Orlando finto pazzo

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Opera dates
Title: Orlando finto pazzo
Title page of the libretto, Venice 1714

Title page of the libretto, Venice 1714

Shape: “Dramma per musica” in three acts
Original language: Italian
Music: Antonio Vivaldi
Libretto : Grazio Braccioli
Literary source: Matteo Maria Boiardo : Orlando innamorato
Premiere: November 1714
Place of premiere: Teatro Sant'Angelo , Venice
Playing time: about 3 hours
Place and time of the action: in the realm of the Organa, where Ersilla had her magic castle
people
  • Orlando ( bass )
  • Ersilla, sorceress and queen, called Falerina by Boiardo, in love with Brandimarte and Origille, whom she takes for Ordauro ( soprano )
  • Tigrinda, in love with Argillano (soprano)
  • Origille, in love with Grifone, disguised as a man under the name Ordauro ( Alt )
  • Argillano, chosen knight Ersilla and in love with the same (old, castrato )
  • Grifone, in love with Tigrinda, disguised as a woman under the name Leodilla (soprano, castrato)
  • Brandimarte, friend of Orlando, in love with Ersilla, pretends to be Orlando (soprano, castrato)
  • Priests of Hecate , temple servants in the temple of Plutus , nymphs and fauns ( choir )

Orlando finto pazzo (German for example: "Orlando plays crazy"; RV 727) is an opera seria (original name: "Dramma per musica") in three acts by Antonio Vivaldi (music) with a libretto by Grazio Braccioli based on motifs from Matteo Maria Boiardos epic poem Orlando innamorato from 1483. The first performance took place in November 1714 in the Teatro Sant'Angelo in Venice.

action

The total of seven characters can be assigned to two spheres. On one side are the famous paladin Orlando, his friend Brandimarte and the couple Origille / Grifone, on the other the evil sorceress Ersilla, the priestess Tigrinda and the knight Argillano. Almost everyone has unrequited feelings of love: Orlando loves the princess Angelica, who appears in the opera only as a mirage, but has given him the task of destroying Ersilla. Origille is in love with Grifone, this with Tigrinda, this with Argillano, this with Ersilla and the latter with Brandimarte and Origille disguised as a man. Only after all sorts of entanglements, disguises and deceptions does Orlando succeed in destroying the magical realm of Ersilla, and the couples Origille / Grifone and Tigrinda / Argillano acknowledge each other.

first act

Temple of Demogorgon and Pluto, illuminated at night

In the middle an altar for the gods mentioned; Side altars for Hecate Triformis and Phlegethon , each with burning fires in front.

Scene 1. Brandimarte, Grifone and Origille have invaded the realm of the demonic sorceress Ersilla. Ersilla intends to doom Grifone, Origille and Orlando to the underworld that night with the help of the priestess Tigrinda (with whom Grifone is secretly in love). They have a magic document with which they hope to break the demonic powers. They also await the arrival of their friend Orlando. Despite the dangers, they are confident (Aria Brandimarte: “Come in vano minaccia, e in vano freme”).

Scene 2. Grifone and Origille can hardly wait for their revenge. When they hear Ersilla and Tigrinda come, they hide.

Scene 3. Ersilla and Tigrinda appear accompanied by the knight Argillano and a retinue of guards, temple servants and priestesses who bring a sword and a goblet for the ritual (chorus: “Prima dell'Erebo”). Tigrinda offers the chalice, which contains a deadly poison, to the god Phlegethon. The sword is dedicated to the gods of the underworld and is said to be able to kill Orlando despite his invulnerability. Ersilla instructs the knight Argillano to lead it (Aria Ersilla: "Rasserena i vagi rai").

Scene 4. Argillano and Tigrinda prepare for their task. The latter does not dare to reveal her love to Argillano (Aria Tigrinda: "Son due venti infesti all'alma").

Scene 5. Argillano discovers the intruders. To protect her lover, Origille claims that Grifone is her sister, Leodilla, disguised as a man. Argillano therefore rejects Grifone's challenge to fight (Aria Argillano: "Se in ogni guardo").

Scene 6. Grifone feels hurt in his honor and insults Origille. This in turn realizes that his previous love vows had no basis. Grifone compares his feelings with the flight of bees, which turn to different flowers (Aria Grifone: "Alla rosa ruggiadosa").

