La Salustia
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| Title: | La Salustia |
Nicolò Grimaldi (Marziano) and Lucia Facchinelli (Salustia) |
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| Shape: | Opera seria in three acts |
| Original language: | Italian |
| Music: | Giovanni Battista Pergolesi |
| Libretto : | Sebastiano Morelli or Gennaro Antonio Federico ? |
| Literary source: | Apostolo Zeno : Alessandro Severo |
| Premiere: | January 1732 |
| Place of premiere: | Naples, Teatro San Bartolomeo |
| Place and time of the action: | Rome, 223 |
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La Salustia is an opera seria in three acts by Giovanni Battista Pergolesi . The libretto is probably by Sebastiano Morelli or Gennaro Antonio Federico and is an arrangement by Apostolo Zenos Alessandro Severo . The first performance was in January 1732 at the Teatro San Bartolomeo in Naples .
action
Prehistory: Alessandro Severo ( Severus Alexander ), had been appointed as his successor by his uncle Elagabal and took over the Roman imperial dignity at the age of thirteen after his murder. At first he was under the tutelage of his mother Giulia Mammea ( Julia Mamaea ), who arranged his marriage to the young noblewoman Salustia ( Orbiana ). Alessandro soon fell in love with Salustia, appointed her empress and granted her all sorts of honors that were previously reserved for his mother alone. Giulia became jealous of her daughter-in-law and tried by all means to get rid of the unpleasant competitor.
The opera begins with a celebration to mark the anniversary of Alessandro's accession to the throne. Alessandro appoints Salustia's father Marziano ( Seius Sallustius ) as commander in chief of the army. Giulia suffers from her growing jealousy. In the second storyline, the young Albina arrives in Rome in search of her former lover Claudio. Since he has lost interest in her, she asks Salustia for support. Giulia slips a document with her son, with which he unknowingly violates Salustia. After her father learns about it, he and Claudio decide to murder the empress - initially with poison and, if that should fail, with the sword. Albina overhears their conversation. In order to get revenge on Claudio, she reveals the murder plan to Salustia. At the following banquet, Salustia prevents the poison attack. But since she does not want to name the culprit - her father - the suspicion falls on herself. Neither Giulia's threats nor Alessandro's pleading can get her to speak. Claudio learns from Albina that she herself betrayed the plan to Salustia. He is impressed with her determination. When Giulia fell asleep in front of her apartments, Marziano makes a second attempt at murder - but Salustia defends the Empress against him. Marziano is arrested and said to be thrown to wild animals in the arena. At Salustia's request, Giulia decides that he only has to fight one beast and that he will be free if he defeats it. After he succeeded, Giulia's anger also vanished. She accepts Salustia again as daughter-in-law and forgives Marziano. Claudio and Albina can also marry.
first act
Magnificent throne room in front of the Capitol
Scene 1. Emperor Alessandro leads his wife Salustia to the throne to the praise of the people and their soldiers (chorus: “Viva viva il nostro augusto”). It is the anniversary of his accession to the throne. With them are also Salustia's father Marziano and his friend Claudio. Alessandro appoints Marziano as commander in chief of the army. Claudio reports that the Parthian ambassador wants a meeting.
Scene 2. Alessandro's mother, Giulia, walks in and congratulates her son and his wife. But she makes it clear that she is not comfortable with her own loss of power since Salustia was recognized as empress. Marziano advises his daughter to always honor Alessandro and to beware of Giulia's anger (Aria Marziano: "Al real piede ognora"). He leaves with Claudio.
Scene 3. Salustia tries to meet Giulia, but is reprimanded by her. Confused by this behavior, Alessandro doesn't know how to react. Salustia feels let down by him and does not understand what she is supposed to have done wrong (Aria Salustia: "Tu volgi altrove il ciglio"). She goes.
Scene 4. Claudio picks up Alessandro to talk to the Parthian ambassador. Alessandro is still completely confused (Aria Alessandro: “A un lampo di timore”).
