria reports that the Persian prince Varane wants to come to the wedding, Eudossa is worried. General Marziano doesn't like it either, because according to rumors, Varane wants to ask for Pulcheria's hand, whom Marziano secretly loves. Pulcheria asks him to prevent that. The Praetorian Prefect Probo, who is also in love with Pulcheria, also offers his help, but is refused by both. In revenge, he decides to help Varane with his recruitment and slanders Marziano to the emperor. Upon his arrival, Varane receives a warm welcome from Probo. He does not advertise for Pulcheria, however, but for Leontino for his former lover Atenaide, whose new name he does not yet know Eudossa. Since Leontino rejects him, he calls on Teodosio, who promises him a bride without giving her name. To get rid of the slandered Marziano, Teodosio orders him to go into battle against Bulgarian rebels.

Second act. Teodosio introduces those present to Eudossa as his bride. Varane sees Atenaide in her, shaken. Due to his conspicuous behavior, Eudossa has to reveal her background and thus shocked the emperor, who now considers her unfaithful. Pulcheria proposes to banish them from Byzantium. Teodosio would rather send Varane away. They both decide to wait until they know more. Marziano says goodbye to Pulcheria, but cannot clearly reveal his love, although it gives him hope. Leontino explains to the emperor that Eudossa is innocent of the previous relationship with Varane. When Varane tells Teodosio of his love for Atenaide, the emperor gives the girl a choice. Probo should bring the chosen one a gold ring after their decision. Varane's advertising at Eudossa has no chance. She instructs Probo to present the ring to Teodosio. Leontino fears a power struggle between Varane and Teodosio and advises his daughter to flee.

Third act. Since Probo only has prospects of Pulcheria if Varane marries Eudossa, he gives him the ring with the claim that Eudossa has chosen him. Varane immediately goes to the emperor, who is shocked by Eudossa's supposed ingratitude and wants to banish her. Pulcheria and Teodosio abuse the unsuspecting Eudossa violently. That night, Marziano and Pulcheria meet again without revealing their feelings. Probo continues his intrigue: he tells Varane that Teodosio is imprisoning Eudossa in the palace and offers to help with her liberation. The conversation is overheard by Marziano. In the meantime, Leontino has persuaded his daughter to flee. Varane is secretly pursuing her. After Teodosio and Pulcheria notice their absence, Leontino returns and reports that Varane had kidnapped his daughter. Probo offers to go in pursuit to save her. After he leaves, Leontino clears up his intrigue. He follows Probo with Teodosio, while Pulcheria, who is left alone, longs for Marziano. Shortly afterwards, Marziano brings the captured Probo, who confesses and is sentenced to death by the emperor. Marziano defeated him and Varane in a battle, but released the latter. Eudossa is unharmed and is joyfully received by her father and Teodosio. Marziano has proven himself worthy of Pulcheria and can hope for her. Varane returns too. Since he realizes his offense and was deceived by Probo himself, he receives the emperor's forgiveness.

first act

Arcades leading to the Imperial Palace

Scene 1. On the eve of Eudossas / Atenaides wedding with the emperor, she and her father Leontino reminisce. Leontino tells her that he has already read her ascent to the throne in the stars. At first they both assumed that she would marry the king of Persia. But when Leontino saw dark smoke rising from a sacrificial flame, he feared a bad end for her and fled with her to Byzantium. Leontino gives her some advice about marrying Teodosio and advises her to treat his sister Pulcheria with respect. Since she will shortly be his empress, his fatherly duties now end. He says goodbye to her tenderly (Aria Leontino: "Ti stringo in quest'amplesso").

Scene 2. Eudossa is determined to love only Teodosio and to forget the haughty Varane for good. Teodosio's sister, Pulcheria, informs her that Varane will be there for the wedding. General Marziano has heard rumors that Varane will seek Pulcheria's hand. He is deeply shocked because he secretly loves Pulcheria. Eudossa fears meeting Varane (Aria Eudossa: "Della rubella").

Scene 3. Pulcheria asks Marziano the reason for his grief, when everyone is delighted with the Persian prince's proposal. She wasn't going to turn him down either. Marziano points to her importance for the young emperor, because of whom she was not allowed to leave Greece. Pulcheria realizes that there are other feelings behind this advice. Although Marziano has not yet confessed his love to her, she asks him to find ways to prevent her association with Varane.

