Tito Manlio (Vivaldi)

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Opera dates
Title: Tito Manlio
Title page of the libretto, Mantua 1719

Title page of the libretto, Mantua 1719

Shape: Dramma per musica in three acts
Original language: Italian
Music: Antonio Vivaldi
Libretto : Matteo Noris : Tito Manlio
Literary source: Livy : Ab urbe condita
Premiere: Carnival 1719
Place of premiere: Teatro Arciducale, Mantua
Playing time: approx. 4 hours
Place and time of the action: Early Rome, during the Latin Wars
people
  • Tito Manlio ( Titus Manlius Imperiosus Torquatus ), Roman Consul ( Bass )
  • Manlio, his son ( soprano )
  • Vitellia, daughter of Tito, mistress Geminios ( old )
  • Decio, captain of the phalanxes (old)
  • Servilia, sister Geminios, engaged to Manlio (alto)
  • Lucio, Latin knight, in love with Vitellia (soprano)
  • Geminio, Latin captain, lover of Vitellias ( tenor )
  • Lindo, Vitellia's servant (bass)

Tito Manlio is an opera (original name: " Dramma per musica ", RV 738) in three acts by Antonio Vivaldi (music) with a libretto by Matteo Noris . It was premiered in the Carnival season of 1719 at the Teatro Arciducale in Mantua.

action

The plot of the opera is based on a historical event from the early days of Rome during the Latin Wars , as reported in the 22nd book of Livius' Ab urbe condita in chapter 60. In the “Argomento” of the libretto it is reproduced as follows:

The Latin tribes allied with Rome demanded equal political rights in the state. When the Roman Senate refused, they rebelled and declared war. The consul Tito Manlio ( Titus Manlius Imperiosus Torquatus ) sent his son to explore the Latin camp, but ordered him under no circumstances to engage in a battle outside of the military formations, as Latins and Romans could not be sufficiently differentiated from one another. When Manlio met the Latin nobleman Geminio Mezio, who insulted him and challenged him to a duel, he sent his companions away and fought against Geminio, whom he killed. On his triumphant return to Rome, he was accused by his father of disregarding the authority of the Senate and of breaking the law and sentenced to death by beheading.

first act

Temple with altar

Scene 1. The Roman consul Tito Manlio makes his people and soldiers swear to hate the Latins. Captain Decio is the first to join the army. Surprisingly, the Latino Lucio also swears the oath, because he loves Tito's daughter Vitellia. It follows Tito's son Manlio. Then Tito asks his daughter Vitellia and Manlio's Latin fiancée Servilia to do the same - but both refuse. Tito immediately dissolves Servilia's engagement to his son and has Vitellia locked in her room until her behavior has been clarified.

Scene 2. Tito orders his son to scout out the enemy camp. But under no circumstances should he get involved in a fight, since a law of the Senate forbids every sword-bearing knight to do so (Aria Tito: "Se il cor guerriero").

Scene 3. Servilia accuses Manlio of betraying her love by swearing. Manlio replies that by refusing to do so, she lost her chance to become a Roman. Her engagement is now over (Aria Manlio: "Perché t'amo mia bella mia vita"). They part with conflicting feelings.

Scene 4. After Manlio has left, the desperate Servilia ponders what fate has in store for both of them (Aria Servilia: “Liquore ingrato”).

Chambers

Scene 5. Lucio reveals his feelings for Vitellia to Decio. Decio, who himself is secretly in love with Vitellia, urges him to be careful, as Vitellia's heart might already belong to someone else. But Lucio is hopeful (Aria Lucio: "Alla caccia d'un bell'adorato").

Scene 6. Decio suffers from his love for Vitellia. He has to keep it a secret, as his status does not allow a connection (Aria Decio: “È pur dolce ad'un anima amante”).

Scene 7. Vitellia sends her servant Lindo to the enemy camp with a letter to her lover, the Latin captain Geminio.

Scene 8. Tito comes to Vitellia with Lucio and a soldier with chains on a bowl. Lucio should get her to name the reasons for her refusal to swear. Since Vitellia stubbornly remains silent, Tito threatens her with torture and leaves the further interrogation to Lucio (Aria Tito: "Orribile lo scempio").

