Niobe, regina di Tebe
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| Title: | Niobe, Queen in Thebe |
| Original title: | Niobe, regina di Tebe |
Title page of the libretto, Munich 1688 |
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| Shape: | Dramma per musica in three acts |
| Original language: | Italian |
| Music: | Agostino Steffani |
| Libretto : | Luigi Orlandi |
| Literary source: | Ovid: Metamorphoses |
| Premiere: | January 5, 1688 |
| Place of premiere: | Salvatortheater Munich |
| Playing time: | about 3 hours |
| Place and time of the action: | Thebes, mythical time |
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Niobe, regina di Tebe or Niobe for short (German original title from 1688: Niobe, Queen in Thebe ) is a dramma per musica in three acts (12 images) by Agostino Steffani (music) with a libretto by Luigi Orlandi based on the 6th book from Ovid's Metamorphoses . The premiere took place on January 5, 1688 in Munich's Salvatortheater .
action
The Theban King Anfione is tired of office and wants to devote himself to art in the future. He hands over the rule to his wife Niobe and Prince Clearte. The latter is secretly in love with Niobe - but despite the support of Niobe's wet nurse Nerea, he does not manage to reveal his feelings to her. The magician Poliferno wants to take revenge on Anfione for the death of his sister Dirce and for this purpose has bewitched the Thessalian prince Creonte. He now also believes that he loves Niobe and has to conquer her in a campaign. When Anfione prays to protect the city, his song miraculously creates protective walls. Niobe is so impressed that she proudly declares her husband to be God.
Using various magical means, Poliferno and Creonte invade the city and kidnap Niobe, who leads them to believe that Creonte is Mars, the god of war. But the real gods let the magic pass. Niobe's arrogance grows immeasurably. She has the temple of Latona destroyed and her own children worshiped as gods. During the ceremony, the enraged Latona intervenes with other gods and kills the children. Anfione commits suicide in grief, and Niobe petrifies with pain. Creonte can take control unhindered. But he proves to be a good king who, as his first official act, banishes his malicious advisor Poliferno and shows himself to be generous towards the Thebans.
In a subplot, the Theban Latona priestess Manto falls in love with the young Prince Tiberino. The two are inexperienced in love affairs and have to overcome some misunderstandings before they can find each other. Manto's father is the blind seer Tiresia, who gives Anfione various pieces of advice.
The following preface is added to the German libretto from 1688:
“The rulers of Thebe and Amphione were both considered to be the most glorious because of the general reputation of the whole of Greece: one because he came from Jupiter, the most powerful king in Creta, but the other because they are a daughter of the most famous Phrygian king Tantalus : next to her also with a soul so masculine and so gifted that the usual weakness of her sex would be so gifted that she was given the name of a goddess: So Amphione, in addition to his splendid loveliness in the art of singing, is also so well understood by deep intellect to rule as acquired cleverness, got so far that he brought the developed peoples to holy people bliss and civil union, and thereby conquered the title of god. Just as, however, all too great happiness sometimes leads to such ill-treatment, which leads to great accidents, so Niobe fell so badly that she was not afraid to dishonor the gods themselves, who worshiped Latona, one of the Thebans, because of such excessive honors To cease the usual sacrificial service to the goddess, vnd Manto, the Tiresia of a fortune teller, and the mentioned goddess the priest's daughter, in whom the Latona began to perform the appropriate sacrificial worship, to insult proud white. To avenge these contempts, they punished the gods with the sudden death of all their children; What was it about Amphione who was murdered out of desperation, and Niobe, out of pain and distress, gave up his life: but Manto, who went to Italy after this, was defeated by the Tiberino king in Alba.
In poetic narration of such incidents, fabulous Greece would be very much attached to unfounded fictions; Dannenhero possessed the inheritance of the Theban monuments, deß Amphione Gesang, others to the sound of his Seytenspiele: also presented as if the Latona sampled Apollo and Diana, flashed from heaven on the high-spirited Thebans: but the Niobe turned them into a stone.
