Romolo ed Ersilia
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| Title: | Romolo ed Ersilia |
Third act, last scene. |
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| Shape: | Opera seria |
| Original language: | Italian |
| Music: | First setting by Johann Adolph Hasse |
| Libretto : | Pietro Metastasio |
| Premiere: | August 6, 1765 |
| Place of premiere: | innsbruck |
| Place and time of the action: | Rome |
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Romolo ed Ersilia is an opera - libretto in three acts by Pietro Metastasio . It was performed for the first time in the setting by Johann Adolph Hasse (→ Romolo ed Ersilia (Hasse) ) on August 6, 1765 for the wedding of Archduke Leopold to the Infanta Maria Ludovica von Bourbon in Innsbruck . The only other setting is by Josef Mysliveček .
A German translation of the libretto by Johann Anton Koch appeared in 1775 under the name Romulus and Hersilia in the seventh volume of his unfinished complete edition Des Herr Abbot Peter Metastasio Kayserl. Royal Court Poet's Dramatic Poems.
action
Metastasio chose the Roman myth of the robbery of the Sabine women as the background for the opera . Because there was a shortage of women in the new settlement in Rome, the Roman warriors kidnapped the women of the neighboring Sabine people , who then largely volunteered to be persuaded to marry. King Romolo ( Romulus ) himself falls in love with the Sabine Ersilia ( Hersilia ). Despite her love in return, she rejects him because her father Curzio ( Mettius Curtius ), the prince of Antemnae , does not agree to the marriage. There is another conflict with Acronte, the prince of the hostile people of Caenina .
“He who so extraordinarily - as the generally happy heroism of the warlike youth, gathered to swing up the burgeoning Rome, had in a short time aroused the jealousy of the neighboring no less brave peoples, who generally called themselves Sabines. But it was not long before the Romans observed that the glorious and glorious beginning of their empire would certainly fall into decline after a common generation, if they did not succeed within this time, the lack of their own wives with inheritance To steer strangers, to dampen the resentment of the neighboring peoples with the mixing of their blood, and in this way to build their great hopes through a large number of offspring on solid pillars. In the end they wooed the Sabines zealously for their daughters, but were again defiantly rejected by them; until they finally, upset by the persistence of their descendants, from the fear of perishing completely, and encouraged by the example of the Greeks, decided to force that which their repeated recruits were denied, and at their annual ordinary games, which were solemnly committed in Rome in honor of Neptunus, they actually undertook the robbery of the Sabine maidens, which has been so notorious for so many centuries.
Romulus, who would have tried in vain to set closer limits to the mighty instincts of a not yet completely civilized, angry, and warlike people, would still know how to make his royal virtues apply even if this violence was permitted. He handed the stolen virgins over to venerable women, and looked after them until they themselves consented to the promised connections from those generous manners, loving ideas, inquiring company, and the lofty merits of the young men offered to be bridegrooms then on the orders of the Romulus mentioned, according to the prescription of their sacred laws, with as much splendor as only the inability of the Romans still ruling at that time could be carried out solemnly.
Among these stolen virgins was a certain Hersilia, a daughter of Curtius, Prince of the Antemnater, who, because of her lofty birth, great virtues, and special beauty, far surpassed all the rest, consequently also to Romulus of all, who already felt the power of her riding was generally destined to be a bride; The latter, however, stubbornly insisting on the usual insensitivity of the two Sabine women, did violence to their inclination towards the young heroes, knew how to steadfastly withstand the seductive example of their overcome playmates, and, with a strange - and mirroring obedience, they showed their passion, their fatherly will sacrificed, she constantly refused to consent to the relationship with the beloved Romulus without the express order of her father.
The inflexible aversion of Curtius, the strict obedience of Hersilien, the power, and manifold constructions of the Ceninater prince Acrons, a sworn enemy, and desperate rival of the ardent Romulus, all these seem to put insurmountable obstacles in the way of this latter; Finally, however, Rome triumphs so great - as a happy founder over all, and unexpectedly arrives at the desired connection with his beloved Hersilia, which is actually the main subject of the current victory game. "
The following table of contents is based on the German libretto of Johann Adolph Hasse's setting performed in Innsbruck in 1765.
first act
Large square in Rome, which is surrounded by various public and civil, partly not yet finished and partly covered by trees
In the middle is the unfinished Capitol , on the top of which there is a burning sacrificial table under the Jupiter oak. A wide staircase leads down to the level on both sides. The sacrificial table, the oak, the mountain, the trees and all the buildings are decorated with wreaths of flowers for the wedding celebration of the Roman youths with the Sabine maidens.
