Riccardo Primo

from Wikipedia, the free encyclopedia
Work data
Original title: Riccardo Primo, Re d'Inghilterra
Title page of the libretto, London 1727

Title page of the libretto, London 1727

Shape: Opera seria
Original language: Italian
Music: georg Friedrich Handel
Libretto : Paolo Antonio Rolli
Literary source: Francesco Briani , Isacio Tiranno (1710)
Premiere: November 11, 1727
Place of premiere: King's Theater , Haymarket, London
Playing time: about 3 hours
Place and time of the action: Lemesos ( Cyprus ), May 1191 (shortly before the Third Crusade )
people
Charles Jervas : George II in coronation regalia (National Portrait Gallery, London)

Riccardo Primo, Re d'Inghilterra ( HWV 23) is an opera ( melodrama ) in three acts by Georg Friedrich Händel . It was the third opera for the triumvirate of singers Bordoni / Cuzzoni / Senesino . The plot is based on the historical dispute between Richard the Lionheart , King of England, and Isaak Komnenos , the Byzantine ruler in Cyprus , in the run-up to the Third Crusade , during Richard's sea voyage to the Holy Land in 1191.

Emergence

With the canceled performance of the Astianatte by Bononcini because of the scandalous disputes on the open stage on June 6, 1727, the eighth season of the Royal Academy of Music ended prematurely. But Handel had already finished another opera: Riccardo Primo . He composed this in the spring of 1727 while his admeto was running and the rivalry between Faustina Bordoni and Francesca Cuzzoni intensified almost daily, fueled by the press and the public. Apparently he had planned to bring Riccardo out in June, but the death of King George I on June 11th resulted in the temporary closure of all theaters in the city. The crisis situation on Handel's stage would have called for a break anyway.

At first, Handel had hardly decided to work on this material out of political considerations, as is often assumed in the literature, because the historical events that are given as reasons for it (the death of George I and the accession of George II shortly afterwards ), took place after the completion of the composition. Handel notes at the end of his score: “Fine dell 'Opera | GFH May 16. 1727 ". More plausible for the choice of this particular libretto is the fact that it offered three roughly identical main parts for two female and one male actors, which Handel needed to use the two prima donuts Cuzzoni and Faustina as well as the castrati star Senesino in the piece with equal effect, according to their rank . The role that the choice of the English theme played with the granting of British citizenship to Handel, one of George I's last official acts, which took place almost at the same time in February, remains speculation, but he was certainly aware of this parallel. Later, however, he was able to pursue a double purpose in taking up this subject: On the one hand, he was paying homage to King George II, who had just been enthroned (in June 1727) and was crowned in October, as the librettist Paolo Antonio Rolli explained in a sonnet that he dedicated at the beginning of the printed libretto; on the other hand, by treating a national subject, they tried to make the English audience more interested in Italian opera again.

libretto

Paolo Antonio Rolli wrote the libretto for the opera . a. had already provided texts for Floridante , Publio Cornelio Scipione and Alessandro . After the note made in his foreword “II drama è quasi tutto del Sig. Paolo Rolli” he claimed the authorship of this libretto “almost entirely” for himself. As Emilie Dahnk-Baroffio has shown, however, the template for this opera text was again an older Venetian libretto by Francesco Briani entitled Isacio Tiranno , which was set to music by Antonio Lotti in 1710 .

Handel's autograph provides interesting information about the genesis of the opera. The subject could Handel through the mediation of the singer Margherita Durastanti met who had been involved in the performance of the opera Lotti 1710 in Venice as Pulkheria. As the study of the autograph shows, Handel composed far more music than was finally performed. It is clear from the parts of the autograph that Rolli and Handel initially planned a different version of the work (probably for June), which differed in essential details from the second version, which was listed almost six months later. Rolli's text processing originally stuck to Briani's original much more closely, as is clear from the music numbers in the autograph that were not taken into account. a. Another alto part ( Corrado, confidente di Riccardo ), which no longer appears in Rolli's second version of the libretto and which Handel removed from his score. How strongly Rolli nevertheless leaned on Briani's text - at least in the first two acts of his libretto - is shown in detail by the evidence from Emilie Dahnk-Baroffio and John Merrill Knapp . After that, Rolli kept Briani's recitative text almost verbatim, especially in the first and second acts (up to the 6th scene), apart from a few cuts. From the arias he took over some of the wording, some of them slightly rewritten from the older model and rewrote the rest.