To this end, it is probably faked that after the Amphione, through the occupation of King Lico his ancestor, seized the Theban Empire, the Thessalian King, Lico's relative, vmb to avenge his death, whom Creonte sent his son, Thebe with, a year later to attack a planned siege, and the Creonte of Poliferno, one of the princes from Attica who denounced the sorcery, was particularly refreshed by means of this hope for the said war that he would thereby be able to enjoy the Niobe beauty; The Poliferno, however, had induced greediness to such hatred as that of the Dirce, who was blood-related to Lico's other wife, which was also brought by Amphione.
The amphione, which demanded that the ruling bureau be free, to leave Niobe, his very valued wife, to rule a powerful and restricted power, and to have given her the clearte for an executor of her commandments, which he at this end out of the forest call back what he was going to, so that he could get rid of his love, which he nourished in his heart against Niobe, but hidden and without hope of any pleasure.
That Tiberino, before he inherited the kingdom of Alba from his lord father, out of desire to spread the glory of his excellence in tournaments, hunting, wrestling, and other knightly exercises common with the Greeks at the same time, in Greece, and finally to himself Thebe fell in love with the Manto, also afterwards when his wife ran in Latien. "
first act
Royal room with a throne
Scene 1. Anfione, King Thebes, announces to his family and the court that he is tired of the royal dignity and that he now wants to leave rule to his wife Niobe. The Prince Clearte should support them in the official business (duet Anfione / Niobe: "Sollievo del mio seno").
Scene 2. Clearte, summoned from voluntary exile in the wilderness, learns of his new assignment. Anfione hands him a royal robe (aria Anfione: "Miratemi begl'occhi").
Scene 3. While Niobe is excited about the change, Clearte hesitates. He is secretly in love with Niobe and fears that he will not be able to perform his duties with the necessary respect. But he finally swears his loyalty to her (Aria Niobe: "È felice il tuo cor, né sai perché").
Scene 4. Niobe's wet nurse Nerea notices Clearte's feelings for Niobe. She gives him hope and promises to stand up for him (Arie Nerea: “Quasi tutte son le brutte”).
Scene 5. After everyone else has left, Clearte lets his emotions run wild. The only reason he went into exile at the time was to forget his love for Niobe. But now everything comes up again (Aria Clearte: “Son amante, e semper peno”).
Forest
Scene 6. Tiberino, the boastful son of the King of Alba, has come to Greece with his entourage to gain fame (Aria Tiberino: “Alba esulti, e il Lazio goda”).
Scene 7. The Theban virgin Manto, separated from her people during a hunt, is on the run from a predator. Tiberino kills the animal. Manto swears eternal gratitude to him, and both fall in love on the spot (Aria Manto: “Se la vita a me donasti”).
Scene 8. Manto's father, the blind seer Tiresia, joins them. Through his gift he already knows about Tiberino's deed. He invites him to his apartment, where he wants to show him his future fate (Aria Tiresia: “Amor t'attese al varco”).
Scene 9. Manto tells Tiberino that she and her father serve in the temple of the goddess Latona . Tiberino asks her what sacrifice she wants to make to the god of love - but Manto has not yet had any experience with love. She pretends not to understand Tiberino (Aria Tiberino: "Tu non sai che sia diletto").
Scene 10. Manto laments the impetuosity of Tiberino. Although she reciprocates his feelings, she would rather take the relationship more calmly (Aria Manto: "Vuoi ch'io parli, parlerò").
Scene 11. Suddenly a huge animal appears, which transforms into a larger group of soldiers on the stage. The magician Poliferno floats in in a cloud. He carries with him the sleeping Thessalian Prince Creonte, whom he has made in love with Niobe through a spell. His goal is to get the jealous prince to attack and devastate Thebes. Creonte awakens longing for Niobe (Aria Creonte: "Dove sciolti a volo i vanni"). Poliferno persuades him that he can only win her over by means of a campaign of conquest. In addition, it is important to avenge his uncle Lico, whom Anfione had once ousted and killed (Aria Poliferno: "Nuovo soglio, e nuova bella").
Scene 12. Creonte asks the gods of war and love for support in his campaign against Thebes and then raves about the beauty of Niobe (Aria Creonte: “Troppo caro è quel bel volto”).
