L'impresario in angustie

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Opera dates
Title: L'impresario in angustie
Title page of the libretto, Naples 1786

Title page of the libretto, Naples 1786

Shape: Farsa in one act
Original language: Italian
Music: Domenico Cimarosa
Libretto : Giuseppe Maria Diodati
Premiere: Fall 1786
Place of premiere: Teatro Nuovo, Naples
Playing time: approx. 1 ½ hours
Place and time of the action: Naples
people
  • Fiordispina , called "La Coribanti", "prima buffa" in the theater of Don Crisobolo ( soprano )
  • Merlina, "prima donna giocosa" in the same theater (soprano)
  • Doralba, "prima donna seria" in the same theater (soprano)
  • Don Perizonio Fattapane, nice, eager poet, responsible for the first comedy ( bass )
  • Don Crisobolo, boiled, stupid, presumptuous impresario (bass)
  • Gelindo Scagliozzi, Kapellmeister, responsible for the music, formerly Fiordispinas lover, now Merlinas ( tenor )
  • Strabinio, contentious man, protector of Doralba (bass)

L'impresario in angustie ( Impresario in the terminal ) is a " farsa per musica" (musical farce) to a libretto by Giuseppe Maria Diodati, the 1786 by Domenico Cimarosa set to music and 1823 by the 18-year-old Luigi Ricci dubbed again has been. It was first performed in the autumn of 1786 at the Teatro Nuovo in Naples , together with another short work by the composer ( Il credulo ), which was premiered in the same theater in early 1786. L'impresario was later staged in other Italian cities and in 1790 in Barcelona under the title L'impresario rovinato .

Plot (original version)

Naples - room in a hostel. Pier in the harbor. Merlina's and Doralba's rooms in the hostel. Gallery in the house of Don Cristobolo. Court. Mole.

Don Cristobolo, impresario of a theater, is at the mercy of the whims and calumnies of his prima donnas (Dorina and Merlina), who also torment the poet (Don Perizonio) and the musician (Gelindo) so that they can create a new work to be put on the stage . The latter, who annexed music from other composers, protested against the noise caused by the ongoing activities. To the composer's distress, the poet also contributes, author of the libretto to be composed, which thematizes the inner convulsions of Pyrrhus against the hysterical tendencies of Andromache (“Le internal convulsioni di Pirro contro gli affetti isterici di Andromaca”), using amusing classical quotations . The scene revolves around Don Perizionio and Merlina, who demand a good game from him, but the poet only responds to his requests with joking taunts.

In the second part, two new characters join the quintet, Fiordispina and her patron Strabinio, who, however, plays a subordinate role. Fiordispina also comes into conflict with the other two singers and always demands the best roles, lush stage attire and rich rewards. All rivalries come to an end with the impresario's sudden bankruptcy.

Work history

This article or the following section is not adequately provided with supporting documents ( e.g. individual evidence ). Information without sufficient evidence could be removed soon. Please help Wikipedia by researching the information and including good evidence.
Floor plan and elevation of the Teatro Nuovo Naples (1780)

The play is a theatrical satire belonging to the genre that followed on from the work Il teatro alla moda (1720) by Benedetto Marcello , and it parodies the excesses of the opera industry and business in the 18th century.

The actors at the premiere in autumn 1786 were Marianna Santoro Limperani (Fiordispina), Caterina Fiorentini (Merlina), Orsola Mattei (Doralba), Gennaro Luzio (Don Perizonio), Serafino Blasio (Don Crisobolo), Luigi Bruschi (Gelindo) and Alessandro Fontana ( Strabinio).

Cimarosa's work had a resounding success for many years, was performed in many European theaters and often translated into the respective national language, for example by Karl Walk (Cologne 1791). The Danish premiere took place in Copenhagen in 1792, the Swedish on April 28, 1799 in the Arsenal Theater in Stockholm. Even the music underwent significant changes for almost every performance, with passages from works by other authors or by other composers being added as inserts. The dramaturgy was often radically changed or updated, with the structure and structure of the play sometimes being divided into two and three acts. The changes for the performances in Paris (from 1787), Weimar and Vienna (from 1793), which add various new pieces to the original music (arias for Gelindo, Strabinio, Doralba, etc.) are particularly well documented. The original finale was fundamentally modified.

