Una cosa rara

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Opera dates
Title: Una cosa rara
Original version of the libretto, Vienna 1786

Original version of the libretto, Vienna 1786

Shape: Dramma giocoso
in two acts
Original language: Italian
Music: Vicente Martín y Soler
Libretto : Lorenzo Da Ponte
Premiere: November 17, 1786
Place of premiere: Theater next to the castle , Vienna
Playing time: around 3 hours
Place and time of the action: Adra, village in the Sierra Morena ( Castile ),
1490s
people
  • Isabella , Queen of Spain , soprano
  • Giovanni , Isabella's son, Infanta of Spain, tenor
  • Corrado, Gran Scudiere, tenor
  • Lilla, mountain dweller, soprano
  • Ghita, mountain dweller, soprano
  • Lubino, mountain dweller, Lilla's lover, baritone
  • Tita, mountain dweller, brother Lillas, Gelieber Ghitas, bass
  • Lisargo, brother Ghitas, Podestà of the village, bass
  • Choir of Hunters
  • Choir of shepherds and shepherdesses
  • Mute people

Una cosa rara o sia Bellezza ed onestà (The Rare Fall or Beauty and Honesty) is the second of five drammi giocosi that emerged from the collaboration of the Venetian Lorenzo Da Ponte ( libretto ) and the Valencian Vicente Martín y Soler (music). The premiere took place in Vienna in 1786 . Although one of the greatest stage successes of its time, the work was later forgotten for a long time.

Previously, the political statements in the libretto had been whitewashed. Ludwig Börne therefore only knew the idyllic side of the opera when he characterized it in 1819 as follows:

“Music from the good old days that we hardly know enough to weep over. How beneficial is it! The sensation flows serenely between flowery meadows, deep and moved enough to support the heart, not so stormy as to sink it. "

Emergence

Pietro Bettelini :
Nancy Storace , 1788.

Client of Una cosa rara was Emperor Joseph II. , Who in the States of the House of Austria reforms in the spirit of the Enlightenment conducted that particularly benefited the farmers, who also personally the nobility and bourgeoisie attended Burgtheater headed. After the success of their first joint production Il burbero di buon cuore (based on Goldoni's French-language comedy Le Bourru bienfaisant ), Da Ponte, according to his own statements, chose a model from their homeland - the comedy - for the sake of the composer and his protector, the Spanish ambassador's wife Isabel de Llano La Luna de la Sierra (The Moon of the Mountains) by Luis Vélez de Guevara (around 1626). The core of the plot can also be found in works from other countries. When choosing the material, the fact that the widowed Joseph II felt drawn to girls from the people, but rejected the mistress of other princes , probably also played a role . Da Ponte put the libretto under the motto : "Rara est concordia formæ atque pudicitiæ."

The beautiful Lilla, who resists the advertisement of Infante Giovanni , was played by the Italian-British soprano Nancy Storace (1765-1817). She had already played the leading role of Angelica in the Burbero di buon cuore . Da Ponte writes of the sister of the composer Stephen Storace , for whom he wrote the libretto for Gli equivoci around the same time : "She was in her prime and the whole delight of Vienna." It would have taken him and Martín only thirty days each to complete Una cosa rara to finish.

Success and lore

Duet “Pace, mio ​​caro sposo”, piano reduction .

According to Da Ponte, Vienna had perhaps never before heard “such lovely, so appealing, so new and so popular music”. The audience screamed with pleasure that the emperor, contrary to the house rules , demanded the repetition of the duet “Pace, mio ​​caro sposo”. Da Ponte continues that the women dressed alla Cosa rara and adored Martín, but also him himself: "We could have had more love adventures than all the knights of the round table (...) The Spaniard (...) benefited in every way." After the “favorite singing game of Vienna”, the names were black gauze with red silk stripes for hats and scarves, watch chains made of fake pearls and corals and fans with the duet mentioned, “which has become a folk song”. (At the same time, reactionary women wore black and red gold - the national colors of Belgium , which were later adopted by Germany and whose classes opposed the reforms of Joseph II.)

