Publio Cornelio Scipione

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Work data
Original title: Publio Cornelio Scipione
Title page of the libretto, London 1726

Title page of the libretto, London 1726

Shape: Opera seria
Original language: Italian
Music: georg Friedrich Handel
Libretto : Paolo Antonio Rolli
Literary source: Antonio Salvi , Publio Cornelio Scipione (1704)
Premiere: March 12, 1726
Place of premiere: King's Theater , Haymarket, London
Playing time: 3 hours
Place and time of the action: New Carthage , 210 BC Chr./209 BC Chr.
people

Publio Cornelio Scipione or Scipione or Scipio ( HWV 20) is an opera ( Dramma per musica ) in three acts by Georg Friedrich Händel .

Scipio bust from the Villa dei Papiri in Herculaneum ( National Archaeological Museum, Naples )

Emergence

In the autumn of 1725 the reports in the London newspapers about the imminent arrival of a new Italian soprano turned out to be:

“We hear that the Royal Academy [of] Musick, in the Hay Market, have contracted with famous Chauntess for 2500 l. who is coming over from Italy against the winter. "

"As can be heard, the Royal Academy of Music at Haymarket has signed a contract with a famous lady for £ 2,500 who will be coming from Italy this winter."

- The Daily Journal. London, August 31, 1725.

"Signiora Faustina, a famous Italian Lady, is coming over this winter to rival Signiora Cuzzoni."

"Signora Faustina, a famous Italian lady, will come this winter to compete with Signora Cuzzoni."

- The London Journal. London, September 4, 1725.

Indeed, the academy managed to hire the most famous soprano in Europe: the beautiful Faustina Bordoni . In the autumn of 1725, Handel immediately set to work to write an opera, Alessandro , for the new constellation at his home, with two prima donnas (Bordoni, Cuzzoni ) and one primo uomo ( Senesino ). But the diva took an insolent amount of time and did not come for the time being: Be it that she haggled for her fee for so long (she ultimately received “only” £ 2000) or other reasons. After Winton Dean , she had an engagement in the Vienna carnival season in winter .

In any case, Handel had to act, because the new season wanted to be full: his regular collaborator and lyricist Nicola Francesco Haym was not available and so he turned to Paolo Antonio Rolli , who had already written two libretti for him in 1721 ( Il Muzio Scevola and Il Floridante ) would have. The need must have been great, because Rolli and Handel were actually fighting. But Handel needed a libretto to bridge the time until the Bordoni arrived.

On November 30, 1725 he began the seventh opera season of the Royal Academy of Music with a resumption of the pasticcios L'Elpidia, ovvero Li rivali generosi ; the music of the arias was largely by Leonardo Vinci . Rodelinda and Ottone were resumed . In February 1726 he finally set the new libretto created by Rolli to music. After only three weeks of work he completed the composition of Scipione on March 2, 1726, as he notes at the end of the autograph : “Fine dell Opera GFH March 2 | 1726. “Just ten days later, on March 12th, the opera was performed for the first time in the King's Theater in London in the presence of the royal family. Around this time, “La Nuova Sirena” arrived in London.

Handel changed the libretto during the setting, as can be seen from a comparison of the two prints by John Cluer and Walsh & Hare (both from 1726) with Handel's autograph. So was u. a. Another planned part (Rosalba, Berenice's mother), which was sketched at the beginning of the second act ( recitative and aria No. 14), was deleted again and the music in question was largely incorporated into the part of Ernando. Presumably this happened as a result of Anna Vicenza Dotti's short-term prevention from participating in the performance of the opera; it was originally intended for the Rosalba part.

libretto

Antonio Salvi 's textbook of the same name, which was commissioned by Prince Ferdinando de 'Medici in 1704 and performed in Livorno , served as a template for Rolli's libretto . Further poems before Handel's treatment of the theme come from Nicolò Minato : Scipione affricano (Venice 1664, set to music by Francesco Cavalli ), Apostolo Zeno : Scipione nelle Spagne (1710, music by Alessandro Scarlatti ) and Agostino Piovene : Publio Cornelio Scipione (Venice 1712, set to music by Carlo Francesco Pollarolo ).

In many places, Rolli's textbook does not hide the fact that it was written in a great hurry. Salvis 'drama is lengthy, repetitive in the situations and overloaded with political conflicts, but it is more uniform and more logical than the mess in Rollis' treatment. Most of the political contexts and many of the text passages necessary for understanding are left out by Rolli, thus depriving the characters of their motivation to act. The weakness of the text, which can certainly be attributed in part to the necessity of great urgency, makes the opera Scipione surely fall behind the three previous masterpieces of Handel, Giulio Cesare , Tamerlano and Rodelinda , and probably also behind most of his earlier Academy operas, although they are by far contains good music.