Scene 9. Lucio confesses his love to Vitellia. He asks her to take the oath after all. He wanted to ask Tito for her hand and in return lead the Latin captain Geminio to the Senate in these chains. Vitellia hides her outrage because she sees his love as an opportunity to achieve her goals after all. She allows Lucio to stop her. She will tell Tito what he wants to know. Lucio leaves (Aria Lucio: “Parla a me speranza amica”).

Scene 10. Vitellia intends to tell her father about her love for Geminio, which she wants to use to achieve peace between her two peoples (Aria Vitellia: “Di verde ulivo”).

Latins' camp

Scene 11. Geminio is eager to fight the Romans, but at the same time falls for his love for the Roman Vitellia (Aria breve Geminio: “Bramo stragi e son traffitto”).

Scene 12. Lindo appears with Vitellia's letter, in which she tells him about the denied oath and asks him to come to Rome as quickly as possible and save her. He wants to rush off immediately, but then he remembers his duty to his people. He tells Lindo to tell her that he could not neglect his duties without becoming unworthy of her (Aria Lindo: "L'intendo e non l'intendo").

Scene 13. Manlio comes into the camp with some Roman horsemen and proudly boasts of his weapons in front of Geminio. Geminio challenges him to a duel. Despite his father's express orders, Manlio agrees. Both take up their swords.

Scene 14. Servilia steps between the two. She reminds her that Manlia is her bridegroom and Geminio is her brother and that Vitellia is in danger. She calls on both of them to lay down their arms. You calm down. Geminio asks Servilia to go to Tito and tell him that he wants to become a Roman if he receives Vitellia's hand (Aria Servilia: “Parto, ma lascio l'alma”).

Scene 15. While Geminio and Manlio watch Servilia's progress, Geminio remembers his duties as a Latin man again. He challenges Manlio again. As a knight, he has no choice but to accept the challenge (Aria Manlio: “Sia con pace, o Roma augusta”).

Second act

Hall in the palace of the consul

Scene 1. As Vitellia has instructed him, Lucio prepares Tito for her confession and asks him for her hand. Tito has no objection to connection. However, as long as Vitellia was hostile to Rome, she deserved death. Lucio asks him for sympathy for his daughter (Aria Lucio: "Non ti lusinghi la crudeltade").

Scene 2. Vitellia runs to Titus to reveal her heart to him. It is interrupted by Servilia's return, who tells of the prospect of peace: her brother Geminio has fallen in love with Vitellia and is ready to give up his claims to the consular office and become a Roman if he gets her to wife. To the delight of the two women - and to Lucio's horror - Tito agrees. Servilia is to deliver the promise to Geminio immediately. As a Latin, Geminio could not obtain a consular office, but the love of the Senate and Rome would belong to him (duet Vitellia / Servilia: "D'impoviso riede il riso").

Scene 3. Decio announces the return of Manlio. Tito, Servilia and Vitellia are waiting impatiently to give him the good news. But Manlio tells them that he was challenged by Geminio to a duel and that he killed him. The two women faint. They are carried into their rooms by servants.

Scene 4. When Tito points out to his son that the Senate has been broken, Manlio justifies himself for his deed with the multiple insults of Gemini. By defeating the Latins he had done a glorious deed. However, Tito insists that he must be punished for his disobedience.

Scene 5. Manlio feels guilty about Servilia (Aria Manlio: “Se non v'aprite al dì”).

court

Scene 6. Lindo tries to stop Vitellia from going to her lover's grave. But she thirsts for revenge (Aria Vitellia: “Grida quel sangue”).

Scene 7. Servilia joins Vitellia in avenging her brother and killing Manlio even though she still loves him. Lindo tries in vain to stop them (Aria Lindo: "Rabbia ch'accendasi in cor di femmina").

Scene 8. Manlio tries in vain to justify his deed in front of Vitellia and Servilia. Since nobody stands by him anymore, he asks Vitellia to give Servilia her dagger so that she can kill him. He doesn't think she can.

