Tamerlano (Vivaldi)

Opera dates
Original title:	Il Tamerlano / Il Bajazet
Title page of the libretto, Verona 1735
Shape:	Tragedia per musica in three acts
Original language:	Italian
Music:	Antonio Vivaldi , Geminiano Giacomelli , Johann Adolph Hasse , Riccardo Broschi
Libretto :	Agostino Piovene
Literary source:	Jacques Pradon: Tamerlan ou La mort de Bajazet (1675)
Premiere:	Carnival season 1735
Place of premiere:	Teatro Filarmonico , Verona
Playing time:	about 3 hours
Place and time of the action:	Bursa , capital of Bithynia , 1402
people
Tamerlano ( Timur ), Emperor of the Tartars ( old ) Bajazette ( Bayezid I ), Emperor of the Turks , prisoner of Tamerlano ( tenor / baritone ) Asteria, daughter of Bajazette, lover Andronicos (old) Andronico, Greek prince, allied with Tamerlano ( soprano - castrato ) Irene, Princess of Trebizond , engaged to Tamerlano (soprano) Idaspe, confidante Andronicos (soprano castrato)

Il Tamerlano (also Il Bajazet , RV 703) is an opera - pasticcio (original name: "Tragedia per musica") compiled by Antonio Vivaldi in three acts with a libretto by Agostino Piovene . The music consists of original compositions by Vivaldi, pieces from his older operas and arias by Geminiano Giacomelli , Johann Adolph Hasse and Riccardo Broschi . The first performance took place in the Carnival season of 1735 in the Teatro Filarmonico in Verona.

action

The Turkish Sultan Bajazette ( Bayezid I ) was defeated by the Tartar ruler Tamerlano ( Timur ) and captured together with his daughter Asteria. The latter loves the Greek prince Andronico, an ally of Tamerlanos. But Tamerlano also desires Asteria and it is because of her that he breaks his engagement to Irene, the princess of Trebizond . In order to compensate Irene, he decides to marry Andronico and to let them rule over the conquered Byzantium . Bajazette is deeply outraged by this behavior. Under no circumstances does he want his daughter married to his enemy. Asteria, in turn, feels betrayed by Andronico, believing that he is okay with the plan. Under pressure from Bajazette, she finally agrees to the wedding - but only in appearance, because she intends to murder Tamerlano beforehand. She gives up her first attempt when she is struck by an outburst of anger from her father. Irene thwarted a second attempted murder. In view of the threatened humiliation of his convicted daughter, Bajazette kills himself. When Irene and Andronico ask Tamerlano for mercy, Asteria gives in and ensures a happy ending: Andronico and Asteria are allowed to marry and receive the throne of Byzantium. He confesses to Irene again.

first act

Pleasure garden in the royal palace of Bursa, the capital of Bithynia, occupied by Tamerlano after the defeat by the Turks

Scene 1. Tamerlano's ally Andronico allows the captured Bajazette a moment of freedom. Bajazette doesn't appreciate this - he prefers death to life in captivity. He knows of Andronico's love for his daughter Asteria and supports this connection (Aria Bajazette: “Del destin non dee lagnarsi”).

Scene 2. Andronico fears that Bajazette might harm himself. Therefore he asks his confidante Idaspe not to let the sultan out of sight. Idaspe points out to Andronico that after Bajazette's death he has prospects of the crown of Byzantium and that Asteria will then appear even more worthy. But Andronico is more important to Asteria's well-being than his own power. Idaspe gives a lecture to his friend about the ephemeral beauty of women (Aria Idaspe: "Nasce rosa lusinghiera")

Scene 3. Tamerlano names Andronico emperor of Greece. Instead of leaving for Byzantium, Andronico prefers to stay with Tamerlano in order to learn the craft of war from him. Tamerlano agrees. He tells Andronico to try to get Bajazette to get him to cooperate. Tamerlano also loves his daughter Asteria. He wants to break up his engagement to Irene and leave this to Andronico (Aria Tamerlano: “In sì torbida procella”).

Scene 4. Andronico gets into a conflict of conscience between his own love for Asteria and his obligations to Tamerlano (aria Andronico: “Quel ciglio vezzosetto” [replaced]).