Scene 5. After everyone else has left, Giulia gives free space to her jealousy (Aria Giulia: “De la superba in seno”).
Imperial apartments
Scene 6. Albina appears in men's clothes and meets her former lover Claudio. At first he doesn't want to recognize her in her disguise. When she finally convinced him of her identity, he explains that fame is now more important to him than love (Aria Claudio: “D'amor la saetta”). He goes.
Scene 7. Albina asks Salustia for help and tells her story: She had to part with Claudio when her father was appointed governor of Sicily. Not wanting to give up Claudio, she made it through to Rome in disguise. Salustia calms them down. Since Claudio has no other lover, he will soon find his way back to her. But Albina despairs of love (Aria Albina: "Soleva il traditore"). She goes.
Scene 8. Salustia tries to start a conversation with Alessandro. But since Giulia comes in too, she hides to watch them. Giulia asks Alessandro to sign a petition, which Alessandro does unread. Salustia has a bad feeling about it, but she fails to warn him. Giulia explains to Alessandro to his horror that she had given him Salustia as his wife only as bed-mate, but that she should never take the position she deserved as empress. Therefore he must now cast them out. She asks him to draw up a corresponding decree. Reluctantly, Alessandro begins to write, but Salustia steps out of her hiding place and angrily snatches the paper from him. She affirms her innocence, and Alessandro agrees. But then Giulia explains that he had already signed the actual decree: it was the alleged petition. She moves away triumphantly (Aria Giulia: "Or che dal regio trono").
Scene 9. Salustia and Alessandro complain about his mother's hard-heartedness. Alessandro even promises to resign if the Senate approves the decree. Salustia is going too far. Alessandro expresses his grief in the following aria (Aria Alessandro: "Andrò ramingo e solo"). He goes.
Scene 10. Salustia tells her father Marziano about her impending repudiation by the empress. He thinks that in this case one must take tougher measures. If Salustia wants to keep her husband and the throne, she must listen and do exactly what he says. Salustia does not want to do anything vicious and would rather renounce her love and her position. But Marziano has already made up his mind: The Empress must die, even if it should cost him his own life (Arie Marziano: “Per trucidar la perfida”). He goes.
Scene 11. Salustia is left desperate. She only longs for death (Aria Salustia: “Sento un acerbo duolo”).
Second act
Imperial loggias
Scene 1. Marziano and Claudio talk about the tyranny of the empress. Your conversation is interrupted when she comes by herself. In order to deceive Giulia, Marziano informs her that he is renouncing his daughter because he considers her ungrateful to her benefactress. He assures her of his unconditional loyalty. Giulia praises him for it. Marziano and Claudio, who was recently appointed head of the guard, have her confirm their positions. Giulia despises her daughter's ambition, but appreciates her father's loyalty (Aria Giulia: "Odio di figlia altera").
Scene 2. After Giulia leaves, Marziano and Claudio can continue discussing their murder plan. But Albina comes in unnoticed by the two of them and overhears their conversation. At sunset, Marziano and his men want to break into Giulia's rooms in order to kill them. But Claudio has already got one of the kitchen servants to mix poison into the Empress's food. If the attack fails, Marziano wants to take over (Arie Marziano: “Talor di fiume altero”). Marziano is leaving.
Scene 3. Albina tries to talk to Claudio again. However, he rejects her brusquely and is not impressed by her threats of vengeance (Aria Claudio: "Vuoi ch'io rispondi? Ascolta"). He goes.
Scene 4. Albina now seeks revenge on Claudio. She decides to reveal the eavesdropped murder plan. In order not to endanger Salustia's father too, she just wants to reveal the plan to her. In her aria she asks Amor to kindle the heart of her lover anew (Aria Albina: “Se tu accendessi Amore”).
Hall prepared for a banquet
Scene 5. Salustia has joined the kitchen servants and sets the table with them in servant clothing, at which she previously sat as empress. Albina indicates to her that her fate could soon change. Love and death are stronger than Giulia and her anger, because Marziano has developed a plan. The two move aside and continue to talk quietly. Then Albina moves away.