Scene 9. Decio arrives with a soldier who brings ankle chains. Tito has ordered Manlio to put them on and to lock him in the dungeon. Servilia's love for Manlio is stirring again. She wants to ask for mercy for him (Duet Servilia / Vitellia: "Dar la morte a te, mia vita").

Scene 10. Decio shows compassion for Manlio. Lucio comes over, reading a letter. The three talk about this turn of fate (Aria Manlio: "Vedrà Roma, e vedrà il Campidoglio").

Scene 11. Lucio thinks Rome is ungrateful. The letter convinced him that he must stand up for Manlio (Aria Lucio: "Combatta un gentil cor").

salon

Scene 12. Plagued by self-doubt, Tito writes the death sentence against his son.

Scene 13. Decio begs Tito in vain for mercy for Manlio, who after all has defeated the enemy leader and is indispensable in the army. In addition, he is Tito's own son (Aria Decio: "No che non morirà").

Scene 14. Servilia also begs Tito for mercy for Manlio. Your speech impresses Tito, but it no longer influences his judgment. However, he allows her to die in dungeon with Manlio (Aria Servilia: “Andrò fida, e sconsolata”).

Scene 15. Vitellia now steps in front of Tito. She does not ask for mercy for her brother, but demands vengeance for the death of her lover. In addition, she swears to the Latins "murder, terror, slaughter and doom", since the reason for her original refusal no longer exists.

Scene 16. Tito instructs Lucio to read the signed judgment to Manlio. He promises him Vitellia's hand (Aria Tito: “Legga, e vegga in quel terribile”).

Scene 17. Vitellia tells Lucio that she will not marry him, but that she will remain loyal to Geminio even after his death (Aria Vitellia: “Povero amante cor”).

Scene 18. Lucio is determined to save Manlio (Aria Lucio: “Fra le procelle”).

Third act

Horrible dungeon with burning torches. night

Third act: Servilia visits the sleeping Manlio in prison

Scene 1. Servilia looks lovingly at Manlio, who is sleeping with his feet tied up (Aria Servilia: “Tu dormi in tante pene”). After he wakes up, she tells him about her failed petition for clemency. He asks her to go to Tito again to tell him that he would like to ask for mercy himself (Aria Servilia: “Parto contenta, volto vezzoso”).

Scene 2. Lucio appears with the death sentence. Manlio is said to be beheaded the next morning. Lucio informs him that he has been elected leader by the Latin army. Although he has no personal interest in this position, he will accept it in order to save Manlio with the help of his troops. But Manlio is captured. In his opinion, he had served Rome faithfully through the duel, and he wanted to continue to do so, even if it cost him his life. Lucio is impressed (Aria Lucio: "Chi seguir vuol la costanza").

Scene 3. Manlio can hardly bear the presence of his lover in this humiliating situation. But she refuses to go and declares that she wants to die with him (Duet Servilia / Manlio: “Non mi vuoi con te, o crudele”).

Chambers

Scene 4. Vitellia instructs Lindo to find out the people's opinions about the death sentence (Aria Lindo: "Brutta cosa è il far la spia").

Scene 5. Lucio tells Vitellia of Manlio's composed reception of the judgment. He woos her again. But Vitellia demands Manlio's head as a proof of love (Aria Vitellia: “A te sarò fedele”). She goes.

Scene 6. Lucio is appalled by Vitellia's cruelty (Aria Lucio: “Non basta al labbro”).

Scene 7. Tito and Servilia come into the room to wait for Manlio, who is allowed to speak to his father again. Tito declares that he doesn't want to be softened under any circumstances (Aria Tito: “No, che non vedrà Roma”).

Scene 8. Manlio appears and wants to kiss his father's hand submissively. But Tito refuses him this last proof of love. Since Manlio will soon kiss the face of death, he is no longer worthy of kissing the judge's hand. Tito turns away from. Manlio cleverly uses this moment to kiss his hand. It works instantly: Tito's fatherly love is stirring again. He can no longer overturn the judgment, but allows him one last fatherly hug. When Manlio asks him to take Servilia in, Tito promises to marry her in his place. He leaves with Lucio.

