Ricciardo e Zoraide

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Opera dates
Title: Ricciardo and Zoraide
Original title: Ricciardo e Zoraide
Title page of the libretto, Naples 1818

Title page of the libretto, Naples 1818

Shape: Opera in two acts
Original language: Italian
Music: Gioachino Rossini
Libretto : Francesco Berio di Salsa
Literary source: Niccolò Forteguerri: Il Ricciardetto
Premiere: December 3, 1818
Place of premiere: Naples, Teatro San Carlo
Playing time: about 3 hours
Place and time of the action: Dongala , capital of Nubia in the 13th century
people
  • Agorante, King of Nubia, unrequitedly in love with Zoraide ( tenor )
  • Zoraide, daughter of Ircanos, lover of the knight Ricciardo ( soprano )
  • Ricciardo, knight, lover of Zoraides (tenor)
  • Ircano, powerful ruler of part of Nubia ( baritone )
  • Zomira, wife of Agorantes, rival Zoraides ( old )
  • Ernesto, ambassador of the Christian camp, friend of Ricciardo (tenor)
  • Fatima, confidante of Zoraides ( mezzo-soprano )
  • Elmira, confidante Zomiras (mezzo-soprano)
  • Zamorre, confidante of Agorantes (tenor)
  • Men and women in seraglio, court, entourage and warriors of the king, European warriors, people ( chorus )
Title page of the libretto, London 1823

Ricciardo e Zoraide is an opera in two acts by Gioachino Rossini (music) with a libretto by Francesco Berio di Salsa based on chants XIV and XV of Niccolò Forteguerri's dramatic poem Il Ricciardetto . The first performance took place on December 3, 1818 in the Teatro San Carlo in Naples.

action

The action takes place at the time of the Crusades in Nubia. King Agorante desires Zoraide, the daughter of his rival Ircano, but who loves the crusader Ricciardo. At the beginning of the opera, Zoraide fell into the hands of Agorante. His jealous wife Zomira tries to prevent her husband's connection with Zoraide. With the support of the Franconian ambassador Ernesto, Ricciardo arrives at the Agorante court in disguise to obtain the release of Zoraide. Since Zoraide stubbornly resists Agorante, he decides that their fate should be decided in a duel. Ircano reports to Zoraide's defense in disguise, while Ricciardo, who is also still in disguise, is supposed to fight for Agorante. Ricciardo wins, but then falls victim to Zomira's intrigue together with Zoraide. Agorante sentenced the two to death. You are saved at the last moment by Ernesto and the crusaders. Ricciardo magnanimously gives life to his opponents, and Ircano gives him and his daughter his blessing.

“Africa's desert-rich land of Nubia, irrigated by the Nile and the Takazza, had King Agorant, who set up his seat in the capital Dongola (Doncola, Dungala), as ruler. He lived in constant feud with lesser princes, who usurped his possessions in the land of Macorra. The boldest of these was Hyrkan, an offspring of Asia who, with the help of Christian friends of the covenant, had succeeded in founding his own kingdom.

Hyrcanus enjoyed great fatherly joys in the possession of his daughter Zoraide, a noble maiden endowed with all the adornments of nature. The brave Franconian Richard, general of the Christians, was deeply attached to this gentle creature; Zoraiden's heart glowed no less for him, and soon the joyful father saw a love germinate which raised his fatherly mind to good hopes.

The reputation of Zoraiden's unusual beauty penetrated to the throne of King Agorant, and although the latter was already married to Zomira, a princely daughter, he could not resist the temptation to possess the so much vaunted charm. The national customs allowed him several women. "

- Beginning of the synopsis of the Munich performance in 1821

first act

Place outside the city walls of Dongala

Scene 1. Agorante and his entourage appear to the sound of a military march. The people of Nubia praise him and his victory over the rebel Ircano (introduction: "Cinto di nuovi allori"). Agorante confirms his request to take Ircanos daughter Zoraide as wife. He is not afraid of Ricciardo's anger or a war with the crusaders (Aria Agorante: “Minacci pur: disprezzo” - chorus: “Sì, con quel serto istesso”).