Scene 4. The Praetorian prefect Probo, who also loves Pulcheria, assures her of his support against Varane. However, she rejects his uninvited help with the instruction that he must show more respect for his mistress (Arie Pulcheria: "Là sul margine del rio").

Scene 5. Probo asks Marziano to turn Pulcheria against a connection with Varane, but is reprimanded by him too. Thereupon Probo accuses him of harboring feelings for Pulcheria himself and threatens him. Marziano considers Probo to be a cowardly show-off (Aria Marziano: "Al valore che prode ti preggi").

Scene 6. Probo thinks Marziano stole Pulcheria's love from him. To prevent his rival from getting a chance, he blackened him on Teodosio. The emperor now wants to send Marziano into exile under a pretext until the wedding of his sister to the prince is secured. Probo triumphs (Aria Probo: "Imeneo più chiare e belle").

Scene 7. Teodosio thinks of his beloved Eudossa (Aria Teodosio: “Trovo negl'occhi tuoi”).

Imperial Court

Scene 8. Uncertain about his fate, Varane enters the palace (Aria Varane: “Reggia amica a te vicino”). Probo welcomes him on behalf of the emperor and promises to support him in his courtship (he still believes it is Pulcheria and not Atenaide).

Scene 9. When Leontino appears, Varane sends Probo off with a request to stand up for him with the emperor.

Scene 10. Leontino refuses Varane his daughter's hand and advises him to woo Pulcheria instead. Varane's threats do not impress him either (Aria Leontino: “Mal s'accende di sdegno il tuo core”).

Scene 11. Varane now wants to ask the emperor for Atenaide's hand. He enters together with Pulcheria, Marziano and Probo and promises Varane the fulfillment of his wishes - without the name of the longed-for bride being mentioned. Varane celebrates (Aria Varane: "Tanto lieto hò il core in petto").

Scene 12. Pulcheria confides in her brother that she is not interested in marrying Varane. Marziano advises Teodosio to listen to her. The emperor quickly changes the subject and orders him to put down the Bulgarian rebels. Marziano moves away certain of victory (Aria Marziano: “Di nuovi allori adorno”).

Scene 13. Pulcheria asks Teodosio not to upset his loyal supporter Marziano. Teodosio does not trust him, however (Aria Teodosio: “Qual la sua colpa sia”).

Scene 14. Pulcheria believes that Marziano's innocent love for her is the reason for his disfavor with the emperor (Arie Pulcheria: “Quanto posso à me fò schermo”).

Second act

Magnificent hall

Scene 1. Before the imperial wedding, Teodosio, Probo and Varane wait impatiently for the bride.

Scene 2. When Eudossa enters, Varane is horrified to see Atenaide in her. He leaves the hall shaken (Aria Varane: "Nel profonde cieco orrore").

Scene 3. Teodosio asks Probo and Eudossa for an explanation of Varane's behavior. After Eudossa tells him her story, Teodosio needs some rest to collect his thoughts. Eudossa realizes that he considers her guilty (Aria Eudossa: “Son colpevole à tuoi lumi”).

Scene 4. Teodosio calls off the festivities and asks Probo to fetch his sister.

Scene 5. When everyone else is gone, Teodosio lets his jealousy run wild. He feels betrayed by Eudossa.

Scene 6. Teodosio pours out his heart to Pulcheria and accuses her of praising Eudossa. Pulcheria advises Eudossa to be banished from Byzantium. Since Teodosio still has feelings for her, he would rather send Varane away instead. That would be a political affront, however. The two finally decide to examine the background more closely (Aria Teodosio: "Vorresti il ​​sò vorresti amor tiranno").

Scene 7. Before he goes into battle, Marziano says goodbye to Pulcheria. He cautiously indicates his feelings for her. Pulcheria asks him to remain silent, but lets us know that he can hope for her favor (Arie Pulcheria: “Sorge l'irato nembo”).

Scene 8. Marziano regrets that he did not reveal his love to Pulcheria more clearly (Aria Marziano: “Bel piacer di fido core”).

Imperial office

Scene 9. Leontino justifies his decision to keep his daughter's previous relationship a secret to the emperor. He insists that she is innocent (Arie Leontino: "Se cieco affetto").

Scene 10. Varane steps up to the emperor and reveals his love for Eudossa. Teodosio suggests leaving her to choose the spouse. Varane accepts.

Scene 11. Teodosio tells Eudossa that she can choose freely between him and Varane. She should speak to Varane now. He gives Probo a gold ring, which he should hand over to the chosen one according to her decision (Aria Teodosio: "Al tribunal d'amore").

