La verità in cimento

Opera dates
Title:	La verità in cimento
Title page of the libretto, Venice 1720
Shape:	“ Dramma per musica ” in three acts
Original language:	Italian
Music:	Antonio Vivaldi
Libretto :	Giovanni Palazzi , Domenico Lalli
Premiere:	October 26, 1720
Place of premiere:	Teatro Sant'Angelo , Venice
Playing time:	approx. 2 ½ hours
Place and time of the action:	Cambaja, capital of the empire of the same name
people
Mamud, Sultan of the Cambaja Empire ( tenor ) Rustena, his wife ( soprano ) Damira, his favorite ( old ) Rosane, princess and heir to the throne of the Kingdom of Joghe (soprano) Zelim, legitimate son of Rustena and Mamud, mistaken for the biological son Mamud and Damiras (soprano, castrato ) Melindo, biological son of Mamud and Damira, considered to be the legitimate son of Mamud and Rustena (Alt, trouser role )

La verità in cimento ( RV 739, German roughly: “The truth on the test stand”) is an opera seria (original name: “dramma per musica”) in three acts by Antonio Vivaldi (music) with a libretto by Giovanni Palazzi and Domenico Lalli . It premiered on October 26, 1720 at the Teatro Sant'Angelo in Venice.

action

prehistory

Sultan Mamud of Cambaja has two sons who were born on the same day: a legitimate one with his wife Rustena and a bastard from his favorite Damira. Since he loves the latter very much and cannot keep his promise to make her wife and sultana, he gives in to her wish to exchange the two babies. Damira's son Melindo becomes the official heir to the throne, while Zelim grows up as a bastard. Neither Rustena nor the children know about the deception. After many years, the long-standing tensions between Cambaja and the kingdom of Joghe, ruled by the hereditary princess Rosane, should be resolved through a marriage of Rosanes with the heir to the throne Cambajas. Since Mamud wants to avoid possible complications, he decides to clear up his life lie.

short version

First act. Mamud explains his decision to Damira. She cannot accept that and wants to resort to a ruse. Zelim, who loves Rosane, seeks consolation from his supposed mother Damira because he still believes that she should marry his brother. Rosane rejects him because you care more about power than love. The brothers quarrel because Melindo believes that Zelim is trying to rob him of the throne. Mamud tries again in vain to convince Damira. In order to forestall him, she tells Rustena that Mamud wanted to declare wrongly and against her own will that she had switched the children. Rosane's ambivalent behavior confuses the feelings of her two suitors.

Act II . Mamud explains to Rosane about the child swap and asks her to adopt the true heir to the throne, Zelim, as her husband. She informs Melindo, who in turn blames Damira for his misfortune. Zelim accepts the truth and wants to act magnanimously. Rustena still believes Damira's claim that Mamud's explanation was a lie. She promises the desperate Melindo to help him get his rights again. Mamud declares Zelim and Rosane to be his heirs. However, Damira claims that Zelim is her son and persuades him to surrender the throne. Melindo takes up his weapon. Everyone is confused.

Third act. Mamud forces Damira to sign a document in which she confesses to having switched the children. She tells Rustena and advises her to make it public before the wedding in order to discredit Mamud. Rustena worries about the future. Melindo is getting more and more desperate. Zelim shows understanding for him and is even willing to forego Rosane because of him. Mamud presents Rustena Damira's confession. However, this explains that it was forced. Zelim ends the disputes by officially renouncing Rosane and the kingdom of Joghe and settling for Cambaja as an inheritance. Since her son Melindo can now be happy, Damira also admits the child swap. Both mothers embrace their true sons.

first act

Remote part of the palace with various apartments

Scene 1. Mamud tries to explain his decision to Damira. Of course, she is not happy that her son Melindo is now to renounce the throne. She threatens to contradict him publicly and to spin a thousand intrigues against him. Mamud cannot be influenced by this (Aria Mamud: “Mi fe reo l'amor d'un figlio”).

Scene 2. Zelim seeks consolation from his supposed mother Damira. He loves Rosane and cannot bear that she should marry his brother. Damira continues to pretend motherly love, but advises accepting his father's decision (Aria Damira: “Vorrei vorrei veder anch'io”).

