Lo frate 'nnamorato

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Opera dates
Title: The brother in love
Original title: Lo frate 'nnamorato
Title page of the libretto, Naples 1734

Title page of the libretto, Naples 1734

Shape: Commedia per musica in three acts
Original language: Neapolitan , Italian
Music: Giovanni Battista Pergolesi
Libretto : Gennaro Antonio Federico
Premiere: September 27, 1732
Place of premiere: Teatro dei Fiorentini, Naples
Playing time: about 5 hours
Place and time of the action: Capodimonte around 1730
people
  • Marcaniello, old father of Luggrezia and Don Pietro ( bass )
  • Nena, biological sister of Nina, Roman, in love with Ascanio ( soprano )
  • Nina, biological sister of Nena, Roman, in love with Ascanio ( old )
  • Ascanio, young man, in love with Nina and Nena, later turns out to be their biological brother Luccio, who grew up in the Marcaniellos house (soprano)
  • Luggrezia, daughter of Marcaniello, in love with Ascanio (old)
  • Carlo, uncle of Nena and Nina, Roman, in love with Luggrezia ( tenor )
  • Vannella, Carlo's maid (soprano)
  • Cardella, Marcaniello's maid (soprano)
  • Don Pietro, young nerd, son of Marcaniello (bass)

Lo frate 'nnamorato (German: The brother in love ) is a Commedia per musica (comic opera , Neapolitan original name: "Commeddeja pe mmuseca") in three acts by Giovanni Battista Pergolesi (music) with a libretto by Gennaro Antonio Federico . Some of the roles are singing in the Neapolitan dialect . The premiere took place on September 27, 1732 at the Teatro dei Fiorentini in Naples. A revised version appeared in the same theater in 1734.

action

The opera is set in Capodimonte, Italy, and is about two neighboring families. The old gouty Marcaniello is the father of Luggrezia and the vain Don Pietro. He has also taken in Ascanio the foundling. On the other hand there is Carlo with his two nieces Nena and Nina. This family moved from Rome and therefore does not speak the Neapolitan dialect like Marcaniello's family. The maid Vannella works for Carlos' family and her colleague Cardella at Marcaniello. Carlo has fallen in love with Luggrezia and wants to marry her. Marcaniello agreed, but made it a condition that he himself receive his niece Nina and his son Pietro her sister Nena. So there should be three weddings. Unfortunately, none of the women agrees, because all three are in love with Ascanio, who only reciprocates the love of Nina and Nena and cannot decide between the two. After all sorts of complications, which are especially driven by the two maids, it turns out that Ascanio is in fact the long-missing brother of Nina and Nena. So he chooses Luggrezia and there will only be one wedding.

first act

The two maids Vannella and Cardella talk while cleaning about a love song that both of them have picked up (“Passo ninno da ccà nnante”). Both await the arrival of Marcaniello's son Don Pietro from Rome. The latter appears and first sings about his own beauty, which he admires in a mirror (“Pupillette, fiammette d'amore”). While he is waiting for his fiancée Nena, her uncle Carlo comes. They chat a little. Carlo asks Vannella to get Nena. Meanwhile, Pietro and Cardella are flirting, gossiping about how much she would like to marry herself (“No mme vedite ne”). Carlo and Pietro continue to talk about the planned wedding, with Pietro scrounging Carlos snuff several times. Vannella and Cardella apologize for Nena and Luggrezia. Pietro is getting impatient. Carlo should tell Nena that he had waited longingly for her in vain. But she needn't fear anything, because true as he is, she will definitely come back (“Le dirà: Che il suo vago cicisbeo stava qua”). He goes away.

Carlo reminds Nina and Nena that they will marry Pietro and Marcaniello and should treat them with respect. Neither of them believe in the marriage plans. The Marcaniello intended for Nina is an old man, and Nena finds Pietro just ridiculous. Carlo thinks that it would be better for them to consent: they would then be happy, and only then could he also receive his longed for Luggrezia ("Avventurose spose"). Nina and Nena don't even think about it. Both love Ascanio and are also jealous of each other (Nina: "Tu non curi i detti miei" - Nena: "E 'strano il mio tormento").