Scene 12. Varane verbally tries to convince Eudossa of his love. But since she steadfastly asserts her loyalty to Teodosio, he swears revenge (Aria Varane: “Il moi amore diventa furore”).

Scene 13. Eudossa asks Probo to bring the ring to Teodosio as a symbol of love (Aria Probo: “Vado à recar contenti”).

Scene 14. When Eudossa tries to tell her father about her decision, he warns of an impending power struggle between the emperor and Varane. He urges people to flee Byzantium. Eudossa does not want to give up her love for Teodosio (Aria Eudossa: "Eccelso trono fedel consorte" or "Sovrana sul trono").

Third act

Courtyard by the Imperial Gardens

Scene 1. Probo, suffering from intense feelings of jealousy, ponders his further course of action. He knows that Varane will receive Pulcheria if Eudossa marries the emperor. This has to be prevented (Aria Probo: "Alme perfide insegnatemi").

Scene 2. When Probo encounters the desperate Varane, he takes the opportunity and hands him the ring, claiming that Atenaide has chosen him.

Scene 3. With sensitive words, Varane shows Teodosio and Pulcheria the ring (Aria Varane: “Parto che sò che sò qual sia”).

Scene 4. Teodosio and Pulcheria are shocked by Eudossa's supposed ingratitude and want to banish her from Byzantium. Pulcheria wants to inform her of the verdict so that Teodosio's position is not compromised. Teodosio withdraws.

Scene 5. Pulcheria mercilessly insults the unsuspecting Eudossa (Aria Pulcheria: “Più non vuò mirar quel volto”).

Scene 6. Eudossa seeks consolation from Teodosio, but is rebuked by Teodosio as well.

Scene 7. Eudossa is desperate (Accompagnato and arias Eudossa: “Qual Demone, qual furia” - “Vanne tosto, fuggi, vola” - “In bosco romito”).

Gallery at night

Scene 8. While Marziano thinks longingly of Pulcheria before he leaves (Aria Marziano: “Cor moi che prigion sei in sen”), she appears herself. She gives him hope, but fears that their connection will be discovered and sends him away.

Scene 9. Marziano overhears a conversation between Probo and Varane. Probo claims that Teodosio is keeping Eudossa imprisoned in the palace and wants to help the prince kidnap her.

Scene 10. Still overheard by Marziano, Varane wallows in anticipation that Eudossa will soon become the Seine (Aria Varane: “Lieto va l'agricoltore”).

Scene 11. Leontino and Eudossa prepare to flee (Aria Eudossa: “Infausta reggia addio”), but are watched by Varane, who follows them.

Scene 12. Probo is desperate because he can't find Eudossa or Varane. Pulcheria informs him and Teodosio of Eudossa's flight. Teodosio admits that he still loves Eudossa.

Scene 13. Leontino asks Teodosio for help in freeing Eudossa who was kidnapped by Varane. For selfish reasons, Probo declares that he personally wants to take up the pursuit.

Scene 14. Leontino informs Teodosio and Pulcheria that Eudossa actually chose Teodosio. This recognizes Probos betrayal and follows him furiously with Leontino (Aria Teodosio: "M'accende amor l'ire guerriero in petto").

Scene 15. Pulcheria longs for Marziano (Arie Pulcheria: “Te solo penso, ed amo”).

hippodrome

Scene 16. Teodosio asks the generals, soldiers and princes for support against the traitors Varane and Probo.

Scene 17. Marziano has already captured Probo. He publicly confesses and is sentenced to death by the emperor.

Scene 18. Teodosio urges Leontino and Marziano to speed up their search for Eudossa and Varane. However, Marziano thinks that persecution is now unnecessary.

Scene 19. Shortly afterwards Eudossa appears and falls into her father's arms (Aria Eudossa: “Si non tua Padre amoroso”). Marziano describes his victorious battle with the traitor, whom he released out of sympathy for his father. Teodosio and Eudossa are happily united.

Scene 20. Pulcheria apologizes to Eudossa. Teodosio explains that Marziano Pulcheria has proven himself worthy. She promises him an appropriate reward.