Scene 7. Annoyed, Origille swears revenge (Aria Origille: “Sentire che nel sen”).

Mountainous landscape with a rocky door leading to Ersillas Castle; on one side a forest with a golden tree

Scene 8. At sunrise, Argillano prays to Venus , mother of the love god Amor , that he will prove himself worthy of his beloved Ersilla with his sword (Aria Argillano: “Dirò allor dirò allor di te che sei”).

Scene 9. Orlando arrives. His prayer is to Cupid, because he wants to fulfill the wishes of his beloved Angelica by submitting to the sorceress. Argillano challenges him to a fight, but is defeated by Orlando. Although Argillano asks for a quick death, Orlando spares him and even leaves him his sword. Argillano is desperate to have disappointed Ersilla by his failure (Aria Argillano: "Il destin, che mi sovrasta").

Scene 10. Orlando pulls a branch from the golden tree. Then the forest sinks into the ground and the scene turns into a lovely garden with groves.

Scene 11. A choir of nymphs and fauns sings about love (chorus: “Nel ricetto del diletto”). Brandimarte observes the arrival of his friend Orlando from hiding, but cannot greet him because the sorceress Ersilla also appears. After the defeat of their fighter and the opening of the secret access to their realm, the latter thinks of a ruse. She welcomes Orlando, lets him fall asleep and captivate him with the magical chants of the nymphs. Shortly afterwards, she also discovers Brandimarte, who was able to resist her power because of his magic document. Brandimarte pretends to love her and swears allegiance to her. He can persuade her to release Orlando (whom she did not recognize) and to take Orlando into her service as a knight against her enemy (Arie Brandimarte: "In amor spesso il cuor").

Scene 12. Ersilla is happy about Brandimarte's love and her new fighter (Aria Ersilla: “La speranza verdeggiando”).

Second act

Gallery with access to various living rooms

Scene 1. Grifone has taken Origille's idea and dressed up as a woman. Tigrinda takes him into her service as a lady-in-waiting.

Scene 2. Origille has disguised herself in order to be able to carry out her revenge against Grifone, Tigrinda and Ersilla. She offers Tigrinda love services under the name of her twin brother Ordauro. At Tigrinda's request, Grifone / Leodilla withdraws into an adjoining room (Arie Grifone: “E pur caro in questo petto”).

Scene 3. Tigrinda feels rather amused by Origille's / Ordauros behavior. Ersilla, however, falls in love with the supposed young man as soon as she arrives. Tigrinda takes the opportunity to pray for her disgraced lover, Argillano. Ersilla does not release him, however, but wants to leave him to Ordauro as a servant. Tigrinda is nevertheless happy about her influence on the sorceress (Aria Tigrinda: "Quando agitado").

Scene 4. Ersilla flirts with Origille / Ordauro, but she replies with excuses. Argillano interrupts the two. Ersilla introduces Ordauro to him as his savior. Origille ponders the power of love (Aria Origille: “Per lo stral che vien da'rai”).

Scene 5. Argillano accuses Ersilla of treating him unfairly and assures her that he has always served her faithfully. Ersilla, however, shows no compassion (Aria Ersilla: “Non ti lagnar di me, non puoi sperar mercè”).

Scene 6. Argillano wants to break away from Ersilla's tyranny (Aria Argillano: “Quall'or s'asconde”).

A ground floor hall dedicated to Venus with her statue in the middle

In the background you can see Ersilla's apartments on one side and various apartments on the other.

Scene 7. Orlando and Brandimarte cautiously enter Ersilla's apartment.

Scene 8. Argillano assures Tigrinda that he has suddenly been overwhelmed by love for her and now despises Ersilla.

Scene 9. When Origille / Ordauro steps out of the back room, she only sees Tigrinda because of the statue, but cannot identify Argillano. At first she thinks it is a matter of handles. After recognizing him, she intervenes and accuses Tigrinda of volatility, as she only recently swore love to him herself. Tigrinda pushes Argillano away and assures Ordauro of her love (Aria Tigrinda: "Mio caro - traditor - per te son tutta tutta amor").