Guarded royal apartments of Asteria and Bajazette

Scene 5. Asteria laments her fate as a prisoner of Tamerlanos. Even her lover Andronico only seems to think of his own lust for power.

Scene 6. Tamerlano declares his love for Asteria and promises her and Bajazette freedom if she agrees to marry him. However, if she refuses, his anger will hit her and her father. Andronico is already negotiating it with Bajazette. Horrified Asteria cannot believe that her father and lover are okay with this. She wants to speak to Andronico before giving her consent. Tamerlano gives her time to think about it (Aria Tamerlano: “Vedeste mai sul prato”).

Scene 7. Asteria feels betrayed by Andronico.

Scene 8. Bajazette is literally glowing with anger at Tamerlano's suggestion. He tells his daughter that he has rejected it on her behalf. Asteria misses an equally resolute refusal by Andronicos, whom she accuses of treason. She does not realize that Andronico only wants to protect her and her father from the anger of Tamerlano. Bajazette, however, would rather die than hand his daughter over to the enemy.

Scene 9. The violently out of tune Asteria forbids Andronico to inform Tamerlano of her decision (Aria Asteria: “A chi fe giurasti un dì” [missing] or “Amare un'alma ingrata”).

Scene 10. Idaspe reports the arrival of Irene to Andronico. Tamerlano had ordered that he should greet her since he was now her bridegroom. Idaspe advises him to treat her kindly, even if he does not want to marry her.

Scene 11. Irene is outraged to be received by Andronico and Idaspe instead of her fiancé Tamerlano. The two tell her about Tamerlano's plans. Idaspe tries to reassure her by saying that Andronico's kingdom, together with hers, will put that of Tamerlano in the shade. Since Irene is not so easily appeased, Andronico advises her to pretend to be her own ambassador in order to fight incognito with Tamerlano for her rights. Irene decides to follow this plan (Aria Irene: "Qual guerriero in campo armato").

Scene 12. Although Andronico is impressed by Irene's beauty and demeanor, he cannot live without Asteria (aria Andronico: “Destrier ch'all'armi usato” [missing] or “Non ho nel sen costanza”).

Second act

Landscape with the Tamerlanos tent

Scene 1. Tamerlano thanks Andronico for his supposedly successful mediation with Asteria. Her confidante Zaida had confirmed that she had consented to the marriage. He is certain that Bajazette will also change his mind as soon as he sees Asteria ascend the throne.

Scene 2. Andronico assures Idaspe that he still loves Asteria. He believes she has betrayed him and wants to confront her with her father. Idaspe thinks that this makes Andronico's virtue all the brighter (Aria Idaspe: “Anch'il mar par che sommerga”).

Scene 3. Asteria and Andronico reproach each other. Both try to explain their motives to each other. Andronico promises to publicly oppose her wedding to Tamerlano, even if it costs him his life. Asteria doesn't believe him (Aria Asteria: "Stringi le mie catene").

Scene 4. Andronico complains about the loss of Asteria. His last hope is the determination of Bajazette (Aria Andronico: “La sorte mia spietata”).

The tent opens and you can see Tamerlano and Asteria sitting on cushions

Scene 5. Irene enters Tamerlano's tent disguised as her own ambassador. The fact that he only wants to hear her in the presence of Asteria makes her indignant. When Asteria gives her consent to marry Tamerlano, Irene exclaims that his hand has already been promised. Tamerlano apologizes for his decision by assigning Irene a no less valuable throne. He explains that he will only marry Irene if he no longer likes Asteria (Aria Tamerlano: "Cruda sorte, avverso fato" [replaces]).

Scene 6. Asteria assures Irene's alleged envoy that she has no intention of marrying Tamerlano. She will know how to displease him (Aria Asteria: “La cervetta timidetta”).

Scene 7. Idaspe promises Irene to keep an eye on Asteria. Irene still loves Tamerlano (Aria Irene: "Sposa, son disprezzata").

Scene 8. To his dismay, Bajazette learns from Andronico that his daughter has accepted the offer made by his enemy Tamerlano (Arie Bajazette: “Dov'è la figlia”).