Scene 21 (“scena ultima”). Varane returns ruefully and explains that he too was deceived by Probo and wants to make amends for his behavior. The emperor accepts his offer of friendship. Everyone cheers (chorus: “Bel goder quando si gode”).

layout

libretto

The plot of the opera is typical of the works of Apostolo Zeno . It is a depiction of heroic virtues at a royal court that are threatened by an intriguer. Almost all characters are historically proven. The focus is on the misunderstandings caused by the name change of the title character. In addition, there are strained family relationships, military actions, noble and consciously withheld feelings, as well as passion and anger. The character of Emperor Teodosio is based on the title character of Pierre Corneille's tragedy Cinna , which later also became the model for Tito in Metastasio's La clemenza di Tito . Teodosio and Atenaide also stand allegorically for Emperor Charles VI. , and his wife Elisabeth Christine von Braunschweig-Wolfenbüttel , for whose wedding the first setting of the drama was performed.

music

For many arias based on texts from the original version of the libretto, Vivaldi used music from his older operas, mostly from Farnace or Orlando (furioso) . John W. Hill pointed out that in this case he did not adapt the pieces as carefully as usual. In many cases, they were “mismatched” parodies in which the music and text were not well coordinated. Hill suspected the reason that in Florence Zeno's original texts were expressly requested.

The instrumentation of the only partially preserved performance version RV 702a is not known. The score version RV 702b requires two flutes , possibly two oboes , strings and basso continuo :

Music numbers from the performance version RV 702a, Florence 1729

The performance version contained the following musical numbers:

first act

  • Scene 1. Aria (Leontino): "Sposa Augusta ascendi al trono"
  • Scene 2. Aria (Atenaide): "Della rubella" = RV 702b I: 2
  • Scene 4. Aria (Pulcheria): "Non trova in me riposo"
  • Scene 5. Aria (Marziano): "Vedrò se pareggi"
  • Scene 6. Aria (Probo): "Imeneo più chiare, e belle" = RV 702b I: 6
    • Aria (Teodosio): "Trovo negli occhi tuoi" = RV 702b 1: 7
  • Scene 8. Aria (Leontino): "Nello scoglio irata l'onda"
  • Scene 9. Aria (Varane): "Tanto lieto ho il core in petto" = RV 702b I: 11
  • Scene 10. Aria (Marziano): "Di nuovi allori adorno" = RV 702b I: 12
  • Scene 11. Aria (Teodosio): "Qual la sua colpa sia" = RV 702b I: 13
    • Aria (Pulcheria): "Quanto posso a me fò schermo" = RV 702b I: 14

Second act

  • Scene 2. Aria (Varane): "Nel profundo cieco orrore" = RV 702b II: 2
  • Scene 3. Aria (Atenaide): “Son colpevole à tuoi lumi” = RV 702b II: 3
  • Scene 5. Aria (Teodosio): "Vorresti il ​​sò vorresti amot tiranno" = RV 702b II: 6
  • Scene 6. Aria (Pulcheria): “Sorge l'irato nembo” = RV 702b II: 7
    • Aria (Marziano): "Vezzosa bellezza"
  • Scene 7. Aria (Leontino): "Se cieco affetto" = RV 702b II: 9
  • Scene 9. Aria (Teodosio): "Al tribunal d'amore" = RV 702b II: 11
  • Scene 10. Aria (Varane): "Il moi amore - Diventa furore" = RV 702b II: 12
  • Scene 11. Aria (Probo): "Vado a recar contenti" = RV 702b II: 13
  • Scene 12. Aria (Leontino): "Aura d'amore, e fede"
    • Aria (Atenaide): "Eccelso trono" = RV 702b II: 14
    • Aria (Atenaide): "Fedel consorte"

Third act

  • Scene 2. Aria (Varane): "Parto, che sò qual sia" = RV 702b III: 3
  • Scene 4. Aria (Pulcheria): "Più non vuò mirar qual volto" = RV 702b III: 5
  • Scene 6. Aria (Atenaide): "Vanne tosto, fuggi, vola" = RV 702b III: 7
    • Aria (Atenaide): "In bosco romito" = RV 702b III: 7
  • Scene 9. Aria (Varane): "Lieto và l'Agricoltore" = RV 702b III: 10
  • Scene 10. Aria (Leontino): "Chi vede, che l'onda"
    • Aria (Atenaide): "Infausta Regia addio" = RV 702b III: 11
    • Aria (Teodosio): "M'accende amore l'ire guerriere in petto" = RV 702b III: 14
  • Scene 14. Aria (Pulcheria): "Te solo penso, ed amo" = RV 702b III: 15
  • Scene 18. Trio (Teodosio, Atenaide, Leontino): "Sento, che per l'affetto"
  • Scene 20. Choir: “Bel goder quando si gode” = RV 702b III: 21

