La concordia de 'pianeti

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Opera dates
Title: La concordia de 'pianeti
Title page of the libretto, Vienna 1723

Title page of the libretto, Vienna 1723

Shape: Componimento teatrale in one act
Original language: Italian
Music: Antonio Caldara
Libretto : Pietro Pariati
Premiere: November 17, 1723
Place of premiere: Znojmo (South Moravia)
Playing time: approx. 1 ¾ hours
people

La concordia de 'pianeti (German: "The unity of the planets") is a serenata (original name: "Componimento teatrale") in one act by Antonio Caldara (music) with a libretto by Pietro Pariati . It was performed for the first time on November 17, 1723 on the occasion of the name day of Empress Elisabeth Christine .

action

The work consists of two sections framed by choral movements. In the first round, the seven gods ("planets") Diana , Apollo (Apollo), Venus (Venere), Jupiter (Giove), Mars (Marte), Mercury (Mercurio) and Saturn (Saturno) put their respective views on the undisputed The advantages of Empress Elisabeth Christine , who has not yet been named . Mercury, Jupiter and Saturn believe that she deserves to be celebrated in heaven. Diana, Venus, Mars and Apollo, on the other hand, think that they should be satisfied with earthly honors. Jupiter can convince the latter, however. Finally the name of the praised is announced. In the second part, the four losers explain why they gave up, and all promise “Elisa” their support. The "harmony of the planets" is restored.

At the beginning, the seven gods ask the stars to shine brighter than usual to celebrate the day (No. 2, chorus: “Oggi brillate e ardete”). Mercury explains that Heaven should celebrate "an exalted, glorious name" of "great virtue". Venus wants to know if this is a goddess or a mortal. An earthly person should be content with earthly honors. Mercury confirms that it is earthly, but apart from its beautiful shell, everything about it is divine, comparable to a jewel encased in a clear crystal, which enhances the shine of the crystal (No. 4, Aria Mercurio: “Tal se gemma e rara e bella "). Diana and Venus think he's exaggerating. The latter means that the beauty of the praised (a hyacinth or a violet) can certainly not be compared with her own (a rose) (No. 6, Aria Venere: "Non si turba e non si duole"). Jupiter, however, agrees with Mercury, because innocence and humility are often more beautiful than thorny pomp. Diana wants to challenge the stranger to compete with her on the hunt (No. 8, Aria Diana: “Ad essa io cederò”). Saturn replies that this “excellent and brilliant woman” deserves to be celebrated as a goddess in heaven because of the purity of her parentage, her virtue and bravery. Diana bragged about being feared, but this woman was loved (No. 10, Aria Saturno: “Di quel bel nome al suono”). Mars and Apollo think that she should be satisfied with the earthly honors she deserves in order not to succumb to the sin of pride. Mars reminds us of the weakness of women to give credit to highly exaggerated compliments (No. 12, Arie Marte: “Non v'è bella che non creda”). Mercury and Jupiter contradict. However, Apollo thinks that an earthly woman should not be given excessive fame. He himself had already experienced that a mist became proud through its proximity, rose from the ground and boasted of being a star (No. 14, Aria Apollo: “So ch'io dal suolo alzai”). Jupiter replies that this “famous heroine”, like her husband, is far too clever to overestimate herself. The goal of their virtues is the common good. Therefore, her name must also be celebrated in heaven (No. 16, Aria Giove: "Alla bontade e al merto"). Venus and Diana cannot counter this. But you finally want to know which name is actually meant. Saturn, Jupiter and Mercury suggest that one could read the name in the stars of the “heavenly centaur”, in the rivers of Austria or in the applause of the bonfires of Etna. Mercury finally gives the solution: "the exalted Queen and Empress Elisa". Everyone calls on heaven and the gods to consecrate Elisa this day and to always look at her with benevolence (No. 18, chorus: “Questo giorno celebrate”).