Johann Wolfgang von Goethe attended a performance of this opera in Rome (Teatro Capranica) during his trip to Italy in 1787. Four years later (October 24, 1791) the Farsa was staged in a revised version and in a translation by Goethe and his later brother-in-law Christian August Vulpius under the title Theatrical Adventures in the Weimar Court Theater , including musical numbers by Vicente Martín y Soler . Later arrangements combined the work with musical numbers from WA Mozart's Der Schauspieldirektor (first probably also in Weimar 1797).

After barely performing for about a hundred years, the work came back into fashion in the 20th century and was performed again at the Teatro Regio di Torino (1933, with Umberto di Lelio , among others ) and at the Teatro alla Scala in Milan (1938). Modern editions of this score were published in 1993 by Nick Rossi and Talmage Fauntleroy and in 2006 by Simone Perugini on behalf of the Accademia Lirica Toscana “D. Cimarosa "edited.

layout

Manuscript, partial autograph by Cimarosa (Biblioteca del Conservatorio San Pietro a Majella , Napoli, Sign .: Rari 1.5.15)

Orchestral line-up

Two oboes , a bassoon , two horns and strings play in the orchestra .

Outlines of the Farsa and important arrangements

Original version 1786 in the Teatro Nuovo Naples (after the libretto print)

  • No. 1 - Introduzione: Ve 'che matta maledetta (Crisobolo, Merlina, Gelindo, Doralba)
  • No. 2 - Recitativo: Ma care mie, potreste senza chiasso (Crisobolo, Merlina, Doralba, Gelindo)
  • No. 3 - Duetto: Senti, senti l'augellino (Fiordispina, Perizonio)
  • No. 4 - Recitativo: Cara, già ho rrevotato (Perizonio, Fiordispina, Crisobolo)
  • No. 5 - Aria: Vado, e giro nei Palchetti (Crisobolo)
  • No. 6 - Recitativo: L'amico potta d'oje ngarzapella! (Perizonio, Doralba, Merlina, Gelindo)
  • No. 7 - Aria: Il meglio mio carattere (Merlina)
  • No. 8 - Recitativo: Vi prego sor poeta (Gelindo, Perizonio, Crisobolo, Fiordispina, Merlina)
  • No. 9 - Quintetto: Anima fella e cotta (Perizonio, Fiordispina, Crisobolo, Merlina, Gelindo)
  • No. 10 - Recitativo: Ora vedrò, Strabinio (Doralba, Strabinio, Fiordispina, Perizonio, Crisobolo)
  • No. 11 - Aria: Io son placida e serena (Fiordispina)
  • No. 12 - Recitativo: Questo nemmeno scherza (Crisobolo, Perizonio)
  • No. 13 - Aria: Lo 'mpresario, gioia mia (Perizonio)
  • No. 14 - Recitativo: Orsù, per me le cose (Crisobolo, Doralba, Strabinio, Merlina, Gelindo, Perizonio, Fiordispina)
  • No. 15 - Finale: Son donzella sì innocente (Fiordispina, Perizonio)

Vienna version (1793)

  • Sinfonia (adaptation of the first movement of the Sinfonia by Il Convito )
  • No. 1 - Introduzione: Vè che matta maledetta (Cimarosa)
  • Recitativo after the Introduzione
  • No. 2 - Aria di Gelindo: Io ti lascio, o mia diletta (perhaps by Luigi Caruso )
  • No. 3 - Duetto Fiordispina-Perizonio: Senti, senti l'augellino (Cimarosa)
  • Recitativo according to No. 3
  • No. 4 - Aria Crisobolo: Vado, e giro nei palchetti (Cimarosa)
  • Recitativo based on the Aria of Crisobolo
  • No. 5 - Aria Merlina: Il meglio mio carattere (Cimarosa)
  • Recitativo after No. 5
  • No. 6 - Aria a due Strabinio (Gianleo), Doralba: Non sarai più virtuosa (unknown author)
  • Recitativo according to No. 6
  • No. 7 - Quintetto: Anima tagliata, e cotta (Cimarosa)
  • Recitativo after No. 7
  • No. 8 - Aria Doralba: Sento che in seno (perhaps by Tommaso Giordani or Felice Giardini )
  • Recitativo after No. 8
  • No. 9 - Recitativo accompagnato: Ecco tuona, lampeggia ... !! e Aria Fiordispina Son Regina, e sono amante (unknown composer; text parodied after Didone abbandonata by Metastasio )
  • Recitativo after No. 9
  • No. 10 - Aria Perizonio: L'impresario, gioia mia (Cimarosa)
  • Recitativo according to No. 10
  • No. 11 - Finale: Non temete, non è niente (unknown composer, maybe Cimarosa himself?).