Cast of the premiere:

In the first season the work came to thirteen performances. A resumption took place on November 3, 1730 for six performances, in which, however, numerous changes were made. Handel added many chants from his earlier operas and composed some new ones. But neither Scipione as a drama nor its characters, with the possible exception of Armira, have gained from this restructuring.

The first modern performance took place on June 20, 1937 at the Göttingen Handel Festival in a German text version by Emilie Dahnk-Baroffio and under the musical direction of Fritz Lehmann . The first complete performance of the piece since 1726 and in historical performance practice was a concert performance on June 24, 1993 at the “ Festival International de Musique Baroque ” in Beaune with the Les Talens Lyriques , under the direction of Christophe Rousset .

action

Historical and literary background

Sebastiano Ricci : The Reluctance of Scipio ( Royal Collection , London)

Of the numerous Roman personalities with the name Scipio, Publius Cornelius Scipio Africanus Major is meant here, who lived during the Second Punic War in 218–204 BC. Chr. Carthago Nova (today's Cartagena ) conquered, the most important trading post of the Carthaginians on European soil. The historical background is reported in the Historiae (10th book) of the Greek historian Polybios and in the Roman historical work Ab Urbe Condita by Titus Livius . In the 50th chapter of the 26th book of this comprehensive work, Livy reports, without giving her name, of an exceptionally beautiful girl who was among the prisoners after the conquest of New Carthage. As in other cases, Scipio treated this virgin, the fiancée of the Celtiberian chief Allucius , albeit out of political calculation, with great respect, returned her unscathed to her bridegroom a year later and thereby won him over to an ally. Scipio only accepted the gold intended for ransom by her parents in order to present it immediately to the lovers as a present for the bride. Allucius then swore allegiance to Scipio and immediately began to recruit soldiers for the Roman army among his people: after a few days he was able to send Scipio 1,400 horsemen.

first act

Square with triumphal arch in New Carthage. Scipione triumphs through the conquered city with his chariot and honors his best fighters for their deeds. Lelio has the prisoners brought out. When Scipione examines them, he notices a particularly beautiful woman named Berenice underneath. Together with her confidante Armira he lets her step out and hands her over to Lelio's care, but assures her that her honor will not be touched. Then he continues his triumphal procession. Lelio catches Berenice's longing for her lover Lucejo and tells her that he had once released him when he was a prisoner of Lucejo's father. Lelio promises the two women a time of rest and relaxation under his protection, but Berenice is tormented by concern for her lover.

When Lelio has taken the two women away, Lucejo appears, disguised as a Roman soldier. He recognized his fiancée among the prisoners during the triumphal procession and now wants to sneak into the Romans to be close to Berenice.

Garden. After all the festivities, Scipione is now alone and explores his situation: he realizes that he has fallen in love with Berenice, which he sees as problematic as a politician and soldier. With the announcement of the two captured women, Lelio interrupts his thoughts. Scipione immediately suspects that Lelio fell in love with Armira. When both discover that they are now in love, Lelio warns the general that Berenice is already engaged to someone else. Outgoing, Scipione instructs Lelio to take special care of Berenice and not to let anyone around while Armira should be his.

Lelio confesses his love for Armira, who comes into the garden, who replies that she cannot express herself freely in captivity. When Berenice arrives, Lelio reveals to her that Scipione is in love with her and that she would do well not to refuse him. She reproachfully mentions his friend Lucejo, but he tries to appease him and leaves. Now Berenice is left to despair. Lucejo, who is now approaching, joins her lament from afar to her great surprise: she recognizes him immediately and is overjoyed to see him again alive. But her fear that he could be discovered here by Scipione wins the upper hand and she urges him to leave immediately. He reached a hiding place just in time, but in anger he left immediately when he heard the Scipione who had just arrived making advances to his fiancée. It is now up to Berenice to skilfully distract him to prevent himself from revealing his identity. She showered him, the supposed Roman, with reproaches and did not let him have a say. Lelio, who arrives, grasps the situation immediately and participates in Scipione's deception by addressing Lucejo with "Erennio" and sending the allegedly disturbed Roman soldier back to the camp. When everyone has left, Lujeco remains behind, plagued by jealousy.

