La capricciosa corretta
| Opera dates | |
|---|---|
| Title: | La capricciosa corretta |
Libretto for a Florentine production , 1811 |
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| Shape: |
Dramma giocoso in two acts |
| Original language: | Italian |
| Music: | Vicente Martín y Soler |
| Libretto : | Lorenzo Da Ponte |
| Premiere: | January 27, 1795 |
| Place of premiere: |
King's Theater on Haymarket , London |
| Playing time: | around 3 hours |
| Place and time of the action: | Naples , present |
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The opera La capricciosa corretta (The reformed obstinate ) or La scuola dei maritati (The School of the Married) is a dramma giocoso by the Venetian Lorenzo Da Ponte (verse) and the Valencian Vicente Martín y Soler (music). It was created in London in 1794/1795 as the fourth of their five joint works.
Da Ponte and Martín in London
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After the composer and librettist had celebrated Emperor Joseph II's triumphs in Vienna , the former went to Saint Petersburg in 1788 , the latter to London in 1792. Martin interrupted his stay on the Neva when he and Da Ponte were signed to the King's Theater in 1794 . 1795 they brought there two operas for performance with which they anknüpften to their former successes with La capricciosa corretta at Il burbero di buon cuore (The curmudgeon with good hearts) and L'Isola del piacere (The Island of Love) to L'arbore di Diana (The Tree of Diana).
In view of the state of war between Great Britain and revolutionary France , they had to forego the political undertones that make up part of the appeal of their Viennese works. You can also tell that Da Ponte had in the meantime entered into a relationship with Nancy Grahl, who was 20 years her junior: if marriage to an older man was inconceivable for Angelica in the Burbero , Ciprigna now has to come to terms with it. And promiscuity - in Così fan tutte (This is how everyone does it) by Da Ponte / Mozart a natural given and still lived by Martín - is now presented as a danger to the family.
Da Ponte writes about the genesis of the work: “In less than three weeks I gave La capricciosa corretta to Martini, who lived with me and not only inspired me to write with his always cheerful face (...) , but also my verses immediately afterwards the writing in music set (...) "
As with the Arbore di Diana , Martín wrote the leading role (Ciprigna, four arias ) for his favorite singer Anna Morichelli. Beside her, Giovanni Morelli (Bonario, two arias), Elisabetta Colombati (Isabella, one aria), Paolo Torreggiani (Valerio, one aria), Luigi Brida (Lelio, three arias), Lorenzo Cipriani (Fiuta, two arias) sang at the premiere , Giovanna Pastorelli (Cilia, one aria) and Carlo Rovedino (Don Giglio, two arias). In addition to the sixteen arias, the opera has three duets , a trio and two finals .
action
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Every now and then one reads that La capricciosa corretta is an adaptation of Shakespeare's The Taming of the Shrew ( The Taming of the Shrew ). In reality, the opera plays like the burbero in the world of Goldoni . And like there, it's about a beauty that dances on her husband's nose. This Ciprigna is at the center of the plot, like a man in need of improvement in the da Ponte operas Le nozze di Figaro (The Marriage of Figaro) by Mozart, Una cosa rara (A Rare Thing) by Martín and Don Giovanni by Mozart.
Just as little in the Burbero Lucilla takes into account the finances of the young Giocondo, just as little does Ciprigna take into account the feelings of Bonario, who could be her father: she tends towards promiscuity, the masculine variety of which is discussed in the Cosa rara and in Don Giovanni . So she tries to seduce Count Lelio, who loves her stepdaughter Isabella (an innocence like Angelica in the burbero and Lilla in the Cosa rara ). Out of jealousy, she instructs her Cicisbeo Don Giglio to deliver the girl to a convent - an institution that Da Ponte and Martín had scourged in the Arbore di Diana .
On the same day, however, Ciprigna changes her plans and decides to run away with “Irco Berlico”. Only when this Oriental turns out to be Bonarios Majordomus Fiuta (a counterpart to Castagna in the Burbero and to Figaro ), does she stop "stepping out of her sphere of activity". As in Così fan tutte , the female self-image is “improved” by an oriental dream, but unlike there in the sense of submission to patriarchy .
