L'olimpiade (Vivaldi)

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Opera dates
Title: L'olimpiade
Title page of the libretto, Venice 1734

Title page of the libretto, Venice 1734

Shape: Dramma per musica in three acts
Original language: Italian
Music: Antonio Vivaldi
Libretto : Pietro Metastasio : L'olimpiade ,
Bartolomeo Vitturi
Literary source: 6. Book of the Histories of Herodotus
Premiere: February 17, 1734
Place of premiere: Teatro Sant'Angelo , Venice
Playing time: about 3 hours
Place and time of the action: The fields of Elis near Olympia ,
6th century BC Chr.
people
  • Clistene, King of Sicyon ( tenor )
  • Aristea, his daughter, mistress Megacles ( alto )
  • Argene, lady from Crete, disguised as a shepherdess under the name Licori, mistress Licidas ( soprano )
  • Megacle, lover Aristeas and friend Licidas (soprano)
  • Licida, supposed son of the King of Crete, in love with Aristea and friend Megacles (old)
  • Aminta, educator Licidas (soprano)
  • Alcandro, confidante Clistenes ( bass )

L'olimpiade is an opera seria (original name: "Dramma per musica", RV 725) in three acts by Antonio Vivaldi (music). As a libretto he used Pietro Metastasio's L'olimpiade in an arrangement by Bartolomeo Vitturi . The first performance took place on February 17, 1734 in the Teatro Sant'Angelo in Venice .

action

The title of the opera refers to the ancient Olympic Games , which here serve as the framework for a love triangle. Licida asks his friend Megacle to take part in the competition under his name. At first he has no idea that the prize is his own lover Aristea. The action takes place in the fields of Elis near Olympia on the banks of the Alfios river .

prehistory

Clistene, the king of Sicyon , has twin children, the son Filinto and the daughter Aristea. Since a saying by the Delphic Oracle prophesies that he might be murdered by his own son, he lets Filinto on the advice of the oracle to die and raise the daughter at court. The latter grows up into a beautiful young woman and falls in love with the posh and courageous Athenian Megacle, a multiple winner of the Olympic Games. However, because of her father's enmity against the Athenians, he has no prospect of getting her as a wife. Desperate, he travels to Crete, where he is attacked by a band of robbers on arrival. Licida, a supposed son of the king there, saves his life, and the two become close friends. Licida has loved the Cretan lady Argene for a long time and has already secretly promised her marriage. However, when the king learns of the improper connection, he has Argene persecuted and forces her to leave the country. She flees to the Elis area, where she begins a new life as a shepherdess under the name Licori. Desperate about her loss, Licida travels to the Olympic Games, which are held in Elis every four years, as a distraction. Megacle remains in Crete. Clistene was elected head of this year's games, who therefore also goes to Elis with his daughter Aristea and exposes her hand as a prize. When Licida sees Aristea, he falls in love with her and forgets about his unhappy love for Argene. However, since he is inexperienced in fencing, he lets his experienced friend Megacle come to compete under the name Licida and win the prize for him - he knows nothing about the love between Megacle and Aristea. Megacle gives in to his friend's insistence and travels to Elis, where he arrives almost too late.

short version

Act One. The Olympics are just around the corner. The Cretan Prince Licida persuades his friend Megacle to take part in the Olympic Games for him under his name. Only when Megacle returns from the registration does Licida explain the real reason: The Greek king Clistene has promised the winner his daughter Aristea as a wife. Megacle is shocked because Aristea is his lover, whom he had to part with because of his father's resistance. Since he is in Licida's debt, he still wants to keep his promise. Aristea is reluctant to get married to a complete stranger as a prize because she still loves Megacle. Licori / Argene tells her about her own fate: she and Licida were lovers. However, his father did not approve of the association and drove them out of the country. Since then she has lived incognito as the shepherdess Licori and has little hope of ever seeing Licida again. Shortly before the games, Aristea runs into Megacle by chance. She is surprised and delighted as she believes Megacle is entering the games to win her and take her as wife. Megacle does not tell her the real reason for his presence.