Luggrezia, Marcaniello and Ascanio come out of the house. Marcaniello can hardly walk in pain because of his gout. Nevertheless, Luggrezia tells him that there is no way she will marry Carlo. Marcaniello gets angry, but has to interrupt his aria of anger again and again with cries of pain ("Veda ossorìa! Mm'aggio da perdere"). Then Luggrezia Ascanio declares her love. He rejects them. Since they grew up together, only one sister sees her. Luggrezia complains about his supposed coldness ("Morta tu mme vuoje vedere") and leaves. Left alone, Ascanio ponders his own situation. He loves Nina and Nena and is loved again by both. His desperation over not being able to choose one of them without disappointing the other takes on unimagined proportions (“Ogne pena cchiù spiatata”).

While Pietro continues to wait in vain for Nena, he flirts with Vannella. To Cardella and Marcaniello, who catch them, he claims that they have rehearsed a dance. Now finally Nena shows up and makes fun of him: he probably wanted to make her jealous of a maid. Vannella apologizes awkwardly for falling for Pietro ("Gnora, crediteme, ch'accossì è"). Cardella doesn't believe a word of her and Pietro tries to explain his love to Nena in French. Nina also appears and is immediately courted by Marcaniello. She replies that she loves the father - but the son even more. When Pietro proudly announces that all women are in love with him because of his beauty, his father accuses him of stupidity and ingratitude ("Tu si ggruosso quanto a n'aseno").

Second act

At the beginning of the act, Luggrezia laments her love affair (“Lo trommiento c'ha sto core”). Cardella then goes on about the stupidity of many people. It makes her angry that some men pay more attention to the outside when making love and ignore the inner values ​​("Vide ciert'uchte senza judiceo").

Marcaniello is angry that his superficial son is messing around with all the women and that the wedding plans are threatening to fail. He also berates Vannella and tries to chase her away. But Vannella is not easily intimidated. She scolds men in general - except for the old ones. There is a brief, teasing argument about Marcaniello's age. Nina surprises the two of them. She accuses Marcaniello of flirting with Vannella and threatens to acquire a more worthy lover (“Ti scaccio dal mio petto”). Marcaniello's mood is at its lowest point when Vannella agrees with Nina (“Gioja mia, mme vuoje lassare”). Vannella, however, is enthusiastic about the finesse of her mistresses in dealing with men (“Chi disse, ca la femmena”).

Don Pietro complains to Ascanio about Nena's rejection. Only its beauty is to blame for everything. Nena, who has listened for a while, explains to both of them that she despises Pietro and that she will never marry him. She is loyal to Ascanio (“Son pur chiari i sensi miei”). Nena moves away, leaving Ascanio desperate. He is now completely entangled in love affairs from which he can no longer free himself ("Che boglio parlare, che ppozzo maje dire?"). Pietro's mood has not improved either. Cardella notices his paleness and suggests putting make-up on him. Pietro is entranced by this idea. He jokes that he'll marry her out of gratitude (“Il fior di questo core”).

The two jealous sisters Nina and Nena approach Ascanio. He should finally choose one of them. When both accuse him of his cruelty, he declares that he has made a decision - for death (trio: "Se 'l foco mio t'infiamma"). Startled by the loud conversation, Luggrezia appears, who now thinks she knows why Ascanio has always rejected her love. She leaves him angry.

Carlo is also disappointed about the rejection of his future (“Mi palpita il core”). Cardella is now almost done beautifying Pietro. All that's missing is a little blush, then Pietro can admire himself in a mirror. Now he's as beautiful as Cupid (“Mon Dieù combien de sciarm!”). Vannella sees him in this guise. Together with Cardella, she makes fun of him. Marcaniello and Carlo join them. The act ends in the general confusion of insults, the mockery of the maids and the cries of pain from Marcaniello, who finally falls and is carried into the house by the others (quintet: "Ora chesta sarrà ne vista bella").