Encampment with a throne

Scene 9. For the wedding ceremony, Tamerlano and Asteria have taken their seats on the throne in front of the assembled army. The angry Bajazette makes one last attempt to prevent the marriage. Even in captivity, he is still in control of his daughter. Tamerlano is not intimidated. For the sake of Asteria, he waives the death penalty, but demands the submission of Bajazette. Asteria asks her father for forgiveness, but cannot yet reveal her real plan to him. Bajazette breaks with her. Andronico is silent.

Scene 10. Irene, who has arrived with Idaspe and is still disguised, insists that her mistress should be entitled to the throne. Tamerlano explains that he will only marry Irene if Asteria resigns. Irene accuses Bajazette, Andronico and Tamerlano of abandoning Asteria. Bajazette delivers a fiery speech against his daughter, whom he will haunt in her dreams after his death in order to punish her for her betrayal. Shaken by these words, Asteria descends from the throne and reveals to those present her now failed plan: She had only pretended to consent to the wedding in order to get an opportunity to murder Tamerlano. Irene, Bajazette and Andronico praise her for her steadfastness. Tamerlano sentences her and her father to death (Quartet Irene / Asteria / Tamerlano / Bajazette: "Sì crudel! Questo è l'amore").

Third act

Garden on the banks of the Euphrates river

Scene 1. Bajazette gives his daughter poison that she wants to kill herself with if Tamerlano gets too close. He himself wants to precede or follow her at the first unfortunate omen in death (Aria Bajazette: “Veder parmi, or che nel fondo”).

Scene 2. Asteria is determined to kill herself to avoid the tyrant.

Scene 3. Tamerlano tells Andronico that he still loves Asteria despite everything. Andronico is to tell her that he will forgive her and that she will continue to marry. Andronico refuses. He takes all his courage and reveals to Tamerlano his own love for Asteria. He will no longer support Tamerlano's request. Asteria, who overheard the conversation unnoticed, steps out and confesses to Andronico. Tamerlano, humiliated in this way, decides to hasten the execution of Bajazette and to marry off Asteria to his lowest slave. Asteria begs him on his knees not to let her father atone for her own guilt.

Scene 4. Bajazette tells his daughter to get up. She must not humble herself in front of her enemy. Tamerlano's anger now knows no bounds. He orders Bajazette and Asteria to be brought to his dining room, where Andronico is to witness their humiliation (Arie Tamerlano: "Barbero traditor").

Scene 5. Bajazette is disappointed that Asteria humiliated herself in front of Tamerlano and Andronico did nothing about it. He assures that he will act more courageously himself.

Scene 6. Asteria says goodbye to Andronico in pain (Aria Asteria: "Qual furore, qual 'affanno" [missing]).

Scene 7. Idaspe advises Andronico to give up his love for Asteria, otherwise he will lose both her and his crown (Aria Idaspe: “D'ira e furor” [replaced]).

Scene 8. Andronico means Asteria much more than power (Aria Andronico: “Spesso tra vaghe rose”).

A hall prepared for the Tamerlanos table with the entire guard

Scene 9. Tamerlano tells Bajazette that he will shortly announce the verdict on him and Asteria.

Scene 10. Tamerlano orders Asteria, who had recently sat on the throne herself, to serve him at the table. He has her given a goblet into which Asteria secretly pours the poison received from her father.

Scene 11. Irene, who had been watching Asteria, warns Tamerlano about the poisoned potion and reveals herself to him. Asteria asks Tamerlano to drink from the goblet despite Irene's suspicions, but Tamerlano demands that she or her father have to taste first. Asteria decides to drink the poison herself. Andronico knocks the mug out of her hand. Tamerlano has her arrested so that she can be handed over to the slaves in front of her father. Bajazette moves away indignantly (Aria Bajazette: "Verrò crudel spietato").

Scene 12. Tamerlano acknowledges his engagement to Irene, who expresses her happiness in an aria (Aria Irene: "Son tortorella" [replaced]).

Scene 13. Idaspe reports that Bajazette has taken poison and is dying in Asteria's presence. In view of the death of his enemy, Tamerlano Andronico forgives. But he still insists on Asteria being punished.

Scene 14. Asteria announces the death of her father. She desperately asks Tamerlano to kill her too (Aria Asteria: "Svena, uccidi, abbatti, atterra").