Scene 3. Rustena, Rosane and Melindo meet the unhappy Zelim. Rosane happily renounces Zelim's love in order to marry the heir to the throne in his place (Aria Rosane: “Solo quella guancia bella” or “Con più diletto il mio cupido”).

Scene 4. Rustena assures Melindo of her affection and tries to comfort Zelim (Aria Rustena: “Ne 'vostri dolci sguardi” or “Il ciglio arciero” or “La pena amara”).

Scene 5. Zelim asks his brother to be accommodating, but only receives haughty insults in response (Aria Zelim: “Tu m'offendi”).

Scene 6. Melindo believes that his brother is maliciously trying to rob him of his kingdom and his bride (Aria Melindo: "Là del Nilo su l'arene").

Sultan's private room

Scene 7. Unhappy about the argument between his sons, Mamud tries again to convince Damira of the correctness of his approach. She reminds him of her past love and promise and swears vengeance if he sticks with it. For a brief moment Mamud seems to want to give in, but quickly shows determination again.

Scene 8. Damira goes to Rustena to intrigue on behalf of her son. She claims that as compensation for the fact that he could not marry her at the time, the sultan wanted to publicly declare that he had swapped the two children shortly after the birth. She herself is against it because she loves her son more than the kingdom (Aria Damira: "Se l'acquisto di quel soglio" or "Se vincer non si può").

Scene 9. Although Rustena doesn't trust her rival, her claim seems credible. She laments her unfortunate fate (Aria Rustena: “Fragil fior ch'appena nasce”).

Lovely garden with lemon trees

Scene 10. While Rosane and Melindo show their mutual affection, Zelim suffers from jealousy (Terzett Rosane / Zelim / Melindo: “Aure placide e serene”). He cannot accept her explanations and does not believe her when she claims that she will turn to him again if she cannot marry Melindo (Arie Zelim: “No non ti credo” or “Non posso prestar fede” or possibly “Be tiranna ").

Scene 11. Melindo also finds Rosane's declarations of love not credible (Aria Melindo: “So che piace alle belle vezzose” or “I lacci tende” or “Mi vuoi tradir lo sò”).

Scene 12. Rosane tries to justify her behavior to herself. Her personal happiness is more important to her than love (Arie Rosane: “Amato ben tu sei la mia speranza”).

Second act

Atrium with rows of columns

Scene 1. Mamud has meanwhile informed Rosane about the child swap and asks her to accept Zelim as her future husband instead of Melindo (Arie Mamud: “Vinta à piè d'un dolce affetto”).

Scene 2. Rosane tells Melindo that she now has to turn to Zelim again, even though she actually loves him (Aria Rosane: “Addio caro; do ben sai quanto fida”).

Scene 3. The disappointed Melindo blames Damira for his misfortune. Zelim, on the other hand, gladly accepts Rustena as his true mother. He forgives Damira for the deception, thanks her for her many benefits and assures Melindo of his brotherly love. To his surprise, Rustena explains that she doesn't think he is her son. Damira speaks soothingly to everyone. Her intrigue seems to work (Aria Damira: "Semplice semplice non temer").

Scene 4. Despite Rustena's doubts, Zelim is convinced that he is the true heir to the throne. He assures her and his brother that he continues to love her despite his changed status (Arie Zelim: “Un tenero affeto”).

Scene 5. Rustena promises Melindo that she will uncover Mamud's lie and help him find happiness (Aria Rustena: “Il ciglio arciero” or “Quel bel ciglio, quel bel volto” or “Non veglia così cauto il pastorello”).

Scene 6. Melindo is deeply disappointed in the behavior of his father and the infidelity of his lover (Aria Melindo: "Sguardo / Occhio non gira").

Royal hall with two thrones

Scene 7. Mamud declares Zelim and Rosane his heirs to the throne. He blames Damira for the original deception. Rustena contradicts him and explains that his alleged explanation is a lie. Damira continues her intrigue by confirming Zelim as her son. She persuades him to give up the throne to end the conflict. Mamud gets angry at the two women and insists that Zelim will inherit both thrones.

Scene 8. Melindo accuses his father of injustice, his brother's lust for power and Rosane of infidelity. The latter begs Mamud to end the deceptions. She assures Melindo that her heart belongs only to him (Arie Rosane: "Tu sei sol dell'alma mia").