Third act

Nena sings about her unrequited love for Ascanio ("Va solcando il mar d'amore"). But Ascanio doesn't find peace either ("Chi da pace, chi da carma").

Pietro happily announces to his father that they will get married this evening. Nina and Nena watch the conversation first and then mock their grooms. Nena calls Pietro a crazy fool, and Nena insults Marcaniello as a disgusting old man. The two men first have to sit down in shock. The maids appear and immediately continue their teasing. Then they accuse each other of insulting their employers and verbally abuse each other. The dispute escalates until Cardella bursts into tears ("Perché me strellate?") And leaves. Vannella is disappointed that she couldn't really take revenge on her. Pietro tries to calm her down and then complains about his own problems with Nena. He plans to make her jealous by a declaration of love to Vanella, which he is now rehearsing with her (duet: "Io ti dissi, ea dirti torno").

Little by little, everyone else appears. Cardella reports that Carlo raised his sword against Ascanio and injured him. Carlo reassures everyone that the injury is not bad. When examining the wound, however, he discovered once on Ascanio's arm that resembled that of his lost nephew. Marcaniello says that 17 years ago when he returned from Rome he picked up Ascanio on the street in Fajola and took him in. Carlo confirms that it was exactly when his brother lost his son. Hence Ascanios affection for his two sisters comes from. Ascanio asks Marcaniello for Luggrezia's hand. The other weddings have now lost their meaning. Everyone is satisfied (“Su, su, a le gioie”).

layout

The orchestra consists only of a flute, strings and basso continuo . The flute is used in concert in Nena's aria “Va solcando il mar d'amore” at the beginning of the third act.

The Commedia per musica (or “Commeddeja pe mmuseca”) is a typical Neapolitan opera form of the early 18th century. The action usually takes place in the (then) present in the area of ​​Naples. The scene is rigid and depicts a street between two country houses. The characters are either based on those of the Commedia dell'arte or are in love. Usually there is a foundling who grew up unrecognized and is loved by several other people at the same time. Towards the end, the real identity of this person turns out to be a close relative of most of the suitors, so that only one applicant remains. In addition to burlesque elements, there are allusions to the opera seria and social life. A frequently used form of music is the simple "canzona", which is often in verse form. The opera usually begins with such a “canzona” in Sicilian rhythm. The use of Neapolitan is also typical, but from 1720 it was gradually pushed back and restricted to the buffo parts. Further examples of this genre are Pergolesi's Il Flaminio and Leonardo Leo's opera L'Alidoro from 1740, which was rediscovered at the beginning of the 21st century .

In keeping with this genre, Lo frate 'nnamorato also consists of a mixture of serious and burlesque elements. The maids and members of the Marcaniellos family sing in the Neapolitan dialect. There are still echoes of the Commedia dell'arte in the figures of the heads of the families Marcaniello and Carlo . However, they are not treated schematically, but show human traits. The sick old Marcaniello longs to be youthful again, and the superficial Pietro likes to pretend he is educated. Nevertheless, he flirts indiscriminately with both the ladies and the maids.

Echoes of Neapolitan folk music can be found in the first duet by the two maids ("Passo ninno da ccà nnante") and in Vannella's "Chi disse, ca la femmena" in the second act. Both pieces use 12/8 time ( Siciliano ), are in a minor key and make extensive use of the Neapolitan sixth . “Chi disse ce la femmena” consists of three sections in different tempos.

In the quintet at the end of the second act (“Ora chesta sarrà ne vista bella”), Vannella and Cardella come up with a common refrain.

Many of the solo pieces are kept simple and popular. The Roman and somewhat more educated sisters Nina and Nena, on the other hand, have arias in the style of the opera seria .