Act two. Megacle won the competition under Licida's name. When Aristea and Argene learn the name of the alleged winner Licida, Aristea is dismayed because she now has to marry him, even though she loves Megacle. For her part, Argene is furious that Licida no longer wastes any thought on her. Aristea's confusion is complete when she meets the winner and now Megacle stands before her. At first she believes in a future together with him. However, Megacle reveals to her that he has done this service for his friend and that she should actually marry Licida. Aristea passes out. Megacle sneaks away and Licida takes his place to comfort her. However, Aristea rejects him. Shortly thereafter, he received more bad news: Megacle drowned himself in the river and Clistene pronounced his banishment after the hoax became known.

Third act. Licida, on the verge of madness, carries out an attempted murder against Clistene, which is however foiled. He is arrested and sentenced to death. Aristea tries to get her father to revoke the death sentence. Megacle, rescued by fishermen after attempting suicide, continues to stand by his friend, and even Argene wants to save him. Before the sentence is to be carried out, Clistene Licida allows one last wish. Fatherly feelings arise in him that he cannot explain. The appearance of Argenes, who stands protectively in front of Licida, clears everything up. When Clistene asks her how the shepherdess Licori came to claim to be the bride of a Cretan prince, she reveals her true identity and presents a locket that she had received from Licida as an engagement gift. Clistene recognizes the piece of jewelery: it belonged to his son Filinto. He had put this to death as a child after he had been prophesied that his son would try to kill him. The people pardon Licida, because Clistenes presidency of the Games is over and he would have to suffer himself through the death of his son. The piece ends with the proclamation of a double wedding between Aristea and Megacle and Argene and Licida.

first act

First act. Image from the Metastasio text edition at Hoole, London 1767

Narrow wooded valley, shaded by large trees with intertwined branches

Scene 1. Licida tells his tutor Aminta that Megacle should compete in his place to win Aristea. However, he fears that it will not arrive on time.

Scene 2. Licida's worries are unfounded: Megacle appears and easily declares himself ready to fulfill his friend's wish (Aria Megacle: “Superbo di me stesso”).

Scene 3. Licida looks forward to his future happiness (Aria Licida: “Quel destrier ch'à l'albergo è vicino”). Aminta, however, has bad premonitions (Aria Aminta: "Il fidarsi della spene").

Wide land at the foot of a mountain with shepherds' huts; rustic wooden bridges over the Alfios river; in the distance the city of Olympia

Scene 4. Together with nymphs and shepherds, Argene, dressed as a shepherdess, sings about the joys of country life (choir / Argene: "O care selve").

Scene 5. Aristea and her father join them. Clistene proudly tells her the famous names of the competitors, including the Cretan Prince Licida. Argene learns that her former lover has given up on her. When Aristea asks for a delay, Clistene refuses: women shouldn't complain about having to serve men, since their beauty ultimately triumphs over male strength (Arie Clistene: “Del destin non vi lagnate”).

Scene 6. Aristea asks Argene to find her lover Megacle. He should learn of her unbreakable loyalty to him (Aria Aristea: "E troppo spietato").

Scene 7. Argene suffers from Licida's betrayal (Aria Argene: “Più non si trovano”).

Scene 8. Megacle informs Licida that he has signed up for the games under the name Licidas. Only now does Licida tell him the reason for the action and give him the name Aristeas. Megacle is holding back his feelings for the time being because he wants to save his strength for the competition. While he is resting, Licida sings a soothing song (Aria Licida: "Mentre dormi amor fomenti").

Scene 9. After Licida leaves, Megacle realizes the importance of his task: he must lead his own lover to a rival.