The opera begins with a solemn chorus of warriors, councilors and Roman people. While the wedding couple descend the stairs and dance, Romolo and Ersilia appear from one side and Ostilio and Valeria from the other and slowly follow the wedding procession. Only the priests remain on the summit. Romolo gives a speech to the people in which he expresses his hopes for the great future of Rome.
Since the other Sabine women have given in to their admirers, Romolo asks Ersilia, whom he loves, to hear him too. However, she does not want to act against the express will of her father Curzio, Prince of Antemnae, who has already rejected his advertisement. However, she then confesses her love for Romolo to her friend Valeria. Valeria herself is unhappily in love with Acronte, the prince of the enemy Caenina, who in turn has his eyes on Ersilia.
Acronte tries to win Curzio as an ally against Rome. However, he only thinks of his daughter Ersilia, whom he wants to free from the hand of the Romans. When Acronte tells him that he saw her at the mass wedding, Curzio believes that she defected to the Romans. He swears vengeance on her.
Ersilia's living room in the castle on the Palatine Hill
Ostilio persuades Ersilia to finally hear his friend Romolo. Since she remains steadfast, he asks her to at least get him to choose another bride. He thinks Valeria would be well suited. He loves her himself, but more important to him than love in return is her well-being.
While Ersilia is pondering her conflict of conscience, her father Curzio comes to cast her off as a supposed Roman bride. But since she assures him that she will never oppose his wish and that she was only a spectator at the festival, he gives up his anger. Romolo comes and Curzio goes away so as not to meet him. Romolo now assures Ersilia that he will not press her against her will. But at least he wanted their friendship. Instead of answering, she bursts into tears.
Second act
Arbor inside the castle. In the distance you can see the Carmental Gate and the Capitol
Ersilia decides to flee Rome to escape her forbidden love for Romolo. Her father Curzio comes and warns her about Acronte. He agrees with the escape and praises her for her virtue, but asks her to be patient. After he leaves, Ostilio and Valeria arrive. Emilia announces that, on Ostilio's advice, she wants to speak to Romolo to make Valeria queen. Valeria is surprised. She always believed that Ersilia Romolo and Ostilio loved her. Ostilio assures her that his love for her has not changed. But he wanted to take his passion with him to the grave. Valeria recognizes Ostilio's worth and regrets that her heart has already been taken.
Covered galleries and green arcades on one side of the Palatine Hill
While Romolo ponders Ersilia, his guard is attacked by Acronte. When he loses his weapon, Romolo intervenes and orders his people to spare him. To Romolo's questions about the reason for the attack, he replies generally hostile. Although Romolo gives him back his weapon and releases him, Acronte swears revenge.
Ersilia comes to Romolo to propose Valeria as his bride. He feels mocked by her. Then she gossips and he recognizes her love for him. However, Ersilia remains steadfast in her refusal.
Acronte and his people attack Rome. While Romolo takes over the defense, Ostilio is supposed to take care of the security of the city and Ersilias.
Third act
Narrow, overgrown space in the Palatine Gardens between high, steep cliffs
A waterfall flows through it. The light only comes in from above through dense undergrowth.
Curzio is now ready to flee Rome with Ersilia. However, she has concerns about the battle between the Romans and the Caeninenses. However, Curzio thinks that this is precisely why it is safe on the other side, on the Tarpeius . There you can safely cross the Tiber . Curzio leaves some of his men to support her. He himself wants to get the rest of his people and then follow them.
Valeria brings Ersilia the news of Romolo's victory. The Caeninenses were destroyed, but Acronte had fought through to Romolo and challenged him to a duel. Ostilio arrives shortly afterwards and reports that Romolo won the duel and disarmed Acronte. When he nobly wanted to help Acronte up, the latter attacked him again and Romolo struck him down. Valeria is horrified. Ersilia asks Ostilio to take care of her while she goes to her father. Ostilio tries to comfort Valeria, and she decides to finally banish the vicious Acronte from her heart.
Large square at the foot of the Palatine Hill, which is festively illuminated at dusk for the wedding celebrations
A grand staircase leads from the hill to Romolos Castle on the top.