1st act
room
Scene 1: Bonario hears that no member of his household can stand the moods of his second wife Ciprigna any longer. Son Valerio wants to go to the military as a drummer, daughter Isabella wants to become a nun or maid; Maid Cilia and Majordomus Fiuta are considering resigning from their jobs. Because, that's how they sing together about the new landlady:
"Batte, brontola ed ingiuria,
Grida, ciarla e fa rumore."
"She always hits, grumbles, insults
, chatters, gossips and never gives up."
Bonario admits to having married a “madwoman” at an advanced age and promises - it is already getting dark - to bring Ciprigna to his senses on the same day. Fiuta, however, has justified doubts about the assertiveness of his master and decides to take matters by hand.
Garden with garden cabinet
Scene 2: Cilia describes her mistress as fluttering like a leaf in the wind. For her part, Ciprigna makes fun of the numerous men with whom she flirts and then throws them off - which in her eyes is the “art of loving”.
Scene 3: Bonarios whole household will witness how their Ciprigna bankrupt Cavaliere servente Don Giglio a tryst granted. This parasite wishes her as many joys as "threads of gold" wreathed her forehead, "pearls" adorned her "triumphant mouth", men languished for her and drops were in the Tokaj with which she entertained him. ( Video on YouTube ) When Bonario Ciprigna tries to reprimand for her lifestyle, she showered him with swear words. She gets hold of the sermon he wrote down and reads it herself. But Don Giglio enjoys the role of the laughing third:
"Che schiattino, che crepino,
Che stridano, si uccidano -
Senza alterarmi il fisico
Vo 'ridere e scherzar."
"
Just burst, just perish, just grumble, murder yourselves -
don't expect pity,
just laughter and mockery."
Scene 4: Bonario confides in Fiuta that his marital problems (like those Gunthers in the Nibelungenlied ) have their origin on the wedding night . Ciprigna asked him at the time to fight with the saber to see who would play the dominant role in the house. But he did not want to duel with the beloved woman and therefore gave up the command baton:
"Le misi io stesso quel legno in mano
E mi sono spesso pentito invano,
Che quella barbara senza perchè
Fin sulla testa talor mel diè."
"I gave her that staff myself,
and I have regretted it many times without success,
When the barbarian
pulled me over the head with it for no reason ."
room
Scene 5: Count Lelio sings about his love for Isabella. He informs the latter that he will ask for her hand. He has already spoken to Fiuta, who has a great influence on Bonario. They have nothing to fear from their stepmother, since she does not know him. Fiuta introduces Bonario to Lelio and even relieves him of proposing the marriage. Then he begins to play a minuet on the violin , to which the bride and groom want to dance.
Scene 6: At this moment Ciprigna appears. Fiuta explains Lelio's presence by saying that he is a dance master. Ciprigna replies - in the presence of Bonario - that only she is allowed to introduce strangers to the "old man who has become childish". But because she takes a liking to Lelio, she immediately grabs him and kidnaps him from the indignant Isabella.
Scene 7: Bonario Ciprigna wants into the barriers have by frightened her. For this purpose Fiuta armed him with arquebus , pistols , sword and saber . He also gives him instructions on how to proceed: Threatening to stab or shoot, grab, shake, turn around, ruffle the hairstyle , pinch if necessary ... Bonario promises to stick to this recipe.
Scene 8: Ciprigna announces to the supposed dance master that she is making him count (!) And her cicisbeo . He could move in with her right away. But Lelio replies that a vow forbids him from such an employment relationship.
Scene 9: The unusual rejection offends Ciprigna's self-love . A “man from the people” disdain them, at whose feet all “ Ganymede ” languished, who even princes and kings courted! She orders Cilia to have the horses harnessed to her English Phaeton, to bring every flower, every piece of jewelry, every plume. Soon discarded hats and open hat boxes pile up. After all, Ciprigna is satisfied with the maid's skills and asks her to:
"Guardami un poco dal capo ai piedi,
Dimmi se vedi difetto in me,
Se un idoletto so perfetto
Per man d'amore giammai si fe '!"
"Look at me from head to feet,
Whether you see a fault in me,
Whether the image of a goddess
Cupid's hand has ever created a more perfect picture !"
Scene 10: Asked by Fiuta and Valerio to appear to accept Ciprigna's advances, Lelio goes to the “Zum Eisbären” inn, which he has given as the address.
room
Scene 11: Armed to the teeth, at the beginning of the first finale Bonario practices in front of an empty chair how he wants to address his wife this time. When he delivers the memorized speech to Ciprigna, Ciprigna is initially impressed, so that he already believes he has reached the goal. Suddenly she pulls one of the two pistols out of his pocket. As on their wedding night, she challenges him to a duel, but immediately pulls the trigger. Bonario remains unharmed, but almost dies of fear. His children take him to his room.
