Rodrigo (opera)

from Wikipedia, the free encyclopedia
Work data
Title: Rodrigo
Original title: Vincer se stesso è la maggior vittoria
Title page of the libretto, Florence 1707

Title page of the libretto, Florence 1707

Shape: Opera seria
Original language: Italian
Music: georg Friedrich Handel
Libretto : Antonio Salvi (?)
Literary source: Francesco Silvani , Il duello d'amore e di vendetta (1700)
Premiere: November / December 1707
Place of premiere: Teatro del Cocomero , Florence
Playing time: approx. 2 ½ hours
Place and time of the action: Seville and environs, around 711
people
  • Rodrigo , King of the Visigoths in Spain ( soprano )
  • Esilena , his wife (soprano)
  • Giuliano, son of the former King Vitizza ( tenor )
  • Florinda, daughter of the former King Vitizza (soprano)
  • Evanco, son of the former King Vitizza, King of Aragon ( soprano )
  • Fernando, Rodrigos General ( alto )
  • A child of Rodrigo and Florinda (silent role)
  • Court, officers and soldiers, servants, people

Vincer se stesso è la maggior vittoria , German to defeat oneself, is the greatest victory , now called Rodrigo ( HWV 5), is the first Italian opera ( Dramma per musica ) in three acts by Georg Friedrich Handel .

Creation & libretto

The libretto is based on Il duello d'amore e di vendetta by Francesco Silvani . Marc'Antonio Ziani wrote the music for the first performance of this piece in the carnival season 1699/1700 . Who edited the textbook for Handel is unknown, possibly Antonio Salvi . The title Rodrigo (after the main character), which is used today for opera , was only used later.

Handel wrote the work on behalf of Principe Ferdinando de 'Medici, presumably during the summer of 1707 during his stay with the Marchese Francesco Maria Ruspoli in Rome. After Richard Alexander Streatfield and Reinhard Strohm , the premiere took place in a private setting in the Palazzo Pitti . Robert Lamar Weaver, Norma Wright Weaver and Winton Dean assumed that Rodrigo was played at the Teatro del Cocomero . This view was recently supported by notes in the diary of Duke Anton Ulrich von Sachsen-Meiningen . Thereafter there were five performances of the opera between November 9 and 22, 1707.

Cast of the premiere

  • Rodrigo - Stefano Frilli ( castrated soprano )
  • Esilena - Anna Maria Cecchi Torri, called "La Beccarina" ( soprano )
  • Giuliano - Francesco Guicciardi (tenor)
  • Florinda - Aurelia Marcello (soprano)
  • Evanco - Caterina Azzolina, called "La Valentina" (soprano)
  • Fernando - Giuseppe Perini (Old Castrato)

The first new production in our time came about on August 29, 1984 during the Innsbruck Festival of Early Music . The baroque orchestra Il complesso barocco under the direction of Alan Curtis played here .

action

In the battle of the Río Guadalete Roderich fought against the invading armies of the Arabs, which were pushing northwards (medieval illustration).

Historical and literary background

Roderich was King of the Visigoths in Hispania from 710 to 711 . According to legend, he was the last king of the Goths. Most of his life and the end of the Visigoth Empire in general is largely in the dark, or has been passed down in very different versions since the middle of the 8th century. Roderich came to power as an opponent of the family of his predecessor Witiza , whom he had deposed and whose sons he had refused the right of inheritance. His defeat by an Arab-Berber army in the battle of the Río Guadalete , in which he fell, led to the fall of the Visigoth Empire . Christian historians from the 9th / 10th centuries In the 18th century, a certain Count Julianus , who was in command of the city of Ceuta on the African coast, committed treason and thus favored the advance of the Muslims. He is even said to have played a key role in the invasion. Legend has it that Julian wanted to take revenge on Roderich because he made Julian's daughter pregnant. Serious research does not give this popular, literarily embellished legend any credibility. According to other sources, Witiza's sons invited the Muslims to invade and supported their advance in order to get revenge on Roderich, who had deprived them of the line of succession. This tradition, too, as a thorough source-critical investigation has shown, is a tendentious invention.

Apparently Francesco Silvani had taken the material from the book Del Mappamondo istorico ( Historical World Map ) published in Venice in 1694 .

first act

In the palace garden, Florinda makes angry reproaches for kidnapping and impregnating her without keeping his promises of marriage and coronation. Rodrigo is mainly concerned with news of the victory of his army over the princes Evanco and Sisi of Aragon and advises Florinda to forget her ambitions and to be content with memories of past joys. Left alone, she swears revenge.

In the throne room, Fernando asks Rodrigo's wife Esilena why she doesn't join the general cheers. She replies that she couldn't be happy because Rodrigo no longer loves her, but Fernando predicts that he will return to her. Rodrigo proclaims his victory, and Esilena informs him that he can achieve a more meritorious triumph by overcoming his own unworthy behavior. Together they greet the victorious General Fernando, who returns home from the war with Evanco in chains and Sisi's severed head as a trophy. Evanco is brought before Rodrigo, whereupon he is sentenced to death, but Esilena successfully pleads for his life. Rodrigo hands the prisoners over to Giuliano's care.