Royal Museum showing the Palace of Harmony
Scene 13. Anfione seeks his peace in music (aria Anfione: “Sfere amiche or date al labbro”).
Scene 14. Niobe swears her eternal love to Anfione (Aria Niobe: “Vorrei semper vagheggiarti”).
Scene 15. Nerea and Clearte report the approach of the Thessalian troops from Creontes. While Clearte and Niobe are ready to fight, Anfione is reluctant to get his people in the mood for the upcoming war (Aria Anfione: "È di sasso chi non t'ama").
Scene 16. After Anfione leaves, Nerea tells Clearte to reveal his feelings to Niobe. He tells her that he wants to show the snow-covered volcano Etna on his shield - cold on the outside, but full of flames on the inside. When Niobe asks him to explain this in more detail, Clearte stutters until Niobe advises him to keep quiet (Aria Niobe: "Segui ad amar così").
Scene 17. Nerea scolds Clearte for his clumsiness in dealing with love. Clearte desperate (Aria Clearte: "C'ho da morir tacendo").
Scene 18. Nerea is sure that Niobe will return Clearte's love and just want to hold him off a little. Women are so easy to move to love - a sigh is enough (Aria Nerea: "In amor siam tanto facili").
Open landscape with a view of Thebes, which is not surrounded by city walls
Scene 19. As Creonte and Poliferno approach the city, a huge monster rises from the earth. Poliferno conjured it up to provide Creonte with a direct route to Niobe through the beast's mouth. Creonte steps into it fearlessly (Aria Creonte: "Anderei sin nell'inferno").
Scene 20. Poliferno conjures his late sister Dirce, Lico's wife, to rise from the grave to watch his revenge (Aria Poliferno: “Fiera Aletto del mio petto”). He follows Creonte into the jaws of the monster, which then closes. The animal sinks back into the earth.
Scene 21. Anfione gives an encouraging speech to the people to get them ready to defend the city. This cheers him. He asks God for protection (Aria Anfione: “Come padre, e come dio”). During his aria, walls rise around the city as if by magic.
Scene 22. After Nerea has notified Niobe of the spell (Aria Nerea: "Assistentemi, soccorretemi"), this one comes along too. She is of the opinion that her husband now deserves divine honors, since his singing alone has achieved this miracle (Aria Niobe: "Con il tuo strale amore").
Scene 23. When the blind Tiresia urges the royal couple to be modest, Niobe throws him indignantly to the ground and kicks him. She and Anfione swear their love again (duet Anfione / Niobe: "Mia fiamma ... - Mio ardore ...") and withdraw.
Scene 24. In response to Tiresia's calls for help (Aria Tiresia: “Calpestato, lacerato”), his daughter Manto and Tiberino appear, to whom Tiresia tells of Niobe's arrogance. Manto and Tiberino promise him their protection. He lets them lead him to the temple of Latona, where he wants to summon the stars to vengeance (Aria Tiresia: “Di strali, e fulmini”).
Scene 25. Tiberino explains the secrets of love to Manto. She listens to him patiently and then confesses her own feelings to him (Aria Manto: "Nel mio seno a poco a poco").
Scene 26. Tiberino is amazed at Manto's contradicting behavior (Aria Tiberino: “Quanto sospirerai”).
Second act
Amphitheater with a large ball in the middle and a small royal seat on the side
Scene 1. Creonte and Poliferno emerge from the earth on two dragons. Creonte is impressed with the craftsmanship of this place created by Niobe. You want to watch the queen for a while. So that they go unnoticed, Poliferno lets an invisible cloud float in. Creonte eagerly awaits the arrival of Niobe (Aria Creonte: “Del mio ben occhi adorati”).
Scene 2. First, Clearte appears with the Theban nobles and people. He reminds those present of the miracle of the city wall and assures them that the gods will also assist them in using the weapons. The princes are already on the march against the enemy. He swears to himself that he will continue to serve Niobe faithfully (Aria Clearte: "Voglio servir fedel").
Scene 3. Now Niobe and Nerea also come in. Niobe calls on Clearte to ascend the throne with her as co-regent. Clearte hesitates because he feels subject to her orders and his loyalty also goes to Anfione. Niobe pulls him to the throne almost forcibly (Aria Niobe: "Qui la dèa cieca volante").