Scene 12: Don Giglio asks who shot. Fiuta replies that it was bailiffs who were looking for him. Don Giglio then asks for a place to hide and is locked in a cupboard by Fiuta. From there he witnesses how Ciprigna urges Lelio to become her Cicisbeo in his place , and how the count pretends to be interested. When Don Giglio is let out of the cupboard by Fiuta, he has to take a dishonorable exit in front of the assembled house. In order to keep himself harmless, he runs an exchange . The act ends in turmoil and confusion.
2nd act
room
Scene 1: Although Isabella tries to stop him, Valerio decides to join the military the next day .
Scene 2: Lelio proposes Isabella to run away with him (and thus forego dowry and inheritance). This proposal outraged his mistress. She would rather give up her luck than her honor.
Scene 3: Lelio regrets advising Isabella to flee. He hopes Fiuta will help them.
Scene 4: Ciprigna tests how much attraction she still exerts on the offended husband:
“Guardami!” -
“Ch'io ti guardi? Crederei minor male guardar un orso, un lupo, un basilisco. "-
" Mira com'è vezzosa la tua cara Ciprigna! "-
" Lo so per mia malora. "
"Look at me!" -
"I look at you? I would rather look at a bear, a wolf, a basilisk . ”-
“ Look how lovely your dear Ciprigna is! ”-
“ Unfortunately, I know that. ”
Both call the opposite sex ungrateful and cruel, loyalty and love illusions .
Scene 5: Fiuta says goodbye to Cilia to carry out his plan. What this consists of, he withholds from the maid so that nothing can slip out of her. But he asks her to marry him if his plan succeeds and receives her promise. Not very romantically inclined, he is particularly looking forward to the sensation her wedding will make.
Scene 6: Don Giglio Ciprigna approaches submissively. ( Video on YouTube ) As compensation for the humiliation he has suffered, she promises a young, beautiful, well-to-do bride who will show her to him in a moment (probably meant Isabella).
Scene 7: Ciprigna gives Lelio the deed of ownership of the County of Valle oscura, which belongs to the Bonarios family, and jewels . Lelio feigns thanks, praising the good heart of women. Ciprigna sings about - with a small caveat - those feminine virtues that she lacks towards her husband ( video on YouTube ):
"La donna ha bello il core,
Come ha leggiadro il viso,
Col labbro invita al riso,
Cogl 'tatting inspira amor.
Felice chi l'adora,
Felice chi le crede:
Pietà, costanza, e fede
In lei si trova ognor.
E quando finge ancora
Un piccolo dispetto,
È per provar l'affetto
D'un tenero amator. "
“A woman's heart is kind,
As beautiful as her face,
The lip makes you laugh,
The eye awakens love.
Delighted who admires
her and gives her trust:
mercy, loyalty, support, he
finds it with her.
And if she causes
a little trouble every now and then ,
So she only checks the
love of one's affection. "
Scene 8: Lelio brings the gifts that Ciprigna forced on him back to Bonario. He then promised him Isabella's hand and a dowry.
Scene 9: Tired of seeing his kindness abused and having to be silent for the sake of peace, Bonario is about to let his anger run wild with his wife.
Scene 10: Ciprigna writes to Don Giglio, who spends his days in the "babbling café". (The viewer will find out the content of the ticket later.)
Scene 11: Dressed accordingly, Fiuta appears as an oriental in front of Ciprigna:
"Irco Berlico è il nome mio, nipote d'Alibec, Scanderbec, Salemelec, generale dell'armi e ambasciatore della bella Cineida nella vastissima isola Almerina, scelta da noi per sua beltà regina."
"Irco Berlico is my name, descendant of Alibech, Skanderbeg , Salem Aleikum , general of the armies and ambassador of the beautiful Kyneide, whom we elected queen on the vast island of Almerina because of her beauty."
He had traveled here to admire Ciprigna's "world-famous" beauty, who predestined her to be the successor of her monarch . All she has to do is come with him to be chosen by the forty bachelors who have been designated for the purpose. She will never have to abdicate because a means has been found with them that will help to eternal youth. The foolish can hardly wait to leave for this island of the blessed . She has already packed the suitcases (to run away with Lelio). "Berlico" is supposed to pick you up after midnight.