Scene 9. Manlio tries to convince the reluctant Servilia to marry Tito and to forgive him for his severity (Aria Manlio: “Ti lascerei gl'affetti miei”).

Scene 10. Servilia hopes that this night will last forever (Aria Servilia: "Semper copra notte oscura").

Street outside Rome overlooking the Tiber

Scene 11. Vitellia and Lindo await Manlio on the way to his execution (Aria Lindo: “Mi fa da piangere”).

Scene 12. Servilia joins them.

Scene 13. Manlio appears with Lucio, soldiers and lecturers. He assures Vitellia that he did not know about her love for Geminio before the duel. Vitellia is still mourning her lover, but Servilia says goodbye to Manlio in pain. He asks Lucio to end the war against Rome. He makes his way to the place of execution. Vitellia then reflects on her sibling love. She runs after him and, like Servilia, promises to die with him.

Scene 14. Decio appears with armed soldiers. He explains that Manlio deserves fame and no longer belongs to Rome, but to them, the army. He puts a laurel wreath on him (Aria Manlio: "Doppo si rei disatri").

Scene 15. Tito steps in, but he has to acknowledge that the will of the army is above the law. He forgives Manlio and unites him with Servilia. Lucio asks him for Vitellia's hand and promises to end the war in return as Commander-in-Chief of the Latins. In order to secure the peace, Vitellia agrees to listen to it. Decio and Servilia praise Manlio as "Heroes of the Capitol". Everyone agrees (Tutti: “Sparì già dal petto”).

layout

The line-up of the opera requires a flautino (sopranino recorder ), two flauti grossi (tenor recorders), two oboes , (two?) Bassoon (s), two horns , two trumpets , timpani , viola d'amore (later by violin replaced), (two?) solo violin (s), solo violoncello , strings and basso continuo . In each aria, the recorder, oboe, violin or violoncello play as an obligatory solo instrument. The information in the literature differs slightly. For example, some authors lack the trumpets or flauti grossi .

The unusual cast indicates that the orchestra in Mantua is well equipped. Vivaldi uses the instruments in a variety of ways. Sometimes individual instruments are left out or duplicated another instrument in order to reinforce it or to achieve a special coloring. The orchestra can produce a dense polyphonic movement (e.g. Tito's aria “Se il cor guerriero”, I: 2) or limit itself to amplifying the singing voice, e.g. B. Lucio's aria “Parla a me speranza amica” (I: 9).

Vivaldi also proves to be extraordinarily resourceful in handling the text. In Tito's “Se il cor guerriero” (I: 2) gun noises are depicted through rhythmic structures. Lindo's amazement in “L'intendo e non l'intendo” (I: 12) is represented by sudden melodic breaks. Particularly noteworthy is the quality of Vivaldi's melodic ideas. Decio's “È pur dolce ad'un anima amante” (I: 6) and the duet Servilia / Vitellia “Dar la morte a te, mia vita” are reminiscent of Handel's best melodies and refer to Verdi in their popularity.

Music numbers

The opera consists of the following pieces:

