La pietra del paragone
| Opera dates | |
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| Title: | The touchstone / the love test |
| Original title: | La pietra del paragone |
Title page of the libretto, Milan 1812 |
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| Shape: | Melodramma giocoso |
| Original language: | Italian |
| Music: | Gioachino Rossini |
| Libretto : | Luigi Romanelli |
| Premiere: | September 26, 1812 |
| Place of premiere: | Milan Scala |
| Playing time: | approx. 2 ¾ hours |
| Place and time of the action: | a populated and rich village, not far from one of the big cities of Italy, in its neighborhood and especially in a graceful villa of Count Asdrubale there |
| people | |
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La pietra del paragone (Eng. The test stone or the test of love ) is a " melodramma giocoso " in two acts by Gioachino Rossini ( music ) with a libretto by Luigi Romanelli . It was performed for the first time on September 26, 1812 at La Scala in Milan.
action
Count Asdrubale has a choice of three women. To put this to the test, he disguised himself as a Turkish merchant and fakes his own ruin. In this situation, only Clarice remains with him. In the second act, Clarice, for her part, tests the Count's love by pretending to be her twin brother who wants to take her away with him. Only after the count seriously asks for his sister's hand does she reveal herself, and the two find each other.
first act
Garden of Count Asdrubale's villa
Scene 1. A mixed choir of guests and gardeners. Enter Pacuvio, Fabrizio, Baroness Aspasia and Donna Fulvia one after the other. The choir praises the wealth and generosity of the Count, who has difficulty choosing a suitable wife (Introduction I: “ Non v'è del Conte Asdrubale ”). Pacuvio tries in vain to recite his new poem. Since society does not want to hear about it, he tries his luck with the caretaker Fabrizio and the baroness. The two manage to tear themselves away when Fulvia appears and confiscates Pacuvio.
Scene 2. Pacuvio compliments Fulvia. However, she points out that she is hoping for the Count's hand because of his fortune. But she promises Pacuvio a good living as soon as she is married. When the two see the poet Giocondo - who hates Pacuvio - and the journalist Macrobio approaching, they move away.
Scene 3. Macrobio and Giocondo argue violently about the meaning of their respective art (duet: “ Mille vati al suolo io stendo ”). Eventually they change the subject. Macrobios is curious which of the widows present will receive the Count's favor. He taps the Marquise Clarice. Giocondo, who is interested in Clarice himself, regretfully agrees. They go.
Scene 4. Enter Clarice. She laments the uncertainty of her love. Unseen, the count always echoes her last words. These words indicate that he loves her ( "non t'amo" - "t'amo" / "Pietà di te non sento" - "sento" ). Clarice gains confidence that he will prefer her to the other two women (Cavatine: " Eco pietosa "). She hides to watch him.
Scene 5. The Count appears. After making sure that Clarice has left, he reveals his views on the marriage in a self-talk: he would have feelings for Clarice if he didn't know that the women were cheaters (Cavatine: " Se di certo io non sapessi ") . But he does not want to be seduced, but longs for loyalty. How can he find out which of the three widows is not only after his money but loves himself?
Scene 6. Clarice emerges from hiding. She jokes with the Count about whether the echo is male or female. She had the impression that it had declared its love for her. The Count replies that the echo occasionally drives jokes (duet: “ Conte mio, se l'eco avesse ”). They go.
Scene 7. Macrobio woos the baroness. She reminds him that she is a baron's widow and that he is only a journalist. Besides, the count is rich. However, if this does not work out, be ready to accept his services. In the meantime he could make the count a little jealous. Then when she is rich, he will be satisfied too. They go.
Scene 8. Fulvia wants to give the count a rose. She shows it to Pacuvio and allows him to recite his poem (aria " Ombretta sdegnosa del Missipipì "). Fulvia praises him.
Scene 9. The count joins them, lost in thought. His heart speaks for Clarice, but he doesn't know how to act. Pacuvio urges Fulvia to give him the rose. Since she hesitates, Pacuvio shows her the poetic words with which she could present the rose. The count is amazed at his behavior and the inappropriate verses and can hardly hold back laughing.
Scene 10. The count is planning a “love trial” for the applicants. For this purpose he wants to dress up as an African. Fabrizio is to assist him. The count is leaving.
Scene 11. Fabrizio worries about his master.