Scene 4. When Anfione arrives, Clearte tries to make room for him - but Niobe tells him to stay. Anfione immediately notices the splendid sphere in the center, which seems to compete with the gleam of the sun. Niobe explains to him that he no longer has a place on the throne because he is no longer king, but that he is entitled to a “starred seat” as a deity. The ball opens. and releases a starry sky. Anfione enters enthusiastically (aria Anfione: "Ascendo alle stelle"). Niobe urges those present to worship this deity. Then she calls for a dance. Poliferno can no longer watch this glorification of his enemy. He conjures a hellish cloud that shadows the whole stage. Creonte floats in the cloud with Niobe. Poliferno, on the other hand, sinks into the earth with constant thunder (Aria Poliferno: "Numi tartarei con vostri sibili").
Scene 5. Anfione remained frightened on the dark and otherwise deserted stage. He complains about the loss of Niobe (aria Anfione: "Dal mio petto o pianti uscite").
Mountain landscape with a source
Scene 6. Tiresia is confused by the events and is no longer able to interpret the omens (Aria Tiresia: “Confuse potenze destatevi su”). Tiberino is disappointed that he will not receive the promised prophecy after all. However, Tiresia informs him that he should not seek his success in war. He makes his way to the temple.
Scene 7. While Tiberino is still brooding, Manto appears with her friends. Manto confesses her love for Tiberino - but Tiberino decides to hold her back a little longer. He only admits that he likes it, but he doesn't yet know whether it is love (Aria Tiberino: “Il tuo sguardo o bella mia”).
Scene 8. Manto feels mocked by Tiberino (Aria Manto: “Tu ci pensasti poco”).
Scene 9. Poliferno appears in the form of the divine messenger Mercurius at the kidnapped Niobe and tells her that the god Mars himself has chosen her to be his wife. She should now leave all earthly impulses behind. Niobe is delighted to be loved by a god (Aria Niobe: "Stringo al seno un nume amante").
Scene 10. Creonte floats down on a large cloud in the shape of Mars. He explains that he now wants to give up his field and arms in favor of his love for Niobe (Arie Creonte: "Lascio l'armi, e cedo il campo"). Both confess their love for each other (Duet Creonte / Niobe: "T'abbraccio mia diva ... - Ti stringo mio nume ..."). Poliferno wishes you sweet love pleasure (Aria Poliferno: "Gioite, godete in grembo al piacer").
Royal apartments
Scene 11. Tiresia explains to Anfione that Creonte, with the help of the magician Poliferno, stole his wife. He recommends that Anfione humbly implore the gods for forgiveness for his arrogance. Meanwhile, he wants to pray for help in the temple (Aria Tiresia: “De 'numi la legge”).
Scene 12. Anfione swears warlike vengeance on his opponents (Aria Anfione: “Tra bellici carmi”).
Plains with shepherds' huts
Scene 13. Clearte and Nerea have been brought to this place by Poliferno's spell and are looking for explanations. Clearte, who above all misses the sight of Niobe, wants to return to the city as quickly as possible (Aria Clearte: “Non mi far pianger semper”).
Scene 14. While Nerea is resting a little longer, Manto in tears and shortly afterwards Tiberino join them. Manto refuses to give Tiberino further explanations (Aria Manto: "Ho troppo parlato").
Scene 15. When Nerea reproaches Tiberino about his behavior, the latter declares that he is no longer in control of his heart (Aria Tiberino: "Ci sei colto mio cor, non vi è più scampo").
Scene 16. Nerea leaves out the fact that many young men try to win over women through deceptive flattery (Aria Nerea: "Questi giovani moderni").
The act ends with a shepherd's dance.
Third act
The heavenly realm of Mars
Scene 1. Creonte introduces Niobe, now dressed as a goddess, to his heavenly court. Niobe assures him of her love and loyalty (Aria Niobe: "Amami, e vederai"). Suddenly she is overwhelmed by an inexplicable anxiety and faints.