Scene 12: Ciprigna announces that she will take revenge on Lelio and Bonario's family by putting “Isabelita” in a convent.
Scene 13: Don Giglio reads the Billet Ciprignas: She holds out the prospect of 200 scudi if he kidnaps Isabella (and presumably also rapes her) in order to then deliver her to a monastery in Rome - that is, outside the jurisdiction of the Neapolitan judiciary . She would hand the girl over to him at one o'clock in the morning at the garden gate. Cilia tears the paper out of the abdicated Cicisbeo's hand, puts it in Bonario's pocket and gives another to Don Giglio. When this demands satisfaction for the maid's behavior, Bonario contemptuously describes him as a " parasitic gigolo ".
Scene 14: Bonario finds Ciprigna's ticket. Outraged, he gives it to Valerio, Isabella, Lelio and Cilia to read, but instructs them not to let the wife show anything.
Scene 15: Valerio and Cilia assure Bonario that everything will soon turn out fine.
Night, Bonario's house and garden
Scene 16: When it strikes one o'clock, Don Giglio wants to get Isabella. While she lets Ciprigna lead her out of the house without resistance, Lelio and a lackey grab the kidnapper. The count threatens him with the whip if he is not silent. Then he leaves it to the servant and throws Don Giglio's coat on. Unsuspecting, Ciprigna hands him the money and the mistress.
Scene 17: From the loggia of the house, the others watch Fiuta pick up Ciprigna. The finale begins with two pistol shots from Lelio. Fiuta uses the resulting confusion to slip into the house and lock Ciprigna out, although - as a contribution of the gods to the improvement of the stubborn - it begins to rain and lightning. Soaked, Ciprigna begs for admission, calling Bonario "my soul". The onlookers on the covered loggia mock:
"Regina in Almerina
Madama già sarà,
E il general Berlico
Poi l'incoronerà."
"
Our Madame will rule in Almerina ,
and General Berlico
crowns her queen."
Finally, Ciprigna expresses the wish to die on Bonario's breast if he wanted her death. Then he orders them to be let in, otherwise he will rush down (!).
Scene 18: At Fiuta's instructions, Isabella and Lelio hide temporarily.
Scene 19: Bonario receives the penitent wife with the words: "Come to me, oh beautiful joy!" Moved, she takes his outstretched hand. ( Video on YouTube )
Final scene: musicians ordered by Fiuta sound a march . The majordomo appears one last time as “Irco Berlico”, throws himself at Ciprigna's feet and declares that he organized the masquerade in her interest. To celebrate the reunion of the family, Bonario invites them to a nightly meal. Don Giglio sneaks away. Ciprigna calls after him that she detests villains, that she is leaving rule to her husband again and that she wants to make atonement for mistakes made with “golden obedience”. The final choir proclaims that family life would be better if every woman showed so much insight.
Comment: The happy ending seems artificial. One would rather expect that the reincarnation of a deity (Ciprigna = Venus ) would go to hell like Don Giovanni or the Queen of the Night than that she would shrink to a “chaste housewife” ( Schiller : Song of the Bell ). The sustainability of this change can be doubted. And the “moral of the story” is too simple not to arouse suspicion of irony .
success
The theater poet Carlo Francesco Badini tried to denigrate his successor because of his Jewish origin and the composer of the Capricciosa corretta as a Spaniard. Da Ponte paid him back with the same coin. He wrote what Christophe Rousset called the most beautiful tribute to Martín:
The press excelled in praise. The Morning Chronicle wrote on February 2, 1795:
“It is not easy to find appropriate words to praise this composition. The diversity and beauty of the arias impress the uninformierteste ear with such power as the geschulteste, and we are convinced that they all find their way to the English Theater and John Bull will make the same pleasant impression they on the Italian connoisseurs with made their more refined taste. "
Thirteen performances were followed by thirty more in London from 1798–1802. By the turn of the century, there were productions in over twenty European cities. Translations into several languages appeared. In 1802 the Times boasted that no modern composition could match this opera.
On the aria “Guardami un poco” John Field (1782–1837) wrote a fantasy for piano ( video on YouTube ), Bénigne Henry one for harp and piano, Pierre Zimmermann (1785–1853) and Charles Chaulieu (1788–1849) Variations for piano.