Scene 15. Irene and Andronico ask Tamerlano for mercy for Asteria. This was already mildly tempered by Bajazette's death and the suffering of Asteria. He allows her and Andronico to marry and gives them the throne of Byzantium. Everyone celebrates the restored peace (final chorus: “Coronata di gigli e di rose”).

layout

libretto

After the Peace of Karlowitz , through which the Great Turkish War ended in 1699 with the defeat of the Ottoman Empire , Turkish operas also gained in popularity. The first opera to address the defeat of Sultan Bayezid I in 1402 was performed in Italy that same year. In the following century there were about 50 more operas on the same subject. Agostino Piovene wrote the most popular libretto for an opera by Francesco Gasparini that was given in Venice in 1711. It was set to music many times in the 18th century.

→ Main article : Tamerlano (Piovene)

Vivaldi used a version that had been played in Milan in 1727 with music by Giovanni Antonio Giay as the basis for his pasticcio . In the recitatives he largely follows the model. On the other hand, he took the arias from other works, adapting the texts personally or with the help of a local poet. Only the texts of three arias (II.3, II.5 and III.11) and the final chorus come (partially slightly adapted) from the 1727 version.

music

Vivaldi planned the Tamerlano as a pasticcio from the start. There had been other pasticci with this libretto before it was drafted. In contrast to his pasticci Dorilla (1734) and Armida (1738), the Tamerlano also contains newly composed music by Vivaldi. Apart from some arias, all recitatives are completely new. He took the final chorus, the quartet at the end of the second act and at least seven arias from his own earlier works. The other arias come from operas by Geminiano Giacomelli , Johann Adolph Hasse and Riccardo Broschi . It is noticeable that the roles of Bajazette, Asteria and Idaspe exclusively contain music by Vivaldi, while Andronico, Irene and Tamerlano (apart from the recitatives, the quartet and the final chorus) only sang works by other authors. The singers of Bajazette (Marcantonio Mareschi) and Asteria (Anna Girò) were part of Vivaldi's core ensemble. They are also assigned the most original scenes and arias. The arias for the young singer of Idaspe (Giovanni Manzoli) had previously been sung by Marianino Nicolini and probably Cristoforo Rapparini. A certain symbolic power can also be seen in this type of role allocation, as the more positively designed roles (Bajazette, Asteria and Idaspe) received Vivaldi's own music and the rest (Tamerlano, Andronico and Irene) music in the Neapolitan style. The two titles of the opera ( Bajazet in Vivaldi's manuscript, Tamerlano in the printed libretto) may be interpreted similarly. Vivaldi selected all arias to match the situation and person in question.

In addition to the arias, the highlights of the opera also include the major recitative scenes of the main characters Bajazette and Asteria such as Bajazette's “Odi, perfida!” (II.10), his “Verrò crudel, spietato” (III.11) or Asterias “È morto , sì, tiranno ”(III.14).

The music contains an unusually large number of the then old-fashioned continuo arias. Reinhard Strohm speculated that this should save rehearsal time.

Instrumentation

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

• two oboes
• two trumpets
• two horns
• Strings
• Basso continuo

Music numbers

The opera contains the following musical numbers:

Sinfonia

• Allegro, F major, for two horns, strings and basso continuo
• Andante molto, F minor, for two violins, viola and bass (without harpsichord)
• Allegro, F major, for two horns, strings and basso continuo