Scene 9. Mamud asks Zelim to take the throne again. Melindo draws his sword to stop him. Zelim renounces voluntarily and tries to appease his angry father. The act ends in general confusion when the two mothers call their supposed sons over and Mamud insists on his contrary opinion (quintet: “Anima mia, mio ​​ben”).

Third act

Royal apartments

Scene 1 (deleted in the later version). Zelim and Melindo are angry with Mamud: Zelim does not believe him, and Melindo is disappointed with his resignation. Although Mamud promises to provide proof of Zelim's legitimacy, this continues to vacillate between hope and despair (Arie Zelim: “Lo splendor ch'à sperare”).

Scene 2 (deleted in the later version). Melindo does not want to accept the tyranny of his father (Aria Melindo: "Crudele tu brami").

Scene 3. Mamud promises Damira forgiveness if she signs that she herself switched the children. When she refuses, he threatens to sentence Melindo to death for having raised his sword against his father and brother. Damira then signs the document. Mamud considers his methods to be legitimate because they serve reason (Aria Mamud: "Quando serve alla ragione").

Scene 4. Damira hasn't given up yet. She tells Rustena that Mamud forced her to sign under threat of violence and advises her to announce it publicly before the wedding ceremony in the temple. She secretly laughs at the gullibility of her rival (Aria Damira: "Lagrimette alle pupille").

Scene 5. Rustena expresses her despair over Mamud's cruelty. She fears losing her son, her husband and the throne (Aria Rustena: "Cara sorte di chi nata" or "Io son fra l'onde").

Vestibule to the temple

Scene 6. Melindo furiously attacks his brother, but is quickly disarmed (Accompagnato: “Cadrai, fellon placa ò German, lo sdegno”). Rosane tries in vain to appease him.

Scene 7. Despite everything, Zelim shows understanding for his brother. He tells Rosane that he would rather do without her than see him unhappy. Rosane is grateful (Aria Rosane: “Con cento, e cento baci”).

Scene 8. Zelim consoles himself over the loss of Rosane by saying that he will see her happy (Aria Zelim: “Sia conforto alle tue piaghe” or “Lo splendor ch'ha sul volto il mio bene”).

Open temple

Scene 9 (mostly deleted). Mamud showed Rustena the signed confession. When she asks if she believes him now, Damira announces that her signature was forced.

Scene 10. Zelim announces that he is leaving Rosane and the throne to Yoghes to Melindo. He is satisfied with the future rule over Cambaja. Everyone is happy with that. Damira admits the child swap, and the two mothers embrace their real sons (chorus: “Dopo i nembi e le procelle”).

layout

libretto

The librettist Domenico Lalli is considered a master of the multi-layered, unassailable intrigue. Sultan Mamud is designed as a tragicomic figure with only superficial tyrannical features. In trying to make up for his old mistake, he comes into conflict with his entire family. The figures of the two mothers Damira and Rustena are taken from different versions of Pierre Corneille's tragedy Héraclius (1646). Damira corresponds to the former nurse Léontine and Rustena the title character from Lallis based on Héraclius' libretto to Vivaldi's opera La Candace (1720), which replaces the character of Léontine. In La verità in cimento only Damira shows intelligence, which creates a strange contrast like that between a cunning servant and a naive mistress. Damira's part accordingly contains some typical characteristics of opera buffa . The two brothers are drawn differently in character. Melindo can hardly contain his passions. In it he proves to be the son of the bourgeois Damira. Zelim, on the other hand, is compassionate and generous, unconditionally obeying his father, while showing leadership skills. This difference in rank also corresponded to his castrato cast in the premiere production, while Melindo was sung by a woman. The fickle character of the rose is representative of the conflict between fame and love. That Rosane can ultimately decide in favor of love is only possible through Zelim's generosity, who leaves the kingdom of Joghe to his brother. All of the parts have an important role to play. Supporting roles like the usual confidants are completely absent.

music

Vivaldi took over some arias from his opera La Candace, which had not yet been performed in Venice - including Rosane's aria "Amato ben" (I: 12) and the core piece of the opera, the quintet "Anima mia, mio ​​ben" (II: 09) . Vivaldi wrote replacement pieces for many arias, which were used either from the start or during the premiere season. In some cases the aria texts were also exchanged. The reason is not apparent in all cases. Probably the wishes of the singers played a decisive role.