Scene 2. Poliferno warns Creonte that the goddess Latona was moved to intervene by Tiresia's prayer and that heaven has conspired against her. Now all that's left is to flee. Creonte complains of losing Niobe again (Aria Creonte: "Luci belle, che languite").
The realm of Mars gives way to a lonely place with a grotto
Scene 3. Anfione finds the passed out Niobe lying on a rock. It takes a while for him to recognize her in her changed clothes. When she wakes up and asks about Mars and her heavenly servants, he thinks she is fantasizing. Nevertheless, he explains to her about Creontes and Poliferno's deceptions. Niobe swears vengeance (Aria Niobe: "Contro il ciel, che m'ha schernita").
Scene 4. Anfione has never experienced such violent emotions as it does now. He despairs completely (Aria Anfione: “Ho perduta la speranza”).
Temple of the Latona
Scene 5. Manto and Tiberino marry with the blessing of Tiresia. Tiresias asks Tiberino to follow him into town. Meanwhile, Manto is said to pray with the people for divine assistance. Tiberino assures Manto of his love (Aria Tiberino: "Or ch'è mio quel vago labbro").
Scene 6. While Manto introduces the prayer, Niobe appears with Clearte, Nerea, and other entourage. She (a descendant of Atlas and Jupiter) thinks Latona is a false goddess and orders her people to destroy the temple. Their servants throw the images of Latona, Apollos and Dianas to the ground. Manto warns them of the vengeance of heaven (Aria Manto: "Chiudetevi miei lumi").
Scene 7. Niobe orders Clearte to organize a victory ceremony where her children are to be declared gods.
Scene 8. Niobe plans to destroy her opponent (Aria Niobe: “In mezzo all'armi”).
Scene 9. Nerea's next comment is for the lovers who even use magic for their pleasure. She laments the general infidelity of men (Aria Nerea: "Che alla fé di donne amanti").
Great place in Thebes
Scene 10. While the sons of Niobe present themselves on a large scaffolding for their honor, Clearte opens the victory celebration in front of the assembled people (Aria Clearte: "Tutta gioia, e tutta riso"). Suddenly all buildings collapse due to an earthquake. A dark cloud covers the stage, and Latona, Apollo, Diana and other gods appear between thunder, hail and lightning. They hurl lightning at the sons of Niobe and disappear again.
Scene 11. When Anfione appears, he finds his children dead. In pain he throws himself into his sword.
Scene 12. Niobe sees her dying husband, who says goodbye to her in a final aria (Aria Anfione: “Spira già nel proprio sangue”). Only then does she discover her dead sons. All their hopes are destroyed. She petrifies with horror and dies too (Aria Niobe: "Funeste immagini").
Scene 13. The victorious Creonte marches to the sound of trumpets and kettledrum with Poliferno, Tiresia, Manto and Tiberino, soldiers and people. The magically built city walls were destroyed by the lightning of the gods. Creonte laments the dead and especially Niobe. Since he feels guilty for her death, he banishes Poliferno from his service.
Scene 14. Creonte gives his blessing to Manto and Tiberino. Niobe's nurse Nerea appears and asks for mercy. Creonte promises her a carefree future and then calls on the people to praise (Arie Creonte: “Di palme, e d'allori”).
The opera ends with a dance of cheering soldiers.
