L'arbore di Diana

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Opera dates
Title: L'arbore di Diana
Original version of the libretto, Vienna 1787

Original version of the libretto, Vienna 1787

Shape: Dramma giocoso
in two acts
Original language: Italian
Music: Vicente Martín y Soler
Libretto : Lorenzo Da Ponte
Premiere: October 1, 1787
Place of premiere: Theater next to the castle , Vienna
Playing time: around 3 hours
Place and time of the action: Diana Island ( Delos ), mythical prehistoric times
people

The opera L'arbore di Diana (The Tree of Diana) is a joint work by the Venetian Lorenzo Da Ponte ( libretto ) and the Valencian Vicente Martín y Soler (music). They wrote it in Vienna in 1787 as the third of their five Drammi giocosi and achieved their greatest success with it.

Da Ponte considered the libretto to be his best: " Voluptuous without being lascivious , the audience is interested (...) from beginning to end." It is "a pleasing material", suitable for Martíns "soft melodies that everyone feels deeply, but only very few can imitate ”. Nevertheless, the work was later forgotten for a long time. This is probably also because it is an allegory of a political event - the secularization of the monasteries by Emperor Joseph II  .

With Don Giovanni created

After Una cosa rara by Da Ponte and Martin had caused a sensation in Vienna in 1786 , Joseph II asked his theater poet for another libretto “for this good Spaniard”. In order to prove his creativity, Da Ponte wrote Don Giovanni at night for Mozart , in the morning for Martín L'arbore di Diana and in the evening for Salieri Axur, re d'Ormus .

According to him, he snuck the title of Martín's opera out of his fingers over dinner. The plan of the action came about in the next half hour, during which he left his table companions alone.

Sixteen year old muse

Da Ponte reports on the work on the three libretti in his memoir : "I went to the desk and stayed there for twelve hours without a break." When he rang the bell, a beautiful girl of sixteen came into his room.

Calliope ( Vouet ) - this is how Da Ponte called his muse .

This Muse had once brought him a place, even a cup of coffee, once nothing more beautiful than her face, which was created to do just that, "to inspire the poetic imagination and witty ideas to inspire ." He worked like this for two months, during which time the girl “whom I only wanted to love like a daughter, but…” waited in the next room for him to ring. The then thirty-eight year old adds: "At the imperial court, this girl was my calliope for those three works and it was then for all the verses that I wrote over the course of six more years."

Allegory of the secularization of the monasteries

The secularization of the monasteries by Emperor Joseph II ( Defrance ).

After 63 days the libretti of Don Giovanni and L'arbore di Diana were completed, that of Axur two-thirds. According to the poet, the nymphs in Martín's opera , whose chastity the eponymous apple tree watches over, should remember the nuns who were given freedom by a “holy decree ” of Joseph II by abolishing “the barbaric institution of the monasteries”. The audience is likely to have drawn parallels between Diana’s moral rigor and that of Joseph’s late mother, Empress Maria Theresa .

L'arbore di Diana was performed as the first of the three simultaneous works. A sneak preview took place in late September on the occasion of the passing of Joseph's niece Archduchess Maria Teresa in Schlosstheater Laxenburg instead. The emperor evidently valued the intention with which Da Ponte had written the libretto, having had a hundred ducats brought home to him in spite of his known frugality .

action

According to his own statements, Da Ponte imagined "that Diana, the legendary goddess of chastity, had a tree in her garden whose branches bore apples of extraordinary size". The poet continues: “When their nymphs passed under the tree and were chaste in deeds and thoughts, these apples began to shine, and from them and from all branches sounds and chants of heavenly, gentlest melody resounded; if, on the other hand, one of them had violated the sanctity of that virtue, the fruits became blacker than bad luck, fell on her head or back and punished her according to the severity of her offense by disfiguring her face or denting her and breaking a limb . Because Cupid cannot tolerate such a law that offends his divinity, he goes into the garden in women's clothes, makes the goddess's gardener in love and teaches him how to make all nymphs in love. Not satisfied with that, he lets the beautiful Endymion appear, with whom Diana ultimately falls in love. ”According to Da Ponte, the priest of the goddess discovers in the sacrifice that there is offense in the“ realm of virginity ”and arranges the sample of the tree for her whole monastic community. In order not to be exposed, the head of the plant has that miraculous plant cut down and the god of love, appearing in a cloud of light, orders that Diana's garden should be transformed into Cupid's castle.