In August 1727 Handel was commissioned to compose the music for the coronation of King George II, which was to take place on October 11th. The four Coronation Anthems were created for that day. At the same time, the upcoming premiere of Riccardo became, as it were, a “coronation opera”: The pervasive national-patriotic feeling evoked by the coronation celebrations is reflected in Handel's reworking of Riccardo Primo in the early autumn of 1727. It premiered on November 11, 1727 at the King's Theater on Haymarket.

Cast of the premiere:

At the time the opera was performed, it was clear that the Opera Academy, which had its last performance in mid-1728, was drawing to a close. On the one hand, the financial bankruptcy was imminent due to the enormous expenses for the singer stars, on the other hand, the public's understanding of the intrigues of the Italian opera was exhausted. Handel's lifelong admirer and Brook Street neighbor, Mrs. Pendarves , wrote to her sister on November 25th:

“I doubt operas will not survive longer than this winter, they are now at their last gasp; the subscription is expired and nobody will renew it. The directors are all squabbling, and they have so many divisions among themselves that I wonder they have not broke up before. Senesino goes away next winter, and I believe Faustina, so you see harmony is almost out of fashion. "

“I doubt that the opera will last this winter, it is on its last legs; the subscription has expired and no one will renew it. There are constant quarrels between the directors; as divided as they are, it is surprising that they have not separated long ago; Senesino will be leaving the opera next winter, and as far as I know Faustina too; you see, harmony is almost out of fashion. "

- Mary Pendarves : letter to Ann Granville. London 1727.

The opera had eleven performances by mid-December of that year. It is unclear whether further performances took place in January 1728. After that, Handel did not take up the piece again, but took over parts of the music in other of his works.

In the 1730s, the opera was also on the program in Hamburg and Braunschweig : At the Hamburg Opera on Gänsemarkt , it came under the title Der Unslungene Braut-Wechsel or Richardus I King of England on February 3, 1729 with a German translation of the recitatives by Christoph Gottlieb Wend on the performance. The musical direction of this performance was Georg Philipp Telemann , who also wrote the arias for the bucolic characters added to the plot and set the German recitatives Wends to music. This version was performed again for the first time in modern times on March 15, 1996 in Magdeburg by the Akademie für Alte Musik Berlin under the direction of Nicholas McGegan . The second stage on the continent followed Braunschweig, where the work was performed in 1729 and 1734 as Riccardus called Das Löwen-Herz, König in Engelland . Georg Caspar Schürmann had made a German text version for the recitatives and the final chorus and also the musical direction of the performances in 1729. In 1734 Carl Heinrich Graun directed the performances . Arias from Riccardo Primo were also used in some pasticcio operas ( Oreste , London 1734, Hermann von Balcke , Elbing 1737, and Lucio Vero , London 1747) .

The first modern rendition of the opera took place on July 8, 1964 in English (text version: Arthur Jacobs) at Sadler's Wells Theater in London with the Philomusica of London under the direction of Charles Farncombe . The piece was first heard in its historical form at a concert performance in Fontevraud-l'Abbaye, France, in connection with the CD production of the entire work on June 3, 1995 by Les Talens Lyriques under Christophe Rousset .

action

Historical and literary background

Richard the Lionheart (from a 12th century manuscript)

Richard I, nicknamed "Lionheart" (1157–1199), son of Henry II and Eleanor of Aquitaine , ruled England from 1189 to 1199. His adventurous life, his arguments with his father, his participation in the Third Crusade , his Imprisonment at Trifels Castle and his death in battle grew up in numerous legends. On May 6, 1191, on the way to Jerusalem , during the crusade, he conquered Cyprus, which had briefly been an independent state under Isaac Komnenus , and six days later married Berengaria of Navarre , whose libretto is called Costanza. Accompanied by Richard's sister Johanna, she was in distress on the ship on the way from Sicily to Jerusalem, was stranded off Cyprus and imprisoned by Isaac Komnenos.