Venus now recognizes Elisha without envy. Her own fame is secured by the fact that she is a goddess and the mother of Cupid . She points out the graces , who today appeared particularly beautiful and numerous to Elisa’s waitress (No. 20, Arie Venere: “Ad Elisa ancor d'intorno”). Mercury adds that Venus' son Amor will spread terror everywhere like a tyrant, while Elisa will be the mother of a new true love (No. 22, Aria Mercurio: “Madre d'Amor tu sei”). Diana also gives up. She promises Elisa divine help in her good work (No. 24, Aria Diana: "Voti amanti ch'il chiedete"). Apollo wants to dedicate this month (November), which was once dedicated to him in Athens and to Diana in Rome, from now on to Elisha. However, every day of Elisha's life deserves the same applause as today (No. 26, Aria Apollo: “Questo dì so giocondo”). Venus asks Mars to do the honor to Elisa together with her. For this purpose Mars retuned his trumpets, which no longer call for a fight, but praise the “shining, bright name” of Elisa (No. 28, Aria Marte: “Da mia tromba”). Saturn is delighted that heaven is now joining earthly joy. He promises a wonderful future for the children of the imperial couple (No. 30, Aria Saturno: “Pari a quella il mondo vede”). Jupiter joins the blessings (No. 32, Aria Giove: "Goda il mondo"), and everyone celebrates the "great Elisa" (No. 34, chorus: "Tu sei cara in pari guisa").

The work closes with a “License”, a personal homage to the Empress by Venus, who symbolically places “the harmony of the planets” at her feet (No. 36, Aria Venere: “La concordia de 'pianeti”). Everyone repeats the previous praise (No. 37, choir: “Tu sei cara in pari guisa”).

layout

Title page of the manuscript, Vienna 1723

In the overture, Caldara unusually uses four trumpets. Only two other operas by him are known in which the orchestral introduction uses a trumpet quartet: Cajo Marzio Coriolano (for the Empress's birthday in 1717) and Enone (composed for the Empress's birthday in 1728). There are two different types, two clarini and two trombe. The clarini take on the melodic function of the violins, while the trombi serve the harmonic framework.

The opening choir sounds like a ritornello alternating with solo sections. The arias are very catchy. In Jupiter's aria (No. 16, “Alla bontade e al merto”), oboes and bassoon alternate with the strings. The aria of Mars (No. 28, “Da mia tromba”) uses an obbligato trumpet.

orchestra

The orchestral line-up of the Serenata includes the following instruments:

Music numbers

The Serenata contains the following musical numbers:

  • No. 1. Introduction
  • No. 2. Choir: "Oggi brillate e ardete" (Choir, Diana, Apollo, Venere, Giove, Marte, Mercurio, Saturno)
  • No. 3. Recitative: "Qual fia costei?" (Venere, Mercurio)
  • No. 4. Aria: "Tal se gemma e rara e bella" (Mercurio)
  • No. 5. Recitative: "Di Mercurio è costume" (Diana, Mercurio, Venere)
  • No. 6. Aria: "Non si turba e non si duole" (Venere)
  • No. 7. Recitative: “Ben sovente più bella” (Giove, Venere, Diana, Mercurio)
  • No. 8. Aria: "Ad essa io cederò" (Diana)
  • No. 9. Recitative: "Mercurio non risponde?" (Saturno, Giove)
  • No. 10. Aria: "Di quel bel nome al suono" (Saturno)
  • No. 11. Recitative: "Se tanto ottien laggiù" (Marte, Apollo, Diana, Venere)
  • No. 12. Aria: "Non v'è bella che non creda" (Marte)
  • No. 13. Recitative: "Mal crede il dio guerrier" (Mercurio, Giove, Apollo)
  • No. 14. Aria: "So ch'io dal suolo alzai" (Apollo)
  • No. 15. Recitative: "Mal discerni fra i grandi" (Giove)
  • No. 16. Aria: "Alla bontade e al merto" (Giove)
  • No. 17. Recitative: "Giove è mio nume" (Venere, Diana, Saturno, Giove, Mercurio)
  • No. 18. Choir: "Questo giorno celebrate" (choir)
  • No. 19. Recitative: "Qual se improvvisa face" (Venere, Giove)
  • No. 20. Aria: "Ad Elisa ancor d'intorno" (Venere)
  • No. 21. Recitative: "Più belle semper furo" (Mercurio, Saturno, Giove)
  • No. 22. Aria: "Madre d'Amor tu sei" (Mercurio)
  • No. 23. Recitative: "Poiché tanto prometti" (Diana, Giove)
  • No. 24. Aria: "Voti amanti ch'il chiedete" (Diana)
  • No. 25. Recitative: "Ben cedi, o Cintia" (Apollo)
  • No. 26. Aria: "Questo dì così giocondo" (Apollo)
  • No. 27. Recitative: "No, non è il solo" (Marte, Venere)
  • No. 28. Aria: "Da mia tromba" (Marte)
  • No. 29. Recitative: "Mi piace, o dive, o numi" (Saturno)
  • No. 30. Aria: "Pari a quella il mondo vede" (Saturno)
  • No. 31. Recitative: "Il giusto augurio accetto" (Giove, Tutti)
  • No. 32. Aria: "Goda il mondo" (Giove)
  • No. 33. Recitative: "Sì, goda il mondo" (Venere, Diana, Apollo, Giove, Tutti)
  • No. 34. Choir: "Tu sei cara in pari guisa" (Tutti, choir)