Forgotten and rediscovered
Even in 1824 liked the gebesserte obstinate in Frankfurt , despite the "somewhat outdated Styls". Also on this occasion, arias and chants appeared in print for the last time. According to Christophe Rousset ( video on YouTube ), however, the sound of the instruments became too heavy and the line-up of the orchestra too strong for Martín's filigree music. And instead of giving characters individuality in an intimate circle , the vocalists now had to fill larger halls with sound.
The work was performed again for the first time in 2002 on original instruments by Rousset's Ensemble Les Talens Lyriques at the Lausanne Opera House . In 2003, Rousset's critical edition of the work was published. Since both the libretto and the score of the premiere appear to be lost, it is based on the most representative later sources . 2005 followed by Martin biographer issued Leonardo J. Waisman piano reduction .
Varia
Strangely, attempts have recently been made to replace both Da Ponte's verse and Martín's music: in 2006 the Bampton Classical Opera performed the work in a new translation with the ambiguous title The Taming of the Shrew . ( Digitized version) Fabien Waksman even had his students at the Conservatoire National Supérieur et de Danse de Paris re-set the original libretto "in the style of Mozart". This version was shown in 2010 and 2011. ( Digitized version )
literature
- Abate Vittorio Carlo Nemesini (= Carlo Francesco Badini): Breve notizia dell'opera buffa, intitolata La scuola de 'maritati, o sia delle corna, scritta dal celebre Lorenzo Da Ponte, il quale dopo di essere stato ebreo, cristiano, sacerdote, e poeta, in Italia e in Germania, si trova secolare, marito e asino in Londra. Lisbona (London 1795).
- (Lorenzo Da Ponte :) Piacevoli noterelle sopra il turpe libello, intitolato Breve notizia dell'opera buffa, che ha per titolo La scola de 'maritati, composto dal sedicente Vittorio Nemesini, cioè da Carlo Francesco (Badini). (London 1795).
- La capricciosa corretta. Dramma giocoso per musica. Since rappresentarsi nel Teatro di S (ua) A (ltezza) S (erenissima) il Signor Principe di Carignano nel carnovale dell'anno 1796. Onorato Derossi, Torino (1796). ( Digitized version )
- La capricciosa cor (r) etta. Dramma giocoso per musica in due atti. Da rappresentarsi nel Regio Teatro di Praga l'anno 1796. Sotto l'impresa e (la) direzione di Domenico Guardasoni. Sebastian Diesbach, ( Prague 1796). ( Digitized version )
- La capricciosa corretta. Dramma giocoso per musica, da rappresentarsi nel teatro di S (ua) A (ltezza) E (lettorale) di Sassonia. Dresda 1796./ This is how it gets better . A joking singspiel for the Electoral Theater. Dresden 1796. ( digitized version )
- La capricciosa corretta, dramma giocoso per musica, da rappresentarsi nel Regio Teatro di S. Carlo (...) Simone Taddeo Ferreira, Lisbona 1797 (Italian / Portuguese) ( digitized )
- La capricciosa corretta. Commedia per musica. Da rappresentarsi nel Real Teatro del Fondo di Separazione per prim'opera del corrente anno 1798. Napoli 1798. ( digitized version )
- The improved stubbornness of Martin for blowing instruments (sic) set up (...) by Georg Sartorius, Hochfürstlich Hessen Darmstadt general music director. ( Darmstadt 1805.) ( digitized version )
- La moglie corretta, dramma giocoso per musica in due atti / L'épouse corrigée, opéra bouffon en deux actes (...) Héritiers Termeulen, Amsterdam 1807 (Italian / French) ( digitized )
- La capricciosa corretta. Dramma giocoso per musica. Da rappresentarsi nell ' Imperial Teatro di via della Pergola la primavera del 1811. Sotto la protezione di Sua Maestà Napoleone I , Imperatore dei Francesi , Re' d'Italia e Protettore della Confederazione del Reno . Giuseppe Fantosini, Firenze 1811. ( digitized version )
- La capricciosa corretta. Dramma giocoso per musica. Da rappresentarsi nel Nobile Teatro di San Samuele per l'occasione della sua nuova apertura nella quadragesima dell'anno 1819. Casali, Venezia (1819). ( Digitized version )
- La capricciosa corretta. Dramma giocoso per musica. Da rappresentarsi nel Teatro Valle de 'Signori Capranica l'autunno dell'anno 1819. Giunchi & Mordacchini, Roma (1819). ( Digitized version )
- Arias and chants from the opera: the reformed stubborn, in two acts. Translated from the Italian. The music is Vincenz Martín. Frankfurt am Mayn , 1824. ( digitized version )
- Memorie di Lorenzo Da Ponte, da Cèneda . Scritte da esso. 2nd edition, 2nd volume, part 1, Lorenzo Da Ponte, Nuova-Jork 1829 ( digitized version ), pp. 29, 33, 36–38, 43.