Music numbers of the score version RV 702b

An introductory sinfonia of the score version has not been preserved. It contains the following music numbers:

first act

  • Scene 1. Recitative: "Fausta per me risplende di questo di"
    • Aria (Leontino) "Ti stringo in quest'amplesso" - Largo (B flat major); for strings and basso continuo; see. Orlando (furioso) RV 728 II: 6
  • Scene 2. Recitative: "Lasciami ò di Varane imagine odiosa"
    • Aria (Eudossa): "Della rubella" - Allegro non molto (F major); for strings and basso continuo; see. Farnace RV 711D II: 4; Orlando (furioso) RV 728 I: 1
  • Scene 3. Recitative: “Marzian sì pensoso? Il Ciel mi chiama "
  • Scene 4. Recitative: "E se il tuo non basta ecco il mio brando"
    • Aria (Pulcheria): "Là sul margine del rio" - Allegro non molto (D major); for strings and basso continuo
  • Scene 5. Recitative: "Marziano tu solo al nodo di Varane"
    • Aria (Marziano): "Al valore che prode ti preggi" - Allegro (F major); for strings and basso continuo
  • Scene 6. Recitative: "Và pur, la sofferenza vendicherà i miei torti"
    • Aria (Probo): "Imeneo più chiare e belle" - Allegro (E flat major); for strings and basso continuo; see. Orlando (furioso) RV 728 II: 2
  • Scene 7. Recitative: "Tutto amor, tutta gioia, l'alma mi brilla in petto"
    • Aria (Teodosio): “Trovo negl'occhi tuoi” - Andante (D minor); for strings and basso continuo; see. La fida ninfa RV 714 II: 2; Orlando (furioso) RV 728 III: 5
  • Scene 8. Aria (Varane): “Reggia amica a te vicino” - Andante (C major); for strings and basso continuo
    • Recitative: "Principe illustrious, a sua gran sorte ascrive"
  • Scene 9. Recitative: “Che miro, o Dei! Quegli è Varane "
  • Scene 10. Recitative: "Leontino, ove Atenaide"
    • Aria (Leontino): "Mal s'accende di sdegno il tuo core" - Allegro (A major); for strings and basso continuo
  • Scene 11. Recitative: "A Cesare si vada: ei mi conceda"
    • Aria (Varane): "Tanto lieto hò il core in petto" - Allegro (G major); for strings and basso continuo; see. Orlando (furioso) RV 728 I: 9
  • Scene 12. Recitative: "Sei vicina o germana à porti in fronte"
    • Aria (Marziano): “Di nuovi allori adorno” - Presto (F major); for strings and basso continuo; see. L'olimpiade RV 725 I: 6; Orlando (furioso) RV 728 II: 10
  • Scene 13. Recitative: "Signor, saggio consiglio non è irritar braccio si prode"
    • Aria (Teodosio): “Qual la sua colpa sia” - Allegro (A minor); for strings and basso continuo
  • Scene 14. Recitative: “Pur troppo il sò. La tua scigura ò Duce "
    • Aria (Pulcheria): "Quanto posso à me fò schermo" - Allegro ma non molto (B minor); for strings and basso continuo