After Nancy Storace's departure in February 1787, Una cosa rara returned to the repertoire in August with Anna Morichelli (approx. 1755–1800) as Lilla. Within five years it was performed 55 times at the Burgtheater - in different versions. A translation into German even brought it to a record number of 87 performances at the Leopoldstadt Theater . Up until 1810 there had been productions in 19 countries today - in Italy alone in 29 cities - and translations into nine languages. Hundreds of scores , libretti and orchestral excerpts have been preserved accordingly . According to the biographer Martíns, the Argentine musicologist Leonardo J. Waisman, the two existing complete editions should be replaced or at least supplemented.

action

One could compare the opera to a saccharified pill. The beautiful music accompanies a plot that  takes place in a kind of arcadia  - the Sierra Morena - but, as in the libretti that Da Ponte wrote for Mozart, has political explosive power: the heroine is an honorable girl from the people like Susanna in Le nozze di Figaro (1786, after Beaumarchais ) and Zerlina in Don Giovanni (1787). The villains are nobles like Count Almaviva and Don Giovanni, including a king's son who - unlike in the literary model - is even the main culprit. The opera denounces the patriarchy , the immorality of the nobility , who presumed the right to the first night , and the mistress. The following summary follows, like Waisman's, the Vienna original version of the opera and thus does not correspond to either of the two existing recordings.

1st act

Guercino : Diana , 1658.

Scenes 1–5 (Great Plains): The Choir of Hunters alludes to the opera's subtitle when it asks Diana , the goddess of the hunt, the moon and chastity, to protect Queen Isabella , who is returning from the boar hunt :

"Salva, salva, o Dea de 'Boschi,
Lo splendor della Castiglia!
Salva lei, che a te somiglia
In bellezza, ed onestà! "

“Protect, protect, oh goddess of the woods,
The pride of Castile !
Protect those who are equal to you
In beauty and respectability! "

Isabella I of Castile , around 1490.

The monarch celebrates the reunion with her son, the Infante Giovanni , who got lost in the thicket. The young farmer's wife Lilla rushes over and begs for help: she loves the shepherd Lubino, but her brother Tita (who exercises guardianship over her) still wants to marry her to the podestà of the village, Lisargo. To break her will, he locked her in her room, whereupon she jumped from the balcony. The queen promises to enable her to marry her lover. She entrusts the Gran Scudiere Corrado with the protection of Lilla. This to the annoyance of Giovanni, who is overwhelmed by the charm of the naive beautiful and would have liked to take on this task himself. He tries unsuccessfully to flirt with Lilla . Then he predicts that she will still have trouble with the ugly old Corrado. Left behind alone, the infant sings:

"Più bianca del giglio,
Più fresca di rosa,
Bell'occhio, bel ciglio,
Vivace, graziosa -
La mano a un villano
La Lilla darà?

Alpine pastures, crude stelle,
Non fossi chi sono ...
Ma val più d'un trono
Si rara beltà. "

"Whiter than a lily,
fresher than a rose,
a beautiful eye, a beautiful brow,
lively, graceful -
will Lilla reach out her hand to
a villager?

Cruel stars,
if only I wasn't who I am ...
But such rare beauty
Is more precious than a throne. "

Sierra Morena , 1790.