Scene 10. Aristea meets the still inwardly troubled Megacle. She is happy to see him and assumes that he will fight for her. Megacle confirms this and confirms his unwavering love and loyalty. However, he does not dare to tell her the full truth (duet Megacle / Aristea: "Ne 'giorni tuoi felici").

Second act

Second act, scene 10. Image from the Metastasio text edition by Herissant, Paris 1780

Grottoes with springs near the forest

Scene 1. Aristea and Argene are impatiently waiting for the competition to end, as women are not allowed in the audience.

Scene 2. Alcandro tells the two women about Licida's victory. The king is already waiting for Aristea in the temple. He is very disappointed that she receives this news completely joyless and harshly sends him away (Arie Alcandro: “Se tu sprezzar pretendi”).

Scene 3. Aristea and Argene suffer deeply from their grief (Aria Aristea: “Stà piangendo la tortorella”).

Scene 4. After Aristea leaves, Argene thinks about revenge. Aminta is surprised to find her in shepherd's clothing in Elis. Argene feels trapped in her pain (Aria Argene: “Per que 'tanti suoi sospiri”).

Scene 5. Aminta realizes that love is folly. He compares people with ships that are plagued by their feelings like storms (Aria Aminta: “Siam navi all'onde algenti”).

Magnificent place

Scene 6. Clistene presents the alleged Licida (in reality Megacle) to the people as the winner of the competitions. Megacle wants to avoid meeting Aristea. So he declares that he would like to convey the message of his victory to his father himself. His friend Egisto (the real Licida) will take care of Aristea for so long and bring her to him later.

Scene 7. Megacle's attempt fails because Aristea is already coming. She is happily surprised when her father introduces her Megacle as the winner and fiancé (Aria Clistene: “Qual serpe tortuosa”).

Scene 8. Megacle asks Licida to leave him alone with Aristea for a while.

Scene 9. Megacle finally tells Aristea the truth: Since Licida had once saved his life, he cannot refuse his wish. He is therefore determined to do without them. Aristea faints from horror (Accompagnato Megacle: "Misereo me! Che veggo?"). Megacle calls Licida back.

Scene 10. Megacle asks Licida to take care of Aristea when she wakes up. He should only inform her that “the unhappy friend” had left crying (Aria Megacle: “Se cerca se dice l'amico dovè?”).

Scene 11. When Aristea comes to, she makes serious accusations to Licida (Aria Aristea: “Tu me da me dividi”).

Scene 12. While Licida tries to understand Aristea's anger, Argene arrives and accuses him of betraying her love.

Scene 13. Licida is desperate. He fears that Argene will expose the fraud. To make matters worse, Aminta appears with the news that Megacle drowned herself in the river.

Scene 14. Alcandro tells Licida that the king has banned him from the country as punishment for his fraud.

Scene 15. Licida just wants to die. He feels as if he has a thousand furies in his chest (Aria Licida: "Gemo in un punto e Fremdo").

Third act

Scene divided into two by the overgrown ruins of an old hippodrome

Scene 1. Megacle was rescued by fishermen but still wants to die. Aminta tries to stop him. Unbeknownst to them, Argene on the other side of the stage holds Aristea back from the same goal. The two couples meet in surprise.

Scene 2. Alcandro tells the others that Licida was arrested after an attempt to kill Clistene. Although he is threatened with the death penalty, Licida does not try to defend himself, but only calls for his friend Megacle (Arie Alcandro: "Sciagurato in faccia à morte"). Megacle wants to hurry to him immediately, shaken. Aristea, however, points out to him the danger that threatens him from the king. For Megacle's sake, she wants to try to appease her father herself (Aria Aristea: "Caro son tua così").

Scene 3. Although Argene advises him to leave Licida to his fate, Megacle wants to continue to support him as a true friend (Arie Megacle: “Lo seguitai felice”).

Scene 4. Argene and Aminta also feel sorry for Licida now. Argene would even be willing to give her life for him despite his betrayal (Aria Argene: “Per salvar quel alma ingrata”).