Scene 10. Despite Brandimarte's admonition to keep his identity a secret, he calls out her name when she sees Origille and reveals himself to her. Brandimarte tries to save the day by declaring Orlando insane. Orlando plays along, tells Argillano a strange story about his acquaintance with Origille and claims that she stole his horse Brigliadoro and his sword Durlindana. Nevertheless, Argillano becomes suspicious. He goes to Ersilla to report to her. Origille tearfully asks Orlando for forgiveness. He waives a penalty. Brandimarte considers her tears to be faked (Aria Brandimarte: “Non simular il pianto”).

Scene 11. After the others have left, Origille explains in a self-talk about her own feelings and her ability to be cunning (Aria breve Origille: “Se semper à mio piacer”).

Scene 12. Argillano warns Ersilla about the opponents. He thinks the madman is a seasoned fighter who might be Orlando. Grifone is also already here under the name Leodilla. Ersilla continues to trust in her own power. She has Leodilla fetched and sends Argillano out (Aria Argillano: "Amor sprezzato diceva").

Scene 13. Ersilla points out to Grifone that his cover has been blown. She tries to get him on her side by claiming that she fell in love with Orlando. Grifone doesn't believe her and remains steadfast when she threatens him with death (Aria Grifone: “L'alma del forte la palma ottiene”).

Scene 14. Ersilla suffers from her conflicting feelings for the unknown knight (Aria Ersilla: “Se garrisce la rondinella”).

Third act

Secluded place with a prison tower

In the background several colonnades with different views; in the middle of it a large locked iron gate, which leads to the place where Ersilla performs her magic.

Scene 1. Origille / Ordauro breaks through the tower wall with an ax to free Grifone. When she tells him that Origille wanted to kill himself because of his disloyalty, he is annoyed with her behavior. She then reveals herself to him (Aria breve Origille: "Vedi spetato nelle mie pupille").

Scene 2. Grifone regrets his words. Shortly afterwards, Argillano appears with the guards and arrests him again.

Scene 3. When Tigrinda arrives, Grifone declares his love for her, but adds that he would rather stay in prison than betray his friend Orlando (Arie Grifone: “Il di senza splendor”).

Scene 4. Tigrinda gives Argillano a magic potion to put Ersilla into permanent sleep so that she can take over power herself. Argillano only deals with it in appearance (Aria Tigrinda: “Vedrai vedrai Leone audace”).

Scene 5. Argillano still has feelings for Ersilla. It does not want to instill the drink in her, but to make better use of it (Aria Argillano: “Nascesti sosprirando”).

Scene 6. Ersilla opens the gate to her secret chamber (Arioso Ersilla: “Lo stridor l'orror d'Averno”). The scene is changing.

Magical grotto with a misshapen altar in the middle

In the grotto there are various herbs, vessels and the magic wand. Around the altar, in front of which a great fire is burning, sit priestesses of Hecate and temple servants of Pluto.

Supported by the priests, Ersilla begins the incantation rites (chorus: “Pel valor dell'alte voci” - “Qual dall'ombre Febo sorge”). To find out whether the suspected knight is Orlando, she lets an image of his lover Angelica appear in the palace. She can see Orlando's reaction through a window in the back of the cave.

Scene 7. Orlando approaches the apparently sleeping Angelica and calls her his lover - which almost blows his cover. Since Brandimarte warns him about Ersilla's ruse just in time, he plays the madman again while Brandimarte poses as Orlando. Angry, Ersilla intervenes and has both arrested (Aria Ersilla: "Sperai la pace qual usignuolo").

Scene 8. Brandimarte explains to Orlando that the supposed Angelica was a magical illusion. He advises continuing to act cunningly in the fight against evil (Aria Brandimarte: “L'inganno istesso”).

Scene 9. Orlando focuses on the upcoming fight against Ersilla (Aria Orlando: "Non paventa già mai le cadute").

Scene 10 (first version). Tigrinda appears with Argillano and Grifone arguing. She realizes that Argillano does not love her, but Ersilla. Desperate, she drinks the magic potion intended for Ersilla herself. Out of love for her, Grifone takes the rest. Both fall into a deep sleep.

Scene 11 (first version). Argillano warns Origille of the fragility of beauty and love before showing her the two sleeping people (Aria Argillano: "Quel l'occhio, quel labbro").