Second act

Harbor, with a mooring ship. In order to save his daughter Berenice, the Balearic King Ernando decided to submit to the Romans. He came to New Carthage to bring Scipione his offer of peace and was received by Lelio. Ernando is friendly and suggests that Scipione is even trying to win his friendship.

Chamber of the two prisoners. In her assigned room, Berenice is worried about her loved one when Scipione appears and asks her what origin she is. She tells him. Thereupon he wants to explain his love to her, but with the hint that her heart is no longer free, she rubs him over the mouth. Scipione keeps his despair over it to himself and leaves.

Now Lelio and Lucejo come to Berenice. But before Lucejo can even turn to her, she snaps at him again, saying he should get out of here because if Scipione catches him, things will go badly for him. Again, Lucejo misunderstood her determination and again accused her of infidelity. When he's gone angry, Berenice asks Lelio to keep an eye on her fiancé, who is blind with jealousy, so that he doesn't put himself in danger. Desperate, she remains alone.

Once again, Lelio presses Armira. But she stops him and points out that, if at all, she can only love him freely. However, he is afraid, not entirely wrong, of being deceived. Indeed, Armira hopes her father, Indibile, will soon free her from captivity. While searching for Berenice, Lucejo, still incognito, meets Armira, who tells him that Scipione is in love with Berenice. Of course, he would like to know whether Berenice will reciprocate his love, because he himself would love Berenice too. Since Armira doesn't know who is asking her this question, she doesn't answer it. The supposedly Roman soldier is so sympathetic to her that she promises to keep quiet about it. The arriving Berenice just picks up the last sentence of Lucejo, in which he thanks the "beautiful" for Armira and also watches as he gratefully grabs her hand. Berenice, now overwhelmed by jealousy, accuses her friend of breaching her trust. Armira leaves, offended. When she wants to turn to Lucejo in a rage, the situation escalates with the arrival of Scipione. He instructs the "soldier" to disappear and Lucejo reveals his true identity. He tells Scipione that although he is not his opponent in war, he is in love. Lucejo challenges Scipione to a duel, but Lelio, who comes with soldiers, arrests him. Scipione promises Berenice to spare Lucejo's life, but she has to come to terms with marrying a Roman who is more worthy of her than a captured prince. She rejects that: she wants to stand by Lucejo like a rock in the surf.

Third act

Ernando is welcomed to a private audience by Scipione, who tells him that he has taken a liking to his daughter Berenice and that he would like to marry her. But the sincere Ernando rejects this, because he has already agreed to the marriage of Berenice and Lucejo and the honor would forbid breaking this promise. Now the mighty Scipione could simply enforce his desire, but he decides to follow the path of virtue to protect his reputation. He sends the news to Lucejo that he is to be taken to Rome as a prisoner. But when the latter found out from Lelio, he would rather die than be sent into exile. Berenice asks to be allowed to stand by him and follow whatever may happen and begs Scipione to punish her as guilty and to spare Lucejo. Scipione promises to please her.

Throne room. Ernando now appears in front of Scipione for an official reception this time and gives him gold and silver gifts as a ransom for his daughter. Scipione has Berenice brought in. When he realizes that she is still not entirely happy, he encourages her again to be hopeful.

Lelio has learned that Armira is also of high class, namely the daughter of the Iberian prince Indibile, a friend of the Romans, and releases her. Now Armira can stand by her love for Lelio. On the way to the throne room, Berenice meets Lucejo, who tells her that Scipione had given him his freedom and returned his sword. Both have overcome their jealousy, proclaim their undying love for each other and rush to Scipione full of hope. He announced that he would renounce Berenice and offered them the friendship and support of Rome. Finally, he gives Berenice Ernando's gifts as a dowry. Overwhelmed by so much gentleness and generosity, Lucejo swears eternal loyalty to Rome with great gratitude.

music

Beginning of the overture. Print by John Walsh , London 1760

The opera begins with a surprise: the usual Allegro fugue in the French overture , which otherwise follows the majestic introduction, is in this case a construction in which the theme begins immediately with a counterpoint , only to introduce another counterpoint after two bars turns out to be part of the main topic. Otherwise this Allegro in 3/8 time is only reminiscent of a fugue. When the curtain rises on the first scene, you can see the triumphal procession of Scipione, for which a slow march sounds. It is characteristic of the military self-confidence prevailing in England at that time that the English Grenadier Guard took over this as a regimental march in the 1740s. This is followed by eleven arias in the first act, nine in the second and ten arias in the third, and two Accompagnato recitatives, as well as a final duet and the final chorus intended for the soloist ensemble. In his autograph, Handel describes exactly which person should sing which voice in this “choir”: 1st voice - Cuzzoni and Costantini, 2nd voice - Senesino, 3rd voice - Baldi. 4th voice - Antinori, 5th voice - Boschi.