first act

• Scene 1. Bajazette, Andronico and Idaspe
  • Recitative: "Prence, lo sò: vi devo"
  • Aria (Bajazette): “Del destin non dee lagnarsi”
    Antonio Vivaldi, from L'olimpiade (RV 725 I: 5) in
    E flat major, for two violins, viola and basso continuo
  • [Appendix] Aria (Bajazette): “Questa cara à voi confido”
    Allegro non molto, F major, for strings and basso continuo
• Scene 2. Andronico and Idaspe
  • Recitative: "Non si perda di vista"
  • Aria (Idaspe): "Nasce rosa lusinghiera"
    Antonio Vivaldi, from Farnace or Giustino (RV 711D III: 4; RV 717 II: 8)
    Andante molto, A major, for strings and bass (without harpsichord)
• Scene 3. Tamerlano and Andronico
  • Recitative: "Principe, or 'ora i Greci han posto in mio poter"
  • Aria (Tamerlano): “In sì torbida procella”
    Geminiano Giacomelli , from Alessandro Severo in
    A major, for strings and basso continuo
• Scene 4. Andronico alone
  • Recitative: "Il tartaro ama Asteria"
  • [missing] Aria (Andronico): “Quel ciglio vezzosetto”
    by Fabio Biondi replaced by “Quanto posso a me fo schermo” from Vivaldi's L'Atenaide
• Scene 5. Asteria
  • Recitative: "Or sì fiero destino, che prigioniera io sono"
• Scene 6. Tamerlano and previous
  • Recitative: "Non è più tempo, Asteria"
  • Aria (Tamerlano): “Vedeste mai sul prato”
    Johann Adolph Hasse , from Siroe, re di Persia (RV 729B II: 12; RV 735A I: 15)
    Andante molto, B flat major, for strings and basso continuo
• Scene 7. Asteria alone
  • Recitative: "L'intesi, e pur non moro?"
• Scene 8. Bajazette, Andronico and previous
  • Recitative: "Non ascolto più nulla"
• Scene 9. Asteria and Andronico
  • Recitative: "Asteria, non parlate?"
  • [missing] Aria (Asteria): "A chi fe giurasti un dì"
  • [Appendix] Aria (Asteria): “Amare un alma ingrata”
    Johann Adolph Hasse, from Siroe, re di Persia
    Larghetto, E flat major / Adagio, for strings and basso continuo
• Scene 10. Andronico and Idaspe
  • Recitative: "Udir non voglio à favellar d'Irene"
• Scene 11. Irene and the like
  • Recitative: "Così la Sposa il Tamerlano accoglie?"
  • Aria (Irene): “Qual guerriero in campo armato”
    Riccardo Broschi , from Idaspe
    Allegro, B flat major, for strings and basso continuo
• Scene 12. Andronco
  • Recitative: "È bella Irene, è ver"
  • [missing] Aria (Andronico): "Destrier ch'all'armi usato"
  • [Appendix] Aria (Andronico): “Non ho nel sen costanza”
    Geminiano Giacomelli, from Adriano in Siria
    Adagio assai, D major, for strings and basso continuo

Second act

• Scene 1. Tamerlano, Andronico and Idaspe
  • Recitative: "Amico, tengo un testimon fedele"
• Scene 2. Andronico and Idaspe
  • Recitative: "Sarete ora ostinato nell'amore d'Asteria?"
  • Aria (Idaspe): “Anch'il mar par che sommerga”
    Antonio Vivaldi, from Semiramide (RV 733 II: 9) in
    C major, for strings and basso continuo
• Scene 3. Asteria and Andronico
  • Recitative: "Gloria, sdegno, ed amore"
  • Aria (Asteria): “Stringi le mie catene”
    Antonio Vivaldi, from Semiramide (RV 718 I: 4)
    Allegro non molto, A major, for strings and basso continuo
• Scene 4. Andronico
  • Recitative: "Ah disperato Andronico che pensi?"
  • Aria (Andronico): “La sorte mia spietata”
    Johann Adolph Hasse, from Siroe, re di Persia in
    G major, for strings and basso continuo
• Scene 5. Tamerlano, Asteria, Idaspe, then Irene
  • Recitative: "Signor, Vergine illustre chiede accostarsi"
  • [missing] Aria (Tamerlano): “Cruda sorte, avverso fato”
    by Fabio Biondi replaced by “Vincerà l'aspro mio fato” from Vivaldi's Semiramide
• Scene 6. Asteria, Irene, and Idaspe
  • Recitative: "Senti chiunque tu sia"
  • Aria (Asteria): "La cervetta timidetta"
    Antonio Vivaldi, from Giustino (RV 717 III: 7; RV 733 III: 4)
    Andante, E flat major, for two violins, viola and bass (without harpsichord)
• Scene 7. Irene and Idaspe
  • Recitative: "Gran cose espone Asteria"
  • Aria (Irene): “Sposa, son disprezzata”
    Geminiano Giacomelli, from Merope
    Largo, F minor, for strings and basso continuo
• Scene 8. Bajazette and Andronico
  • Recitative: "Dov'è mia figlia, Andronico?"
  • Aria (Bajazette): “Dov'è la figlia”
    Antonio Vivaldi, from Motezuma (RV 723 III: 10)
    Allegro, E minor, for strings and basso continuo
  • [Appendix] Aria (Bajazette): “A suoi piedi Padre esangue”
    Allegro, G major, for two violins, viola and basso continuo
• Scene 9. Tamerlano, Asteria, then Bajazette, Andronico and Idaspe
  • Recitative: "Asteria, siamo al soglio"
• Scene 10. Irene and the like
  • Recitative: "E per lei vengo ad impegnar quel posto"
  • Accompagnato recitative (bajazette): "Fermati, ò donna, ch'a tu prò m'impegno [...] Odi, perfida"
    for strings and basso continuo
  • Recitative: “Padre, ferma. Sì fiacca è Asteria "
  • Quartet (Irene / Asteria / Tamerlano / Bajazette) “Sì crudel! Questo è l'amore “
    Antonio Vivaldi, from Farnace
    Allegro, E flat major, for strings and basso continuo