1st act

Walled garden with apple tree, water in the background

The pursuit ( Fragonard ).

Scene 1: Britomarte , Clizia and Cloe loosen the shackles of Doristo, who is sleeping as a prisoner on a sofa.

Scene 2: When Amore wakes him up , Doristo wants to eat the apples on the tree, but is prevented from doing so by the God of Love. This reveals his identity to him and that he has chosen him as the tool of his revenge on Diana. Doristo was kidnapped by this to this island in order to guard the tree in lifelong chastity.

The nature boy is also informed about its function , whereupon he exclaims indignantly:

"Oh, la Signora Cintia è certo matta!
Saprò l'arbor tagliar, saprò sedurre
Tutte le loro donne, dar foco a lei,
All'isola, al giardin ... "

“Oh, Ms. Cintia must be crazy!
I will know how to cut down the tree,
to seduce all your women
, to burn you, the island, the garden ... "

Harem in Bakhchysarai ( Crimea ).

To protect her from the tree, Amore gives Doristo a magic ring.

Scene 3: Diana and her nymphs arrive in Barken . They celebrate their - supposed - immunity to love. But Doristo cannot be immunized even with a spell. Instead, this descendant of the fauns and of Boccaccio's gardener pursues the nymphs in the nunnery by declaring his love for them. When Diana disapproves of him, he honestly declares that he has firm intentions towards all of them:

“Marito generico
Sarò, se volete;
Il cor mi darete,
Il cor vi darò.

Gran tempo è che bramo
Di donne un serraglio,
E qui, se non sbaglio,
Trovato me l'ho. "

“
I will be husband of all if you want;
You will give me your heart
and I mean it to you.

For a long time I have wanted
a seraglio full of women,
and here, if I'm not mistaken,
I've found it. "

As a punishment, Diana turns Doristo into a plant.

Scene 4: Because Endimione has killed a dog that brought its owner Silvio luck in love, the latter wants to kill him. But he is prevented from doing so by Amore, who has assumed the form of a shepherdess. The god of love promises to revive the animal when Silvio cuts the tree into which Diana has transformed Doristo. When this happens, the plant reveals itself to be human. Amore reverses the transformation with another cut. After Doristo has told his fate, the youngsters want to flee with a boat, but the boat moves away by itself. Amore laughs at the three of them.

Scene 5: While Diana is taking her bath, Britomarte (at the world premiere the expressive Frenchwoman Maria Mandini) proposes a shepherd's hour for six to her reluctant companions and the youngsters , on the grounds that:

“Son tenera e fresca,
Ho spirito e brio.
Provar voglio anch'io
Di far all'amor. "

“I am tender and fresh,
I have spirit and fire.
I too want to
experience the joys of love. "

Britomarte chooses Silvio as her lover (because brunettes are the most loyal).

Diana with nymphs (palace gardens, Caserta ).

Scene 6: When Amore warns that Diana is approaching, Britomarte hides the young men in a grotto .

Scene 7: Amore, who pretends to be his messenger, asks Diana to submit to him, cut the tree and allow the nymphs to love. The enraged goddess calls love a terrible tyrant . Amore, on the other hand, praises their joys. He tells Diana that the nymphs are unfaithful to her and leads her to the grotto.

Scene 8: The discovered are paralyzed with fear. Amore announces his revenge. Diana, however, rears up again in the aria “Sento che dea son io” (“I feel my divinity”) against the impending defeat.

Scene 9: Amore asks the shepherds if they please the goddess. When everyone affirms and Silvio sings about Diana's beauty, he gives the latter and Endimione an arrow each: Whoever wound the personification of chastity with it, will enjoy their love.