Scene 12 (first version). Origille focuses on the upcoming fight (Aria Origille: "Anderò, volerò, griderò").

Scene 10 (changed version). The next time he meets Argillano, Orlando plays the madman again.

Scene 11 (changed version). Origille tells Argillano to release or fight Grifone. Orlando plays the madman one last time. Origille focuses on the upcoming fight (Aria Origille: "Anderò, volerò, griderò").

Scene 12 (changed version). Orlando brags about his strength to Argillano. He is now certain that it is Orlando (Aria Argillano: "E 'il destin della nave agitata").

Scene 13. Argillano has Orlando and Brandimarte led in chains in front of Ersilla. This calls on Brandimarte to tell the truth now. It depends on his answer whether she will embrace him as a lover or kill as an enemy. Orlando breaks his chains, reveals himself to her and raises his sword threateningly at her. Argillano surrenders immediately, and Orlando can free Brandimarte too.

Scene 14. After Origille arrives, Orlando destroys the column and the scene transforms again.

Rural area with tents lit by lanterns and torches

The knights, put to sleep by Ersilla's spell, including Tigrinda and Grifone, wake up. Ersilla desperately calls on the forces of hell and flees (Aria Ersilla: "Tuta duol tutta orror tutta inferno").

Scene 15 “ultima”. After Ersilla's power is broken, everyone else is reconciled. Orlando assures Argillano that he does not consider him a coward. Origille and Tigrinda ask Orlando to work to ensure that Grifone and Argillano return their love. So the two couples finally come together (choir: “Con mirti e fiori”).

layout

orchestra

The orchestral line-up of the opera consists of two corni da caccia (also known as tromboni da caccia ), strings and basso continuo .

Music numbers

The opera contains the following pieces of music:

first act

  • Scene 1. Recitative: "Vedi Grifon, vedi Origille"
    • Aria (Brandimarte): “Come in vano minaccia, e in vano freme” - Allegro (F major); for strings and basso continuo
  • Scene 2. Recitative: "Sei già presso, Origille, al desiato punto"
  • Scene 3. Choir (SATB): “Prima dell'Erebo” - Allegro (B flat major); for strings and basso continuo
    • Recitative (Ersilla): “Con nera pietra i fasti di questa notte” - for strings and basso continuo
    • Recitative: "La perfida Origilla cagion di cui men"
    • Aria (Ersilla): "Rasserena i vagi rai" - Allegro (F major); for strings and basso continuo
  • Scene 4. Recitative: "Lasciami à si gran rischio?"
    • Aria (Tigrinda): "Son due venti infesti all'alma" - Allegro (B flat major); for strings and basso continuo; see. Ercole sul Termodonte RV 710 II: 1
  • Scene 5. Recitative: “Me lascirai negletta? io vuò seguirla "
    • Aria (Argillano): "Se in ogni guardo" - Allegro (G major); for strings and basso continuo
  • Scene 6. Recitative: "Troppo ingrato amatore"
    • Aria (Grifone): “Alla rosa ruggiadosa” - Allegro (G major); for strings pizzicatti and bass pizzicati without harpsichord; see. Ercole sul Termodonte RV 710 II: 8
  • Scene 7. Recitative: “Che più pensi? ti scuoti alma tradita "
    • Aria (Origille): “Sentire che nel sen” - Allegro (F major); for violins I / II, viola and basso continuo; see. Giustino RV 717 III: 7; Amore trionfante RV Anh 127a.3,26,38
  • Scene 8. Recitative: "Ecco l'Alba ò Argillano, e al giorno è Duce"
    • Aria (Argillano): “Dirò allor dirò allor di te che sei” - Largo (C major); for basso continuo (2nd version)
  • Scene 9. Recitative: “O 'Amore! tu ch'entro umano cuor "
    • Instrumental Movement - Presto (D major); for strings and basso continuo
    • Recitative: “Ancor resisti? Lasciami il ferro "
    • Aria (Argillano): "Il destin, che mi sovrasta" - Andante (G minor); for basso continuo
  • Scene 10. Recitative: "Troppo felice sorte al disperato"
  • Scene 11th choir (SATB): “Nel ricetto del diletto” -… (C major); for violins I / II, viola on stage, viola in the distance and basso continuo
    • Recitative: “Oh bella vista! Oh dolce armonia che m'alletti! "
    • Recitative: “Orlando! Oh Dei, che fate in cielo? "
    • Choir (SATB): “Nel ricetto del diletto” -… (C major); for strings and basso continuo
    • Recitative: "M'innebria alto gioir i sensi, e l'alma"
    • Aria (Brandimarte): "In amor spesso il cuor" - Allegro (D major); for violins I / II, viola and basso continuo
  • Scene 12. Recitative: "Or sei lieta, or sei forte alma di Ersilla"
    • Aria (Ersilla): “La speranza verdeggiando” - Allegro (A major); for strings and basso continuo