Third act

• Scene 1. Bajazette and Asteria
  • Recitative: “Figlia, siam rei; Io di schernito sdegno "
  • Aria (Bajazette): “Veder parmi, or che nel fondo”
    Antonio Vivaldi, from Farnace (RV 711 DG II: 12) in
    C major, for strings and basso continuo
• Scene 2. Asteria
  • Recitative: "Per togliermi a un tiranno"
• Scene 3. Tamerlano, Andronico, Asteria and Idaspe
  • Recitative: "Andronico, il mio amore"
• Scene 4. Bajazette and previous ones
  • Recitative: "Come, Asteria, tu à piè del Tamerlano"
  • Aria (Tamerlano): “Barbero traditor”
    Antonio Vivaldi, for Tamerlano (RV 726 I: 11)
    Presto, F major, for strings and basso continuo
• Scene 5. Bajazette, Asteria, Andronico and Idaspe
  • Recitative: "Figlia, con atto vil tutta perdesti"
• Scene 6. Asteria, Andronico, and Idaspe
  • Recitative: "Asteria, all'or, ch'andaste Regina al soglio"
  • [missing] Aria (Asteria): "Qual furore, qual 'affanno"
• Scene 7. Andronico and Idaspe
  • Recitative: "Prence, pensaste ancora"
  • [missing] Aria (Idaspe): "D'ira e furor armato"
    by Thomas Leininger added
• Scene 8. Andronico
  • Recitative: "Lascierò di regnare"
  • Aria (Andronico): "Spesso tra vaghe rose"
    Johann Adolph Hasse, from Siroe, re di Persia
    Allegro assai, F major, strings and basso continuo
• Scene 9. Tamerlano, Bajazette, Andronico, Idaspe, then Irene
  • Recitative: "Eccoti, Bajazette, dell'angusto ritiro"
• Scene 10. Asteria and previous
  • Recitative: "Eccomi, che si chiede?"
• Scene 11. Irene and the like
  • Recitative: "Tamerlan, ferma il sorso"
  • Aria (Bajazette): “Verrò crudel spietato”
    Antonio Vivaldi, for Tamerlano
    Allegro molto, D minor, for two violins, viola and basso continuo
• Scene 12. Bajazette leaves, the previous ones stay
  • Recitative: "Signor fra tante cure"
  • [missing] Aria (Irene): “Son tortorella”
    by Fabio Biondi replaced by “La rondinella ch'a noi s'en viene” from Vivaldi's Rosmira
• Scene 13. Idaspe and previous
  • Recitative: "Signore, Bajazette hà bevuto il veleno"
• Scene 14. Asteria and previous
  • Accompagnato recitative (Asteria): “È morto, sì, Tiranno”
    Antonio Vivaldi, for Tamerlano
  • Aria (Asteria): "Svena, uccidi, abbatti, atterra"
    Antonio Vivaldi, for Tamerlano
    Presto, F minor, for strings and basso continuo
• Scene 15.
  • Recitative: "Deh, tu cauto la siegui, e la difendi"
  • Final chorus: “Coronata di gigli e di rose”
    Antonio Vivaldi, from Farnace (RV 711D III: 13) in
    D major, for two oboes, two trumpets, strings and basso continuo