Only the final chorus, a chaconne, is missing from the surviving score . Vivaldi later used it again in Giustino and in a revised form in La Sena festeggiante .

orchestra

The orchestral line-up for the opera consists of one flautino, two (?) Flauti grossi, two oboes , two trumpets , solo cello , strings and basso continuo . The original version also included two horns and two (?) Bassoons .

Music numbers

The opera contains the following musical numbers:

• Sinfonia
  • 1st Allegro (G major); for strings and basso continuo
  • 2nd Andante (G minor); for violins I / II, viola and basso continuo; see. Concerto in C major RV 111.2
  • 3rd Allegro (G major); for violins I / II, viola and basso continuo

first act

• Scene 1. Recitative: "Non più Damira: D'un error crudele"
  • Aria (Mamud): “Mi fe reo l'amor d'un figlio” - Allegro (E minor); for strings and basso continuo (1st version)
• Scene 2. Recitative: "Men agevol sarà di ciò, che credi"
  • Aria (Damira): “Vorrei vorrei veder anch'io” - Allegro ma non molto (F major); for strings and basso continuo; see. Arianna e Teseo RV Anh 78
• Scene 3. Recitative: "Poveri affetti miei quanto periglio vi sovrasta"
  • Aria (Rosane): “Solo quella guancia bella” - Allegro (A major); for violins I / II, viola and basso continuo
• Scene 4. Recitative: "Melindo egli delira, omai vicina"
  • Aria (Rustena): “Ne 'vostri dolci sguardi” - Allegro (D minor); for violins I / II and basso continuo
• Scene 5. Recitative: "German, che tale mi sei, e tale t'amo"
  • Aria (Zelim): "Tu m'offendi" - Andante / Adagio / Andante (G minor)
• Scene 6. Recitative: "Affetti mascherati vi conosco"
  • Aria (Melindo): “Là del Nilo su l'arene” - Allegro (D major); for strings and basso continuo
• Scene 7. Recitative: "Misero cor di padre e che farei?"
• Scene 8. Recitative: "Amor di madre all'opra in questo giorno"
  • Aria (Damira): “Se l'acquisto di quel soglio” - Allegro (C major); for strings and basso continuo
• Scene 9. Recitative: "Poca fede à costei prestar io deggio"
  • Aria (Rustena): “Fragil fior ch'appena nasce” - Allegro (C major); for two (?) flauti grossi, violins I / II and bass (without harpsichord)
• Scene 10. Trio (Rosane, Zelim, Melindo): “Aure placide e serene” - Largo (G major); for strings and basso continuo
  • Recitative: "Cor mio ben pur nostra fè trionfa"
  • Aria (Zelim): "No non ti credo" - Allegro (B flat major); for violins I / II and basso continuo
• Scene 11. Recitative: "Rosane di tua fèmal m'assicuri"
  • Aria (Melindo): "So che piace alle belle vezzose"
• Scene 12. Recitative: "E tosto gelosia vuole suo albergo"
  • Aria (Rosane): “Amato ben tu sei la mia speranza” - Andante (C minor); for violins I / II and viola / violoncello; see. La Candace RV 704 II: 13; Ercole sul Termodonte RV 710 III: 7

Second act

• Scene 1. Recitative: “Ell'è so Rosane. Un mio trasporto "
  • Aria (Mamud): "Vinta à piè d'un dolce affetto" - Allegro (E minor); for violins I / II, viola and basso continuo (1st version)
• Scene 2. Recitative: "Combattuta alma mia chi più pietato"
  • Aria (Rosane): “Addio caro; tu ben sai quanto fida “- Allegro ma non molto / Adagio / Allegro (B flat major); for strings and basso continuo
• Scene 3. Recitative: "Infedele Rosame, ingiusto padre"
  • Aria (Damira): "Semplice semplice non temer" - Allegro (D major); for strings and basso continuo
• Scene 4. Recitative: "Che bel vedetri con due serti in fronte"
  • Aria (Zelim): “Un tenero affeto” - Allegro non molto (G minor); for violins I / II and viola / violoncello
• Scene 5. Recitative: "Madre, che far si deve?"
  • Aria (Rustena): "Il ciglio arciero" - Larghetto (G minor); for strings and basso continuo; see. Tito Manlio RV 738 I: 4th
• Scene 6. Recitative: "Chi vide mai più barbaro pensiere"
  • Aria (Melindo): "Occhio non gira" (in the libretto: "Sguardo non gira") - Allegro (A major); for violins I / II, viola and basso continuo; see. La Candace RV 704 III: 10
• Scene 7. Recitative: "Altrui folle garrir dubio non renda"
• Scene 8. Recitative: "Nò fin ch'avrà Melindo e Spada, e cuore"
  • Aria (Rosane): “Tu sei sol dell'alma mia” - Allegro (D major); see. Ercole sul Termodonte RV 710 I: 10
• Scene 9. Recitative: "Non mi lasciar mio ben"
  • Quintet (Damira, Zelim, Rustena, Melindo, Mamud): “Anima mia, mio ​​ben” - Largo (G minor); for strings and basso continuo; see. La Candace RV 704 II: 9