- Dorothea Eva Link: The Da Ponte Operas of Vicente Martín y Soler. Dissertation University of Toronto , 1991. University of Michigan Dissertation Services, Ann Arbor 2004.
- Vicente Martín y Soler, Lorenzo Da Ponte: La capricciosa corretta o sia La scuola dei maritati. Opera buffa in due atti. Edición crítica: Christophe Rousset . Instituto Complutense de Ciencias Musicales (Música Hispana. Partituras. Música Lírica. Orquesta. 40), Madrid 2003, ISBN 848048392X . English version of the introduction ( digitized version ).
- Vicente Martín y Soler, Lorenzo Da Ponte: La capricciosa corretta o sia La scuola dei maritati. Opera in due atti. Edición: Leonardo J. Waisman. Reducción para canto y piano. Instituto Complutense de Ciencias Musicales (Música Hispana. Partituras. Música Lírica. Canto y Piano. 22), Madrid 2005, ISBN 8480485655 .
- Lorenzo Da Ponte: Libretti londinesi, ed. v. Lorenzo Della Chà. Volume 1, Edizioni Il Polifilo , Milano 2007, ISBN 88-7050-464-6 .
- Leonardo J. Waisman: Vicente Martín y Soler. Un músico español en el Clasicismo europeo. (…) Instituto Complutense de Ciencias Musicales (Colección Música Hispana. Textos. Series Biografías. 16), Madrid 2007, ISBN 978-84-89457-35-5 , pp. 109–111, 339–361, 613–636 et passim .
Discography
- Les Talens Lyriques , Christophe Rousset . Marguerite Krull (Ciprigna), Enrique Baquerizo (Bonario), Katia Velletaz (Isabella), Emiliano González-Toro (Valerio), Yves Saelens (Lelio), Josep Miquel Ramón (Fiuta), Raffaella Milanesi (Cilia), Carlos Marín (Don Giglio ). Naïve 8887, 2003 (2 CDs) ( video on YouTube ). Selected Highlights ( video on YouTube ).
Web links
- La capricciosa corretta : Sheet music and audio files in the International Music Score Library Project
- La scuola dei maritati (Vicente Martin y Soler) in the Corago information system of the University of Bologna
- Work data for La scuola dei maritati based on the MGG with discography at Operone
References and comments
- ↑ Ciprigna = Cypriot , nickname of Venus . Ciprigno = angry, angry, angry. Alcudi = echoing the Arabic .
- ↑ Bonario = good-natured.
- ↑ Isabella = in the Commedia dell'arte lovers.
- ↑ Latin valere = healthy, strong. Valerio = character of the Commedia dell'arte .
- ↑ Lelio = in the Commedia dell'arte lover. Monteverde = green mountain.
- ↑ Fiutare = sniff, spy on.
- ↑ Irco = billy goat (appearance of the devil). Berlicche = devil. Far berlicche = don't keep your word.
- ↑ Abbreviation of Cecilia.
- ↑ Don = address of nobles . Giglio = lily (symbol of the Bourbons ). Ribaldo = villain.
- ↑ Darmstadt 1805, Frankfurt am Main 1824. Other contemporary translations: So she improves ( Dresden 1796), The stubborn woman.
- ^ Title at the world premiere in London. Variants: in Vienna 1796 Gli sposi in contrasto (The quarreling spouses), in Paris 1806 and in Amsterdam 1807 La moglie corretta (The improved wife).
- ↑ From Goya's comment on the depiction that the Duchess of Alba is supposed to show: "Certain heads are fully flammable gas, so that they don't need a balloon or witches to fly."
- ↑ Leonardo J. Waisman: Vicente Martín y Soler (...), Madrid 2007, p. 339.
