La finta giardiniera

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Work data
Title: The disguised gardener
Original title: La finta giardiniera
Shape: Dramma giocoso in three acts
Original language: Italian
Music: Wolfgang Amadeus Mozart
Libretto : Giuseppe Petrosellini (?)
Premiere: 1) January 13, 1775
2) May 1, 1780
Place of premiere: 1) St. Salvator Opera House , Munich
2) Komödienstadl Augsburg
Playing time: approx. 3 ½ hours
Place and time of the action: near Milan, mid-18th century
people
  • Don Anchise, Podestà by Lagonero, Sandrina's lover ( tenor )
  • Marchesa Violante Onesti, mistress of Count Belfiore, believed dead, disguised as a gardener under the name Sandrina ( soprano )
  • Contino Belfiore, first Violantes, then Arminda's lover (tenor)
  • Arminda, a noble lady from Milan, first Ramiro's lover, then promised Belfiore (soprano)
  • Cavaliere Ramiro, Arminda's lover, abandoned by her (soprano, castrato )
  • Serpetta, chambermaid at Podestà, in love with her (soprano)
  • Roberto, Violante's servant, under the name of Nardo, gardener's boy at Podestà, Serpetta's ( bass ) lover, neglected

La finta giardiniera (German: The disguised gardener or The gardener out of love ) is an opera by Wolfgang Amadeus Mozart in three acts ( KV 196) under the generic name Dramma giocoso . The text of the original version from 1775 probably comes from Giuseppe Petrosellini. In 1780 a German version of the Singspiel by Johann Franz Xaver Stierle was published, which was obviously authorized by Mozart.

content

prehistory

In a heated argument, the Count Belfiore seriously injured his lover, the Marchesa Violante, with a dagger out of jealousy. He even thinks he might have killed her. The two have not seen each other since that incident.

first act

A year later, the Podestà castle and garden

The Marchesa Violante Onesti, who still cannot forget Count Belfiore, disguised herself as the gardener Sandrina and had herself employed at the court of the Podestà because she had heard of a rumor that Count Belfiore was in this area. She is accompanied by her servant Nardo, who pretends to be her brother. The Podestà, who is not averse to amorous adventures with beautiful young women in his service, has fallen in love with Sandrina and deeply injured the maid Serpetta, for whom he recently applied. Nardo has again fallen in love with Serpetta, but is ignored by the latter. Arminda, the niece of the Podestà, arrives to meet her bridegroom, Count Belfiore, a stranger to her. The Podestà is proud to be able to become the uncle of a count. Little does Arminda suspect that Ramiro, neighbor of the Podestà and Arminda's childhood sweetheart, is waiting for her in despair and anger. When Belfiore enters, Arminda is instantly in love and can no longer wait to finally become a countess. When Sandrina enters and sees Belfiore, the two recognize each other again, which causes great turmoil in the Podestà's house.

Second act

There, later a quarry

The togetherness of the quarreling couples in the Podestà house is agonizing. Since she feels betrayed by her lover, Sandrina does not reveal herself as Marchesa Violante Onesti. A letter from the Milan High Council arrives. It orders the Podestà to arrest the count, as he is suspected of having killed or kidnapped the Marchesa Violante Onesti. In order to save the count, Sandrina reveals himself to be Violante, but immediately denies it to him in private because he is going to marry Arminda and flees the house. Nardo and Belfiore follow her, as do the Podestà, who now proudly represents “state authority”. Serpetta follows after and decides to pay more attention to Nardo in the future, since as Sandrina's brother he must also be a count. Finally, Ramiro and the police follow in the hope that by rectifying the turmoil, the wedding between Belfiore and Arminda can be prevented. In the end, Arminda also leaves the house. So everyone ends up in a dangerous quarry at night and in terrible weather, into which Sandrina has taken refuge. With no light shedding light on the confused relationships, all anger eventually turns against Sandrina and Belfiore. Both get into a crazy state of mind and claim to be Mercury or Medusa and Erminia . The two are captured and locked up in the Podestà's house.

Third act

House and garden of the Podestà

Nardo got the guards drunk and got hold of the key to free Sandrina and Belfiore. When Serpetta surprised him with an unambiguous invitation in this situation, he unfortunately had to refuse. The Podestà notices the escape and is increasingly unable to cope with the political entanglements and the desires of the lovers in his home. Ramiro shows Arminda the seriousness of his feelings when he again complains bitterly about the betrayal of their mutual love, and can finally impress her. Violante and Belfiore are called into the garden of their lost love and decide to start over after Belfiore has convinced Violante of the depth of his feelings. A new letter from Milan requesting that Violante and Belfiore appear before the High Council immediately brings the Podestà to the brink of despair. The appearance of Violante and Belfiore as well as Ramiro's diplomatic arts save him office and dignity in the end. All lovers find each other; the intermittent confusion dissolves and clears the way for joy and reconciliation.

music

Mozart's La finta giardiniera belongs to the opera buffa genre , within which it follows the opera semiseria (semi-serious opera) popular at the time . Accordingly, in addition to Buffa games (Serpetta, Nardo, Podestà), there are also semi-serious games (Sandrina, Belfiore, Arminda) and even a pure Seria game (Ramiro). This is reflected directly in the music: Serpetta and Nardo, for example, receive pure buffa arias, while the arias of Ramiro and in part also Armida and Sandrina could also find their place in an opera seria . Hence the music as a whole is of great wealth. Mozart shows himself to be a real master of opera buffa, the leap since his last buffa opera La finta semplice is huge. At the same time, the music already points beyond the contemporary buffa opera to masterpieces such as Le nozze di Figaro and Don Giovanni (an aria by Sandrina in the first act literally anticipates a phrase by Susanna from the second act of Figaro). The first two acts contain large-scale, effective finals. In the second act, Mozart combines the finale with several preceding arias and recitatives to form a large scene that breaks the boundaries of contemporary number operas.

Emergence

Mozart wrote this opera for Mardi Gras in Munich. He probably received the order (assumption Robert Münster ) from the Munich artistic director Joseph Anton von Seeau . Mozart probably began composing as early as autumn 1774, and in December 1774 he traveled to Munich with his father Leopold. The premiere took place on January 13, 1775 in the presence of Elector Maximilian III. Joseph in Munich.

literature

  • Daniel Brandenburg (arrangement): Mozart's operas. Everything from "Apollo and Hyacinth" to the "Magic Flute" . Piper Verlag, Munich 2005, ISBN 3-492-04789-0 (excerpt from “Piper's Encyclopedia of Music Theater, Opera, Operetta, Musical, Ballet”; Vol. 4 [1991]).
  • Stefan Kunze: Mozart's operas . Reclam, Stuttgart 1996, ISBN 3-15-010416-5 .
  • Silke Leopold: Leopold u. a. In: Diess .: Mozart Handbook . Bärenreiter, Kassel 2005, ISBN 3-7618-2021-6 .
  • Arnold Werner-Jensen: Reclam's music guide Wolfgang Amadeus Mozart . Reclam, Stuttgart
  1. Instrumental music . 1989, ISBN 3-15-010359-2 .
  2. Vocal music . 1990, ISBN 3-15-010360-6 .

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