Third act

• Scene 1. Recitative: "Padre crederti giova, e appena io credo"
  • Aria (Zelim (in the score: Melindo)): “Lo splendor ch'à sperare” - Allegro ma non molto (B flat major); for violins I / II, viola and basso continuo; see. Giustino RV 717 III: 11
• Scene 2. Recitative: "Troppo d'orgoglio troppa crudeltàde"
  • Aria (Melindo): "Crudele se brami" (Libretto: "Crudele tu brami") - Allegro (D major); for two trumpets, two oboes, strings and basso continuo; see. Scanderbeg RV 732 II: 9; Teuz zone RV 736 III: 1
• Scene 3. Recitative: "Dà rimorsi del cor vinto lo sdegno"
  • Aria (Mamud): "Quando serve alla ragione" - Allegro non molto (B flat major); for violoncello solo, violins I / II and basso continuo (1st version)
• Scene 4. Recitative: “Tu qui signora? Ah, t'apparechia molto "
  • Aria (Damira): "Lagrimette alle pupille" - Allegro (A major); for violins I / II, viola and basso continuo
• Scene 5. Recitative: "O'Marito crudel dalle tue frodi"
  • Aria (Rustena): “Cara sorte di chi nata” -… (F major); for flautino solo and violoncello solo; see. Tito Manlio RV 738 III: 10
• Scene 6. Recitative (Accompagnato): “Cadrai, fellon placa ò German, lo sdegno” - for strings and basso continuo
• Scene 7. Recitative: "Di pietà egl'è ben degno"
  • Aria (Rosane): “Con cento, e cento baci” - Allegro (E flat major); for violins I / II and basso continuo
• Scene 8. Recitative: “Alma mia non lagnarti. A 'aunt pene "
  • Aria (Zelim): "Sia conforto alle tue piaghe" - Allegro (F major); for strings and basso continuo
• Scene 9. Recitative: "E questi il ​​loco, dove l'estrema prova" (not set to music until "Qual fede?")
• Scene 10. Recitative: "Padre, e signor, d'un figlio"
  • Choir: "Dopo i nembi e le procelle" - cf. RV La Sena festeggiante 693.39; Giustino RV 717 III: 12; Ipermestra RV 722 III: 14