Scene 6. Giulia, Alessandro, Marziano, and Claudio enter. Giulia invites everyone to dinner. She is happy about Salustia's humiliation and reaches for her cup. Before she can empty it, Salustia snatches it from her and throws it to the ground. Giulia's outburst of anger replies Salustia to the reference to the poison. However, since she does not want to call her father guilty, Giulia has her arrested herself. Salustia is angry about her unjust treatment (Aria Salustia: "Tu m'insulti? Non pavento"). She is brought to Giulia's apartment by the guards, where she is to be further interrogated.
Scene 7. Giulia asks Marziano to forget his fatherly feelings and to get Salustia to talk. Marziano promises to use force if necessary. After Giulia leaves, Marziano says that he doesn't think Salustia will give in. Alessandro suffers from what has happened (Aria Alessandro: "Giacché gl'affanni miei"). He goes.
Scene 8. Marziano and Claudio puzzle over how Salustia could have found out about their attack. Now they have to fall back on Marziano's alternative plan. Marziano leaves. Albina comes in and tells Claudio that she knows about the conspiracy. If he wanted to find out who the traitor was, he should wait for her at the thermal baths. She goes.
Scene 9. Claudio is insecure and feels at the mercy of fate (Aria Claudio: “Parmi, che il cielo d'oscuro velo”).
Royal throne room
Scene 10. Giulia asks the gods for support. Marziano comes in and draws his sword to murder Giulia. But when Alessandro shows up, he claims that he wanted to kill himself out of desperation over his failed daughter. Giulia talked him out of it. She instructs a guard to fetch Salustia so that Marziano can interrogate her. Alessandro and Giulia sit on the throne to watch them.
Scene 11. Salustia is horrified to find her own father as a judge. Since Marziano cannot get her to talk, Giulia intervenes and promises to reinstate her in her honor if she only reveals the perpetrator. Alessandro also begs her to end his mother's torments. But Salustia remains steadfast (Quartet Salustia / Alessandro / Marziano / Giulia: “Vado a morir ben mio”).
Third act
Imperial thermal baths
Scene 1. Claudio comes to the agreed meeting with Albina to find out the name of the traitor from her. Albina reveals to him that she herself was this traitor and was driven to do so by his rejection. She pulls out her knife and tells him to defend himself. That brings Claudio back to his senses. He remembers his old love for her and asks her forgiveness. Albina, however, demands "his pain" as further proof of love (Aria Albina: "Voglio dal tuo dolore").
Scene 2. Claudio is completely in love with Albina again (Aria Claudio: “Benché sia forte il cor”).
Arcade in front of the royal apartments
Scene 3. Giulia cannot rest for fear of further attacks. But she is overwhelmed by tiredness. She sits down and falls asleep. Salustia arrives and is surprised.
Scene 4. Marziano and his men appear to be able to carry out the murder after all. Giulia wakes up and first accuses Salustia of attempting murder. Salustia asks her father for a sword so that she can exercise her revenge herself. Marziano gives her his own and takes over one of the guards himself. But then Salustia stands in front of the empress to defend her against her father. In addition, she hands her a stiletto, with which Giulia threatens her herself to prevent Marziano from attacking.
Scene 5. Alessandro comes with the guards and has Marziano arrested. Giulia sentenced him to death. Marziano fearlessly his fate (Aria Marziano: "Sì, tiranna, fra dure ritorte"). He is being led away.
Scene 6. Salustia begs in vain for mercy for her father (Aria Salustia: “Per queste amare lagrime”). She goes.
Scene 7. Alessandro also pleads for Marziano now, but Giulia's anger can only be appeased by his death (Aria Giulia: “Se all'ultimo suo fato”). She goes.
Scene 8. Alessandro finds himself in a conflict between his love for his mother and for Salustia and knows no way out (Aria Alessandro: “In mar turbato e nero”).
Large amphitheater in which Marziano is to be thrown to the animals to be eaten; a large crowd of spectators in the stands
Scene 9. Giulia, Claudio, and Albina appear. Claudio asks again in vain for mercy for Marziano.