layout
Instrumentation
The orchestral line-up for the opera includes the following instruments:
- two flutes
- two pifferi ( ripieno - oboes )
- bassoon
- four trumpets
- Strings
- Basso continuo
- Stage music behind the scene: hunting trumpet
Music numbers
According to the information in the libretto, the opera contains the following musical numbers:
first act
- Duet Anfione / Niobe: "Sollievo del mio seno" (scene 1)
- Aria Anfione: "Miratemi begl'occhi" (scene 2)
- Aria Niobe: "È felice il tuo cor, né sai perché" (scene 3)
- Aria Nerea: "Quasi tutte son le brutte" (scene 4)
- Aria Clearte: "Son amante, e semper peno" (scene 5)
- Aria Tiberino: "Alba esulti, e il Lazio goda" (scene 6)
- Aria Manto: "Se la vita a me donasti" (scene 7)
- Aria Tiresia: "Amor t'attese al varco" (scene 8)
- Aria Tiberino: "Tu non sai che sia diletto" (scene 9)
- Aria Manto: "Vuoi ch'io parli, parlerò" (scene 10)
- Arie Creonte: "Dove sciolti a volo i vanni" (scene 11)
- Aria Poliferno: "Nuovo soglio, e nuova bella" (scene 11)
- Aria Creonte: "Troppo caro è quel bel volto" (scene 12)
- Aria Anfione: "Sfere amiche or date al labbro" (scene 13)
- Aria Niobe: "Vorrei semper vagheggiarti" (scene 14)
- Aria Anfione: "È di sasso chi non t'ama" (scene 15)
- Aria Niobe: "Segui ad amar così" (scene 16)
- Aria Clearte: "C'ho da morir tacendo" (scene 17)
- Aria Nerea: "In amor siam tanto facili" (scene 18)
- Arie Creonte: "Anderei sin nell'inferno" (scene 19)
- Aria Poliferno: "Fiera Aletto del mio petto" (scene 20)
- Aria Anfione: "Come padre, e come dio" (scene 21)
- Aria Nerea: "Assistentemi, soccorretemi" (scene 22)
- Aria Niobe: "Con il tuo strale amore" (scene 22)
- Duet Anfione / Niobe: "Mia fiamma ... - Mio ardore ..." (scene 23)
- Aria Tiresia: "Calpestato, lacerato" (scene 24)
- Aria Tiresia: "Di strali, e fulmini" (scene 24)
- Aria Manto: "Nel mio seno a poco a poco" (scene 25)
- Aria Tiberino: "Quanto sospirerai" (scene 26)
Second act
- Arie Creonte: "Del mio ben occhi adorati" (scene 1)
- Aria Clearte: "Voglio servir fedel" (scene 2)
- Aria Niobe: "Qui la dèa cieca volante" (scene 3)
- Aria Anfione: "Ascendo alle stelle" (scene 4)
- Aria Poliferno: "Numi tartarei con vostri sibili" (scene 4)
- Aria Anfione: "Dal mio petto o pianti uscite" (scene 5)
- Aria Tiresia: "Confuse potenze destatevi su" (scene 6)
- Aria Tiberino: "Il tuo sguardo o bella mia" (scene 7)
- Aria Manto: "Tu ci pensasti poco" (scene 8)
- Aria Niobe: "Stringo al seno un nume amante" (scene 9)
- Aria Creonte: "Lascio l'armi, e cedo il campo" (scene 10)
- Duet Creonte / Niobe: "T'abbraccio mia diva ... - Ti stringo mio nume ..." (scene 10)
- Aria Poliferno: "Gioite, godete in grembo al piacer" (scene 10)
- Aria Tiresia: "De 'numi la legge" (scene 11)
- Aria Anfione: "Tra bellici carmi" (scene 12)
- Arie Clearte: "Non mi far pianger semper" (scene 13)
- Aria Manto: "Ho troppo parlato" (scene 14)
- Aria Tiberino: "Ci sei colto mio cor, non vi è più scampo" (scene 15)
- Aria Nerea: "Questi giovani moderni" (scene 16)
Third act
- Aria Niobe: "Amami, e vederai" (scene 1)
- Aria Creonte: "Luci belle, che languite" (scene 2)
- Aria Niobe: "Contro il ciel, che m'ha schernita" (scene 3)
- Aria Anfione: "Ho perduta la speranza" (scene 4)
- Aria Tiberino: "Or ch'è mio quel vago labbro" (scene 5)
- Aria Manto: "Chiudetevi miei lumi" (scene 6)
- Aria Niobe: "In mezzo all'armi" (scene 8)
- Aria Nerea: "Che alla fé di donne amanti" (scene 9)
- Aria Clearte: "Tutta gioia, e tutta riso" (scene 10)
- Aria Anfione: "Spira già nel proprio sangue" (scene 12)
- Aria Niobe: "Funeste immagini" (scene 12)
- Aria Creonte: "Di palme, e d'allori" (scene 14)
Stage constructions
The opera requires elaborate stage constructions, which are detailed in the libretto under the heading "Klug-Wercke and apparitions":
- A big beast that turns into many men of war
- A tremendous face that, rising from below, represents a deep cave in the air
- The men who gradually rise around Thebes
- Two hellish dragons who carry Creonte and Poliferno out of the earth onto the stage
- A cloud rising in the air to cover the two aforementioned
- A large cloudscape in which Creonte descends from above in the shape of Mars
- A triumphant chariot that is flashed by Latona, Diana and Apollo along with other gods appearing in the air with them
- Many buildings collapse in an earthquake
music
The many changes of image and the complex stage machinery of the opera correspond to the Venetian preferences of the time. Nevertheless, the individual roles have individual traits.