Ground floor room with access to the garden
Scene 12. Clarice tells Giocondo about her deceased twin brother Lucindo. Giocondo regrets her interest in the Count. When he expresses his wish that she should also turn to him, her expression darkens - which when Macrobio appears, cheers up again. Macrobio and Giocondo immediately quarrel again over their favorite subjects of journalism and poetry. The count also interferes. Only Clarice succeeds in calming her down by declaring that all three are unreasonable and contradicting: the count wants and does not want, Giocondo is silent and sighed, and Macrobio praises or criticizes - but none of them can justify his behavior (quartet: " Voi volete, e non volete "). Fabrizio brings the count a letter. He reads it and pretends to be worried. Meanwhile, the others are puzzling over the message they have received. Everyone goes.
Scene 13. Pacuvio plans to show his new poem Macrobio so that his newspaper can cover it. Fulvia comes and says that she doesn't understand why the count laughed. Pacuvio thinks it happened simply out of joy. The baroness comes by looking for Macrobio. Pacuvio goes to fetch him and in doing so brings his poem to the man.
Scene 14. The baroness and Fulvia try to find out how the other feels about the count. Both claim to have been treated very courteously by him. Pacuvio comes back with Macrobio. However, he is not interested in his poem, because he already has enough material for the next six months and is completely overloaded with the requests from the many artists (aria: “ Chi è colei che s'avvicina? ”).
Garden as before
Scene 15. A chorus of gardeners complains about the count, who has sadly withdrawn into his room (chorus: “ Il Conte Asdrubale ”). They move away and Clarice appears, followed by her admirer Giocondo. Macrobio, who pretends not to have noticed, recites the story of the secret love between Medoro and Angelica, who are persecuted by Count Orlando (Finale II: “ Su queste piante incisi ”). After a while, Macrobio pretends to notice Clarice and Giocondo and explains the subject of his poem to them in a sarcastic tone. He goes. The Baroness and Fulvia come and tell Clarice and Giocondo that the Count has lost all of his fortune (Finale I-II: “ Oh caso orribile! ”). Fulvia is relieved that he did not marry her. The Baroness and Fulvia go to find out more details.
Scene 16. Macrobio and Pacuvio return. Macrobio says someone presented a hundred-year-old promissory note for six million. When Clarice asked about the creditor, Pacuvio and Macrobio respond with wild speculations: he came from Japan - from Canada - he was a Turk from Britain - a German from Bevagnia (the land of drinkers). Clarice and Giocondo leave, exasperated.
Scene 17. The Baroness and Fulvia come and report the arrival of the believer. Shortly afterwards, the count in disguise appears with some servants and seamen as well as some alleged members of the court. Fabrizio pretends to be extremely worried. In strange Italian that the others barely understand, the count presents the supposed IOU. When they realize that he is about to "seal" the entire property, they worry about their own possessions - including the Baroness and Fulvias' valuables and the manuscripts and dramas of Macrobios and Pacuvios. She cares less about the count's property.
Courtyard in the Count's house
Scene 18. While Clarice ponders her loyalty to the Count, the latter appears apparently gloomy in his own clothes (Finale I-III: “ Non serve a vil politica ”). Giocondo tries to encourage him. The three realize that adverse events are a “touchstone” for friendship. Macrobio, Pacuvio, the Baroness and Fulvia join in and congratulate Clarice that she now has the Count to herself (Finale I-IV: “ Marchesina… Contessina… ”). The count asks those present how they want to support him in his misfortune. Macrobio offers a newspaper article and Pacuvio an elegy, but the Baroness and Fulvia avoid the subject. Giocondo, on the other hand, puts his house at the disposal of the Count, and Clarice offers him her hand.
Last scene. Fabrizio arrives beaming with joy with the choir of guests and gardeners. He presents an old document that he claims to have found in a dusty cupboard and that corresponds to the equivalent value of the promissory note (Finale IV: “ Viva, viva! / In un cantone ”). With that the count is saved. Everyone expresses their joy - Clarice and Giocondo with genuine cordiality, the Baroness, Fulvia, Macrobio and Pacuvio, on the other hand, only feigned.