first act

  • Scene 1. Recitative (Tito): "Popoli, chi è romano, e chi di Roma"
    • Accompagnato (Tito): “A'voi del basso averno deità riverite” - for strings and basso continuo
    • Arioso (Decio, Lucio, Servilia): “Quanto Tito ora giurò guira armata” -… (D major), for violins I / II, viola and basso continuo
    • Recitative (Manlio): “Di Flegetonte al nume porto la destra” - for strings and basso continuo
    • Recitative (Tito, Servilia, Vitellia, Lucio, Manlio): "Per le romane vergini, tu ancora"
  • Scene 2. Recitative (Tito, Manlio): “Manlio. Mio genitore. Vattene: vesti l'armi "
    • Aria (Tito): "Se il cor guerriero" - Allegro (G minor), for strings and basso continuo
  • Scene 3. Recitative (Manlio, Servilia): “Ah Manlio. Mia Servilia. Lasciami traditor "
    • Aria (Manlio): “Perché t'amo mia bella mia vita” - Allegro (A major), for strings and basso continuo
  • Scene 4. Recitative (Servilia): “O 'dio! Sento nel petto, con moti vari "
    • Aria (Servilia): “Liquore ingrato” - Andante (G minor), for strings and basso continuo; see. La verità in cimento RV 739 II: 5, I: 4
  • Scene 5. Recitative (Lucio): "Si per Vitellia, io lascio anch'il nome latino"
    • Aria (Lucio): “Alla caccia d'un bell'adorato” - Allegro (F major), for two horns, two oboes, strings and basso continuo; see. the Serenata Mio cor povero cor RV 690.12
  • Scene 6. Recitative (Decio): "Vanne, amante felice se scoprir le tue fiamme"
    • Aria (Decio): “È pur dolce ad'un anima amante” - Allegro (B flat major), for violins I / II and basso continuo; see. Giustino RV 717 I: 12
  • Scene 7. Recitative (Lindo, Vitellia): "E ch'a Geminio in campo"
  • Scene 8. Arioso (Vitellia): “O silenzio del mio labbro” - Andante (F major), for basso continuo
    • Recitative (Tito, Lucio, Vitellia): "Parla, tenta e minccia"
    • Aria (Tito): “Orribile lo scempio” - Allegro (B flat major), for strings and basso continuo; see. La Silvia RV 734 III: 9
  • Scene 9. Recitative (Lucio, Vitellia): "E catene di ferro io darò al piede"
    • Aria (Lucio): “Parla a me speranza amica” - Allegro (F major), for violins I / II, viola and basso continuo; see. Giustino RV 717 II: 13 and Orlando finto pazzo RV 727 III: 7
  • Scene 10. Recitative (Vitellia): "Volerò a Tito il padre"
    • Aria (Vitellia): “Di verde ulivo” -… (G major), for solo viola, solo cello and basso continuo
  • Scene 11. Aria breve (Geminio): “Bramo stragi e son traffitto” - Allegro (D major), for strings and basso continuo
    • Recitative (Geminio): "Nemico allor, ch'io mi partii da Roma"
  • Scene 12. Recitative (Lindo, Geminio): "Signor Lindo t'invia Vitellia questo foglio"
    • Aria (Lindo): “L'intendo e non l'intendo” -… (G major), for strings and basso continuo
  • Scene 13. Recitative (Geminio, Manlio): “Qual di pochi romani armata schiera”
  • Scene 14. Recitative (Servilia, Geminio, Manlio): “Deh che veggio! Fermatevi "
    • Aria (Servilia): "Parto, ma lascio l'alma" - Allegro / Adagio / Allegro (E flat major), for violoncello, strings and basso continuo
  • Scene 15. Recitative (Geminio, Manlio): “Che feci mai? Per femmina romana "
    • Aria (Manlio): "Sia con pace, o Roma augusta" - Allegro (D major), for strings and basso continuo, from Scanderbeg RV 732 I: 8, with musically represented "chains".