Niobe is Steffani's first opera with fewer than 60 arias. Influences of the French style can be felt in the music, as Steffani used them even more strongly in his later Hanoverian operas. Da capo and ostinato formations predominate in the arias . There are also some arias that are explicitly designated as dance movements, such as Menuet, Gavotte or Rondeau. Some of the stage effects are accompanied by orchestral movements.
The orchestra itself is used in an unusually varied manner. In particular, the Anfiones scenes ( according to legend, Amphion was the inventor of the lyre, harmony, etc.) are carefully designed. The scene in the Palace of Harmony (first act, scene 13) is accompanied by two orchestras, one of which is located behind the scene. Steffani does without the figured bass here. The scene begins with a long accompaniment, which is introduced by four violas behind the stage. After ten bars, flutes and the four-part string ensemble are added, whose polyphonic playing begins at the same time as Anfiones' singing voice. The following aria is characterized by a single bar bass stinato in seven different keys one after the other, with which Steffani represents the seven planetary orbits. The overlying vocal part consists of long sustained tones that oppose the more agitated movements of the orchestral voices. Overall, the harmony of the voices forms the harmony of the spheres described in the text.
Anfione's death scene towards the end of the opera is considered one of the highlights. It is characterized by chromatics and tremolo effects and requires eight muted solo violins. The two death scenes break off prematurely for dramatic reasons. The same applies to Anfione's prayer “Come padre, e come dio” (first act, scene 21), which Anfione interrupts and continues as a recitative when he notices the effect (the wondrous construction of the wall). The musicologist Anna Amalie Abert named this aria as an example "for the dense orchestral composition in which the singing voice is equally embedded" and "for the [...] masterfully handled type of lyrical, enthusiastic chants in triple time".
Work history
Niobe, regina di Tebe is Agostino Steffani's last opera written for Munich. Luigi Orlandi wrote the libretto based on Book 6 of Ovid's Metamorphoses . The music of the ballets at the end of the files comes from Melchior Dardespin. They were choreographed by François Rodier. The first performance of the opera took place on January 5th, 1688 in Munich's Salvatortheater. The castrato Clementin Hader sang the role of Anfione . Ten additional musicians were hired for the complex production.
On November 9, 1977 there was a semi-staged production in New York's Alice Tully Hall under the direction of Newell Jenkins, which was subsequently released on record.
On October 15, 1986 the opera was performed in German in a free arrangement by Ludger Rémy , which also included music by other composers, in Heidelberg. The occasion was the celebration of the 600th anniversary of the university there . Steffani had worked there between 1703 and 1705 as rector and curator. Peter Rasky directed the performance.
In April 2008 Thomas Hengelbrock directed a performance at the Schwetzingen Festival , in which Steffani's opera was combined with Adriana Hölszky's musical drama HYBRIS / Niobe . In 2010 Niobe was also played at the Royal Opera House in London under his direction . An audio recording was published on CD.
In 2011 there was another production at the Boston Early Music Festival under the direction of Paul O'Dette and Stephen Stubbs , based on which a CD recording was made in the studio in 2013. The latter was awarded the 2015 German Record Critics' Prize and received the ECHO Klassik 2015 in the category “World Premiere of the Year”.
Recordings
- 1978 (live): Newell Jenkins (conductor), Orchestra Antonio Vivaldi di Venezia. Joy Zornig (Niobe), Elaine Bonazzi (Anfione), Susan Belling (Manto), Sidney Johnson (Tiresia), Jeffrey Dooley (Clearte), Daniel Collins (Creonte). Voce 59 (3 LP).