A room in the Agorantes Palace

Scene 2. While noise can be heard in the distance, a group of girls rushes excitedly across the stage (chorus: “Quai grida!”). The Zoraide, imprisoned in the palace, appears with her confidante Fatima. The news of Agorante's arrival spreads through the choir. Everyone is deeply concerned.

Scene 3. Zoraide and Fatima decide to seek refuge with Ricciardo. Fatima moves away.

Scene 4. Agorante's wife, the Nubian queen Zomira, asks Zoraide to present herself to the ruler. She offers her friendship in pretense, as she knows that Zoraide does not reciprocate Agorante's affection, but loves Ricciardo. Zoraide, however, distrusts her (duet Zomira / Zoraide: "Invan tu fingi, ingrata").

Scene 5. Agorante informs the two women of his decision to part with Zomira in order to marry Zoraide. Zoraide is horrified, Zomira swears revenge, Agorante feels disrespected by Zoraide, and the choir of girls hopes that Zoraide's heart will ignite for Agorante (trio with female choir: “Giusto Cielo, in lor punisci”).

View of part of the city fortifications of Dongala with irrigation ditches and adjacent plains. Foothills of the Nubio River, which irrigates them. A grove of trees hides part of the river. Mountains in the distance

Scene 6. The soldiers and scouts on the city wall notice that there is calm and that the city is well guarded (chorus: “Tutto è in calma”).

Scene 7. Ricciardo, disguised as African, and Ernesto, the ambassador of the Christian camp, approach in a small boat. Ricciardo intends to free Zoraide. Ernesto urges caution, as he is wanted by both the desperate Ircano and the inhuman Agorante. He suggested trying to negotiate to get their release first. Ricciardo, however, does not want to wait any longer and is ready to take any risk (duet Ricciardo / Ernesto: "S'ella mi è ognor fedele"). Ricciardo gives Ernesto a white flag. He shows it to the guards, whereupon the bridge is lowered. The two enter the city.

Room in the palace as before

Scene 8. Zomira assigns her confidante Elmira to watch Zoraide. This assures that there is still hope. Both go.

Scene 9. Agorante receives the Christian ambassador Ernesto and Ricciardo in disguise. Ernesto demands the release of Zoraide and the other prisoners. Agorante refuses. He doesn't have to obey the laws of cowardly muggers. He was ready to release the other prisoners, but Zoraide had to stay - from the moment she awakened his favor, she had been his subject. Ricciardo finds it difficult to maintain his composure. Ernesto threatens to resume fighting. The armistice would lapse if Agorante did not give in.

Throne room

Scene 10. Agorante enters the hall with his entourage and sits on the throne (chorus: “Se al valore compenso promesso”).

Scene 11. Agorante tries to appease Zoraide by portraying himself as a lover and not a powerful ruler - but if that doesn't change her mind, she'll have to fear his anger. Zoraide refers to her grief over her father's fate.

Scene 12. After Ricciardo and Ernesto have also appeared (Finale: “Cessi omai quel tuo rigore”), Agorante announces his decision: Zoraide has to stay with him. The war is inevitable and the act ends with a general lament (“Oppressa, smarrita” - “Qual suono terrible”).

Second act

Lobby of the palace with access to the gardens

Scene 1. Agorante receives news from his confidante Zamorre that the African leader of the Frankish ambassador is still in Dongala and wants to speak to him.

Scene 2. In a conversation with Agorante, Ricciardo, who is still disguised, claims to be an enemy of Ricciardo himself. He kidnapped his wife and only demanded Zoraide to get revenge on Agorante, since he believed her to be his lover. Ricciardo offers an alliance (duet: "Donala a questo core") and wants to inform Zoraide of the betrayal of her lover. Agorante goes to send her to him.

Scene 3. Ricciardo encourages himself to do his job.