Work history

Lo frate 'nnamorato is Pergolesi's first comic opera. He wrote it at the age of 22. He had previously composed a sacred cantata (La conversione di San Guglielmo d'Aquitania) and a serious opera ( La Salustia ) . The libretto comes from Gennaro Antonio Federico , who in the following years also wrote the texts for Pergolesi's La serva padrona and Il Flaminio .

Giacomo D'Ambrosio (Marcaniello), Marianna Ferrante (Nena), Teresa De Palma / Maria Caterina Negri (Nina), Teresa Passlioni (Ascanio), Rosa Gherardini (Luggrezia) sang at the premiere on September 27, 1732 at the Teatro dei Fiorentini in Florence ), Giovanni Battista Ciriaci (Carlo), Margherita Pozzi (Vannella), Maria Morante / Virginia Gasparrini (Cardella) and Girolamo Piani (Don Pietro). After the first act, the Intermezzo Capetà Cola, Spaviento e Giulietta , also by Pergolesi, was performed , and after the second act, a ballet by the choreographer Domenico Minelli d'Addati. These additional pieces have not been preserved. The opera was enthusiastically received by the Neapolitan audience.

In the carnival season of 1734, the piece was revised in the same location. Three changes of line-up were made and eight arias exchanged. There were further performances in the carnival season 1748/1749 in the Teatro Nuovo. For this, the text of the Luggrezia had to be translated into Tuscan because the singer was not able to speak Neapolitan. In addition, another role was introduced with the servant Moscardo. Since they did not want to touch the music of the late Pergolesi, arias were selected from other of his works - a hint in the foreword of the libretto. It was also pointed out that the opera's melodies had been recited and sung in the streets of the city for twenty years.

The work was initially not performed outside of Naples due to the dialect. In 1959 there was a performance in Hanover. In 1960 an arrangement by Renato Parodi was given at the Piccola Scala in Milan. Bruno Bartoletti was the musical director ; Directed by Franco Zeffirelli . In the Teatro alla Scala , it was the first time in 1989 after the new edition by Francesco Degrada under the direction of Riccardo Muti and directed by Roberto De Simone played. A recording of this performance is available on DVD. Another DVD was recorded in 2010 of a performance at the Teatro G. B. Pergolesi in Jesi.

The first act is only preserved in the second version from 1734, the other two acts only in the first version.

In 1920 Igor Stravinsky included some pieces from the opera in his ballet Pulcinella .

Ascanios' aria "Ogne pena cchiù spiatata" stayed in the repertoire and was particularly popular with male singers, although it is actually a soprano aria.

Recordings

Web links

Individual evidence

  1. ↑ a b c d e f g h i Helmut Hucke: Lo frate 'nnamorato. In: Piper's Encyclopedia of Musical Theater. Vol. 4. Works. Massine - Piccinni. Piper, Munich and Zurich 1991, ISBN 3-492-02414-9 .
  2. ↑ a b c d e f Gordana Lazarevich:  Frate 'nnamorato, Lo. In: Grove Music Online (English; subscription required).
  3. ↑ a b c Lionel Salter: Review of the recording of the Milanese performance in Gramophone , accessed on May 13, 2016.
  4. ^ Record of the performance on September 27, 1732 in the Teatro dei Fiorentini in the Corago information system of the University of Bologna .
  5. ↑ September 27, 1732: “Lo frate”. In: L'Almanacco di Gherardo Casaglia ..
  6. ^ Lo frate 'nnamorato (Giovanni Battista Pergolesi) in the Corago information system of the University of Bologna . Retrieved May 8, 2016.
  7. ↑ a b Ulrich Schreiber : Opera guide for advanced learners. From the beginning to the French Revolution. 2nd Edition. Bärenreiter, Kassel 2000, ISBN 3-7618-0899-2 , p. 248.
  8. ↑ a b c Giovanni Battista Pergolesi. In: Andreas Ommer: Directory of all opera complete recordings. Zeno.org , volume 20.
  9. ↑ Review of the 2011 recording on operanews.com , accessed May 8, 2016.