additions

• Scene I: 1. Aria (tenor): “Mi fe reo l'amor d'un figlio” -… (F major); for strings and basso continuo (2nd version); see. Il Tigrane RV 740 II: 4th
• Scene I: 3. Aria (soprano = rose?): "Con più diletto il mio cupido" - Allegro (G major); for strings and basso continuo
• Scene I: 4. Aria (Rustena): "Il ciglio arciero" - Larghetto (G minor); for strings and basso continuo; see. II: 5
  • Aria (soprano = Rustena?): “La pena amara” -… (F major); for strings and basso continuo
• Scene I: 8. Aria (Alto = Damira?): “Se vincer non si può” -… (G minor); for strings and basso continuo
• Scene I: 10. Aria (soprano = Zelim?): "Non posso prestar fede" - Allegro (F major); for violins I / II, viola and basso continuo
• Scene I: 10? Aria (Zelim?) “Sei tiranna ma son fedele” -… (D major); see. La Silvia RV 734 III: 2
• Scene I: 11. Aria (Melindo): “Mi vuoi tradir lo sò” - Allegro (D minor); for violins I / II and basso continuo (1st version)
  • Aria (Melindo): “Mi vuoi tradir lo sò” -… (A minor); for strings and basso continuo (2nd version)
• Scene II: 1. Aria (Mamud): “Vinta à piè d'un dolce affetto” -… (G major); for violins I / II, viola and basso continuo (2nd version)
• Scene II: 5. Aria (Rustena): “Non veglia so cauto il pastorello” -… (F major); for strings and basso continuo; see. Scanderbeg RV 732 II: 8
• Scene III: 3. Aria (Mamud): “Quando serve alla ragione” -… (C major); for strings and basso continuo (2nd version); see. Farnace RV 711dg I: 1; Giustino RV 717 II: 11
• Scene III: 5. Aria (soprano = Rustena?): “Io son fra l'onde” -… (F major); for flautino, strings (?) and basso continuo; see. La Candace RV 704 III: 11
• Scene III: 6 or III: 8. Aria (Zelim): "Lo splendor ch'ha sul volto il mio bene" - Allegro (B flat major); for strings and basso continuo; see. III: 1; Giustino RV 717 III: 11

attachment

• Scene I: 11. Aria (Melindo): "I lacci tende" - Allegro (F major); for two horns, bassoon, strings and basso continuo
• Scene II: 5. Aria (Rustena): "Quel bel ciglio quel bel volto" - Allegro (D major); for violins I / II, viola and basso continuo
• Scene III: 4. Recitative: "A molto m'obbligò"

Work history

The libretto for Vivaldi's opera La verità in cimento is by Giovanni Palazzi and Domenico Lalli . Lalli probably provided the main lines of the plot, which Palazzi then put into verse. At the world premiere, a version that was changed from the original version was probably played, in which some recitative sections and arias were deleted. There were further changes during the season. The libretto was only published afterwards. It corresponds to the revised version of the opera. The score also contains several inset arias, the text of which is missing in the three surviving libretto versions. Presumably they belong to another version of the opera for which no performance dates are known. The first reprint also contains the texts of some substitute arias and abbreviations. The second reprint differs from this only in the title page and the dedication text.

The first performance at the Teatro Sant'Angelo in Venice was originally announced for October 12, 1720, but probably did not take place until October 26. Announcements on both dates can be found in the Venice State Archives. Frédéric Delaméa did not rule out that the second date only referred to the first performance of the revised version. It is Vivaldi's first opera staged in Venice after his return from Mantua. The opera is dedicated to Count Sawwa Ragusinsky-Vladislavich ("Sava Wladislavich"). It was combined with the comic intermezzo Fiammetta e Pancrazio or Il vecchio avaro (also L'avaro, text: Antonio Salvi ) performed by Rosa Ongarelli and Antonio Ristorini , the music of which was most likely not from Vivaldi. Antonio Barbieri (Mamud), Chiara Orlandi (Rustena), Antonia Margherita Merighi (Damira), Anna Maria Strada (Rosane), Girolamo Albertini (Zelim) and Antonia Laurenti (Melindo) sang. The stage sets came from the Roman painters Giuseppe and Domenico Valeriani, students of Marco Ricci , who worked successfully in Venice until 1731. The opera was received with “general satisfaction”.

This opera sparked a controversy between conservatives and proponents of the modernization of the opera industry, which ultimately forced Vivaldi to leave Venice for another five years. During the production of La verità in cimento, in December 1720, Benedetto Marcello's famous satire Il teatro alla moda appeared, in which Vivaldi and his new opera were the main targets of the attacks. However, the satire also increased the awareness of this opera, which is one of the best-documented operas in European libraries. The main source is a score in the National Library of Turin . The Sinfonia was also preserved in Munich and Berlin. In addition, collections of arias and many individual arias have survived.

More recently, the work has been performed in 2002 by the Ensemble Matheus under Jean-Christophe Spinosi in the Salle Gaveau in Paris. Spinosi then recorded it on CD with other soloists. For his performance score, he thoroughly examined the traditional materials and identified the four phases of the composition process. He reconstructed Vivaldi's first version and only replaced Melindo's aria (“I lacci tende”) with the much stronger “Mi vuoi tradir lo sò”.

The Garsington Opera presented the opera in 2011 in Wormsley Park in a production by David Freeman .