Scene 4. Zoraide appears. After a brief moment of doubt, she recognizes her lover. Both greet each other happily, and Ricciardo informs Zoraide that Ernesto is on the way to free her (duet: "Ricciardo! ... che veggo?"). Their conversation is overheard by Elmira, who now makes her way to her mistress. Ricciardo's attempt to explain his plan to Zoraide is interrupted by the return of Agorante.

Scene 5. Ricciardo advises Zoraide to be friendly towards Agorante. Agorante urges her again to return his love. When Zoraide continues to reject him, he threatens to throw her into the deepest dungeon.

Scene 6. Ricciardo tries to appease Agorante. Agorante wants the whole world to know how much he loved Zoraide and how unfairly she treated him. He decides to decide the fate of Zoraide in a duel. At this moment Ircano appears disguised in brown armor with lowered visor and declares himself to be Zoraides defender. Zoraide and Ricciardo fluctuate between hope and fear (quartet "Contro cento, e cento prodi" - choir of warriors: "Non vagliono querele").

Scene 7. Zoraide is led to the dungeon. While she is still wondering about the intervention of the unknown, the guards inform her that the leader of the Franks (Ricciardo in disguise) will fight for the king (chorus: "Incognito audace").

Scene 8. Zomira learns from Elmira the identity of the alleged African leader who is supposed to fight the unknown knight - an ideal opportunity for her revenge (Aria Zomira: "Più non sente - quest 'alma dolente").

Deep dark dungeon

Scene 9. While Zoraide waits fearfully for the result of the duel on a boulder, the choir tries to discourage her (chorus and Zoraide: “Il tuo pianto, i tuoi sospiri”).

Scene 10. Zomira comes into the cell and pretends to want to free her (Finale: "Zomira! Oh ciel! ... Forse tu qui ne vieni"). Ricciardo was victorious, but was arrested after his disguise was exposed. If Zoraide wanted to save him, she had to go to him as soon as possible. Zomira shows her the way out of prison, and Zoraide rushes off to escape with Ricciardo. The supposed escape route, however, turns out to be a trap of Zomira. Zoraide and Ricciardo are now in their power.

Scene 11. Zomira is happy about her revenge, which is already half done.

Scene 12. Agorante is surprised to find Zomira in the cell. Zomira informs him that Zoraide has fled and also reveals the identity of the unknown knight - Zoraide's father Ircano.

Scene 13. Zomira now feels completely avenged. Her entourage sings about the captive couple who can enjoy love despite the chains (chorus: “Fra 'lacci già sono”).

Large square with a fork in the road that leads to the river bank

Scene 14. The couple condemned to death are presented to the lament of the people (chorus: “Qual giorno, aimè! D'orror!”). Ricciardo and Zoraide consoled each other by being united at least in death. Ircano gives up his daughter, disappointed, because her love is to blame for his misfortune. He explains to her that he himself fought for her and was defeated by the traitor Ricciardo.

Scene 15. Agorante appears with his entourage and urges that the sentence be carried out quickly. Zoraide begs him to at least spare her father (Zoraide: "Salvami il padre almeno"). However, Agorante orders Ricciardo to be killed first and then - if Zoraide still refuses to answer him - Ircano as well. If she does not extend her hand to him, she too will be doomed. Eventually, Zoraide decides to save her father and declares that Agorante can have her hand but never her heart. The people, Ircano and Ricciardo admire their steadfastness.

Scene 16. Zomira reports in horror that the enemy has invaded the city. Shortly afterwards, Ernesto marched in with his troops. After a brief scuffle, Agorante's followers are driven out while he fights with Ernesto. Ricciardo frees Ircano and prevents Ernesto from killing the defeated Agorante. He forgives him and Zomira. He sends Zoraide to her father to be reconciled with him. Ircano is impressed with so much sacrifice and virtue. He realizes that Ricciardo is worth his daughter's hand. Everyone celebrates the happy ending.

layout

Instrumentation

The orchestral line-up for the opera includes the following instruments:

  • Two flutes / piccolo, two oboes / cor anglais, two clarinets, two bassoons
  • Four horns, two trumpets, three trombones
  • Timpani, bass drum , triangle
  • harp
  • Strings
  • Incidental music