Work history

Venice's operatic culture was on the decline around 1730. The Neapolitan opera had taken its rank, and composers such as Johann Adolph Hasse , Leonardo Leo and Leonardo Vinci as well as the castrato singers Farinelli , Caffarelli and Carestini celebrated their triumphs elsewhere. Venice also turned to these new stars and neglected its own musical tradition. Vivaldi then left his hometown to perform his works elsewhere in northern Italy. In 1732, the Teatro Filarmonico opened in Verona with his opera La fida ninfa - the plans for the lavish construction came from the well-known architect and set designer Francesco Galli da Bibiena . In 1734 Vivaldi officially became the impresario and composer of this house. For his first season at the Carnival in 1735, he planned the pasticcio Tamerlano in addition to his completely newly composed opera Adelaide . Both works have a political background. While Adelaide is about praising the freedom of Italy, Tamerlano is about resisting an aggressor.

Vivaldi's partially autograph score - at least nine copyists worked on it - was originally entitled Il Bajazet. The libretto, however, was published under the title Il Tamerlano . The latter is therefore considered the final name of the opera. Nevertheless, modern performances and recordings also use the title Bajazet.

The stage design for the premiere came from Francesco Galli da Bibiena and his assistants Giovanni Antonio Paglia and Michel Angelo Spada. The total of ten pictures - at that time no more than six were common - were all used in other productions. The costumes came from the Venetian company Natale Canzianis. The ballet company Petrillo Gugliantinis was responsible for the dances. The role of bajazette was probably originally intended for the bass-baritone Francesco Maria Venturini, but was then taken over by the tenor or baritone Marcantonio Mareschi. Vivaldi replaced his two arias in F, "Questa cara à voi confido" (I.1) and "A suoi piedi Padre esangue" (II.8) with two arias in the tenor clef, "Del destin non dee lagnarsi" and " Dov'è la figlia? ". The older contralto Maria Maddalena Pieri (Tamerlano), the contralto Anna Girò (Asteria), the soprano Margherita Giacomazzi (Irene) and the two castrato soprano Pietro Morigi (Andronico) and Giovanni Manzoli (Idaspe) sang in the other roles. Presumably to demonstrate the high standing of his artists, he assigned them arias in the Tamerlano that were originally composed for the famous singers Farinelli and Vittoria Tesi . Farinelli arias were given to Morigi (Andronico) and Giacomazzi (Irene), while Pieri (Tamerlano) was given arias from the Tesi repertoire.

The score is only partially preserved. Some arias had been bound separately by the copyists and were lost over time. Vivaldi exchanged others afterwards. Fabio Biondi replaced three of the lost arias in his recording with dramaturgically appropriate ones: Andronicos "Quel ciglio vezzosetto" (I.4), Tamerlanos "Cruda sorte, avverso fato" (II.5) and Irenes "Son tortorella" (III.8) .

Recordings

• 10-15 April 2004 - Fabio Biondi (conductor), Europa Galante.
  David Daniels (Tamerlano), Ildebrando D'Arcangelo (Bajazette), Marijana Mijanovic (Asteria), Elīna Garanča (Andronico), Vivicagenaux (Irene), Patricia Ciofi (Idaspe).
  ECHO Klassik as “Opera Recording of the Year” in the “Opera 17./18. Century".
  Awarded “Best Opera” at the Midem Classical Awards 2006.
  Awarded by the Académie du Disque Lyrique.
  Nominated for the 2006 Grammy Awards .
  Studio recording.
  Virgin / Emi 54576 2 (2 CD).
• January 21, 2006 - Fabio Biondi (conductor), Europa Galante.
  Wilke te Brummelstroete (Tamerlano), Christian Senn (Bajazette), Marina de Liso (Asteria), Manuela Custer (Andronico), Vivicagenaux (Irene), Elisabetta Scano (Idaspe).
  Live, in concert from Vienna.
• July 25, 2006 - Fabio Biondi (conductor), David Livermore (staging), Europa Galante.
  Romina Basso (Tamerlano), Sax Nicosia (Tamerlano, actor), Christian Senn (Bajazette), Marina de Liso (Asteria), Lucia Cirillo (Andronico), Vivicagenaux (Irene), Maria Grazia Schiavo (Idaspe), Marc Labonnette (Cadmus ).
  live from Montpellier.
• July 5, 2015 - Erin Helyard (conductor), Orchestra of the Antipodes.
  Christopher Lowrey (Tamerlano), Hadleigh Adams (Bajazette), Emily Edmonds (Asteria), Russell Harcourt (Andronico), Helen Sherman (Irene), Sara Macliver (Idaspe).
  Production by the Pincgut Opera, live from the City Recital Hall, Angel Place.
  Radio broadcast on ABC Classic FM .
• July 23, 2016 - Thibault Noally (conductor), Ensemble Les Accents.
  David DQ Lee (Tamerlano), Florian Sempey (Bajazette), Anthéa Pichanick (Asteria), Léa Desandre (Andronico), Blandine Staskiewicz (Irene), Anna Kasyan (Idaspe).
  Live from the Festival de Beaune 2016.
  Radio broadcast on France Musique .