Second act

  • Scene 1. Recitative: "Pensiero faminil, se d'improviso"
  • Scene 2. Recitative: "E Tigrinda, e Groffone, e insieme Ersilla"
    • Aria (Grifone): "E pur caro in questo petto" - ... (E minor); for strings and basso continuo
  • Scene 3. Recitative: “Che disleal! e pur amor la face "
    • Aria (Tigrinda): "Quando agitado" - Allegro (B flat major); for strings and basso continuo
  • Scene 4. Recitative: "Preparo nuovo cuore a nuovo affetto"
    • Aria (Origille): “Per lo stral che vien da'rai” - Allegro (D major); for strings and basso continuo; see. Armida al campo d'Egitto RV 699c II: 10
  • Scene 5. Recitative: "La sorte mia crudel sorte ò Argillano"
    • Aria (Ersilla): "Non ti lagnar di me, non puoi sperar mercè" - Allegro (C major); for violins I / II and basso continuo
  • Scene 6. Recitative: "Scuoti il ​​tiranno giogo, Spezza la rea ​​catena"
    • Aria (Argillano): “Quall'or s'asconde” - Allegro (F major); for two corni da caccia, strings and basso continuo
  • Scene 7. Recitative: "Quest'è ingresso alle temute soglie"
  • Scene 8. Recitative: "Tanta si breve tempo affluenza d'amor"
  • Scene 9. Recitative: “E 'Tigrinda; mi toglie il simulacro "
    • Aria (Tigrinda): "Mio caro - traditor - per te son tutta tutta amor" - Lento (G major); for basso continuo
  • Scene 10. Recitative: "Effimero il mio sdegno contro Ersilla"
    • Aria (Brandimarte): "Non simular il pianto"
  • Scene 11. Recitative: "E chi non sa ch'io tengo ad arte il pianto"
    • Aria breve (Origille): “Se semper à mio piacer” - Allegro (D major); for strings and basso continuo
  • Scene 12. Recitative: “Ma s'egli Orlando fosse? egli morrà "
    • Aria (Argillano): "Amor sprezzato diceva" - Allegro (G minor); for strings and basso continuo
  • Scene 13. Recitative: "Chi l'avvenir paventa, un mal presente"
    • Aria (Grifone): "L'alma del forte la palma ottiene" - Allegro (A minor); for violins I / II, viola / basso continuo
  • Scene 14. Recitative: "Con frenetico cuor garrisce in vano"
    • Aria (Ersilla): "Se garrisce la rondinella" - Andante (F major); for violins I / II and basso continuo