Scene 10. Alessandro joins them. He persuades his mother to grant Salustia one last request.
Scene 11. Salustia appears with tears in her eyes. She has accepted her father's imminent death but asks that he be pitted against just one beast. After the others also support this request, Giulia allows it. Everyone sits down.
Scene 12. Marziano is led into the arena to the sound of a “gruesome” symphony. He is horrified to see his traitorous daughter among the audience. But she calls out to him that he only needs to defeat a single predator to save his life. Marziano takes up the fight (Aria Marziano: "Mostro crudele, orrendo!"). Trumpets sound and a leopard is let into the arena, which Marziano can happily defeat. Now Giulia's anger has also been appeased. She accepts Salustia again as daughter-in-law and forgives Marziano. Salustia tells Alessandro about the love of Albina and Claudio and asks him to marry them. Everyone sings about the returned peace (Tutti: "Ritorni al nostro cor la bella pace").
layout
Instrumentation
The orchestral line-up for the opera includes the following instruments:
- two oboes
- two horns
- two trumpets
- Strings
- Basso continuo
Music numbers
The following list refers to the original pre-cast version of the roles of Marziano and Claudio as given in the printed libretto.
first act
- Choir: "Viva viva il nostro augusto" (scene 1)
- Arie Marziano: "Al real piede ognora" (scene 2)
- Aria Salustia: "Tu volgi altrove il ciglio" (scene 3)
- Arie Alessandro: "A un lampo di timore" (scene 4)
- Aria Giulia: "De la superba in seno" (scene 5)
- Aria Claudio: "D'amor la saetta" (scene 6)
- Aria Albina: "Soleva il traditore" (scene 7)
- Aria Giulia: "Or che dal regio trono" (scene 8)
- Arie Alessandro: "Andrò ramingo e solo" (scene 9)
- Arie Marziano: "Per trucidar la perfida" (scene 10)
- Aria Salustia: "Sento un acerbo duolo" (scene 11)
Second act
- Aria Giulia: "Odio di figlia altera" (scene 1)
- Aria Marziano: "Talor di fiume altero" (scene 2)
- Aria Claudio: “Vuoi ch'io rispondi? Ascolta "(scene 3)
- Aria Albina: "Se tu accendessi Amore" (scene 4)
- Aria Salustia: “Tu m'insulti? Non pavento "(scene 6)
- Arie Alessandro: "Giacché gl'affanni miei" (scene 7)
- Aria Claudio: "Parmi, che il cielo d'oscuro velo" (scene 9)
- Quartet Salustia / Alessandro / Marziano / Giulia: "Vado a morir ben mio" (scene 11)
Third act
- Aria Albina: "Voglio dal tuo dolore" (scene 1)
- Aria Claudio: "Benché sia forte il cor" (scene 2)
- Arie Marziano: "Sì, tiranna, fra dure ritorte" (scene 5)
- Aria Salustia: "Per queste amare lagrime" (scene 6)
- Aria Giulia: "Se all'ultimo suo fato" (scene 7)
- Arie Alessandro: "In mar turbato e nero" (scene 8)
- Sinfonia (scene 12)
- Arie Marziano: "Mostro crudele, orrendo!" (Scene 12)
- Sinfonia (scene 12)
- Tutti: "Ritorni al nostro cor la bella pace" (scene 12)
Work history
La Salustia is Pergolesi's first opera. The libretto is an anonymous arrangement by Apostolo Zenos , Alessandro Severo, who is often set to music . Sebastiano Morelli or Gennaro Antonio Federico were suspected to be the editor .
For the first performance in January 1732 in the Teatro San Bartolomeo, the soprano castrato Nicolò Grimaldi ("Nicolini") was originally intended for the role of Marziano. But he fell ill during the rehearsal period and died on January 1, 1732 before the premiere. The seventeen-year-old Soprano Castrato Gioacchino Conti (“Gizziello”) was called in from Rome to replace him . Pergolesi had to make some changes to the music at short notice. Since Conti was still too young for the role of Marziano, he took over the role of Claudio instead, while the tenor Francesco Tolve sang Marziano. The pitches of these two parts had to be adjusted. The premiere could only take place in the second half of January.