Web links

Commons : Tamerlano (Vivaldi)  - collection of images, videos and audio files

• Bajazet, RV 703 : Sheet music and audio files in the International Music Score Library Project
• Libretto (Italian), Verona 1735. Digital copy from the Biblioteca Nazionale Braidense
• Tamerlano (Antonio Vivaldi) in the Corago information system of the University of Bologna
• Bajazet (Tamerlano). Work information at Opéra Baroque (French)

Remarks

1. ↑ The part of Bajazette was sung by a tenor at the premiere. Today it is mostly a baritone.
2. ↑ The part of Andronico was sung by a castrato soprano at the premiere. Today it is mostly a mezzo-soprano.
3. ↑ The role of Irene was sung by a soprano at the premiere. Today it is mostly a mezzo-soprano.
4. ↑ According to the Klangvokal program, Vivaldi's original composition for Tamerlano.
5. ↑ ^{a b} According to the Klangvokal program from Johann Adolph Hasse's Siroe, re di Persia.

Individual evidence

1. ↑ ^{a b c d e f g h i j} Frédéric Deleméa: Program text for the CD by Fabio Biondi.
2. ↑ ^{a b c d e f g h i j} Reinhard Strohm : The Operas of Antonio Vivaldi. Leo S. Olschki, Florence 2008, ISBN 978-88-222-5682-9 , Volume 2, pp. 546-556.
3. ↑ ^{a b c} Reinhard Strohm : Essays on Handel and Italian Opera. Cambridge University Press, Cambridge 1985, ISBN 0-521-26428-6 , p. 159.
4. ^ ^{A b c} Siegbert Rampe : Antonio Vivaldi and his time. Laaber, 2010, ISBN 978-3-89007-468-9 , pp. 230-231 and 370.
5. ^ Peter Ryom : Vivaldi catalog raisonné. Breitkopf & Härtel, Wiesbaden 2007, ISBN 978-3-7651-0372-8 , pp. 375-380.
6. ^ Work information based on the Ryom catalog on musiqueorguequebec.ca.
7. ↑ sequence of arias. In: Program of the Tamerlano performance at the Klangvokal Musikfestival Dortmund 2017, pp. 6–8 (compared with the information in the enclosed libretto).
8. ↑ Libretto in the program booklet for the Tamerlano performance at the Klangvokal Musikfestival Dortmund 2017, p. 41.
9. ↑ ^{a b} Michael Talbot : The Vivaldi Compendium. The Boydell Press, Woodbridge 2011, ISBN 978-1-84383-670-4 , p. 29.
10. ^ Record of the 1735 performance in the Teatro Filarmonico in Verona in the Corago information system of the University of Bologna .
11. ^ Reinhard Strohm : The Operas of Antonio Vivaldi. Leo S. Olschki, Florence 2008, ISBN 978-88-222-5682-9 , Volume 1, p. 39.
12. ↑ ^{a b c} Antonio Vivaldi. In: Andreas Ommer: Directory of all complete opera recordings (= Zeno.org . Volume 20). Directmedia, Berlin 2005.
13. ^ Biography of Fabio Biondi (PDF) , accessed on June 14, 2017.
14. ↑ Pinchgut Opera gives Bajazet its first performance in the Southern Hemisphere. ( Memento of December 18, 2015 in the Internet Archive ) Program of July 5, 2017 on ABC Classic FM , accessed on July 7, 2017.
15. ^ Festival de Beaune 2016: Tamerlano d'Antonio Vivaldi le 23 juillet. Program of July 28, 2016 on France Musique , accessed on July 7, 2017.