Scene 10: The androgynous god reveals to Doristo, who went away empty-handed, that he had chosen him for himself (as will be shown, as a priest). The two sing the erotic duet “Occhietto furbetto” (“Schalkhaftes Äuglein”) - probably an allusion to the homosexuality of many clergymen. Scene 11: Doristo wants to eat an apple again. Diana and her nymphs rush up armed with bows to punish the intruders and the disobedient guard.

Scene 12: Amore protects Doristo with a rose shield and challenges the attackers to shoot him themselves, which freezes the nymphs and Diana backs away.

Scene 13: Silvio shrinks from wounding Diana with the arrow Amore gave him.

Scene 14: Endimione, on the other hand, hits the goddess in the heart. This swears vengeance.

2nd act

Temple of Diana

Diana and Endymion ( Burrini ).

Scene 1: Britomarte frees (and kisses) the three young men. They now want to quickly leave “this terrible and cruel island”, “where love is to blame”. This although Doristo cannot believe "that there is a woman in this world who is not only shameful, but is hostile to lovers and love".

Scene 2: Diana pursues Britomarte and orders other nymphs to punish the disobedient. But when the men ask for mercy, she is amazed to feel that her heart softens.

Scene 3: The youths become immobile until Amore releases them from their stupor. According to his instructions , Endimione stays behind while Britomarte - deprived of language - goes to the fountain of Diana with Silvio and Doristo.

Scene 4: Diana announces to Endimione that he has to die on behalf of the others. He replies that just her beauty and inexorability kill him. After that, the goddess is unable to shoot him. Clizia is also unable to carry out the sentence. Her mistress wants to get advice from the priest of her cult .

Scene 5: Amore declares that she not only wants to punish Diana, but also wants to amuse herself and the other gods.

small forest

Scene 6: Clizia and Cloe repent of their disobedience and decide to kill Endimione. But Silvio appears in his defense, whereupon the nymphs flee. The two men want to get to safety, but Amore confuses them with echo effects. Then he has mercy on them and promises them a happy future.

Well house, grotto

Scene 7: Enthusiastic about the idea of ​​being married to a mute woman, Doristo woos Britomarte. As a result, the cupid who steps up slaps his unfaithful “bridegroom”.

Scene 8: The God of Love gives Britomarte back the language.

Scene 9: Diana takes a bath before going to the temple. Meanwhile, Amore changed the inscription “Cintia rules here” on the fountain to “This is where Amore rules”. He celebrates his upcoming triumph with the nymphs and the shepherds . The sleeping Endimione is left alone. When Diana fetches her coat after the bath, her gaze falls on the beautiful shepherd. When she wakes him up, he thinks he's dreaming. The two sing about their love.

Scene 10: Silvio accuses Amore of depriving him of victory over his rival.

Scene 11: The god of love transforms him into the old priest Alcindo.

Scene 12: Doristo is followed by Britomarte, Clizia and Cloe, who remind him of his marriage promise. When he doesn't want to choose any of them, they threaten to kill him; but Amore frees him.

Scene 13: Diana and Endimione are enjoying their love.

Scene 14: Suddenly they hear the voice of the “priest”. With a heavy heart the goddess bids her beloved go away. In the form of Alcindo, Silvio makes her confession . Using the pretext that Endimione's virtue was in doubt, he orders Diana to gather the nymphs under the sacred tree.

Scene 15: Amore celebrates his triumph with the nymphs .

Scene 16: Endimione is desperate about the disappearance of his lover. Everyone goes to the tree.

Stage design of the 1st act, then Amores Castle

Cupid as the victor ( Caravaggio ).

Scene 17: The “priest” lets the lot go, and this determines that Diana must be the first to go under the tree. The goddess loses her composure and reveals to others that she has broken her inhuman law herself. A storm rises, the earth shakes. Diana calls for vengeance, then for mercy. Your garden disappears.