Second act
Room in the Count's house, as in the first act
Scene 1. First the baroness, Fulvia and the choir of the guests appear from one side, then Macrobio and the count, from the other Giocondo and Pacuvio. While the choir comments on the stranger's departure, the Baroness and Fulvia consider how they can take revenge on the Count, Clarice and Giocondo (Introduction II: “ Lo stranier con le pive nel sacco ”). Macrobio and Pacuvio apologize to the Count for their behavior: Macrobio claims that he was joking - Pacuvio, on the other hand, claims poetic freedom. Giocondo has nothing but contempt for them. While he is talking to the count, the baroness approach Macrobio and Fulvia Pacuvio to use them for their purposes. Macrobio tells the baroness about a new Chinese fashion that he would soon publish in his newspaper. Pacuvio confidently tells Fulvia that Giocondo had only faked his friendship with the Count. Macrobio and Pacuvio agree to the two women’s plans. The count calls for a hunting trip and sends a servant to fetch Clarice. Fulvia decides to stay in the house.
Scene 2. Fulvia holds back Macrobio and the baroness and whispers something in the baroness's ear. The baroness then tells Macrobio that Fulvia has already been avenged because Pacuvio had defeated Giocondo in battle. Macrobio should therefore challenge the count to save her honor. Although Macrobio doubts Pacuvio's action, he promises the baroness to do so after the hunt.
A forest
Scene 3. A choir of hunters ironically invites the poet Pacuvio to hunt (chorus: “ A caccia, o mio signore ”). When the wind comes up, some birds fly up and Pacuvio aims his rifle at random without ever getting a shot (Temporale: “ Sì, sì, ci parleremo ”). The wind turns into a thunderstorm. Pacuvio is looking for shelter in a panic and finally escapes.
Scene 4. After the storm has subsided, Giocondo appears, separated from the others. He compares the storm to the storm in his heart and thinks of Clarice, whom he imagines in the arms of his friend. A lament about her beauty follows (scene and aria: “ Oh come il fosco impetuoso nembo - Quell'alme pupille ”).
Scene 5. When Clarice appears, Giocondo tells her about three enemies he has in his chest: their happiness, his love and friendship. Clarice tries to comfort him and promises that one day he too will find love. Unnoticed by the two of them, Macrobio, the count and the baroness come one after the other and watch the scene (quintet: “ Spera, se vuoi, ma taci ”). Macrobio teases the Count that the Baroness is the first widow to boast of loyalty. It seems like Clarice and Giocondo have a relationship. The count emerges from his hiding place and accuses Clarice of falsehood.
Scene 6. The choir of hunters complains that the hunt was unsuccessful because of the storm. Only the count caught two birds - an allusion to Clarice and Giocondo, which Clarice takes as an insult. Everyone disappears as the thunderstorm increases again.
Ground floor room, as in the first act
Scene 7. Fulvia and Fabrizio had stayed behind in the house. Pacuvio comes to them breathless and claims that he would have massacred the game if it hadn't been for the storm. Proof of his skill is a tiny dead bird that he pulls out of his pocket - but it died out of fear.
Scene 8. Giocondo assures the Count that Clarice is innocent. The count would like to cheer up a little before his wedding. He thinks of a farce with Macrobio, who dared to provoke him.
Scene 9. Clarice happily arrives with an open letter and announces the visit of her twin brother Lucindo, whom everyone had mistakenly believed to be dead. Secretly, however, she asks his ghost's forgiveness for using his name for this purpose.
Scene 10. Pacuvio brings another letter with news: the famous Maestro Petecchia has arrived. The count remembers a sonnet Giocondo could perform. Clarice, who received it from Fabrizio, recites it by heart (sonnet: “ Sognai di Cimarosa, ahi vista amara! ”). Pacuvio thinks the poem is “not bad”. Clarice, the Count, and Giocondo go.
Scene 11. Pacuvio accuses Fulvia of divulging the news of his victory over Giocondo. She justifies herself by saying that she only told the baroness in confidence, who in turn only told Macrobio in confidence. Fulvia thinks it is okay that Macrobio reported about it in his newspaper, because now everyone knows that their shame has been avenged (aria: “ Pubblico fu l'oltraggio ”). To avoid Giocondo's anger, Pacuvio thinks about another lie.