Scene 5. Aminta is torn. As Licida's tutor, he himself is in danger. But he doesn't want to leave him alone (Aria Aminta: “Son qual per mare ignoto”).

In front of the great temple of Olympian Zeus

A long and magnificent staircase leads down from the temple, which is divided into several intermediate levels. In front of it a place with a burning altar in the middle. All around a forest with the sacred olive trees, from whose branches the wreaths for the victorious athletes are made.

Scene 6. After the crowd, his guards, Licida, dressed and crowned in white, and the priests with sacrificial objects, Clistene also descends the temple steps. He allows the condemned one more wish. Licida asks to be able to hug his friend Megacle one last time. Clistene feels an inexplicable feeling of pity for him (Aria Clistene: "Non so donde viene").

Scene 7. After Megacle is brought in by the guards, Licida asks him to travel to Crete to help his father in his grief. The two say goodbye to each other and Clistene begins the sacrificial ceremony (chorus: “I tuoi strali terror de 'mortali” - Accompagnato Clistene: “O' degl'uomini padre e degli Dei”).

Scene 8. Argene enters (still disguised as Licori shepherdess) and interrupts the ceremony by offering that she would voluntarily accept the punishment instead of Licida. Although she reveals herself to those present as Licida's fiancée Argene, Clistene refuses to hear her.

Scene 9. Only after Aristea intervenes in favor of Argenes does Clistene let her finish speaking. As proof of her words, Argene shows him a pearl necklace that Licida once gave her. Clistene and Alcandro recognize this necklace: Clistene's son Filinto was wearing it when he was abandoned. Licida confirms Argenes statement and adds that he had received the necklace from his companion Aminta. Clistene has Aminta fetched.

Scene 10. Aminta says that he received the jewelry from an unknown person near Corinth. Thereupon Alcandro, who had received the order to expose Filinto to the sea, confesses to have given the child to a stranger, Aminta, out of pity. Aminta explains that this child was Licida. He handed it over to the Cretan king, who raised it in his place as heir to the throne after the death of his son. Thus Licida is in truth Clistene's son and Aristea's brother. Clistene now wants a double wedding: Filinto should marry Argene and Megacle Aristea. But he cannot release Filinto from his sentence just because he is his son. Megacle thinks of a way out: Clistene is not King of Olympia, but of Sikyon, and his presidency of the Olympic Games is over. Therefore, not he should pass judgment, but the people. Licida / Filinto acquits this, because his innocent father would also be punished by his death (chorus: “Viva il figlio delinquente”).

layout

orchestra

The original orchestral line-up for the opera consists of two horns , strings (possibly reinforced by oboes ) and basso continuo .

Music numbers

The individual numbers of the opera are listed in the Ryom directory. The parts marked here and in the printed libretto from 1734 with “*” do not come from Metastasio's L'olimpiade , but have been replaced by other texts. The lyrics and personal names show that Vivaldi composed several arias, most likely for a setting of Apostolo Zeno's libretto Lucio Vero , planned for Verona in 1733/1734 , the score of which has not survived. The parts in square brackets were not set to music by Vivaldi. They are indicated in the libretto by ellipses (opening quotation marks). Vivaldi also shortened some of the recitatives, for example in II.9 / 10.

Sinfonia

  • 1. Allegro (C major) - for strings and basso continuo; see. the Violin Concerto in C major, RV 177: 1
  • 2. Andante (C minor) - for violin I / II, viola and basso continuo
  • 3. Allegro molto (C major) - for violin I / II / III and viola / basso continuo
    • Original final movement: Allegro (C major)