In 2015 there was a scenic production by the director Jan Philipp Gloger at the Zurich Opera House , in which Ottavio Dantone conducted the La Scintilla Zurich Orchestra. It was put back on the schedule in 2018.

In 2016, a production by Michael Höppner with a student ensemble was staged in the Philippus Church in Leipzig .

In 2018 the Heidelberg Theater presented a production by Yona Kim in the Schwetzingen Rococo Theater .

Recordings

• March 18, 2002 - Jean-Christophe Spinosi (conductor), Ensemble Matheus.
  Hervé Lamy (Mamud), Marie Kobayashi (Rustena), Sylvia Marini (Damira), Noriko Urata (Rosane), Philippe Jaroussky (Zelim), Robert Espert (Melindo).
  Live from the Salle Gaveau in Paris.
• 15-25 September 2002 - Jean-Christophe Spinosi (conductor), Ensemble Matheus.
  Anthony Rolfe Johnson (Mamud), Guillemette Laurens (Rustena), Nathalie Stutzmann (Damira), Gemma Bertagnolli (Rosane), Philippe Jaroussky (Zelim), Sara Mingardo (Melindo).
  Studio shot.
  Naive / Opus 111 30365 (3 CDs).

Web links

Commons : La verità in cimento  - collection of images, videos and audio files

• La verità in cimento, RV 739 : Sheet music and audio files in the International Music Score Library Project
• Libretto (Italian), Venice 1720. Digitized from the Library of Congress
• La verità in cimento (Antonio Vivaldi) in the Corago information system of the University of Bologna
• Action from La verità in cimento on Opera-Guide landing page due to URL change currently not available
• Discography on La verità in cimento at Operadis

Individual evidence

1. ^ Total duration of the recording of Jean-Christophe Spinosi .
2. ↑ ^{a b c d e f g h i j k l m} Reinhard Strohm : The Operas of Antonio Vivaldi. Leo S. Olschki, Florence 2008, ISBN 978-88-222-5682-9 , Volume I, pp. 286-307.
3. ^ Michael Talbot : The Vivaldi Compendium. The Boydell Press, Woodbridge 2011, ISBN 978-1-84383-670-4 , p. 190.
4. ↑ ^{a b c d e f} Peter Ryom : Vivaldi catalog raisonné . Breitkopf & Härtel, Wiesbaden 2007, ISBN 978-3-7651-0372-8 , pp. 511-518.
5. ^ Work information based on the Ryom catalog on musiqueorguequebec.ca.
6. ^ ^{A b c} Eleanor Selfridge-Field: A New Chronology of Venetian Opera and Related Genres, 1660-1760. Stanford University Press, Stanford 2007, ISBN 978-0-8047-4437-9 , p. 355.
7. ↑ ^{a b c} : Frédéric Delamea, Charles Johnston (trans.) Piece test-Vivaldi's Venetian. In: Supplement to CD Naive / Opus 111 30365.
8. ^ ^{A b} Jean-Christophe Spinosi , Frédéric Delaméa, Charles Johnston (trans.): Note on the reconstruction of the score. In: Supplement to CD Naive / Opus 111 30365.
9. ↑ ^{a b c d} Antonio Vivaldi. In: Andreas Ommer: Directory of all opera complete recordings (= Zeno.org . Volume 20). Directmedia, Berlin 2005.
10. ↑ Tim Ashley: La Verità in Cimento - review. Review of the 2011 Garsington Opera performance. In: The Guardian , June 22, 2011, accessed October 24, 2019.
11. ↑ Sarah Batschelet: La Verità in Cimento: shortly after a baby swap. Review of the performance in Zurich 2015 on bachtrack.com, May 27, 2015, accessed on October 23, 2019.
12. ↑ La veritả in cimento in the program of the Zurich Opera , September / October 2018, accessed on October 23, 2019.
13. ^ Roland H. Dippel: Flag, Stasi, Deutschlandlied - Vivaldi's “La verità in cimento” in Leipzig. In: Neue Musikzeitung , July 5, 2016, accessed on October 23, 2019.
14. ^ Elisabeth Richter: Timeless Vivaldi Opera in Schwetzingen. Report by Deutschlandfunk , December 3, 2018, accessed on October 23, 2019.