Third act

  • Scene 1. Recitative: "Sei libero Grifone ed'a te ordauro"
    • Aria breve (Origille): “Vedi spetato nelle mie pupille” - Largo (E flat major); for strings and basso continuo
  • Scene 2. Recitative: “E Origille? ah rimorso d'infido amor "
  • Scene 3. Recitative: "Si, e deporre le speranza d'amor"
    • Aria (Grifone): “Il di senza splendor” -… (E minor); for violins I / II and basso continuo
  • Scene 4. Recitative: "Ecco Argillano in questo aurato vase"
    • Aria (Tigrinda): "Vedrai vedrai Leone audace" - Allegro (D major); for violins I / II, viola and basso continuo
  • Scene 5. Recitative: "O malsaggia Tigrinda, in vana spene"
    • Aria (Argillano): “Nascesti sosprirando” - Andante (D minor); for basso continuo (1st version)
  • Scene 6. Arioso (Ersilla): “Lo stridor l'orror d'Averno” - Largo (C minor); for strings and bass (without harpsichord)
    • Recitative (Ersilla); for strings and bass (without harpsichord): "Qui il suol di cifre ognote"
    • Choir (SATB): “Pel valor dell'alte voci” - Allegro (F major); for two tromboni da caccia, strings and basso continuo
    • Recitative: “Dite: E 'Orlando colui? ma oscure semper "
    • Choir (SATB): “Qual dall'ombre Febo sorge” - Allegro (F major); for two tromboni da caccia, strings and basso continuo
    • Recitative: "Lode à vostra prontezza, io sarà paga"
  • Scene 7. Recitative: "Qual forza occulta muove il mio desire"
    • Aria (Ersilla): "Sperai la pace qual usignuolo" - Allegro (E major); for strings and basso continuo
  • Scene 8. Recitative: “Sdegni spira, ed orror. Mà del mio bene? "
    • Aria (Brandimarte): “L'inganno istesso” - Allegro (B flat major); for violins I / II and basso continuo
  • Scene 9. Recitative: "Già l'ora si avvicina"
    • Aria (Orlando): "Non paventa già mai le cadute" - Allegro (C minor); for violins I / II, viola and basso continuo (1st version); see. Il Teuzzone RV 736 I: 12
  • Scene 10. Recitative: “E la giurata fede? Strugge amor le promesse "
  • Scene 11. Recitative: "Gli hà colti in fine il loro fato insieme"
    • Aria (Argillano): "Quel l'occhio, quel labbro" - Allegro (C major); for strings and basso continuo
  • Scene 12. Recitative: “Quel favellar? qual movimento interno "
    • Aria (Origille): “Anderò, volerò, griderò” - Presto (G minor); for strings and basso continuo; see. Il Teuzzone RV 736 II: 11, Orlando RV 728 III: 13
  • Scene 13. Recitative: "E 'questo l'atrio ove sù carro aurato"
  • Scene 14. Recitative: "Il prode tuo Grifone il sò, Origille"
    • Aria (Ersilla): "Tuta duol tutta orror tutta inferno" - Presto (C major); for violins I / II, viola and basso continuo
  • Scene 15. Recitative: "Il lezzo di sue colpe"
    • Choir (SATB): “Con mirti e fiori” - Allegro (C major); for violins I / II, viola and basso continuo; see. Orlando RV 728 III: 13

Unused parts of the original version (texts not in the libretto)

  • Scene I: 11. Solo or choir (two sopranos in unison): “Face a dardo in un bel guardo” -… (C major); for violins I / II and? (crossed out)
    • Aria (Brandimarte): "Amor non vuol ch'in pena" - Allegro (D minor); for strings and basso continuo
    • Aria (Brandimarte): “Quelle stille lagrimose” - Allegro (D major); for violins I / II, viola and basso continuo
  • Scene II: 14. Recitative: "Giova il fingere amore, se amor fingendo" (beginning of a solo scene by Brandimarte)
    • Recitative: "Con frenetico cuor garrisce in vano" (different version)
    • Aria: "Scenderei per far vaghi i desir miei" (omitted in the original version, but taken up again later)
  • Scene III: 7. Aria (Ersilla): "Se vedessi in faccia al porto" - Allegro (G major); for strings and basso continuo

Unused parts of the work from the version of the first performance (texts in the libretto)

  • Scene I: 8. Arioso (Argillano): “Dirò allor di te che sei” - Andante (C major); for basso continuo (1st version)
  • Scene II: 8. Aria (Grifone): "E 'pur caro caro caro in questo petto" - Allegro (G major); for basso continuo (1st setting, struck through)
  • Scene III: 5. Aria (Argillano): “Nascesti sospirando” - Allegro (F major); for basso continuo (2nd version)
  • Scene III: 9. Aria (Orlando): "Non paventa già mai le cadute" - Allegro (C minor); for violins I / II and basso continuo (2nd version); see. Il Teuzzone RV 736 I: 12; Alceste RV Anh 77

Work parts of the amended version (texts in the appendix to the libretto that was printed later)