Second act

  • Scene 1. Recitative (Tito, Lucio): "Dunque l'occulta, e grave"
    • Aria (Lucio): “Non ti lusinghi la crudeltade” (first version) - Larghetto (A minor), for strings and basso continuo; see. L'inconorazione di Dario RV 719 II: 6
    • Aria (Lucio): “Non ti lusinghi la crudeltade” (second version) - Andante (C minor), for violins I / II and basso continuo
  • Scene 2. Recitative (Vitellia, Servilia, Tito, Lucio): "Padre: a te solo io palesar intendo"
    • Duet (Vitellia, Servilia): "D'impoviso riede il riso" - Allegro (F major), for two (?) Flutes, violins I / II and basso continuo; see. Ercole sul Termodonte RV 710 I: 1
  • Scene 3. Recitative (Decio, Vitellia, Tito, Lucio, Servilia, Manlio): "Manlio di Tito il figlio ora qui viene"
  • Scene 4. Recitative (Tito, Manlio): "E 'questa, Manlio, è questa dal senato la legge?"
  • Scene 5. Recitative (Manlio): "E attender io dovea, che le onorate"
    • Aria (Manlio): "Se non v'aprite al dì" - ... (F minor), for two horns, strings and basso continuo, "a high point of Manlio's music"
  • Scene 6. Recitative (Lindo, Vitellia): “No; fermati signora, ove sepolto "
    • Aria (Vitellia): “Grida quel sangue” - Allegro (F major), for strings and basso continuo
  • Scene 7. Recitative (Servilia, Lindo, Vitellia): "Vitellia dove?"
    • Aria (Lindo): "Rabbia ch'accendasi in cor di femmina" - Presto (B minor), for violins I / II, viola and basso continuo
    • Recitative (Lindo, Vitellia, Servilia): “Eccolo! - Indegno! - Come "
  • Scene 8. Recitative (Manlio, Servilia, Vitellia): “Mia Servilia; Vitellia! - Manlio crudele "
  • Scene 9. Recitative (Decio, Servilia, Manlio, Vitellia, Decio): "Manlio, Tito al tuo piede"
    • Duet (Servilia, Vitellia): "Dar la morte a te, mia vita" - Allegro (A minor), for violins I / II and basso continuo
  • Scene 10. Recitative (Manlio, Decio, Lucio): "Tu al carcere mi guidi"
    • Aria (Manlio): “Vedrà Roma, e vedrà il Campidoglio” - Presto (B flat major), for violins I / II, viola and basso continuo; see. Ercole sul Termodonte RV 710 I: 4
  • Scene 11. Recitative (Lucio): "Ingrata Roma, e più di Roma ingrato"
    • Aria (Lucio): "Combatta un gentil cor" - Allegro (C major), for trumpet, strings and basso continuo
  • Scene 12. Recitative (Tito): "Già da forte catena"
  • Scene 13. Recitative (Tito, Decio): "Decio, che porti?"
    • Aria (Decio): “No che non morirà” - Allegro (E minor), for strings and basso continuo
  • Scene 14. Recitative (Servilia, Tito): "Amor, su questa labbra"
    • Aria (Servilia): “Andrò fida, e sconsolata” -… (C major), for two flauti grossi, violins I / II and basso continuo
  • Scene 15. Recitative (Tito, Vitellia): "Forte cor: non ti scuota o prego, o pianto"
  • Scene 16. Recitative (Lucio, Tito): "Eccomi a Tito"
    • Aria (Tito): "Legga, e vegga in quel terribile" - Allegro (G major), for violins I / II and viola
  • Scene 17. Recitative (Vitellia, Lucio): “Addio. - Consorte. - A me? "
    • Aria (Vitellia): “Povero amante cor” - Allegro (A major), for violins I / II and basso continuo; after “Povera fedeltà” from Ottone in villa RV 729A II: 8; see. Giustino RV 717 II: 10
  • Scene 18. Recitative (Lucio): "Vanne perfida, và: Scempio del tuo furore"
    • Aria (Lucio): “Fra le procelle” -… (G major), for strings and basso continuo