Scene 12. Giocondo has challenged Macrobio to a duel. Macrobio, who has never had a gun in hand, refuses in vain. Giocondo gives him a gun. He suggests they both aim too high, but because Macrobio spread Pacuvio's lie, the matter must be resolved. In an unobserved moment, Giocondo signals to someone in the background. The count comes with two servants, each with a sword. He also challenges Macrobio to a duel. There is a brief dispute between Giocondo and the Count about who is allowed to fight first (trio: “ Prima fra voi coll'armi ”). Macrobio suggests that they resolve their disagreement with guns. He will then fight with the survivor. The two respond and take up their swords. After a short time, however, the count declares that as the host he must let the stranger go first. Giocondo should therefore be the first to duel with Macrobio. Macrobio protests, startled. The count pretends to think and then makes a suggestion. Macrobio was allowed to capitulate if he admitted a lazy man ( “un poltrone” ), a corrupt man ( “un uom venale” ), a ridiculous womanizer ( “cicisbèo ridicolo” ) and the greatest ignoramus ( “il fior degli ignoranti” ) be. When Macrobio agrees, the Count and Giocondo put the swords aside.
In the village. Several houses next to the Count's. View of the countryside with a small hill on one side
Scene 13. Pacuvio comes out of the Count's house. Fulvia confronts him and demands an explanation for his lies. Pacuvio pretends not to be meant and looks around looking for the person addressed. He then affirmed that he had never lied in his life. Macrobio and the baroness join them. Macrobio pretends to have just tried very hard. He assures the baroness that he was not injured in the duel. When he sees Pacuvio, he accuses him of lying.
Scene 14. Fabrizio has come down from the hill and reports to the villagers the arrival of Clarice's twin brother, Lucindo, a military captain. Fulvia and the baroness wonder how similar Clarice and Lucindo look. Fabrizio goes to meet the newcomer.
Scene 15. While those present step aside, "Lucindo" / Clarice appears in military uniform, accompanied by some officers and soldiers (march, scene and aria: " Se l'itale contrade "). Fabrizio also returns. A military march sounds. "Lucindo" greets his beloved homeland, which he left as a child, thanks the soldiers and announces the coming victory of Mars and Amor ( "Marte trionfi, e Amor" ). He enters the count's house with Fabrizio and his entourage.
Scene 16. The Baroness, Macrobio, Fulvia and Pacuvio notice how similar Clarice and Lucindo look. The baroness and Fulvia enter the house to get to know the captain better.
Scene 17. Macrobio and Pacuvio are amazed that a warlike appearance can do a lot more to women than a newspaper article or a sonnet. You follow them into the house.
A gallery
Scene 18. "Lucindo" / Clarice announces to the count and Giocondo that his sister Clarice is no longer available for a wedding because he wants to take her with him when he leaves. Followed by Giocondo, the count storms out of the room (aria: " Ah! Se destarti in seno "). Clarice could tell his genuine love for her from the Count's horrified reaction.
Last scene. The Baroness and Fulvia enter the room. Fulvia excitedly reports that Giocondo prevented the Count from taking his own life. Fabrizio arrives and brings "Lucindo" / Clarice a letter from the Count, in which the Count asks him for his sister's hand. "Lucindo" acknowledges receipt with his real name "Clarice". After the count came in and was surprised at the signature, Clarice identified himself. Everyone is extremely astonished at this deception (Finale II: “ Voi Clarice? / Qual inganno! ”). The count and Clarice ask each other for forgiveness. Macrobio, Pacuvio and Giocondo are already thinking about the upcoming wedding. Since the count is now taken, the Baroness and Fulvia turn to Macrobio and Pacuvio, who ask for time to think about it. The count, however, has now learned to respect women.
layout
libretto
The librettist Luigi Romanelli was permanently employed at La Scala in Milan. Although it is not a masterpiece, it is considered to be its best text to date. It is well suited for the stage and, despite a few unnecessary tricks in the plot, offered Rossini an ideal template for his humorous composition.
The title "pietra del paragone" literally means " touchstone ". With the help of such a stone, the degree of purity of precious metals can be determined. In opera, this refers twice to a method to determine the reliability of friendship and love.