  • Scene I: 9. Aria (Argillano): "E 'il destin della nave agitata" - Allegro (D major); for strings and basso continuo
  • Scene I: 11. Aria (Brandimarte): "Scenderei per far vaghi i desie miei" - Allegro (D major); for strings and basso continuo; see. Ottone in villa RV 729a I: 11
    • Aria (Ersilla): "Con l'ali d'amore" (only text preserved)
  • Scene II: 6. Aria (Argillano): "Se in amor non ha mercede" (only text received)
  • Scene II: 9. Aria (Tigrinda): "Tu lo vedi in questo volto" (only text received)
  • Scene II: 12. Aria (Argillano): "Non mi abbandona la mia speranza" (only text preserved)
  • Scene III: 4. Aria (Tigrinda): “Quando sorte il crin ti porge” - Presto (G major); for violins I / II and basso continuo
  • Scene III: 7. Aria (Ersilla): “Sventurata navicella” -… (G major); for violins I / II, viola and basso continuo; see. Giustino RV 717 II: 13; Tito Manlio RV 738 I: 9
  • Scene III: 10. Recitative: "O 'sia Orlando ò non sia"
  • Scene III: 11. Recitative: "E il mio valore non sà che sia timore"
    • Recitative: "Vedi una stella in ciel?"
    • Aria (Argillano): "Furie e sdegno si destan nel petto" (only text preserved)

libretto

The libretto is based on motifs from the fourth cant of the second book of Matteo Maria Boiardo 's epic poem Orlando innamorato, published in 1483 , the forerunner of Ludovico Ariosto's well-known verse epic Orlando furioso . The sorceress named Fallerina in the original is called Ersilla. The protagonist's acted madness is an addition to the librettist Grazio Braccioli . The libretto shows numerous illogical developments and improbabilities that can be excused with the fairy tale genre. In the template, these inconsistencies were limited by a more stringent plot and better characterizations.

Ersilla appears here as a weaker version of the sorceress Alcina. A characterization of Orlando is almost completely lacking. Origilles and Grifone's most prominent trait is jealousy. Tigrinda and Argillano appear a little more interesting due to their inconsistent character. Apart from disguises and scenes of jealousy, the plot consists mainly of magical elements against the background of the heroic battle against the demonic forces. There are an unusually large number of passages in the text that are spoken "aside", i.e. unheard by the respective interlocutor. The language is mannerist and sometimes difficult to understand. In the foreword Braccioli explained that he had sought a middle ground between the popular and the puffy style and that the language had been adapted to “the views and emotions, morality and style” (“la sentenza, il costume e la elocuzione”) of the respective speakers .

music

Vivaldi provided the various incantation scenes of the opera with appropriately “magical” instrumentation. Many aria texts have an atypical form, which made it difficult to adopt older music in the parody process . Seventeen arias have more than eight lines, most of them in short meters. The meter changes in eight arias. Vivaldi wrote elegant melodies for these forms. Nevertheless, he seemed to have difficulties with the text, especially at the beginning. What is striking is the low variability of the keys in the first act. The first pieces also seem indifferent or overly complex. However, this improves as the composition progresses.

The replacement aria of Ersilla “Sventurata navicella” (III: 7) is the last piece of the autograph score. It is kept extremely simple and is reminiscent of a nursery rhyme. Vivaldi was clearly annoyed when he wrote it. He noted on the side: “If you don't like that, I'll never write music again” (“Se questa non piace, non voglio più scrivere di Musica”). The singer Margherita Gualandi did not reject the aria and the sentence was crossed out.

Work history

Orlando finto pazzo is Vivaldi's first original opera for Venice. He composed it for the fall 1714 season of the Teatro Sant'Angelo as a companion piece to Giovanni Alberto Ristori in the previous year listed Orlando Furioso (with some pieces by Vivaldi, RV 819), with whom he had taken office as the impresario of this theater. Grazio Braccioli wrote the libretto for both works . The Orlando finto pazzo is based on motifs from Matteo Maria Boiardo 's epic poem Orlando innamorato , published in 1483 . The performances took place in November and December 1714. The exact date of the premiere is not known. The dedication text is dated November 10th. The performance probably took place shortly afterwards. The dedicatee is the Margrave Karl von Baden-Durlach , who worked as a general in the imperial army in the war of the Spanish Succession , which has just ended . The dedication is therefore to be understood as a victory tribute.