When reworking for the new line-up of 1730, Handel did not limit himself to the new version of some recitative parts (especially in the role of the title hero, which was moved from the old position intended for a castrato to the tenor position, as well as in the part of Lelio in the reverse sequence tenor -> alto), but made numerous other changes.

Success & Criticism

Antoine François Prévost , author of the novel Manon Lescaut , reported from London in 1733:

"D'habiles Musiciens m'ont assure que Julius Caesar, Scipione et Rodelinda sont ses plus excellent ouvrages. »

"Competent musicians have told me that Giulio Cesare , Scipione and Rodelinda [Handel] are best works."

- Antoine François Prévost : Le Pour et le Contre. Paris 1733.

The English music historian Charles Burney , who himself played in Handel's orchestra as a violinist and violist in the 1740s, assessed Scipione as follows in 1789:

“[...] though the first act of this opera is rather feeble, and the last not so excellent as that of some of his other dramas, the second act contains beauties of various kinds sufficient to establish its reputation, as a work worthy of its great author in his meridian splendor. "

“[...] even if the first act of this opera is a bit poor, and the last not as excellent as that of some of his other dramas, the second act contains beauties of the most varied kinds to be worthy of the works of a great author to be at the zenith of his fame. "

- Charles Burney : A General History of Music. London 1789.

orchestra

Two recorders , two transverse flutes , two oboes , bassoon , two horns , strings, basso continuo (violoncello, lute, harpsichord).

Discography

Haendel Opera Society; Gov. Charles Farncombe (English)
Les Talens Lyriques ; Dir. Christophe Rousset (171 min)

literature

Web links

Commons : Scipione (Handel)  - collection of images, videos and audio files

Individual evidence

  1. ↑ a b c Head of the Halle Handel Edition: Documents on life and work. In: Walter Eisen (Hrsg.): Handel manual: Volume 4. Deutscher Verlag für Musik, Leipzig 1985, ISBN 978-3-7618-0717-0 , p. 135.
  2. ↑ Winton Dean: Handel's Operas, 1726-1741. Boydell & Brewer, London 2006, Reprint: The Boydell Press, Woodbridge 2009, ISBN 978-1-84383-268-3 , p. 24 ff.
  3. ^ Bernd Baselt: Thematic-systematic directory. Stage works. In: Walter Eisen (Ed.): Handel Handbook: Volume 1. Deutscher Verlag für Musik, Leipzig 1978, ISBN 3-7618-0610-8 (Unchanged reprint, Kassel 2008, ISBN 978-3-7618-0610-4 ) , P. 21.
  4. ↑ a b Christopher Hogwood: Georg Friedrich Handel. A biography (= Insel-Taschenbuch 2655). Translated from the English by Bettina Obrecht. Insel Verlag], Frankfurt am Main / Leipzig 2000, ISBN 3-458-34355-5 , p. 152
  5. ^ A b Winton Dean, John Merrill Knapp: Handel's Operas 1704–1726. The Boydell Press, Woodbridge 2009, ISBN 978-1-84383-525-7 , pp. 607 ff.
  6. ↑ a b c d Silke Leopold: Handel. The operas. Bärenreiter-Verlag, Kassel 2009, ISBN 978-3-7618-1991-3 , p. 271 ff.
  7. ^ Charles Burney: A General History of Music: from the Earliest Ages to the Present Period. Vol. 4, London 1789, reproduction true to the original: Cambridge University Press 2010, ISBN 978-1-1080-1642-1 , p. 303.
  8. ^ Bernd Baselt: Thematic-systematic directory. Stage works. In: Walter Eisen (Ed.): Handel Handbook: Volume 1. Deutscher Verlag für Musik, Leipzig 1978, ISBN 3-7618-0610-8 (Unchanged reprint, Kassel 2008, ISBN 978-3-7618-0610-4 ) , P. 261.
  9. ^ Editing management of the Halle Handel Edition: Documents on life and work. In: Walter Eisen (Hrsg.): Handel manual: Volume 4. Deutscher Verlag für Musik, Leipzig 1985, ISBN 978-3-7618-0717-0 , p. 224.
  10. ^ Charles Burney: A General History of Music: from the Earliest Ages to the Present Period. Vol. 4, London 1789, faithful reprint: Cambridge University Press 2010, ISBN 978-1-1080-1642-1 , p. 306.