In its place, Amores Castle and Amores himself appear on a triumphal chariot . He announces the dissolution of the amorous entanglements: The polygamous Doristo is to live as guardian of the castle with Britomarte, Clizia and Cleo, Silvio to become the priest of love and Diana to connect with Endimione. Amore leaves the scene to the wedding god Imeneo . Diana admits her defeat:

“Dio possente, è tua la palma;
A te resa è serva ogni alma,
A te suddito ogni cor. "

“Mighty God, yours is the palm;
Every soul is submissive to
you and every heart is subject to you. "

Everyone else agrees.

success

With 65 performances in five years, L'arbore di Diana Da Pontes and Martín was the greatest success at the Burgtheater. More than 40 productions followed from Madrid to Moscow, from Milan to London and translations into German, French, Polish and Russian.

Influence on Mozart's operas

L'arbore di Diana was described as the model for Così fan tutte by Da Ponte and Mozart (1790). In the Magic Flute by Schikaneder and Mozart (1791), the Queen of the Night is with its ladies at Diana with her nymphs, Papageno at Doristo, his punishment dumb to Britomarte and the attack of the obscurantists to the temple of wisdom on those Amores on the island the Diana.

literature

Discography

Diana , Gran Teatre del Liceu , Barcelona, ​​2009 (Photo Ariane Unfried).