Weimar version (1797)

  • No. 1 - Quartet: Unbearable (Merlina, Rosalba, Lorenzo, Polidoro)
  • No. 2 - Aria: Yes! I feel good (Polidoro)
  • No. 3 - Duet: As mild as spring rain (Isabelle, Orlando)
  • No. 4 - Aria: Chia ritrovar (Isabelle)
  • No. 5 - Aria: Into the boxes (Lorenzo)
  • No. 6 - Aria: You ask (Merlina)
  • No. 7 - Aria: To the most beautiful (Rosalba)
  • No. 8 - Aria: Alas! stay there (Isabelle)
  • No. 9 - Finale O look at your feet (all)
  • No. 10 - Aria: Your Servant (Lorenzo)
  • No. 11 - Aria: Already the farewell hour strikes (Isabelle) [Mozart]
  • No. 12 - Recitative & Aria: Oh Beloved (Polidoro)
  • No. 13 - Trio: I was always the first female singer (Isabelle, Rosalba, Orlando) [Mozart]
  • No. 14 - Aria: Best Poet! With delight (Rosalba) [Mozart]
  • No. 15 - Trio: O how sweet is the thought (Isabelle, Lorenzo, Polidoro)
  • No. 16 - Trio: Like a deer (Isabelle, Lorenzo, Polidoro)
  • No. 17 - final chant: Every artist strives for honor (all) [Mozart]

Editions (selection of critical editions)

  • Domenico Cimarosa, Simone Perugini (a cura di), L'impresario in angustie , Edizione critica della versione viennese del 1793, Artaria Editions Limited, New Zealand, 2013. (Primo volume dell ' opera omnia cimarosiana in edizione critica).
  • Domenico Cimarosa, Simone Perugini (a cura di), L'impresario in angustie , Edizione critica della prima versione napoletana del 1786, Partitura, Accademia Lirica Toscana "Domenico Cimarosa", Firenze, 2016, ISBN 978-1-5331-6313-4 .
  • Domenico Cimarosa, Simone Perugini (a cura di), L'impresario in angustie , Edizione critica della prima versione napoletana del 1786, Riduzione per canto e pianoforte, Accademia Lirica Toscana "Domenico Cimarosa", Firenze, 2016, ISBN 978-1-5331 -7554-0 .
  • Simone Perugini, Adattamenti e manipolazioni nel teatro musicale del Settecento: il caso de L'impresario in angustie di Domenico Cimarosa nell'adattamento viennese del 1793 , in Id., Domenico Cimarosa. Nuova raccolta di studi , Accademia Lirica Toscana "Domenico Cimarosa", Firenze, 2016. ISBN 978-1-5327-5102-8 .

Discography (selection)

  • Cimarosa: L'impresario in angustie - Fabio Maestri, Associazione Sinfonica Umbra, Orchestra In Canto (November 1997)
  • Cimarosa: L'impresario in angustie - Aldo Salvagno, Orchestra Bruno Maderna di Forlì (Brilliant Classics October 2018) Carlo Torriani (Don Grisobolo), Marco Filippo Romano (Don Perizonio), Paola Cigna (Fiordispina), Lavinia Bini (Merlina), Alejandro Escobar (Gelindo), Camilla Antonini (Doralba), Luca Gallo (Strabinio). Studio shot.

Web links

Commons : L'impresario in angustie  - collection of images, videos and audio files

Individual evidence

  1. ^ Record of the first performance from 1786 in the Corago information system of the University of Bologna .
  2. ↑ The director in a tight spot. A comical Singspiel in two acts. Freely edited by pilgrims according to the Italian. Translated by Karl Walk. Langen, Cologne 1791.
  3. ↑ "Some scenes from the unprinted opera: Theatrical Adventures." - "This opera was performed for the first time on October 24, 1791 at the Weimar Court Theater. The subject and its treatment is original, but the music for it is taken from Cimarosa's L'impressario in angustie and some pieces were inserted by Martini. […] The end purpose by virtue of which these scenes stand here should probably not be misunderstood, since the matter speaks more clearly for itself than an explanation could do. " Annalen des Theaters , 1794, p. 3 (footnote).
  4. ^ A b Silke Leopold : L'impresario in angustie. In: Piper's Encyclopedia of Musical Theater . Volume 1: Works. Abbatini - Donizetti. Piper, Munich / Zurich 1986, ISBN 3-492-02411-4 , pp. 590-592.