first act

  • Scene 1. Recitative: "O 'risoluto Aminta: Più consigli non vuò"
  • Scene 2. Recitative: "Megacle è teco, giusti Dei"
    • Aria (Megacle): “Superbo di me stesso” - Allegro (C major), for strings and basso continuo
  • Scene 3. Recitative: “Oh generoso amico! O Megacle spring "
    • Aria (Licida): "Quel destrier ch'à l'albergo è vicino" - Allegro molto (G major), for strings and basso continuo; see. Adelaide RV 695 I: 7
    • Recitative *: "Pria dell'esito ancor lieto si finge"
    • Aria (Aminta): “Il fidarsi della spene” - Largo (A major), for strings and basso continuo; Original text: "Non lagnarti amato bene" for "Ani:" (Aniceto) in Lucio Vero
  • Scene 4. Choir (Argene and Choir): “O care selve” - “Que se un placer sigode” - […] (A major), for strings and basso continuo; in the score without a number
    • Recitative: "Ecco Aristea" - "Segui, ò Licori"
  • Scene 5. Recitative: "Figlia tutto è compito"
    • Aria (Clistene): “Del destin non vi lagnate” - Allegro (E flat major), for violin I / II, viola and basso continuo; see. Tamerlano RV 703 I: 1st
  • Scene 6. Recitative: “Udisti, ò Principessa? Amica addio "
    • Aria * (Aristea): “E troppo spietato” - Presto (F major), for strings and basso continuo; see. L'Aténaide RV 702B I: 12 and Orlando RV 728 II: 10
  • Scene 7. Recitative: "Dun [que], Licida ingrato già di me si scordò?"
    • Aria (Argene): “Più non si trovano” - Allegro (E minor), for violin I / II, viola and basso continuo; see. Siroe re di Persia RV 735B I: 5
  • Scene 8. Recitative: "Licida Amico Eccomi à te"
    • Aria (Licida): "Mentre dormi amor fomenti" - Larghetto (F major), for horn, strings and basso continuo
  • Scene 9. Recitative: “Che intesi eterni Dei!” - for violin I / II, viola / basso continuo
  • Scene 10. Recitative: "Stranier chi mi sorprende?"
    • Duet (Megacle, Aristea): “Ne 'giorni tuoi felici” - Andante (G minor), for strings and basso continuo

Second act

  • Scene 1. Recitative: "Ed ancor della pugna l'esito non si sà!"
  • Scene 2. Recitative: “Fortunate novelle. Il Rè m'invia nunzio felice "
    • Aria * (Alcandro): “Se tu sprezzar pretendi” - Allegro (E flat major), for strings and basso continuo; original text: “O più tremar non voglio” from Metastasio's Demofoonte I: 1; Music partly from Lucio Vero
  • Scene 3. Recitative: "Ah dimmi, ò Principessa v'è sotto il ciel chi possa"
    • Aria * (Aristea): “Stà piangendo la tortorella” - Allegro non molto (F major), for two horns, strings and basso continuo; originally for soprano; Part B: “Mà per me che non v'è spene”; partly from Lucio Vero I: 6
  • Scene 4. Recitative: "E trovar non poss'io nè pietà, ne soccorso?"
    • Aria * (Argene): “Per que 'tanti suoi sospiri” - Allegro (G major), for strings and basso continuo; original text: “Nella rete perche torni”; Source of text unknown; partly from Lucio Vero
  • Scene 5. Recitative *: “Frà le follie diverse”; in the libretto: "Tra le follie ..."; Beginning of the original recitative not set to music
    • Aria (Aminta): "Siam navi all'onde algenti" - Allegro ma poco (C major), for violin I, II, viola I, II and basso continuo
  • Scene 6. [choir: “Del forte Licida”] - not set to music
    • Recitative: "Giovane valoroso, che in mezzo a tante gloria"
  • Scene 7. Recitative: "All'odiose nozze come vittima io vengo"
    • Aria * (Clistene): “Qual serpe tortuosa” - Allegro molto (G major), for violin I / II, viola / basso continuo and strings and basso continuo; incorrectly assigned to Megacle in the libretto and Ryom directory; originally for "Cl:" (Claudio) in Lucio Vero II: 1; see. La fida ninfa RV 714 II: 9
  • Scene 8. Recitative: "(Frà l'amico e l'amante che farò sventurato?)"
  • Scene 9. Recitative: "(Oh ricordi crudeli)" - "Al fin siam soli"
    • Accompagnato (Megacle): “Misereo me! Che veggo? “- for violin I / II / viola / basso continuo
  • Scene 10. Recitative: "Intese tutto Aristea?"
    • Aria (Megacle): "Se cerca se dice l'amico dovè?" - Andante (G minor), for strings and basso continuo
  • Scene 11. Recitative: "Che laberinto è questo!"
    • Aria (Aristea): “Tu me da me dividi” - […] (D major), for strings and basso continuo
  • Scene 12. Recitative: “A 'me barbaro! O 'numi! "
    • [Aria (Argene): “No la speranza”] - not set to music
  • Scene 13. Recitative: "In angustia più fiera io non mi vidi mai"
  • Scene 14. Recitative: “Dove son! Che m'avvenne? "
  • Scene 15. Recitative: "Con questo ferro, indegno, il sen ti passerò"
    • Aria (Licida): "Gemo in un punto e foreigno" - Allegro (C minor), for violin I / II, viola / basso continuo; see. Adelaide RV 695 II: 18 and Farnace RV 711G II: 11