Web links

Commons : L'arbore di Diana  - Collection of images, videos and audio files

References and comments

  1. ↑ From ancient Greek κλυτος: famous, brilliant, noble.
  2. ↑ The other works by Da Ponte and Martín are: Il burbero di buon cuore and Una cosa rara (both Vienna, 1786), La capricciosa corretta and L'isola del piacere (both London, 1795).
  3. ↑ Memorie di Lorenzo Da Ponte (…) 2nd edition, 1st volume, part 2, Nuova-Jork 1829, p. 103: “Questo dramma per mia opinione è il migliore di tutti drammi da me composti, tanto per l'invenzione che per la poesia: è voluttuoso senza esser lascivo; e interesta (...) dal cominciamento alla fine. "
  4. ↑ Memorie di Lorenzo Da Ponte (…) 2nd edition, 1st volume, part 2, Nuova-Jork 1829, p. 99: “un argomento gentile, adattabile a quelle sue dolcissime melodie, che si senton nell'anima, ma che pochissimi sanno imitare ”.
  5. ↑ Cf. Memorie di Lorenzo Da Ponte (…) 2nd edition, 1st volume, part 2, Nuova-Jork 1829, p. 102. The monasteries that were not used for teaching or nursing were abolished. (See Derek Beales: Prosperity and Plunder, European Catholic Monasteries in the Age of Revolution, 1650–1815, Cambridge University Press , Cambridge 2003, ISBN 0-521-59090-6 , pp. 179–228; the same: Joseph II, Volume 2, Cambridge University Press, Cambridge 2009, ISBN 978-0-521-32488-5 , pp. 271-306.)
  6. ^ Memorie di Lorenzo Da Ponte (…) 2nd edition, 1st volume, part 2, Nuova-Jork 1829, p. 96: “(…) Cesare (…) mi consigliò di far senz'indugio un altra opera per questo bravo Spagnuolo. "
  7. ^ Based on Salieri's French-language opera Tarare (libretto by Beaumarchais ).
  8. ↑ Memorie di Lorenzo Da Ponte (…) 2nd edition, 1st volume, part 2, Nuova-Jork 1829, p. 101 f.
  9. ↑ Memorie di Lorenzo Da Ponte (…) 2nd edition, 1st volume, part 2, Nuova-Jork 1829, p. 100 f .: “Andai al tavolino e vi rimasi dodici ore continue. (…) Una bella giovinetta di sedici anni, ch'io avrei voluto non amare che come figlia, ma… stava in casa mia (…) e venia nella mia camera a suono di campanello (…) ella mi portava or un biscottino, or una tazza di Caffè, or niente altro che il suo bel viso, (…) fatto appunto per inspirare l'estro poetico e le idee spiritose. Io seguitai a studiar dodici ore ogni giorno (…) per due mesi continui, e per tutto questo spazio di tempo ella rimase nella stanza contigua, or con un libro in mano, ed ora coll'ago, o il ricamo, per esser pronta a venir da me al primo tocco del campanello. (...) alla corte questa Fanciulla fu la mia Calliope per quelle tre opere e lo fu poscia per tutti versi che scrissi per l'intero corso di altri sei anni. "
  10. ↑ Memorie di Lorenzo Da Ponte (...) 2nd edition, 1st volume, part 2, Nuova-Jork 1829, p. 101.
  11. ↑ Arbor Dianæ is also the name of the silver tree that arises after the dissolution of silver , which the alchemists called Diana , in nitric acid .
  12. ↑ Memorie di Lorenzo Da Ponte (...) 2nd edition, 1st volume, part 2, Nuova-Jork 1829, p. 102: "Aveva egli a quel tempo con un sacro decreto abolita la barbara instituzione monacale (...)"
  13. ↑ The chastity commission existing in Vienna went back to the monarch .
  14. ^ Don Giovanni followed on October 29th, and Axur on January 8th.
  15. ↑ Grand Duke Peter Leopold's eldest child of Tuscany , bride of the future King Anton of Saxony .
  16. ^ Memorie di Lorenzo Da Ponte (…) 2nd edition, 1st volume, part 2, Nuova-Jork 1829, p. 103: "L'Imperatore poi, che intese il pensiero mio, e se ne compiacque, mi mandò a Casa cento zechini. ”The ducat (also called zechine) was a gold coin that was minted en masse from melted down monastery treasures and was worth 4 guilders 22 kreuzers.
  17. ↑ Memorie di Lorenzo Da Ponte (…) 2nd edition, 1st volume, part 2, Nuova-Jork 1829, p. 102 f .: “Finsi (…) che Diana, Dea favolosa della castità, avesse un Albero nel suo giardino , i cui rami producessero de 'pomi d'una grandezza straordinaria; e quando le Ninfe di questa Dea pasavano sotto quell'albero, se caste in fatti, e in pensieri, que 'pomi diveniano lucidissimi, e uscivan da quelli e da tutti i rami de' suoni e de 'canti di celeste soavissima melodia: se alcuna di quelle avea commesso qualche delitto contra la santità di quella virtù, le frutta, divenendo più nere d'ogni carbone, cadevanle sulla testa, o sul dosso, e la punivano sfiguarandole il viso o ammaccandole, e rompendole qualche membro, a proporzione del suo delitto. Amore non potendo soffrire una legge tanto oltraggiosa alla sua divinità, entra nel giardino di Diana, innamora il Giardiniere della Dea, gli insegna il modo d'innamorare tutte le Ninfe, e non contento di questo v'introduce il bell'Endimione, di cui alfin innamorasi Diana stessa. Il Sacerdote della Dea scopre ne 'sacrifikj esservi de' delitti nel virginale recinto, e coll'autorità sacerdotale datagli dalla Diva, ordina che tutte le Ninfe e Diana stessa soggiacciano alle prove dell'Albero. Questa che vede d'essere scoperta, fa tagliar quella pianta miracolosa, e Amore comparendo in una Nube di luce, ordina che il giardino di Diana si cangi nella Reggia d'Amore. ".
  18. ↑ Masetto da Lamporecchio, protagonist of the first story of the third day in the Decameron .
  19. ↑ The celibacy of the clergy , condemned by the Enlightenment, was not touched by Joseph II.
  20. ↑ Silvio: "(...) abbandoniamo
    Quest'isola terribile e crudele,
    Dov'è colpa l'amor!"
  21. ^ "Eppur la cosa
    Non m'entra nella nuca: in questo mondo
    Femmina vi sarà, non sol pudica,
    Ma degli amanti e dell'amor nemica?"
  22. ^ "Qui regna Amore" instead of "Cintia qui regna".
  23. ↑ Leonardo J. Waisman: Vicente Martín y Soler (...) Madrid 2007, p. 82.
  24. ↑ Dorothea Link: "L'arbore di Diana". A model for "Così fan tutte". In: Wolfgang Amadè Mozart. Essays on his Life and Work. Edited by Stanley Sadie . Oxford University Press , Oxford 1996, pp. 362-373.
  25. ↑ See Leonardo J. Waisman: Vicente Martín y Soler (…) Madrid 2007, pp. 596-598.