The people have come together to celebrate the victory. Romolo, crowned with a laurel wreath, enters to the sound of cheering choirs. He is preceded by the bailiffs with the captured Sabines and the spoils of war. The end of the train is the army. The choir praises Romolo as a hero. He replies with praise to Rome. Valeria reports that fighting broke out at the Carmental Gate. But before Romolo has to call to arms again, Ostilio brings the news that calm has already been restored. Someone tried to kidnap Ersilia, but was noticed and stopped by him. The perpetrator was captured. Ersilia comes and asks for mercy for her arrested father. Curzio himself is brought in by guards and Romolo asks him to finally stop the hostilities. If he promised him Ersilia's hand, he could determine the terms of the new covenant himself. Although Curzio is silent, Romolo gives him his daughter and releases him. Only now does Curzio recognize Romolo's nobility and give in. Ersilia and Romolo can get married. At the end of the opera, the choir asks the gods for blessed days for the couple.
history
The story of the robbery of the Sabine women is reported in various classical sources. These include the 56th book of the Roman history of Cassius Dio , the second book of the history of Rome by Dionysius of Halicarnassus , the first book of the Epitoma of Florus , the first book of Ab urbe condita by Titus Livius and the chapter Theseus - Romolus in the Vitae parallelae by Plutarch . Accordingly, Hersilia was either an accidentally arrested married Sabine woman or a Sabine mother who voluntarily wanted to stay with her arrested daughter. The difficult relationship between Romulus and Hersilia had already been discussed by Antoine Houdar de la Motte in his tragedy Romulus of 1722 before Metastasio .
The first performance of Johann Adolph Hasse's opera on August 6, 1765 on the occasion of the wedding of Archduke Leopold and Infanta Maria Ludovica von Bourbon in Innsbruck was staged with great effort. The sets were designed by Bernardino and Fabrizio Galliari . The Ersilia was sung by Anna Lucia De Amicis , and Gaetano Guadagni sang the Romolo. Anna de Amicis also sang in the world premiere of the only other setting of the libretto by Josef Mysliveček on August 13, 1773 in Naples on the occasion of the birthday of Maria Karolina of Austria . In this performance, Romolo was portrayed by Gasparo Pacchierotti .
Settings
The following composers used this libretto for an opera:
| year | composer | premiere | Performance location | Remarks | |
|---|---|---|---|---|---|
| 1765 |
Johann Adolph Hasse → Romolo ed Ersilia (Hasse) |
August 6, 1765 | innsbruck | also in Hamburg in 1775 |
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| 1773 | Josef Mysliveček | August 13th 1773, Teatro San Carlo | Naples |
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The plot of the ballet Il ratto delle Sabine, performed in 1780 at the Teatro San Carlo in Naples, by the choreographer Charles Le Picq with music by Vicente Martín y Soler is based on themes from Metastasio's libretto.
Web links
- Several different versions of the libretto as full text (Italian) on progettometastasio.it.
Digital copies
- ^ Johann Anton Koch: The abbot Peter Metastasio Kayserl. Royal Court Poet's Dramatic Poems, translated from Italian. Seventh volume. Krauss, Frankfurt and Leipzig in 1775 as digitization at the Munich digitization center .
- ↑ a b Libretto (German) of the opera by Johann Adolph Hasse, Innsbruck 1765 as digitized version on Google Books .
- ^ Libretto (Italian / German) of the opera by Johann Adolph Hasse, Leipzig 1768 as a digitized version at the Berlin State Library .
- ^ Libretto (Italian / German) of the opera by Johann Adolph Hasse, Hamburg 1775 as digitized version at the Berlin State Library .
- ^ Libretto (Italian) of the opera by Josef Mysliveček, Naples 1773 as digitized version at the Munich Digitization Center .
Individual evidence
- ↑ a b c Don Neville: Romolo ed Ersilia. In: Grove Music Online (English; subscription required).
- ↑ Metastasio, Pietro in Die Musik in Geschichte und Gegenwart , p. 50861 ff (cf. MGG vol. 9, p. 229 ff.) Bärenreiter-Verlag 1986 ( digital library volume 60).
- ^ Romolo ed Ersilia (Johann Adolph Hasse) in the Corago information system of the University of Bologna , accessed on December 3, 2014.
- ↑ Romolo ed Ersilia (Josef Mysliveček) in the Corago information system of the University of Bologna , accessed on December 3, 2014.
- ↑ Anthony R. DelDonna: Opera, Theatrical Culture and Society in Late Eighteenth-Century Naples. Routledge, 2016, ISBN 978-1-4094-2278-5 ( online in Google book search).