Music numbers

The opera contains the following musical numbers:

first act

  • overture
  • No. 1. Introduction: "Cinto di nuovi allori" (scene 1)
  • No. 2. Recitative: "Popoli della nubia" (scene 1)
    • Aria (Agorante): "Minacci pur: disprezzo" (scene 1)
    • Choir: "Sì, con quel serto istesso" (scene 1)
  • No. 3. Choir: "Quai grida!" (Scene 2)
  • No. 4. Recitative: “Deh! frena il lungo duol "(scene 3)
    • Duet (Zomira, Zoraide): "Invan tu fingi, ingrata" (scene 4)
  • No. 5. Recitative: "A voi ritorno alfine" (scene 5)
    • Trio (Agorante, Fatima, Zoraide): "Giusto Cielo, in lor punisci" (scene 5)
  • No. 6. Choir: "Tutto è in calma?" (Scene 6)
  • No. 7. Recitative: "Eccoci giunti al desiato loco" (scene 7)
    • Duet (Ricciardo, Ernesto): "S'ella mi è ognor fedele" (scene 7)
  • No. 8. Recitative: "Elmira, e non deggi'io foreigner disdegno" (scene 8)
    • Choir: "Se al valore compenso promesso" (scene 10)
  • No. 9. Recitative: "Sgombra ogni tema dal tuo cor" (scene 11)
    • Finale: "Cessi omai quel tuo rigore" (scene 12)
    • Tutti: "Oppressa, smarrita" - "Qual suono terrible"

Second act

  • No. 10. Recitative: "Zamorre, ed è pur quegli!" (Scene 1)
    • Duet (Agorante, Ricciardo): "Donala a questo core" (scene 2)
  • No. 11. Recitative: “Partì… che mai farò?” (Scene 3)
    • Duet (Zoraide, Ricciardo): "Ricciardo! ... che veggo?" (Scene 4)
  • No. 12. Recitative: "Dimmi, spiegami alfin qual fu l'inganno" (scene 4)
    • Quartet (Ircano, Agorante, Zoraide, Riccardo): "Contro cento e cento prodi" (scene 6)
    • Choir of warriors: "Non valgono querele" (scene 6)
    • Choir: "Incognito audace" (scene 7)
    • Choir (behind the scene): "Il tuo pianto, i tuoi sospiri" (scene 9)
  • No. 13. Recitative and Finale: “Zomira! oh ciel! ... Forse tu qui ne vieni "(scene 10)
    • Choir of confidants of Zomira: "Fra 'lacci già sono" (scene 13)
    • Choir: “Qual giorno, aimè! d'orror! "(Scene 14)
    • Zoraide: "Salvami il padre almeno" (scene 15)

music

It is unusual for Rossini's operas that Ricciardo e Zoraide does not use an interchangeable generic overture, but a four-part prelude specially adapted to the performance situation. The curtain opens after a short largo of eleven bars. This is followed by a march played by wind players on the stage and an “Andante grazioso con variazioni”. Finally, the march is repeated with the participation of the choir.

The stage orchestra (" Banda ") used Rossini for the first time on a larger scale to achieve additional color effects. He performed the accompanying recitatives (Accompagnati) with particular care.

The opera is dominated by ensemble movements. After a performance he attended in Florence in 1821, the French composer Ferdinand Hérold already highlighted in his diary "three enchanting duets, a delightful quartet and the energetic choirs". Particularly noteworthy are the choir “Qual giorno, aimè! d 'orror! ”(second act, scene 14) - the largest choir in the opera with the use of the banda - and the choir sung backstage“ Il tuo pianto, i tuoi sospiri ”(second act, scene 9).