In addition to the actual plot, the text also refers to a literary-musical debate. The three admirers Macrobio, Pacuvio and Giocondo are all writers, whose names caricature their origins. The name of the negatively marked Macrobio is an allusion to the Roman philosopher Macrobius Ambrosius Theodosius , Pacuvio's namesake is also the Roman writer Marcus Pacuvius , and the name of the rather serious in opera Giocondo is the Italian word for "cheerful". Presumably these allusions refer to the opera that was performed immediately before with the same cast in La Scala: Le bestie in uomini by Giuseppe Mosca . This opera shows some parallels to La pietra del paragone in the figure constellation and also in the role names . In addition, the text contains further ambiguous references to this previous opera, such as B. in Pacuvio's poem " Ombretta sdegnosa del Missipipi " ("disdainful shadow of the Missipipi") in the eighth scene of the first act.
Instrumentation
The orchestral line-up for the opera includes the following instruments:
- Two flutes / a piccolo, two oboes, two clarinets, a bassoon
- Two horns, two trumpets
- Timpani, bass drum , cymbals
- Strings
- Continuo
Music numbers
The opera contains the following musical numbers:
- Sinfonia
first act
- Introduction I: " Non v'è del Conte Asdrubale " (scene 1)
- Duet (Macrobio, Giocondo): " Mille vati al suolo io stendo " (scene 3)
- Cavatine (Clarice): " Eco pietosa " (scene 4)
- Cavatine (Count): " Se di certo io non sapessi " (scene 5)
- Duet (Clarice, Graf): " Conte mio, se l'eco avesse " (scene 6)
- Aria (Pacuvio): " Ombretta sdegnosa del Missipipì " (scene 8)
- Quartet (Clarice, Graf, Giocondo, Macrobio): " Voi volete, e non volete " (scene 12)
- Aria (Macrobio): “ Chi è colei che s'avvicina? "(Scene 14)
- Choir: " Il Conte Asdrubale " (scene 15)
- Finale I.
- I: " Su queste piante incisi " (scene 15)
- II: “ Oh caso orribile! "(Scene 15)
- III: " Non serve a vil politica " (scene 18)
- IV: " Marchesina ... Contessina ... " (scene 18)
- V: “ Viva, viva! / In un cantone "(scene 19)
Second act
- Introduction II: " Lo stranier con le pive nel sacco " (scene 1)
- Choir of the hunters: " A caccia, o mio signore " (scene 3)
- Temporale (Pacuvio): " Sì, sì, ci parleremo " (scene 3)
- Scene and aria (Giocondo): " Oh come il fosco impetuoso nembo - Quell'alme pupille " (Scene 4)
- Quintet (Clarice, Baronin, Giocondo, Macrobio, Graf): " Spera, se vuoi, ma taci " (scene 5)
- Sonnet (Clarice): “ Sognai di Cimarosa, ahi vista amara! "(Scene 10)
- Aria (Fulvia): " Pubblico fu l'oltraggio " (scene 11)
- Trio (Macrobio, Giocondo, Graf): " Prima fra voi coll'armi " (scene 12)
- March, scene and aria (Clarice): " Se l'itale contrade " (scene 15)
- Aria (Graf): “ Ah! se destarti in seno "(scene 18)
- Finale II: “ Voi Clarice? / Agony inganno! "(Scene 19)
music
Richard Osborne summarized the music in his 1988 Rossini biography as follows:
"La pietra del paragone is full of highlights, because Rossini filled Romanelli's spacious design with music of tireless vitality and never-ending sensation."
Particularly noteworthy in the first act are the large ensemble at the beginning, the aforementioned Pacuvio's poem, Macrobio's Buffo treatise on the power of the press, the lyrical echo duet Clarices and the Count accompanied by the horn in the fourth scene and the extended finale. The appearance of the disguised count in the seventeenth scene gave Rossini the opportunity to play one of the Turkish music that was so popular at the time. Important parts of the second act are the hunter's choir, the storm scene, Giocondo's lamentation about the beauty of Clarice in the fourth scene (“Quell'alme pupille”), the trio of Giocondo, Macrobio and the count at the end of the duel in the twelfth scene and the Travesty scene Clarices.
It is unusual for Rossini that the main role of the Count is sung not by a tenor, as usual, but by a bass, while the only tenor in the piece has to be content with a supporting role (Giocondo). The main female role is also not a soprano, but an alto. A similar constellation can only be found in Il turco in Italia .