-
↑ At motto below the portraits is a Petrarca - Quote :
"Non sa come amor sana, e come ancide
Chi non sa come dolce ella sospira,
e come dolce canta, e dolce ride.""He doesn't know how Cupid heals and how he kills,
Who doesn't know how sweetly she sighs
And how sweetly she sings and sweetly laughs."Instead of "canta" ( "singing") says the Canzoniere of the poet ( digitized ) "parla" ( "talks").
- ↑ Martín was called Vincenzo Martini in Italy.
- ↑ Memorie di Lorenzo Da Ponte (…) 2nd edition, 2nd volume, part 1, Nuova-Jork 1829, p. 33; “In meno di tre settimane diedi La Capricciosa corretta al Martini, che abitando con me, non solo m'inspirava l'estro di scrivere col volto ognor gajo (...) ma di mano in mano ch'io scrivea le parole egli ne faceva la musica (...) "
- ↑ See Dorothea Link: Anna Morichelli, Vicente Martín y Soler's Champion Singer. 2010 ( digitized version ), passim .
- ↑ Morelli (active 1787–1815) was younger than the prima donna (dates around 1755–1800), whose old husband he played.
- ↑ After the premiere, the character of the captain Sbaraglia , embodied by bass Luigi Bonfanti (Capitano = in the Commedia dell'arte boastful military, sbaragliare = to defeat), was deleted. Mute roles: servants of Bonario, Turks , Moors , slaves , sailors .
- ↑ Leonardo J. Waisman: Vicente Martín y Soler (...), Madrid 2007, p. 343.
- ↑ Cf. Memorie di Lorenzo Da Ponte (...) 2nd edition, 1st volume, part 2, Nuova-Jorca 1829 ( digitized ), p. 102.
- ↑ The Magic Flute by Schikaneder / Mozart.
- ↑ No. 1, Aria Cilias “Ha un certo cervello”. Ciprigna later also compares himself to a leaf in the wind (1st act, scene 3, quintet).
- ↑ No. 2, Cavatina Ciprigna's "Son pur folli e vanarelli". At the premiere and maybe not part of the opera at all in London. (Dorothea Eva Link: The Da Ponte Operas of Vicente Martín y Soler. Dissertation University of Toronto , 1991. University of Michigan Dissertation Services, Ann Arbor 2004. p. 269 / note 21.)
- ↑ No. 3, Don Giglio's aria “Quante son le fila d'oro”.
- ↑ For example, “simple-minded slap face” (“ignorante da ceffate”) and “ugly monkey” (“gross macaco ”).
- ↑ Gunther's bride Brünhilde ties the king up and leaves him hanging on a nail for the night.
- ↑ In Una cosa rara (2nd act, scene 17 f.) Lilla and Ghita know how to wield the sword .
- ↑ No. 4, Bonario's aria “La prima notte del matrimonio”.
- ↑ No. 5, Lelio's aria "Qui vive e respira".
- ↑ No. 6.
- ↑ Allusion to Figaro's aria “Se vuol ballare, Signor contino”?
- ↑ No. 7, Fiuta's aria "Figuriamo che in questo momento".
- ↑ No. 8, Lelio's aria "Siete cara e siete bella". The melody is that of the aria “Dove sono i bei momenti” by Countess Almaviva from Mozart's Figaro (3rd act, scene 8).
- ↑ No. 9.
- ↑ No. 10.
- ↑ No. 11, Valerio's aria "Un fucile, un spadon". Counterpart to Figaro's aria “Non più andrai, farfallone amoroso”.
- ↑ No. 12, Isabella's aria "Sono oppressa e sventurara".
- ↑ No. 13, Lelio's aria "Senza il caro mio tesoro".
- ↑ No. 14, Duet Ciprignas and Bonarios "Mirate, mirate, lo sposo crudele".
- ↑ No. 15, Fiuta's aria "Allegramente, Cilietta cara!"
- ↑ No. 16, Don Giglio's aria “Oh! che manina tenera ”.
- ↑ Valle oscura = dark valley (cf. Psalm 23, 4). Counties could come into the possession of merchants as pledges .
- ↑ No. 17 ( alla polacca ).
- ↑ No. 18, Bonario's aria "Senza l'onesto procedere di Lelio".