Third act

  • Scene 1. Recitative: “Lasciami. In van t'opponi "
  • Scene 2. Recitative: “O 'sacrilego! O insano! "
    • Aria * (Alcandro): “Sciagurato in faccia à morte” [Libretto: “in braccio”] - Allegro (D minor), for basso continuo; see. La fida ninfa RV 714 I: 10
    • Recitative: "Più resister non posso"
    • Aria (Aristea): "Caro son tua così" - Allegro (D major), for violin I / II, viola / basso continuo; see. Adelaide RV 695 III: 9
  • Scene 3. Recitative: "Deh secondate, ò Numi la pietà d'Aristea"
    • Aria (Megacle): “Lo seguitai felice” - Allegro non molto (B flat major), for strings and basso continuo; Original text: "Sperai vicino il lido" from Demofoonte I: 4, for "Vol:" (Vologeso) in Lucio Vero
  • Scene 4. Recitative: "E pure à mio dispetto sento pietade anch'io"
    • Aria * (Argene): “Per salvar quel alma ingrata” - Allegro (G major), for violin I / II, viola and basso continuo; see. RV La fida ninfa, 714 I: 7; Text of unknown origin for "Luci:" (Lucilla) in Lucio Vero
  • Scene 5. Recitative: "Fuggi, salvati Aminta: Partir così?"
    • Aria (Aminta): “Son qual per mare ignoto” - Andante (G minor), for violin I / II, viola and basso continuo; see. Adelaide RV 695 III: 4, Ginevra principessa di Scozia RV 716 II: 2 and Siroe re di Persia RV 735B II: 13
  • Scene 6. [chorus: "I tuoi strali terror de 'mortali"] - is missing at this point in the score, but has been preserved as III: 7
    • Recitative: "Giovane sventurato ecco vicino"
    • Aria (Clistene): “Non so donde viene” - […] (F minor), for violin I / II, viola and basso continuo
  • Scene 7. Recitative: “O 'delle gioie mie, dè miei martiri” - beginning of the original recitative not set to music
    • Choir (Tutti “unissoni”): “I tuoi strali terror de 'mortali” - […] (D major), for strings and basso continuo
    • Accompagnato (Clistene): “O 'degl'uomini padre e degli Dei” - for strings and basso continuo
  • Scene 8. Recitative: "Fermati ò Rè, fermate sacri ministri"
  • Scene 9. Recitative: "Credimi, ò padre, è degna di pietà"
  • Scene 10. Recitative: “Ah Licida. T'acchetta. Rispondi, e non mentir "
    • Choir (Tutti “unissoni”): “Viva il figlio delinquente” - […] (D major), for strings and basso continuo

music

The duet Megacle / Aristea "Ne 'giorni tuoi felici" is the dramatic goal of the first act. The mood of the protagonists, which was still optimistic at the beginning, steadily disappears up to this point, so that the Allegro movements “Superbo di me stesso” and “O care selve” seem almost ironic in retrospect.