Work history
With this work, the twenty-four year old Rossini made the leap to the renowned La Scala in Milan . He received the commission with the support of the influential singers Marietta Marcolini and Filippo Galli, who had already participated in Rossini's earlier works. He received a good salary and was also released from military service. Rossini completed the first pieces of the new opera on July 11, 1812, although Luigi Romanelli's (almost) complete libretto was not available until August 21. Despite health problems, Rossini managed to complete the score in half the scheduled time. However, he took over some parts from his earlier operas Demetrio e Polibio and L'equivoco stravagante .
The premiere took place on September 26, 1812 and was a huge success. The alto Maria Marcolini (Clarice), the soprano Carolina Zerbini (Baroness), the mezzo-soprano Orsola Fei (Fulvia), the tenor Claudio Bonoldi (Giocondo) and the basses Filippo Galli (Graf), Antonio Parliamagni (Macrobio) and Pietro Vasoli sang (Pacuvio) and Paolo Rossignoli (Fabrizio). On the same evening the ballet (" ballo eroico-mitologico ") Ercole all'inferno by Alessandro Fabbri was given. There were 53 performances in the first season. The audience managed to repeat seven numbers in the last performance. Since then Rossini has been known as “ maestro di cartello ” (an effective composer whose name is already guaranteed by the audience) and was also allowed to call himself “ maestro di cappella ”. His reputation was now on the level of the older masters such as Domenico Cimarosa , Giovanni Paisiello and Gaspare Spontini . He also succeeded in transferring the opera buffa genre into the 19th century using new musical means.
When the Venetian resumption in April 1813, the work surprisingly failed. It was then initially replaced by Stefano Pavesi's Ser Marcantonio , but combined with it in later performances, with the first act by Pavesi and the second act by Rossini being played one after the other. However, this failure had no effect on the further history of the opera. In the following twenty years there were numerous other performances in Italian cities, but also in Barcelona in 1821, in Palma de Mallorca in 1825 and in Madrid in 1826. A German version was played on August 17, 1817 under the name Der Prüfstein at the Royal Court Theater in Munich. There were other foreign performances in Porto, Paris, Vienna, Lisbon, Graz, Berlin and Mexico.
Rossini used some pieces of this opera again in later works. A few months later he used the overture for Tancredi . He also used the music of the storm scene in L'occasione fa il ladro and in Il barbiere di Siviglia . The trio can be found in La gazzetta .
On November 27, 1859 at the Paris Théâtre-Italien the pastiche Un Curioso Accidente listed on a libretto by Arcangelo Beret Toni, whose music Rossini's opera La cambiale di matrimonio , La pietra del paragone , L'occasione Fa Il Ladro and Aureliano in Palmira was taken . The director of the theater, Torribio Calzado, had already announced this work in 1857 as the “new Rossini opera”. When Rossini found out about the planned performance, he wrote Calzado a letter in which he refused to allow this “mosaic” to be advertised under his name as a “new opera” and threatened legal action if the poster was not changed. Calzado actually removed the relevant parts of the poster, but did not insert the text proposed by Rossini, “An opera composed by Mr Berretoni [sic] from pieces by Rossini”.
More recently, La pietra del paragone has been played comparatively seldom, although it has been widely praised in literature since Stendhal's Vie de Rossini of 1823 - presumably due to Stendhal's predilection for Rossini's early operas, which are still in the tradition of Cimarosa.
From 1963 a distorted German version by Paul Friedrich and Günther Rennert spread , which was also translated into Italian.
A revised edition of the score was published in 1983 by Luigi Ferrari.
In 1998 the Garsington Opera in England presented a new production of the work. In 2001 and 2002 the Rossini Festivals in Bad Wildbad and Pesaro presented the opera - with Alessandro De Marchi and Carlo Rizzi on the podium. In 2007 the Ensemble Matheus presented the work under Jean-Christophe Spinosi in Paris and Alberto Zedda performed it in Madrid. In 2017 the opera was staged again at the Rossini Opera Festival Pesaro, directed by Pier Luigi Pizzi .
Recordings
- June 6, 1959 (abridged, live from Piccola Scala, Milan): Nino Sanzogno (conductor), orchestra and choir of the Teatro alla Scala . Fiorenza Cossotto (Clarice), Silvana Zanolli (Baroness), Eugenia Ratti (Fulvia), Ivo Vinco (Graf), Alvinio Misciano (Giocondo), Renato Capecchi (Macrobio), Giulio Fioravanti (Pacuvio), Franco Calabrese (Fabrizio). Fonit Cetra DOC 8 2 LP.