- ↑ Protagonist of the erotic story Rustico ed Alibech in Boccaccio's Decamerone (3, 10).
- ↑ κύων = dog (in Greek mythology, animal of the underworld ).
- ↑ According to Fiuta, this island with the Arabic- sounding name is "at the foot of the Taurus , between the Arctic and Antarctic , in the center of Virgo , by the Great Bear and perpendicular to the Ibex ". It was a year, a month and a day away, but Ciprigna's journey there would be less than a day.
- ↑ No. 19, Duet Fiutas and Ciprignas "Vedrete che allegria".
- ↑ No. 20, Ciprigna's aria “Nel cor mi sento un giubilo”.
- ↑ No. 21, Duet Don Giglio and Bonario "In questo secolo, so va il mondo".
- ↑ no. 22, Terzett Don Giglio, Lelios and Ciprignas "Son qui sol, quasi ho paura".
- ↑ No. 23.
-
↑ "Vada e dica a tutti quanti:
Ch'io detesto i birbanti,
Che l'impero rendo al sposo,
Che coll'aurea oboperza (...)
Vuo 'emendar gli andati error." -
↑ "Se ogni moglie fosse tale,
Tanti furbi starìan male,
Nelle case vi sarìa
La concordia e il buon umor.
E le liti de 'mariti
Darìan loco all'allegria
E alla pace che auguriamo
A sì umani spettator. " - ↑ Act 1, Scene 9, No. 9.
- ↑ See Leonardo J. Waisman: Vicente Martín y Soler (…), Madrid 2007, pp. 613–636.
- ↑ In the introduction to his critical edition of La capricciosa corretta.
- ↑ "Dolce nella cantilena, gentile nelle frasi, vero nell 'espressione, pieno d' estro, di foco, di leggiadrìa, incantò le più armoniche nazioni colla bellezza, e colla novità della sua affettuosissima musica (...)" (Lorenzo Da Ponte ) Piacevoli notorelle sopra il turpe libello, intitolato Breve notizia dell'opera buffa, che ha per titolo La scola de 'maritati (…) (London 1795), p. 6; quoted based on Leonardo J. Waisman: Vicente Martín y Soler (...) Madrid 2007, p. 624.
- ↑ "It is not easy to speak in adequate praise of this composition. The variety and beauty of the airs strike the most uninformed as forcibly as the most classical ear, and we are persuaded that they will all find their way to the English Theater, and strike John Bull as pleasantly as they have the more refined taste of the Italian cognoscenti. ”Quoted from Lorenzo Da Ponte: Libretti londinesi, ed. v. Lorenzo Della Chà, Volume 1, Edizioni Il Polifilo , Milano 2007, p. 735.
- ↑ Among others in Venice (1795), Dresden, Florence, Genoa, Milan, Prague, Turin, Udine, Vienna (1796), Pisa, Lisbon, Madrid, Naples (1797), Weimar, Darmstadt (1799).
- ↑ Leonardo J. Waisman: Vicente Martín y Soler (...), Madrid 2007, p. 112 f.
- ^ "No modern composition is equal to it." Quoted from Theodore Fenner: Opera in London, Views of the Press, 1785–1830, Southern Illinois University Press, Carbondale / Edwardsville 1994, ISBN 0-8093-1912-8 , p 114.
- ↑ Review in: Iris, entertainment paper for art, music and poetry. Frankfurt am Main, January 25, 1824, p. 32.
- ↑ Arias and chants from the opera: die improved obstinate (...) Frankfurt am Mayn, 1824. ( digitized version )
- ↑ See the review of the Neue Zürcher Zeitung of December 10, 2002 ( digitized version ).
- ↑ Vicente Martín y Soler, Lorenzo Da Ponte: La capricciosa corretta o sia La scuola dei maritati. Opera buffa in due atti. Edición crítica: Christophe Rousset . Instituto Complutense de Ciencias Musicales (Música Hispana. Partituras. Música Lírica. Orquesta. 40), Madrid 2003, ISBN 848048392X .
- ↑ Vicente Martín y Soler, Lorenzo Da Ponte: La capricciosa corretta o sia La scuola dei maritati. Opera in due atti. Edición: Leonardo J. Waisman. Reducción para canto y piano. Instituto Complutense de Ciencias Musicales (Música Hispana. Partituras. Música Lírica. Canto y Piano. 22), Madrid 2005, ISBN 8480485655 .