Work history

Ricciardo e Zoraide is one of three operas that Rossini wrote in 1818. The other two were Mosè in Egitto and Adina - the latter was not premiered until 1826. The libretto was written by the Marchese Francesco Berio di Salsa. It is based on the dramatic poem Il Ricciardetto by the priest, poet and member of the Accademia dell'Arcadia Niccolò Forteguerri, a satire on the depravity of the clergy. The libretto is not considered particularly successful. Herbert Weinstock called it a “poor work of art”, and Richard Osborne wrote: “With all the details, the story would read like an epic by Marlowe , retold by the Marx Brothers ; it is Rossini's music that animates and carries the basic bare dramatic types. "

The premiere at the Teatro San Carlo in Naples was originally planned for September 26, 1818. It was postponed to November 28th due to Rossini's illness and then another week due to an injury to the prima donna Isabella Colbran (Zoraide). The premiere finally took place on December 3, 1818. In addition to Colbran, Andrea Nozzari (Agorante), Giovanni David (Ricciardo), Michele Benedetti (Ircano), Rosmunda Pisaroni (Zomira), Giuseppe Ciccimarra (Ernesto), Maria Manzi (Fatima), Raffaella De Bernardis (Elmira) and Gaetano Chizzola ( Zamorre). The performance was a success.

This was followed by many other performances at Italian opera houses until the 1830s, but also in 1821 at the Teatro de São Carlos in Lisbon and in 1823 at the Teatre de la Santa Creu in Barcelona, ​​the Hoftheater Dresden, and the King's Theater in London . As early as October 3, 1819, the opera was performed in Vienna in German. A revised one-act version was played there in 1822, after the performance of which a large crowd gathered in front of the house where Rossini's family had dinner - an improvised concert of Rossini arias was then given at two o'clock in the morning until the meeting of the police was disbanded. In German it was also played in Stuttgart and Budapest in 1820, in Munich in 1821 and in Graz in 1823. In 1824 there was a performance at the Théâtre-Italien in Paris. After the last performance of the Teatro alla Scala in Milan in the autumn of 1846, the work disappeared from the performance plans of the stages.

More recently, there have only been staged performances again at the Rossini Opera Festival Pesaro in 1990 and 1996 . In 2013 the opera was played at the Rossini Festival in Wildbad .

Rossini took over three numbers and parts of the overture in Eduardo e Cristina . The andante of the overture also appears in Bianca e Falliero , and a chorus and part of a duet in Matilde di Shabran . In 1820 he used an ensemble from Ricciardo e Zoraide for the end of a special version of Otello created for the Roman carnival , in which the tragic end was replaced by a happy one.

Recordings

Web links

Commons : Ricciardo e Zoraide  - Collection of images, videos and audio files

Individual evidence

  1. ↑ a b c information on the work of the critical edition by Federico Agostinelli and Gabriele Gravagna, Fondazione Rossini Pesaro 1990
  2. ↑ Piano reduction as a digitized version at IMSLP. Schott, Mainz around 1820 , compared with the libretto and the other sources.
  3. ↑ a b c d e Herbert Weinstock : Rossini - A biography. Translated by Kurt Michaelis. Kunzelmann, Adliswil 1981 (1968), ISBN 3-85662-009-0
  4. ↑ a b c d Richard Osborne: Rossini - life and work. Translated from the English by Grete Wehmeyer. List Verlag, Munich 1988, ISBN 3-471-78305-9
  5. ↑ a b c d e f g h i Charles Osborne : The Bel Canto Operas of Rossini, Donizetti, and Bellini. Amadeus Press, Portland, Oregon, 1994, ISBN 978-0-931340-71-0
  6. ↑ Marcus Chr Lippe: Rossini's opera series. Franz Steiner Verlag, 2005, ISBN 3-515-08586-6 , p. 224
  7. ^ Performance dates of the Teatro San Carlo on December 3, 1818 in the Corago information system of the University of Bologna
  8. ^ Ricciardo e Zoraide (Gioachino Rossini) in the Corago information system of the University of Bologna . Accessed December 31, 2015.
  9. ↑ Thomas Molke: Review of the performance at the Festival Rossini in Wildbad 2013 in Online Musik Magazin , accessed on January 7, 2016.
  10. ↑ a b c d Gioacchino Rossini. In: Andreas Ommer: Directory of all opera complete recordings. Zeno.org , volume 20.