In addition to Conti (Claudio) and Tolve (Marziano), Teresa Cotti (Giulia), Angiola Zanucchi (Alessandro), Lucia Facchinelli (Salustia) and Anna Mazzoni (Albina) sang at the premiere . Between the acts, the two parts of Pergolesi's Intermezzo Nerina e Nibbio were played, for which the librettist (possibly Domenico Caracajus) himself had to write the recitatives of the second part, as Pergolesi was running out of time. The music of the intermezzo has not been preserved. The performance of La Salustia was a failure and the opera was replaced by Francesco Mancini's Alessandro nell'Indie on February 2nd .
Recordings and performances in recent times
- July 2008 (performances at the Montpellier Festival, original version): Antonio Florio (conductor), La Capella della Pietà dei Turchini, Jean-Paul Scarpitta (production). Marina de Liso (Marziano), Maria Ercolano (Salustia), Raffaella Milanesi (Giulia), José Maria Lo Monaco (Alessandro), Valentina Varriale (Albina), Cyril Auvity (Claudio).
- 2011 (Performances in Jesi and DVD; both the original version and the version modified for the premiere were played in Jesi. The DVD contains the modified version.): Corrado Rovaris (conductor), Accademia Barocca de I Virtuosi Italiani, Juliette Deschamps ( Staging). Vittorio Prato (Marziano), Serena Malfi (Salustia), Laura Polverelli (Giulia), Florin Cezar Ouatu (Alessandro), Giacinta Nicotra (Albina), Maria Hinojosa Montenegro (Claudio). Arthaus Music 101651.
Web links
- Salustia : Sheet music and audio files in the International Music Score Library Project
- Libretto (Italian), Naples 1732. Digitized at Google Books
- La Salustia (Giovanni Battista Pergolesi) in the Corago information system of the University of Bologna
- Salustia. Work information and libretto (Italian) on librettidopera.it
- Salustia. Work information on operabaroque.fr
Individual evidence
- ↑ La Salustia. Information on works by the Fondazione Pergolesi Spontini , accessed on November 18, 2016.
- ↑ a b c d Helmut Hucke, Dale E. Monson: Pergolesi, Giovanni Battista. In: Grove Music Online (English; subscription required).
- ↑ a b c Francesco Cotticelli: Supplement to the DVD Salustia. Arthaus Music 101651.
- ↑ Winton Dean: Nicolini. In: Grove Music Online (English; subscription required).
- ^ Record of the performance from January 1732 in the Teatro San Bartolomeo in the Corago information system of the University of Bologna .
- ↑ List of works by the Centro Studi Pergolesi , accessed on August 5, 2016.
- ↑ Thomas Migge: The Emperor's mother. Review of the performance of Pergolesi's Salustia in Montpellier 2008 ( memento of August 3, 2016 in the Internet Archive ) on KlassikInfo.de , accessed on August 3, 2016.
- ↑ Salustia, by Giovanni Battista Pergolesi ( Memento of August 3, 2016 in the Internet Archive ) on mezzo.tv, accessed on August 3, 2016.
- ^ Pergolesi: La Salustia. DVD review on Clasical-music.com, accessed August 3, 2016.
Li prodigi della divina grazia nella conversione e morte di S. Guglielmo duca d'Aquitania (Dramma sacro, 1731) | La Salustia (Opera seria, 1732) | Nerina e Nibbio (Intermezzo, 1732) | Lo frate 'nnamorato (Commedia per musica, 1732) | Il prigionier superbo (Opera seria, 1733) | La serva padrona (Intermezzo, 1733) | Adriano in Siria (Opera seria, 1734) | La contadina astuta (Intermezzo, 1734) | L'olimpiade (Opera seria, 1735) | Il Flaminio (Commedia per musica, 1735)