Giuliano recognizes Evanco's generosity and offers him his friendship, as long as this is compatible with his duty to Rodrigo. When Evanco is taken away, Giuliano's thoughts turn to his beloved sister Florinda. But she admits that in his absence she brought shame on herself and her family through a love affair with Rodrigo. Angry at Rodrigo's wickedness, Giuliano vows to free Evanco, proclaim him the rightful king of Spain and fight by his side for the destruction of Rodrigo. Florinda hopes that Rodrigo's death will atone for her offense.

In his private room, Rodrigo feels his recent triumphs weigh heavily on him, Fernando and Esilena rush in to tell him about the uprising.

The rebel force rallies under the leadership of Giuliano. Evanco and Florinda flee the city. Rodrigo sends Fernando to summon the troops loyal to the king, then he confesses to Esilena that his adulterous intrigue with Florinda and his broken word against her are the reasons for the rebellion. Esilena offers to relinquish her position as the king's consort to Florinda in order to save his reputation and prevent bloodshed. Rodrigo refuses, but allows her to visit Florinda in the rebel camp to negotiate a peace. Left alone, Esilena decides to pursue her selfless offer and to prove to be a glorious example to the wives of Spain.

Second act

Giuliano and Evanco gather their forces against Rodrigo in the insurgent camp. One soldier brings Esilena's request for a meeting with Florinda, another comes with a message from Giuliano from Fernando, who proposes a secret meeting. Evanco and Florinda fear a trap, but Giuliano trusts Fernando's friendship and noble disposition. Evanco confesses his love for Florinda and asks for her hand; she replies that she will not be worthy of him until her rebellion is accomplished. Esilena is brought over to speak to Florinda. She offers Florinda her husband and the throne, but Florinda declares that she only wants Rodrigo's heart if it is torn from his chest. Esilena returns to the city, enraged by Florinda's irreconcilable greed for revenge. Florinda steel herself in her determination and banishes any remnant of affection for Rodrigo from her heart.

At night alone, Rodrigo tries to fight his depression. Esilena reports that the city is under siege and her mission has been a failure. Rodrigo is still convinced of his victory, but Esilena vows that if death is inevitable, she will die by his side. Meanwhile, Fernando's plan has borne fruit, and he comes in with Giuliano tied up. Giuliano rages against Rodrigo and swears that he will meet him again in hell. Again Esilena intervenes with a request for mercy; Giuliano's death will only fuel the rebel cause. Fernando proposes that Giuliano be held hostage, and Rodrigo sends him out to ask the insurgents to lay down their arms at the cost of Giuliano's life. Esilena and Rodrigo, who believe victory is within reach, declare their love for one another. Rodrigo leaves Esilena behind, who ponders her newfound happiness.

In the camp outside the city walls, Florinda and Evanco encourage their supporters to fight to save Giuliano. The gate is pushed open and behind it Giuliano appears in chains. Fernando presents Rodrigo's ultimatum; but Giuliano urges Florinda and Evanco not to give up their cause for his sake. While Florinda is still swaying, Evanco shoots Fernando in his impetus. Giuliano is freed and the rebels invade the city.

Third act

Rodrigo has retired to the Temple of Jupiter and curses the gods for his defeat. Esilena urges him to reject such ungodly thoughts and continue the fight. Rodrigo places the crown and scepter on the altar and surrenders to his fate, begging the gods to spare the kingdom and Esilena. Esilena offers her life as a sacrifice in case it can save Rodrigo.

In an inner courtyard of the burning palace, Giuliano celebrates the victory of his army and instructs his soldiers to track down Rodrigo and kill him. Rodrigo is captured by Evanco; he and Giuliano prepare to send Rodrigo to the afterlife, but Florinda claims this privilege for himself. However, just as she is about to thrust her sword into Rodrigo's chest, Esilena steps forward with Florinda's child, gives Rodrigo to hold the boy and challenges Florinda to perform the prank that will kill the father and son together. Florinda's maternal instincts win; she drops the sword and forgives Rodrigo. Esilena turns to Giuliano and Evanco with her supplication; she asks her to spare Rodrigo, just as he let her live, touched by his wife's prayers. Giuliano agrees, and Florinda passes on her plea to Evanco: by showing mercy, he will prove himself all the more worthy of her love. Evanco pardons his enemy and Rodrigo asks the right to turn to the country's leaders one last time. Left alone with Esilena, Rodrigo begs and receives her final forgiveness.