first act

(Riccardo is on a crusade to Jerusalem. Bad weather tears his fleet apart on the journey across the Mediterranean. But he actually wanted to marry Princess Costanza ...) Costanza and Berardo were shipwrecked on the coast of Cyprus; Costanza is convinced that Riccardo drowned. Enter Isacio, Pulcheria, and Oronte, and Isacio questions the stranded people. Costanza hides her identities and says that her name is "Doride" and that Berardo is her brother "Narsete". Isacio is carried away by her beauty; he invites her to his palace and instructs Pulcheria to prepare for her wedding to Oronte. Then he orders Oronte to destroy the remains of the English ships. A camp tent close to the shore. Riccardo has learned that Costanza is alive and expresses his love, although he has never seen her. He plans to go to Isacio's palace incognito. Costanza and Berardo are alone. Oronte and Pulcheria arrive, and Oronte courters Costanza, to Pulcheria's annoyance. Isacio woos Costanza, who shrinks back in horror. She begs to be left alone and leaves. Oronte announces that an ambassador from Riccardo has arrived. Costanza is overjoyed that Riccardo is still alive. Riccardo appears disguised as his own ambassador. Isacio is polite and promises to hand over Costanza. Riccardo is impressed and happy.

Second act

Costanza asks Berardo if Riccardo knows she is alive and he promises to find out. Isacio tells Costanza he knows who she is and promises that she will shortly be reunited with her husband. But since he knows that Riccardo has never seen Costanza, he plans to send Pulcheria to Riccardo in her place. He urges Pulcheria to forget Oronte - which she is willing to do because she is angry with him - and to prepare for her new honor as Queen of England; he prides himself on his sophistication. Pulcheria is shocked and distraught by this hoax, and as soon as she is alone she vows to uncover it. Berardo listened to everything and reported it to Costanza and Oronte. Oronte promises to avenge them both, and Costanza longs for Riccardo to come to her. Riccardo and his army give Pulcheria and her entourage a ceremonial reception. In the opinion that she is Costanza, he is disappointed at the sight of her, even though he appreciates her beauty. Oronte rushes over and reveals the deception. Riccardo is angry. Pulcheria accuses her father and offers to stay hostage because she respects Riccardo's sense of honor. But he asks her to return to Isacio. She still grudges Oronte and feels rejected by everyone. Oronte offers Riccardo to use his troops; Riccardo swears vengeance, and Oronte hopes that love, guided by a sense of honor, will triumph in the end. Riccardo returns to the palace, still disguised. He accuses Isacio of fraud. When he asks him to keep the agreement, Isacio responds defiantly. Pulcheria returns from Riccardo's camp and Isacio pretends to accept Costanza's release. Pulcheria introduces Riccardo Costanza and finally reveals his identity to her. After assuring herself of her own pride, she leaves Riccardo and Costanza alone, who now assure each other of their love.

Third act

In the meantime Riccardo had left the palace with Costanza, but their release was a ruse: They were ambushed by Isacio's troops, and Costanza was snatched from Riccardo and dragged back into the city. Riccardo plans the attack with Oronte; both announce their intention to finish off the city and defeat Isacio. In the palace, Costanza laments her misfortune and implores death as the only way out. Pulcheria says she wants to return to Riccardo as a hostage, and Isacio will not want to see her die at Riccardo's hand - innocence will triumph. Costanza goes to heaven for help. Isacio reveals the depth of his love for Costanza and his determination to conquer her. Berardo arrives and demands surrender, but Isacio is defiant and insists on the war. Costanza asks Berardo to go to Riccardo and bid him her last farewell. Riccardo's army attacks the city wall and breaks a breach. Isacio enters, he holds Costanza and threatens to kill her if the attack is not stopped. When he wants to happen, Oronte intervenes with his troops, disarms Isacio and wins. Berardo brings Costanza the victory news. She expresses her relief and joy; Oronte arrives to confirm Isacio's surrender and announces that Riccardo has forgiven him. Pulcheria is happy about her love for Oronte. After a triumphal march, Riccardo unites Oronte and Pulcheria and proclaims that the kingdom is theirs. He promises Costanza his love and Pulcheria his friendship. All come together in a cheering choir.

music

It is not difficult for opera goers to put Riccardo Primo in the forefront of Handel operas because of the balance of intimacy and opulence as well as a reasonably plausible and exciting plot.