Second act

  • Scene 1. Recitative: "Va, Probo, e fà ch'Augusta"
  • Scene 2. Recitative: “O Dei! La mia Atenaide veggo in Eudossa? "
    • Aria (Varane): "Nel profonde cieco orrore" - Allegro (G major); for strings and basso continuo; see. La Candace RV 704 II: 11; Orlando (furioso) RV 728 I: 5
  • Scene 3. Recitative: "Probo interder vorrei, mà il moi stesso destin"
    • Aria (Eudossa): “Son colpevole à tuoi lumi” - Larghetto ea piacimento (G major); for strings and basso continuo
  • Scene 4. Recitative: “Pulcheria a noi. Probo, tu vanne "
  • Scene 5. Recitative: "Smanie gelose, tormentosi affetti"
  • Scene 6. Recitative: "Vieni, ah vieni in aita d'un Principe infelice"
    • Aria (Teodosio): "Vorresti il ​​sò vorresti amor tiranno" - Allegro non molto (B flat major); for strings and basso continuo
  • Scene 7. Recitative: "Libera son dall'odioso nodo"
    • Aria (Pulcheria): “Sorge l'irato nembo” - Allegro (C major); for strings and basso continuo; see. Farnace RV 711b III: 4; Farnace RV 711d I: 14; Orlando (furioso) RV 728 II: 4
  • Scene 8. Recitative: "Tu parti, e in tanto io resto"
    • Aria (Marziano): "Bel piacer di fido core" - Allegro non molto (A minor); for two flutes, strings and basso continuo
  • Scene 9. Recitative: "Convenia non tacerlo moi fù l'error"
    • Aria (Leontino): “Se cieco affetto” - Andante (F major); for strings and basso continuo
  • Scene 10. Recitative: "Quitatevi ò pensieri"
  • Scene 11. Recitative: "Nelle tue nozze Eudossa io riponea"
    • Aria (Teodosio): “Al tribunal d'amore” - Allego ma d'un mezzo tempo (E flat major); for violin I / II, viola and basso continuo; see. Farnace RV 711g II: 3; RV 718 II: 3rd
  • Scene 12. Recitative: "In disparte qui attendo"
    • Aria (Varane): "Il moi amore diventa furore" - Allegro molto (G minor); for violin I / II, viola and basso continuo
  • Scene 13. Recitative: "Temo e compiango il duo dolor"
    • Aria (Probo): “Vado à recar contenti” - Allegro (A major); for strings and basso continuo
  • Scene 14. Recitative: “Vinta è già la procella. Eccomi in porto "
    • Aria (Eudossa): "Eccelso trono fedel consorte" - Allegro poco (E major); for strings and basso continuo
    • Aria (Eudossa) (?): “Sovrana sul trono” - Allegro non molto (F major); for strings and basso continuo

Third act

  • Scene 1. Recitative: "Che mi dite ò pensieri?"
    • Aria (Probo): “Alme perfide insegnatemi” - Allegro (B minor); for violin I / II, viola and basso continuo
  • Scene 2. Recitative: "Ove mi tragga il passo"
  • Scene 3. Recitative: “Nò Pulcheria. Ecco Probo: ecco Varane "
    • Aria (Varane): “Parto che sò che sò qual sia” -… (D major); for strings and basso continuo; see. Orlando (furioso) RV 728 III: 6
  • Scene 4. Recitative: “Qual discolpa ò germana”
  • Scene 5. Recitative: "Mira come sicura, come lieta sen viene"
    • Aria (Pulcheria): "Più non vuò mirar quel volto" - Allegro (E flat major); for strings and basso continuo; see. Dorilla in Tempe RV 709d III: 6
  • Scene 6. Recitative: "Mecco Augusta so?"
  • Scene 7. Recitative: "Ferma Teodosio, ascolta"
    • Recitative (Eudossa): “Qual demone, qual furia” - for strings and basso continuo
    • Aria (Eudossa): "Vanne tosto, fuggi, vola" - Allegro molto (C minor); for strings and basso continuo
    • Recitative: "Quant'era meglio ò Padre"
    • Aria (Eudossa): “In bosco romito” - Andante molto (F minor); for strings and basso continuo; see. Argippo RV 697 III: 7
  • Scene 8. Aria (Marziano): “Cor moi che prigion sei in sen” - Allegro non troppo (G minor); for strings and basso continuo (without harpsichord)
    • Recitative: "Alle mie Stanze già s'apre l'uscio"
  • Scene 9. Recitative: “Vien gente. Io qui m'ascondo "
  • Scene 10. Recitative: "Fausto abbia il fin la ben ardita impresa"
    • Aria (Varane): "Lieto va l'agricoltore" - Allegro ma poco (G major); for strings and basso continuo
  • Scene 11. Recitative: “S'apre l'uscio. In disparte trarsi convien "
    • Aria (Eudossa): “Infausta reggia addio” - Larghetto (D minor); for strings and basso continuo
    • Recitative: "Qui sorprenderla è rischio"
  • Scene 12. Recitative: “Qual disastro! Di Eudossa tutte in vano le stanze "
  • Scene 13. Recitative: “Ah! Tedosio, oh Signor ... Perfido audace "
  • Scene 14. Recitative: “Si confonde il pensier. Sposa à Varane "
    • Aria (Teodosio): "M'accende amor l'ire guerriero in petto" - Allegro (A major); for strings and basso continuo; see. Orlando (furioso) RV 728 I: 2
  • Scene 15. Recitative: “Oh! Marzian qui fosse. Oh del tuo Zelo "
    • Aria (Pulcheria): “Te solo penso, ed amo” - Andante molto (C minor); for violin I / II, viola and basso continuo (without harpsichord); see. Farnace RV 711d III: 2nd
  • Scene 16. Recitative: "Duci, soldati, Principi, tradito son"
  • Scene 17. Recitative: "Signor l'invitto brando"
  • Scene 18. Recitative: "Marzian, Leontino, amico, padre"
  • Scene 19. Recitative: "Perche morir, cor moi"
    • Aria (Eudossa): "Si non tua Padre amoroso" - Allegro (A major); for strings and basso continuo
    • Recitative: "Ma qui del fier Varane ti liberò"
  • Scene 20. Recitative: "Di tante gioie à parte"
  • Scene 21. Recitative: "Varane anche le vostre publiche gioie"
    • Choir: “Bel goder quando si gode” - Allegro (C major); for two (?) oboes, violin I / II, viola and basso continuo