License

  • No. 35. Recitative: "Ecco, Elisa, gli applausi" (Venere)
  • No. 36. Aria: "La concordia de 'pianeti" (Venere)
  • No. 37. Choir: "Tu sei cara in pari guisa" (Tutti, choir)

Work history

Emperor Charles VI. was crowned King of Bohemia in Prague in 1723. The return journey took the court society, with his wife Elisabeth Christine , to the castle in Znojmo in South Moravia on November 19 . The Empress's name day was celebrated there. For this purpose the imperial vice-bandmaster Antonio Caldara composed his "componimento teatrale", which was performed outdoors and was therefore particularly large with four trumpets and timpani. The libretto came from the imperial poet Pietro Pariati .

The vocal line-up was top-class: the castrato Giovanni Carestini sang Apollon, the tenor Gaetano Borghi sang Mercury, the old castrato Gaetano Orsini sang Jupiter, Anna la Ambreuille sang Venus, the soprano castrato Domenico Genovesi sang Diana, Pierin Cassati sang Mars and the bass Christoph Praun den Saturn. The Wiener Diarium reported on the event as follows:

“[After 5 o'clock] came to the Kaiserl. Two quarters, most heartily decorated and each of 8 horses 4th and 4th pulled side by side, very tall triumph carriages: the horses were dressed up with valuable saddlecloths and feather bushes; and the wagons are adorned with very beautiful paintings mixed with gold and silver, as well as hung all around with many flags and various symbols of triumph; on which wagons the Kaiserl. Vocal and instrumental music of which the people dressed in opera clothes were very properly dressed under the direction of the Kaiserl. Colonel Directors Musices (Tit.). Lord Prinssen Pio, & c. Serenata most worth seeing, under the title: La Concordia de Pianeti. The correspondence whose planet was produced: the poetry of it was from Mr. Pariati, Kaiserl. Poets made these however by the Mr. Anton Caldara, Kaiserl. Vice-Cappell Masters have been brought into music. Around the 2nd carriages stood a multitude of people dressed in old Romanesque clothes, holding white wax torches in their hands: and most of the local Jews have never seen such warm ideas in their lives, the influx would be so frequent that the otherwise large city Almost too small for them, and the highest roofs occupied, then the Hamilton soldiers had enough to do to prevent any disorder. This admirable performance had the highest content of both emperors. Majesties and all high and lowly entitled persons of the standing ended around 9 o'clock after which the evening meal was taken and thus this desired and happy day was completed. "

The work was then forgotten for a long time. It was only rediscovered when the conductor Andrea Marcon was looking for a festive serenata for his music program with the La Cetra Barockorchester Basel and viewed “tons of microfilms” with the musicologist Bernardo Ticci. The first performance in recent times took place on January 18, 2014 in the Konzerthaus Dortmund under the direction of Andrea Marcon. In this context, a CD recording was made.

Recordings

Web links

Commons : La concordia de 'pianeti  - collection of images, videos and audio files

Remarks

  1. ↑ Diana is the goddess of the moon and the hunt.
  2. ↑ The Empress was pregnant at the time of the performance, and an heir to the throne was eagerly awaited.

Individual evidence

  1. ↑ a b c A. Peter Brown: Caldara's trumpet music for the Imperial celebrations of Charles VI and Elisabeth Christine. In: Brian W. Pritchard (Ed.): Antonio Caldara. Essays on His Life and Times. Scolar Press, Vermont 1987, ISBN 0-85967-720-6 . P. 16 f.
  2. ↑ a b c d Markus Bruderreck: Antonio Caldara - An unknown master. In: Supplement to the CD Deutsche Grammophon Archiv 00289 479 3356, pp. 7–8.
  3. ↑ a b c Supplement to the CD Deutsche Grammophon Archiv 00289 479 3356.