The singer of the Megacle, the castrato Francesco Bilanzoni, only has a virtuoso aria in the third act. His performance aria at the beginning of the opera has no coloratura whatsoever. Reinhard Strohm pointed out that Vivaldi's renunciation of virtuosity in the main characters (the supporting characters Aminta and Clistene have quite virtuoso music) up to this sentence evokes a “feeling of loss” or “nostalgia”. The music reminded contemporary listeners of unfashionably simple “pre-belcanto music”. Metastasio, too, viewed the modern "instrumentalization" of the singing voices with skepticism and considered them to be harmful to the true expression of poetry. The little virtuoso music of Aristea and Argene also suggests rather limited vocal abilities of the singers Della Parte and Arrigoni. It seems surprising that the two castrati did not sing the roles of Megacle and Licida symmetrically, but that the latter was assigned to the alto Zanuchi. This played exclusively male roles throughout the season. In Vivaldi's Olimpiade , she received little opportunity to shine. The part contains only one really virtuoso aria and none at all in the third act. Nicolini, the second castrato of the performance and as Aminta actually the "terzo uomo", received the expected parade arias.

The aria of the Clistene “Non so donde viene” (III.6) is remarkable in that the first “A” section modulates to the dominant , while the second remains in the tonic . It anticipates a type of aria that was later used by Mozart and other composers.

Work history

Vivaldi set only a few librettos by Pietro Metastasio to music . Of these, his opera L'olimpiade (RV 725) is best known today. During his lifetime there was only one production of the opera at the end of the carnival season 1733/1734 in the Venetian Teatro Sant'Angelo .

Vivaldi had received the libretto from Vienna, where it was performed for the first time on August 28, 1733 on the occasion of the birthday party of Empress Elisabeth Christine in a setting by Antonio Caldara . Vivaldi's opera, apart from a pasticcio by the composer Pietro Giuseppe Sandoni played in Genoa , is only the second setting of this text, which was extremely popular in the following years (Pergolesi 's setting → L'olimpiade (Pergolesi) later achieved great fame ). Vivaldi had Bartolomeo Vitturi's libretto revised for the Venetian theater. The exchanged parts, including the recitative in I.3 and a total of seven arias, were marked in the printed libretto from 1734 by stars, the sections not set to music by opening quotation marks. In contrast to the original, the second act in this version has its own sets, which may have been suggested by Vitturi. The music has been handed down in full in the form of an autograph score. It contains some changes in both the text and the music, all of which are from Vivaldi's hand. A bass was originally intended for the role of Aminta, as can be seen from subsequent changes to his role at the beginning of the first act.

The first performance took place on February 17, 1734. The set was designed by Antonio Mauro and the dances by Giovanni Gallo. The cast soprano Francesco Bilancioni (Megacle) and Mariano Nicolini (Aminta), the contralto Anna Caterina Della Parte (Aristea), Marta Arrigoni (Argene) and Angiola Zanucchi (Licida), the tenor Marcantonio Mareschi (Clistene) and the bass Massimiliano Miller sang (Alcandro). The performance received much applause, and the poet was also praised.

There was no further performance of the work during Vivaldi's lifetime. However, there were indications that parts of the music were used elsewhere. A new production of the Olimpiade in Ferrara was planned for the 1737 carnival season , for which Vivaldi adapted the opera. In a letter dated December 29, 1736, he wrote that he "ruined his original" for this. However, the received manuscript contains no corresponding changes. Possibly there was a second score that has not survived. The performance in Ferrara did not take place. Instead, new versions of Johann Adolph Hasse's operas Demetrio and Alessandro nell'Indie (Cleofide) were played, which Vivaldi also arranged.