- April 27, 2008 (live from the Schwetzingen Festival , combined with Adriana Hölszky's music drama HYBRIS / Niobe ): Thomas Hengelbrock (conductor), Balthasar Neumann Ensemble . Maria Bengtsson (Niobe), Jacek Laszczkowski (Anfione), Ana Maria Labin (Manto), Tobias Scharfenberger (Tiresia), Pascal Bertin (Clearte), Peter Kennel (Creonte), Matjaz Robavs (Poliferno), Lothar Odinius (Tiberino), Delphine Galou (Nerea). Live broadcast on SWR2.
- September 23, 2010 (live from the Royal Opera House London): Thomas Hengelbrock (conductor), Lukas Hemleb (director), Balthasar Neumann Ensemble . Véronique Gens (Niobe), Jacek Laszczkowski (Anfione), Amanda Forsythe (Manto), Bruno Taddia (Tiresia), Tim Mead (Clearte), Iestyn Davies (Creonte), Alastair Miles (Poliferno), Lothar Odinius (Tiberino), Delphine Galou (Nerea). CD: Opus Arte OACD9008D.
- 2013 (studio recording): Paul O'Dette and Stephen Stubbs (conductors), Boston Early Music Festival Orchestra. Karina Gauvin (Niobe), Philippe Jaroussky (Anfione), Amanda Forsythe (Manto), Christian Immler (Tiresia), Aaron Sheehan (Clearte), Terry Wey (Creonte), Jesse Blumberg (Poliferno), Colin Balzer (Tiberino), José Lemos (Nerea). Erato 0825646343546.
Web links
- Libretto (Italian), Munich 1688. Digitized version of the Wolfenbüttel digital library
- Libretto (Italian), Munich 1688. Digitized version of the Munich digitization center
- Niobe, Queen in Thebe. German translation of the libretto, Munich 1688. Digitized at Google Books
- Work information and libretto (Italian) as full text on librettidopera.it
- Program of the Boston Early Music Festival with English translation of the libretto (PDF) on wgbh.org
- Niobe, regina di Tebe (Agostino Steffani) in the Corago information system of the University of Bologna
Individual evidence
- ↑ a b c d e f g h Silke Leopold : Niobe regina di Tebe. In: Piper's Encyclopedia of Musical Theater . Volume 6: Works. Spontini - Zumsteeg. Piper, Munich / Zurich 1997, ISBN 3-492-02421-1 , pp. 12-13.
- ↑ a b Niobe, regina di Tebe. Program of the Boston Early Music Festival 2011.
- ↑ a b Silke Leopold : The opera in the 17th century (= manual of musical genres. Volume 11). Laaber, 2004, ISBN 3-89007-134-1 , pp. 269-273.
- ^ Anna Amalie Abert : History of the Opera. Bärenreiter / Metzler, Kassel / Stuttgart 1994, ISBN 3-7618-1182-9 , p. 43.
- ↑ John Rochwel: Opera: Niobe 'Tears and space. Performance review of the New York Times of 11 November 1977 called on February 26 2017th
- ^ Kurt Pahlen : The new opera lexicon. Seehamer, Weyarn 2000, ISBN 3-934058-58-2 , pp. 919-920.
- ^ Annual award ceremony "Niobe, Regina di Tebe" by Agostino Steffani , accessed on February 26, 2017.
- ↑ ECHO Klassik 2015 | Award winners (PDF) , accessed on February 26, 2017.
- ↑ Agostino Steffani. In: Andreas Ommer: Directory of all opera complete recordings. Zeno.org , Volume 20, p. 17221.
- ↑ Maria Kostakeva: Niobe or the idea of petrification. Performance review in Online Musik Magazin, accessed on February 19, 2017.
- ↑ Will Yeoman: Niobe, Regina di Tebe. CD review on Limelight, accessed February 19, 2017.
- ↑ Geerd Heinsen: Highly occupied, but thin-blooded. CD review in the Opera Lounge, accessed February 19, 2017.