- October 31, 1972 (abridged recitatives, English interstitial texts, live from Alice Tully Hall, New York and studio recording): Newell Jenkins (conductor), Clarion Concerts Orchestra and Chorus. Beverly Wolff (Clarice), Elaine Bonazzi (Baroness), Anne Elgar (Fulvia), John Reardon (Graf), José Carreras (Giocondo), Andrew Foldi (Macrobio), Justino Diaz (Pacuvio), Raymond Murcell (Fabrizio). Vanguard CD: 08 9031 73, Vanguard LP: VSD 71183/4/5 (3), Orizzonte LP: AOCL 316002
- 1982 (film adaptation): Piero Bellugi (conductor), Bratislava Opera Orchestra, Janáček Opera Chorus Brno. Alfredo Mariotti (Count), Ugo Benelli (Giocondo), Claudio Desderi (Macrobio). Dreamlife VFZT 00889 (1 VC).
- September 1982 (live from Edinburgh): Roberto Abbado (conductor), orchestra and choir of the Teatro alla Scala Milan. Júlia Hamari (Clarice), Gloria Banditelli (Baroness), Marta Taddei (Fulvia), Justino Diaz (Count), Paolo Barbacini (Giocondo), Claudio Desderi (Macrobio), Alessandro Corbelli (Pacuvio), Armando Ariostini (Fabrizio). Celestial Audio CA 386 (2 CD).
- April 1988 (video, live from Catania): Marcello Viotti (conductor), orchestra and choir of the Teatro Massimo Bellini di Catania. Cecilia Bartoli (Clarice), Gloria Scalchi (Baroness), Patrizia Orciani (Fulvia), Natale de Carolis (Count), Luca Canonici (Giocondo), Bruno Praticò (Macrobio), Alfonso Antoniozzi (Pacuvio), Fabio Tartari (Fabrizio). Premiere Opera Ltd. DVD 5014 (1 DVD).
- April 1992 (live from Modena): Claudio Desderi (conductor), Orchestra Camerata Musicale, Choir of the Teatro Comunale di Modena. Helga Müller-Molinari (Clarice), Antonella Trovarelli (Baroness), Maria Costanza Nocentini (Fulvia), Roberto Scaltriti (Count), Maurizio Barbacini (Giocondo), Enzo di Matteo (Macrobio), Paolo Rúmetz (Pacuvio), Alessandro Svab (Fabrizio ). Nuova Era CD: 7132/33 (2 CD).
- 1993 (abridged, live from Martina Franca): Bruno Aprea (conductor), Graz Symphony Orchestra. Sara Mingardo (Clarice), Elisbatta Gutierrez (Baroness), Maria Cristina Zanni (Fulvia), Pietro Spagnoli (Count), William Matteuzzi (Giocondo), José Fardilha (Macrobio), Marco Camastra (Pacuvio), Gioacchino Zarrelli (Fabrizio). Bongiovanni CD: GB 2179 / 80-2.
- July 2001 (live from Bad Wildbad): Alessandro De Marchi (conductor), Czech Chamber Soloists Brno, Prague Chamber Choir . Agata Bienkowska (Clarice), Anna Rita Gemmabella (Baroness), Anke Herrmann (Fulvia), Raffaele Costantini (Graf), Alessandro Codeluppi (Giocondo), Dariusz Machej (Macrobio), Gioacchino Zarrelli (Pacuvio), Teru Yoshihara (Fabrizio). Naxos 8.660093-95 (3 CD).
- August 2002 (live from Pesaro): Carlo Rizzi (conductor), Orchestra of the Teatro Comunale di Bologna , Prague Chamber Choir. Carmen Oprisanu (Clarice), Laura Brioli (Baroness), Patricia Biccirè (Fulvia), Marco Vinco (Graf), Raúl Giménez (Giocondo), Pietro Spagnoli (Macrobio), Bruno de Simone (Pacuvio), Dariusz Machej (Fabrizio). Foné 10053 (3 CD), Rossini Opera Festival 11053 (2 CD).