The first performance in recent times took place in 1939 on the occasion of the Siena Music Week under the musical direction of Alfredo Casella . It marked the beginning of the rediscovery of Vivaldi's operas. The composer Virgilio Mortari created an abridged new version for this, in which he replaced missing parts with interludes from Vivaldi's opera Dorilla in Tempe . It was also used in 1978 for the first record of the opera under Ferenc Szekeres .

The German premiere was on December 7, 2007 in the Schlosstheater Schwetzingen in a production by Werner Pichler. Members of the Heidelberg Orchestra played under the direction of Michael Form. In 2013 a production at the Staatstheater Kassel followed .

Recordings

Digital copies

Web links

Commons : L'olimpiade  - collection of images, videos and audio files

Remarks

  1. ↑ "Clisthene" is occasionally written in the libretto and the manuscript of the score. See Reinhard Strohm : The Operas of Antonio Vivaldi. Leo S. Olschki, Florence 2008, ISBN 978-88-222-5682-9 , Volume II, p. 530.
  2. ↑ Like the previous scene, scene II.3 is designated in the printed libretto from 1734 with "II".
  3. ↑ Scene II.8 is designated in the printed libretto as "VII" like the previous scene.
  4. ↑ Scene II.8 is marked “XI” in the printed libretto.
  5. ↑ Like the previous scene, scene III.9 is labeled "XI" in the printed libretto.
  6. ↑ Vivaldi's versions of the two operas played in Ferrara have not survived. In an exchange of letters with Marchese Guido Bentivoglio d'Aragona, he complained that his expenses were not being reimbursed, and he did not travel to Ferrara either. The operas were performed there under Hasse's name. See Siegbert Rampe : Antonio Vivaldi and his time. Laaber, 2010, ISBN 978-3-89007-468-9 , p. 237.

Individual evidence

  1. ^ Free translation of the "Argomento" from the printed libretto of 1734.
  2. ↑ a b c d Siegbert Rampe : Antonio Vivaldi and his time. Laaber, 2010, ISBN 978-3-89007-468-9 .
  3. ↑ a b Peter Ryom : Vivaldi catalog raisonné. Breitkopf & Härtel, Wiesbaden 2007, ISBN 978-3-7651-0372-8 , pp. 453-458.
  4. ↑ Work information on musiqueorguequebec.ca.
  5. ↑ a b c d e f g h i j k l m n Reinhard Strohm : The Operas of Antonio Vivaldi. Leo S. Olschki, Florence 2008, ISBN 978-88-222-5682-9 , Volume II, pp. 529-545.
  6. ^ Michael Talbot : The Vivaldi Compendium. The Boydell Press, Woodbridge 2011, ISBN 978-1-84383-670-4 , p. 128.
  7. ^ Record of the performance of L'olimpiade on February 17, 1734 in the Corago information system of the University of Bologna .
  8. ↑ Supplement to the Hungaroton SLPX 11901-03 record.
  9. ↑ Klaus Kalchschmid: Heidelberg / Schwetzingen, Vivaldi: L'Olimpiade. In: Opera world . February 2008, p. 51.
  10. ↑ Johannes Mundry: Sleeping Beauty - Vivaldi: "L'Olimpiade", Kassel / State Theater. In: Opera world . May 2013, p. 52.
  11. ↑ a b c d e Antonio Vivaldi. In: Andreas Ommer: Directory of all complete opera recordings (= Zeno.org . Volume 20). Directmedia, Berlin 2005.
  12. ↑ 11/11/2018 | Herne | Deadly Sins - Lust at WDR 3 , accessed on November 12, 2018.