Work history

The genesis of the libretto is not fully understood. Apostolo Zeno wrote the original version of his Atenaide for an opera, which may have been played for the first time during the 1709 carnival season in Milan, Barcelona or Vienna, the music of which came from Francesco Gasparini , Antonio Caldara and Andrea Stefano Fiorè . Siegbert Rampe assumes that she was in Barcelona for the wedding of Charles VI as early as 1708 . (at that time still Archduke of Austria) with Elisabeth Christine von Braunschweig-Wolfenbüttel was performed. Reinhard Strohm dates this performance for the same occasion to the year 1710. According to the musicologist Max Fehr , a new version may have been played in the Roman Teatro Argentina during the carnival in 1711 , the first act of which was from Caldara. Another setting, for which Marc'Antonio Ziani , Antonio Negri and Caldara each wrote an act, was shown on November 19, 1714 on the Empress's name day in the great Viennese court theater. There were further productions in 1716 and 1721 under the title Teodosio ed Eudossa in Wolfenbüttel and 1718 in Hamburg. In 1727 the girls of the Ospedale degl'Incurabili performed a pasticcio , the text of which came from Padre G. M. Taglioni and was probably inspired by Zeno's libretto.

Vivaldi's setting of Zeno's text was made at the request of the impresario Luca Casimiro degli Albizzi for the carnival season of 1729 at the Teatro della Pergola in Florence. It was played there for the first time on December 29, 1728. The editor of the libretto is unknown. The original was the version from 1714.

The singers at the premiere were Gaetano Valletta (Teodosio), Maria Giustina Turcotti (Atenaide), Anna Girò (Pulcheria), Elisabetta Moro (Varane), Annibale Pio Fabbri (Leontino), Anna Maria Faini (Marziano) and Gaetano Baroni (Probo). The production was not a success. The second carnival opera, Catone in Utica by Leonardo Vinci , played from February 7th , had to compensate for the losses. Charles de Secondat, Baron de Montesquieu , who was present at a performance , noted in his travel diary “that he had found his taste in these Italian operas”, although he did not specifically go into this work. There is no contemporary evidence that music was seen as the cause of the failure. Possibly the Habsburg-friendly attitude of the textbook in Florence was problematic. Frédéric Delaméa speculated that perhaps an intrigue against the singer Anna Girò, who is patronized by Vivaldi, could have been the cause.

Of Vivaldi's performance version of the Atenaide , only the textbook and parts of the score have survived. However, there is a later copy of the score with some autograph entries. Their text differs significantly from the libretto of the Florentine performance. Despite the identical recitatives, the scene distribution differs, and in nine scenes there are differences in the arias, which are either missing from one source or have different text. The score contains six additional original texts by Zenos from the 1714 version. Conversely, there is only one original aria in the libretto that is missing in the score. For nine of the original arias Vivaldi used older music in a parody process . Since the types of roles are identical in both versions, the assumption was made that the score was not created for a specific later performance, but that the reason for the changes in the Florentine production itself should be sought. Vivaldi possibly intended to present the work in Vienna, where Zenos worked, and therefore added the additional original arias. It is also conceivable, however, that Vivaldi had a copy of his original working score made, although adjustments and cuts had been made for the performance in Florence. These changes were possibly due to the wishes of the executors. According to Strohm, the Florentine performance version was therefore essentially a “conventional 'modernization'”.