One of Handel's most beautiful and fiery overtures, which, similar to that of Admeto , consists of only two movements, is followed by an opening scene, which is also reminiscent of the beginning of Admeto : a longer instrumental movement on the storm of the sea, an Accompagnato recitative and an aria . The fact that Handel used to work out such sentences with great care and purity can also be seen here in the crossed-out sketch of an earlier version, which has been preserved in the original. The action then introduces the well-known operatic tracks, and the composer showered us with beautiful arias in which his singers could show themselves to the full. In this work, too, there are many ways of singing, which soon became generally accepted and which was later reported to have been “invented” by others. This extends even to the coloratura; compare z. B. only the arias Agitato da fiere tempeste (No. 8) for Senesino and Vado per obedirti (No. 3) for Faustina. Of the latter, Charles Burney says :

“[...] is the most agreeable song of execution of the times. I have been told that the brilliancy of her voice made its way through the busy accompaniment of this song in a manner which filled the whole theater. A close in this air appears for the first time, which has since become fashionable, as well as the return to the subject in the Da Capo. "

"[...] it is one of the most beautiful bravura songs of the time. I was told that Faustina's brilliant voice had worked its way through the busy company in a marvelous way and filled the whole theater. The ending of this aria appears here for the first time, but has since become fashionable; likewise the decline from the middle section to the subject in Da Capo. "

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

The voice springs back to the main thought, as it were, and in doing so reaches the tone e '', which was so extraordinarily powerful in Faustina Bordoni. Incidentally, it is not Faustina but Francesca Cuzzoni who is the main character in this opera; As we know, Signora Cuzzoni was always preferred by the court. In the third act of the opera the most beautiful musical movements and the most effective scenes are laid out.

Distribution of arias

role first act Second act Third act total
Riccardo Primo 2 4 (5) 3 9 arias, (1 duet)
Costanza 2 4 (5) 3 9 arias, (1 duet)
Isacio 0 1 1 2 arias
Pulcheria 2 3 2 7 arias
Oronte 1 1 1 3 arias
Berardo 0 1 0 1 aria

orchestra

Flauto piccolo , recorder , bass transverse flute or two chalumeau , two oboes , bassoon , three trumpets , two horns , timpani , strings, basso continuo (violoncello, lute, harpsichord).

Discography

Les Talens Lyriques ; Dir. Christophe Rousset (197 min)
Chamber Orchestra Basel ; Gov. Paul Goodwin

literature

Web links

Commons : Riccardo Primo  - collection of images, videos and audio files

Individual evidence

  1. ^ British Citizen by Act of Parliament: George Frideric Handel
  2. ↑ a b c 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. 300 f.
  3. ^ Emilie Dahnk-Baroffio: On the source of Handel's RICCARDO PRIMO. Göttingen Handel Festival 1970, program booklet, Göttingen 1970, p. 87 ff.
  4. ^ John Merrill Knapp: The Autograph of Handel's Riccardo primo. Studies in Renaissance and Baroque Music in Honor of Arthur Mendel. Robert Lewis Marshall (Ed.), Bärenreiter-Verlag, Kassel 1974, ISBN 978-0-913574-26-3 .
  5. ↑ handelhouse.org
  6. ^ Editing management of the Halle Handel Edition: Documents on life and work. In: Walter Eisen (Ed.): Handel Handbook: Volume 4. Deutscher Verlag für Musik, Leipzig 1985, ISBN 978-3-7618-0717-0 , p. 156.
  7. ↑ 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. 159.
  8. ^ Silke Leopold: Handel. The operas. Bärenreiter-Verlag, Kassel 2009, ISBN 978-3-7618-1991-3 , p. 277 ff.
  9. ^ Riccardo primo at Klassika
  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. 327.
  11. ^ Friedrich Chrysander: GF Handel. Second volume. Breitkopf & Härtel, Leipzig 1860, p. 178 f.