In the throne room, Evanco and Florinda rejoice in their love. Rodrigo declares in all form his renunciation of the throne and his intention to withdraw into private life with Esilena; the kingdom of Aragon would be restored to Evanco, with Florinda as his queen, and his son with Florinda made heir to the throne of Castile, with Giuliano as regent until he came of age. Esilena explains that the greatest victory lies in overcoming oneself, and leads the final choir, which extols the triumph of goodness over vengeance.

music

Only in the more recent past has the opera, previously only handed down as a torso in the autograph , took shape again through two important discoveries. First of all, the Handel researcher Reinhard Strohm found the printed libretto in 1974, which also gave us the original title of the opera. In 1983 the complete third act, a long-lost copy, was found in the Handel Collection of the Earl of Shaftesbury . Now only a short passage is missing at the beginning of the first act. For the music for the opera, Handel also adopted themes from his first Hamburg opera, Almira, Queen of Castile (four arias and the introduction to the overture), as well as from other pieces that were written almost simultaneously (Italian cantatas). It consists of 37 musical numbers and is inconsistent in quality, style and dramatic sequence and not yet in a good balance. What Handel succeeded in doing so well in the later operas - the character drawing of the main characters in the course of the opera - is not yet fully developed here. The overture and the dance movements that followed it later became part of Handel's incidental music for the comedy The Alchemist by Ben Jonson and were also printed as such ( John Walsh , 1710). Handel later adopted many other ideas from Rodrigo in new and happier contexts in later operas, but also in the oratorios Messias and Susanna . Since music has survived for some arias in the printed libretto, but this is missing in the autograph, there may have been an earlier version of the opera.

Structure of the opera

first act

  • Tatted neri (Rodrigo)
  • Pugneran con noi le stelle (Florinda)
  • Nasce il sol, e l'aura vola (Esilena)
  • Agitata da fiato incostante (Fernando)
  • Dell'Iberia al soglio invitto (Giuliano)
  • Ti lascio a la pena (Rodrigo)
  • In mano al mio sposo (Esilena)
  • Eroica fortezza non teme sciagure (Evanco)
  • Stragi, morti, sangue ed armi (Giuliano)
  • O morte, o vendetta (Florinda)
  • Sommi dei, se pur v'offesi (Rodrigo)
  • Vanne in campo (Rodrigo)
  • Per dar pregio all'amor mio (Esilena)

Second act

  • Fra le spine, offre gli allori (Giuliano)
  • Prestami un solo dardo (Evanco)
  • Egli è tuo, né mi riserbo (Esilena)
  • Parto, crudel, sì parto (Esilena)
  • Fredde ceneri d'amor (Florinda)
  • Siete assai superb, o stelle (Rodrigo)
  • Empio fato, e fiera sorte (Esilena)
  • Là ti sfido a fiera battaglia (Giuliano)
  • Dopo i nembi, e le procelle (Fernando)
  • Dolce amor che mi consola (Rodrigo)
  • Sì, che lieta goderò (Esilena)
  • Su, all'armi grida Nemesi (Evanco)
  • All glory, all palm, agli allori (Florinda)

Third act

  • Qua rivolga gli orribili acciari (Rodrigo)
  • Perché viva il caro sposo (Esilena)
  • Spirti fieri dell'alma guerrieri (Giuliano)
  • So m'alletti (Florinda)
  • Allor, cheer astro lucente (Giuliano)
  • Il dolce foco mio che accende un bel desio (Evanco)
  • Begli occhi del mio ben (Florinda)
  • Io son vostro luci belle (Evanco)

orchestra

Two recorders , two oboes , strings, basso continuo (violoncello, lute, harpsichord).

Discography

  • F 670 023-25 ​​(1987): Derek Lee Ragin (Rodrigo), Norma Sharp (Esilena), Pamela Hamblin (Florinda), Keith Olsen (Giuliano), Frances Ginzer (Evanco), Ursula Kunz (Fernando)
German Handel soloists; Dir. Charles Farncombe (140 min)
  • Virgin Classics 7243 5 45897 2 0 (1997): Gloria Banditelli (Rodrigo), Sandrine Piau (Esilena), Elena Cecchi Fedi (Florinda), Rufus Müller (Giuliano), Roberta Invernizzi (Evanco), Caterina Calvi (Fernando)
Il complesso barocco ; Dir. Alan Curtis (154 min)
  • Mondo Musica MMH 80088 (2001): Richard Crowe (Rodrigo), Janet Williams (Esilena), Romelia Lichtenstein (Florinda), Kobie van Rensburg (Giuliano), Lynda Lee (Evanco), Alejandro Garri (Fernando)
Handel Festival Orchestra Hall of the Halle Opera House ; Dir. Andreas Spering
Al Ayre Español; Dir. Eduardo López Banzo (157 min)

literature

Individual references & footnotes

  1. ↑ a b c d Winton Dean, John Merrill Knapp: Handel's Operas 1704–1726. The Boydell Press, Woodbridge 2009, ISBN 978-1-84383-525-7 , pp. 95 ff.
  2. ^ A b Angela Romagnoli: Rodrigo. In: Hans Joachim Marx (ed.): The Handel Handbook in 6 volumes: The Handel Lexicon , (Volume 6), Laaber-Verlag, Laaber 2011, ISBN 978-3-89007-552-5 , p. 759.
  3. ↑ a b Silke Leopold: Handel. The operas. Bärenreiter-Verlag, Kassel 2009, ISBN 978-3-7618-1991-3 , p. 301.
  4. ↑ Del Mappamondo istorico, Tomo Quarto .. in cui si Espongono i Regni, Nati dalla declinazione, e caduta dell'Imperio Romano in Occidente, Libro 8: I Rè di Spagna - Rodrigo

Web links

Commons : Rodrigo (Handel)  - Collection of images, videos and audio files