- January 18, 2007 (DVD, live from Paris): Jean-Christophe Spinosi (conductor), Ensemble Mattheus. Sonia Prina (Clarice), Jennifer Holloway (Baroness), Laura Giordano (Fulvia), François Lis (Graf), José Manuel Zapata (Macrobio), Christian Senn (Pacuvio), Filippo Polinelli (Fabrizio). Naïve V 5089 (DVD)
- April 2007 (video, live from Madrid): Alberto Zedda (conductor), Orquesta Sinfónica de Madrid, Choir of the Teatro Real Madrid. Marie-Ange Todorovitch (Clarice), Laura Brioli (Baroness), Marco Vinco (Count), Raúl Giménez (Giocondo), Pietro Spagnoli (Macrobio), Paolo Bordogna (Pacuvio). Opus Arte OA 0987 D (DVD).
Web links
- La pietra del paragone : Sheet music and audio files in the International Music Score Library Project
- Libretto (Italian, Milan 1812) as digitized version in the Internet Archive .
- Libretto (Italian) as full text on rossinigesellschaft.de .
- Discography of La pietra del paragone at Operadis
Remarks
- ↑ A theme from Ludovico Ariosto's Der Rasende Roland . Orlando (Roland) is miserably in love with Angelica.
Individual evidence
- ↑ a b c d e Herbert Weinstock : Rossini - A biography. Translated by Kurt Michaelis. Kunzelmann, Adliswil 1981 (1968), ISBN 3-85662-009-0
- ↑ a b c d Bernd-Rüdiger Kern: Text accompanying the CD Naxos 8.660093-95
- ↑ La pietra del paragone. Notes on the critical edition by Patricia B. Brauner and Anders Wiklund , accessed November 9, 2015.
- ↑ La pietra del paragone (1812) - Sommario on librettidopera.it.
- ↑ a b c d e f g h Richard Osborne: Rossini - life and work. Translated from the English by Grete Wehmeyer. List Verlag, Munich 1988, ISBN 3-471-78305-9
- ↑ a b c d e La pietra del paragone. In: Reclam's Opernlexikon. Digital library volume 52. Philipp Reclam jun., 2001, p. 1973.
- ^ A b c d Wilhelm Keitel , Dominik Neuner : Gioachino Rossini. Albrecht Knaus, Munich 1992, ISBN 3-8135-0364-X
- ^ A b La pietra del paragone (Gioachino Rossini) in the Corago information system of the University of Bologna . Retrieved September 5, 2015.
- ↑ Performances (1770–1830) of La pietra del paragone in the DFG opera project
- ↑ La pietra del paragone at the Rossini Opera Festival in Pesaro , accessed on August 24, 2017
- ↑ a b c d e f g h i j Gioacchino Rossini. In: Andreas Ommer: Directory of all opera complete recordings. Zeno.org , volume 20.
- ↑ Admission by Jean-Christophe Spinosi (2007) in the discography of La pietra del paragone at Operadis.
- ↑ Admission by Alberto Zedda (2007) in the discography of La pietra del paragone at Operadis.
Demetrio e Polibio (before 1810) | La cambiale di matrimonio (1810) | L'equivoco stravagante (1811) | L'inganno felice (1812) | Ciro in Babilonia (1812) | La scala di seta (1812) | La pietra del paragone (1812) | L'occasione fa il ladro (1812) | Il signor Bruschino (1813) | Tancredi (1813) | L'italiana in Algeri (1813) | Aureliano in Palmira (1813) | Il turco in Italia (1814) | Sigismondo (1814) | Elisabetta regina d'Inghilterra (1815) | Torvaldo e Dorliska (1815) | Il barbiere di Siviglia (1816) | La gazzetta (1816) | Otello (1816) | La Cenerentola (1817) | La gazza ladra (1817) | Armida (1817) | Adelaide di Borgogna (1817) | Mosè in Egitto (1818) | Adina (1826) | Ricciardo e Zoraide (1818) | Ermione (1819) | Eduardo e Cristina (1819) | La donna del lago (1819) | Bianca e Falliero (1819) | Maometto II (1820) | Matilde di Shabran (1821) | Zelmira (1822) | Semiramide (1823) | Ugo re d'Italia (1824) | Il viaggio a Reims (1825) | Le siège de Corinthe (1826) | Ivanhoé (Pasticcio, 1826) | Moïse et Pharaon (1827) | Le comte Ory (1828) | Guillaume Tell (1829) | Robert Bruce (Pasticcio, 1846)