Third act

  • Scene 1. Arioso (Manlio): “Sonno, se pur sei sonno” -… (C minor), for strings and basso continuo, in the appendix to the score, missing in the printed libretto, text from Apostolo Zenos Griselda ; see. Tito Manlio RV 778 III: 7
    • Recitative (Servilia): "Deposta Amor la benda"
    • Aria (Servilia): "Tu dormi in tante pene" (1st version) - Andante (D minor), for viola d'amore (with scordatura a-d'-a'-d '') and two violins
    • Aria (Servilia): “Tu dormi in tante pene” (2nd version) - Largo (D minor), for violin solo and basso continuo
    • Recitative (Servilia, Manlio): “Oh! crudo indegno laccio "
    • Aria (Servilia): “Parto contenta, volto vezzoso” - Allegro (F minor), for strings and basso continuo
  • Scene 2. Recitative (Manlio, Lucio): "Toglie, s'ella più resta"
    • Aria (Lucio): "Chi seguir vuol la costanza" - Allegro (F major), for violins I / II and basso continuo; after a song that was popular at the time; see. Ottone in villa RV 729A I: 5
  • Scene 3. Recitative (Manlio, Servilia): "Servilia: tu qui resti, e quel tormento"
    • Duet (Servilia, Manlio): “Non mi vuoi con te, o crudele” - Allegro (G major), for strings and basso continuo
  • Scene 4. Recitative (Lindo, Vitellia): "Signora: d'ogni intorno"
    • Aria (Lindo): "Brutta cosa è il far la spia" - Allegro (D major), for strings and basso continuo
  • Scene 5. Recitative (Lucio, Vitellia): "Bella Vitellia ..."
    • Aria (Vitellia): “A te sarò fedele” - Allegro (D major), for violins I / II, viola and basso continuo; see. Tito Manlio RV 778 III: 4th
  • Scene 6. Recitative (Lucio): "Manlio mi baciò in volto"
    • Aria (Lucio): “Non basta al labbro” - Allegro (G major), for violins I / II, viola and basso continuo; see. Arsilda, regina di Ponto RV 700 II: 8 and La virtù trionfante dell'amore o dell'odio vero il Tigrane RV 740 II: 6
  • Scene 7. Recitative (Tito, Lucio, Servilia): "Ch'ei venga a me dinanzi"
    • Aria (Tito): “No, che non vedrà Roma” - Allegro (A minor), for two (?) Bassoons and violins I / II; the text of this aria, which has been added to the original libretto (Tito wants to show harshness) contradicts the sense of the surrounding recitatives (Tito shows pity for his son)
  • Scene 8. Recitative (Manlio, Tito, Servilia, Lucio): "Padre, Tito, Signor, a queste labbra"
  • Scene 9. Recitative (Servilia, Manlio): "Ingrato Manlio, ascolta"
    • Aria (Manlio): "Ti lascerei gl'affetti miei" - Largo (C minor), for two oboes, bassoon, strings and basso continuo - simple lament with a lot of " Neapolitan " harmony
  • Scene 10. Recitative (Servilia): "O tu, che per Alcide"
    • Aria (Servilia): “Semper copra notte oscura” -… (F major), for flautino and violoncello solo; see. La verità in cimento RV 739 III: 5
  • Scene 11. Recitative (Vitellia, Lindo): "Tu il vedesti?"
    • Aria (Lindo): “Mi fa da piangere” - Andante (G major), for strings and basso continuo
  • Scene 12. Recitative (Linso, Servilia, Vitallia): "Servilia viene"
    • Sinfonia -… (C major), for two trumpets (muted), two oboes, timpani, strings and basso continuo, also known as the first movement of the Concerto funebre RV 579
  • Scene 13. Recitative (Manlio, Lucio, Lindo, Servilia, Vitellia): “È qui Servilia? Bella "
  • Scene 14. Recitative (Decio): "Viva il Marte del Tebro"
    • Aria (Manlio): “Doppo si rei disatri” - Allegro (C major), for two trumpets, two oboes, bassoon, timpani, strings and basso continuo
  • Scene 15. Recitative (Tito, Decio, Manlio, Lucio, Lindo, Servilia, Vitellia): “Non mori Manlio? Vilipeso in Roma "
    • Tutti: “Sparì già dal petto” - Allegro (C major), for two trumpets, two oboes, timpani, violins I / II, (viola) and basso continuo; used in different versions in several works, including in the oratorio Juditha triumphans

Work history

Vivaldi wrote his Tito Manlio as well as the previous opera Teuzzone (RV 736) for the carnival season 1718/1719 at the Teatro Arciducale in Mantua, where he has worked as impresario since that season.

The text of the opera is by Matteo Noris . His libretto Tito Manlio was first performed in 1696 in a setting by Carlo Francesco Pollarolo and has since been set to music in different versions by other composers. Vivaldi, however, used the original version from 1696, which he probably received in Florence in 1718. He added individual aria texts from other libretto versions and made arrangements for six arias in order to adapt the text to the music of reused older arias. It is also noticeable that Vivaldi not only retained the comic role of the servant Lindo, although the opera seria of this time usually dispensed with comic characters, but even expanded it for Giovanni Battista Calvi, who specializes in comic roles.