The preserved first version largely corresponds to the printed libretto. There is also a presumably incomplete original version with some deleted recitative sections and further arias. The libretto contains an appendix printed at a later date with further arias and recitatives that belong to a version of the opera that was revised during the season. Some aria texts are available in two different settings for which it is not certain which version of the opera they are referring to. An overture has not survived.

It was the most glamorous opera that had been shown at the Sant'Angelo up to that point. The money for this came from the profit of the previous season and from savings measures for the following carnival season in 1715, for which only resumption and a pasticcio were planned. Libretto and stage design were specially created for this performance. A choir was specially hired. The cast consisted of singing stars well known in Venice and promising young talents.

The singers in the premiere production were Antonio Francesco Carli (Orlando), Margherita Gualandi (Ersilla), Elisabetta Denzio (Tigrinda), Anna Maria Fabbri (Origille), Andrea Pacini (Argillano), Francesco Natali (Grifone) and Andrea Guerri (Brandimarte). The sets were designed by Bernardo Canali, father of the important landscape painter Giovanni Antonio Canal ("Canaletto"). Historical sources about the success of the production are not known. Some musicologists conclude from the revisions and the fact that a new version of the Orlando furioso (RV Anh 84, with some new numbers by Vivaldi) was played in December that Vivaldi's first Venetian opera was a failure. His subsequent long career argues against it, however, and revisions during the season were normal in Venice and for Vivaldi back then.

In 2003 the conductor Alessandro De Marchi recorded the work on CD. He chose the Sinfonia RV 112 as the overture. It begins with a theme that also features one of Brandimarte's arias in the introductory ritornello. In order to reproduce the atmosphere dominated by the singing stars of the time, he wrote cadences and ornaments for all arias in a contemporary style, leaving the soloists room for their own improvisations and deliberately ignoring mistakes. He was assisted in setting it up by Alessandro Borin, editor of the critical edition of the work.

In 2016 and 2017 the work was shown by the Korean National Opera in a production by Fabio Ceresa under the musical direction of George Petrou at the LG Arts Center in Seoul.

Recordings

Web links

Commons : Orlando finto pazzo  - collection of images, videos and audio files

Remarks

  1. ↑ According to Selfridge-Field, the dedicatee is not the Margrave of Baden-Durlach himself, but his brother, Margrave Karl von Baden-Baden. However, there is no evidence of this. The libretto record of the Library of Congress names Margrave Charles III as the dedicatee. from Baden in Durlach.

Individual evidence

  1. ↑ Duration of the recording by Alessandro De Marchi without alternative arias.
  2. ↑ a b c d e f Peter Ryom : Vivaldi catalog raisonné. Breitkopf & Härtel, Wiesbaden 2007, ISBN 978-3-7651-0372-8 , pp. 459-467.
  3. ^ Work information based on the Ryom catalog on musiqueorguequebec.ca.
  4. ↑ a b c d e f g Reinhard Strohm : The Operas of Antonio Vivaldi. Leo S. Olschki, Florence 2008, ISBN 978-88-222-5682-9 , Volume I, pp. 142-154.
  5. ^ Michael Talbot : The Vivaldi Compendium. The Boydell Press, Woodbridge 2011, ISBN 978-1-84383-670-4 , pp. 132-133.
  6. ↑ Amanda Holden (Ed.): The Viking Opera Guide. Viking, London / New York 1993, ISBN 0-670-81292-7 , p. 1168.
  7. ^ 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 , pp. 317-318.
  8. ↑ a b Frédéric Delamea, Charles Johnston (trans.): The final spring of Venetian opera. In: Supplement to CD Opus III 30392, pp. 23–27.
  9. ↑ Alessandro De Marchi , Charles Johnston (trans.): Coping with life after Juditha. In: Supplement to CD Opus III 30392, pp. 28–30.
  10. ↑ Review: Vivaldi's Fascinating “Orlando Finto Pazzo” - Korea National Opera, May 10, 2017 at operawarhorses.com, accessed November 1, 2019.
  11. ↑ a b Antonio Vivaldi. In: Andreas Ommer: Directory of all complete opera recordings (= Zeno.org . Volume 20). Directmedia, Berlin 2005.
  12. ↑ Supplement to CD Opus III 30392.