It was only rediscovered on May 20, 2006 by the conductor and musicologist Federico Maria Sardelli , who presented the work to the public again at the location of the premiere, the Teatro della Pergola, with the Orchestra Barocca Modo Antiquo in a production by Massimo Gasparon. The performers were selected on the basis of their vocal profile so that they came as close as possible to the original singers. Julija Samsonova (Teodosio), Paola Leggeri (Atenaide), Romina Tomasoni (Pulcheria), Anna Tabella (Varane), Anicio Zorzi Giustiniani (Leontino), Sara Allegretta (Marziano) and Raffaele D'Ascanio (Probo). In the interpretation of the score, Sardelli also followed Vivaldi's instructions as closely as possible. Vivaldi's RV 131, the original context of which is not known, was played in place of the non-preserved sinfonia. In April 2007, Sardelli recorded the work on CD with other singers at the same location.

On July 12th 2006 the conductor Andrea Marcon performed Vivaldi's Atenaide in concert as part of the 63rd Siena Music Week . It was broadcast live on RAI Radio 3.

Recordings

Web links

Commons : L'Atenaide (Vivaldi)  - collection of images, videos and audio files

Remarks

  1. ↑ In the scene instructions of the libretto it is called “Atenaide”, in the score it is called “Eudossa”. Both names appear in the dialogues, depending on the speaker.
  2. ↑ The days from December 26th to 31st were usually counted as the following year in contemporary opera descriptions. Therefore, the year 1729 is occasionally found in literature as the year of the premiere.

Individual evidence

  1. ^ Total duration of the recording by Federico Maria Sardelli.
  2. ↑ a b c d e f g h i Reinhard Strohm : The Operas of Antonio Vivaldi. Leo S. Olschki, Florence 2008, ISBN 978-88-222-5682-9 , Volume II, pp. 463-473.
  3. ↑ a b c d e f Siegbert Rampe : Antonio Vivaldi and his time. Laaber, 2010, ISBN 978-3-89007-468-9 , pp. 213-215.
  4. ↑ a b c work information on musiqueorguequebec.ca.
  5. ↑ a b Federico Maria Sardelli : Atenaide: Notes on the first modern resumption. In: Supplement to CD Naïve 30438, March 2007, pp. 82–83.
  6. ↑ L'Atenaide (Fiorè / Caldara / Gasparini) in the Corago information system of the University of Bologna , accessed on October 15, 2019.
  7. ↑ a b c d Frédéric Delaméa: Fiasco or intrigue in the Teatro della Pergola? In: Supplement to CD Naïve 30438, March 2007, pp. 75–81.
  8. ↑ Ursula Kirkendale: Antonio Caldara. His life and his Venetian-Roman oratorios. Hermann Böhlaus Nachf., Graz / Cologne 1966, p. 60.
  9. ^ Brian W. Pritchard (Ed.): Antonio Caldara. Essays on His Life and Times. Scolar Press, Vermont 1987, ISBN 0-85967-720-6 , p. 160.
  10. ↑ L'Atenaide (Ziani / Negri / Caldara) in the Corago information system of the University of Bologna , accessed on October 15, 2019.
  11. ^ Eleanor Selfridge-Field: A New Chronology of Venetian Opera and Related Genres, 1660-1760. Stanford University Press, Stanford 2007, ISBN 978-0-8047-4437-9 , p. 645.
  12. ^ Michael Talbot : The Vivaldi Compendium. The Boydell Press, Woodbridge 2011, ISBN 978-1-84383-670-4 , p. 27.
  13. ^ Peter Ryom : Vivaldi catalog raisonné . Breitkopf & Härtel, Wiesbaden 2007, ISBN 978-3-7651-0372-8 , pp. 369-375.
  14. ^ Marilisa Lazzari: Firenze - Teatro della Pergola: L'Atenaide. Review of the 2006 revival in Florence on OperaClick, accessed October 16, 2019.
  15. ↑ a b Program booklet for the performance in Siena 2006. In: 63a Settimana Musicale Senese 7–15 Luglio 2006, pp. 126–228.
  16. ↑ Antonio Vivaldi. In: Andreas Ommer: Directory of all complete opera recordings (= Zeno.org . Volume 20). Directmedia, Berlin 2005, pp. 22100 and 22169.
  17. ↑ Karsten Steiger: Opera discography. Directory of all audio and video recordings. 2nd, fully updated and expanded task. KG Sauer, Munich 2008/2011, ISBN 978-3-598-11784-8 , p. 557.
  18. ↑ Supplement to CD Naïve 30438.