The premiere of Vivaldi's Tito Manlio was originally supposed to take place on the occasion of the wedding of Prince Philip to Eleonora Luisa Gonzaga di Guastalla (1686–1742). Therefore the text book contains a corresponding dedication to the princess. The marriage of the two widowers was canceled spontaneously, but the opera was performed anyway.

Giovanni Francesco Benedetti (Tito Manlio), Margherita Gualandi (Manlio), Teresa Muzzi (Vitellia), Lorenzo Beretta (Decio), Anna D'Ambreville Perroni (Servilia), Gaspare Gerì sang at the premiere in the Carnival season of 1719 at the Teatro Arciducale in Mantua (Lucio), Giuseppe Pederzoli (Geminio) and Giovanni Battista Calvi (Lindo). Of the two high male roles, Manlio was sung by a soprano and Lucio by a castrato. The production proved - like that of the Teuzzone - to be extremely successful. There were a total of 36 performances of the two operas this season. In the next two years, Tito Manlio was also played in Venice.

Title page of the autograph manuscript with the note "fatto in 5 giorni"

On January 8, 1720, another opera entitled Tito Manlio (RV 778 and RV Anh. 56) was performed in Rome , for which Vivaldi delivered the third act. It was a pasticcio , the first act of which came mainly from Gaetano Boni and the second act from Giovanni Giorgi . Vivaldi also used some arias from his complete setting. Apart from the textbook, only individual musical numbers of the pasticcio have survived, including most of the closed pieces of the third act. In addition to this, at least one other aria (“La fatal sentenza al figlio” in the second act) comes from Vivaldi.

According to a censorship clearance, Vivaldi may have been planning a resumption of the opera in Venice (RV 738-B) for the 1739 Carnival season. However, there is no evidence of an actual performance.

Two copies of the score were later found in Vivaldi's estate: a copyist's copy presumably made to extract the parts and corrected by Vivaldi (F. 37) and a partially autographed working manuscript (G. 39). The title of the latter bears the well-known reference “fatto in 5 giorni” (“created in 5 days”), although it was probably not about the duration of the composition, but about the time required to create the score. This score shows signs of great urgency and is in part hardly legible. The copyist's handwriting probably corresponds to the version used at the premiere in Mantua. Neither of the two scores contains the music of the introductory symphonia.

Recordings

Web links

Commons : Tito Manlio  - collection of images, videos and audio files

Individual evidence

  1. ↑ a b c d e f g h i j Reinhard Strohm: The Operas of Antonio Vivaldi I. Leo S. Olschki, Florence 2008, ISBN 978-88-222-5682-9 .
  2. ↑ a b Eric Cross:  Tito Manlio (Vivaldi). In: Grove Music Online (English; subscription required).
  3. ^ Walter Kolneder : Antonio Vivaldi: His Life and Work. University of California Press, 1970, ISBN 0-520-01629-7 , p. 134 ( limited preview in Google Book Search).
  4. ↑ Information on the work on flaminioonline.it (Italian), accessed on April 2, 2018.
  5. ↑ a b c d e f g h i j Michael Talbot , Siegfried Saak (transl.): Vivaldi's “Tito Manlio”. In: Supplement to the Vivaldi / Tito Manlio record (Vittorio Negri), LP ETERNA 827126-130.
  6. ↑ a b c d e f g Siegbert Rampe : Antonio Vivaldi and his time. Laaber, 2010, ISBN 978-3-89007-468-9 , pp. 138-140.
  7. ↑ a b information on works in the Ryom catalog on musiqueorguequebec.ca, accessed on April 2, 2018.
  8. ^ A b c Michael Talbot : The Vivaldi Compendium. The Boydell Press, Woodbridge 2011, ISBN 978-1-84383-670-4 , pp. 185 f.
  9. ^ Record of the performance of the Carnival in Mantua in 1719 in the Corago information system of the University of Bologna .