Scenes 6–12 (street): In front of the house in which Lilla was imprisoned, Tita and Ghita accuse each other of infidelity. This is despite the fact that the two are supposed to get married today with the Podestà and Lilla. Then Lubino appears and calls for his lover:

“Lilla mia, dove be gita?
Lilla bella, dove be?
Non t'asconder, o mia vita,
O bel sol degli occhi miei! "

“My Lilla, where did you go?
Beautiful Lilla, where are you?
Do not hide yourself, O my life,
O beautiful sun of my eyes! "

When he confronts Tita, the latter confesses to having locked up the sister. Lubino then kicks in the door of the house. Inside, however, he only finds the veil that Lilla lost when she jumped from the balcony. He imagines that she was killed in the process, and - reminiscent of Masetto in Don Giovanni - swears revenge for Tita and the Podestà in comical exaggeration:

“Vo da l'infami viscere
Strappar agli empi il cor.
Vo farli a brani, a brani
E dar per cibo ai cani
L'ossa e le carni lor. "

“I want to
tear the hearts of the wicked from the cursed bowels .
I want to cut them into a thousand pieces
and throw their bones and meat to
the dogs to eat . "

By intervening, Ghita prevents Tita from being slain by Lubino. But she also feels sorry for him when he is arrested by the Podestà, and asks her groom to let Lilla choose her husband freely. As a lure, in the aria “Purché tu m'ami” ( sung by Olha Viytiv on YouTube ) , she promises Tita the prospect of loving joys , like Zerlina did to the beaten Masetto:

"At the moment
Di mele io torno,
E in questo giorno
L'hai da provar."

"In a moment
I'll be honey again,
And today
you should taste it."

She knows that with this promise she will turn him “into a sheep, or rather a rabbit”.

Mistress ( François-Hubert Drouais : Madame du Barry ).

Scenes 13-18 (vestibule): Ghita has rushed to Lilla to intercede with the queen for her. In this scene it becomes particularly clear that Lilla is not a heroine of virtue, but a person with his strengths and weaknesses: She accuses her friend of having thwarted her marriage to Lubino out of envy of her beauty. When Ghita tries to remind her that it was she who helped initiate the relationship, Lilla rules her out:

"Via, brutta stolida,
Non far schiamazzi!"

"Away, ugly goose,
don't chatter!"

The Queen defends Ghita and again offers Lilla the prospect of fulfilling her wishes. But she thinks that Lubino doesn't want to know anything more about her and complains:

"Dolce mi parve un dì,
Un dì mi piacque amor,
Ma non è più so,
Ma non mi piace ancor."

"It once seemed sweet to me,
once I liked love,
But it's not
like that anymore, But I don't like it anymore."

The Scudiere locks himself up with Lilla in order to carry out an order from the Infante that is diametrically opposed to that of the Queen : although he trembles with desire in the presence of the beauties, he tries to persuade her to become his master's lover. When Lilla replies that she doesn't love Giovanni, Giovanni comes out of hiding and says threateningly that whatever she refuses to ask - namely, the right to the first night - he could also force. Corrado then disappears into a cabinet . However, the infant shrinks from carrying out his threat and instead tries in vain to buy Lilla's favor with a purse full of gold pieces, a ring and a watch. Finally, he offers her to make her his official mistress:

"Proteggerò Lubin, farò che andiate
Per le vie di Madrid ricca di gemme,
Con un bell'equipaggio,
Con forieri e stallier, mostrata a ditto
Per l'amica del Prence."

"I patronize Lubino and make sure
that you drive through Madrid adorned with jewels ,
with a beautiful equipage ,
with courtiers and stable masters ,
and that you are pointed to as the prince's friend."

You can hear Lubino's voice, who has freed himself and wants to see Lilla, but is arrested again by the Podestà. When Giovanni opens the door, Lilla retreats to Corrado in the back room. Even the Infante likes the honest face of his rival. The queen orders Lubino to be untied. Lilla comes out of the cabinet to do this herself. But he believes he has been betrayed and cannot be touched. In order to appease his jealousy, she makes him believe that she has never been alone with the Infante. The Queen guarantees Lubino Lilla's allegiance and orders them to be married with Tita and Ghita. She forgives the Podestà. The six sing:

“Oh quanto un sì bel giubilo,
Oh quanto alletta e piace!
Di pura gioja e pace
Sorgente ognor sarà. "

“How nice it is to cheer like that,
what pleasure it is, what a pleasure!
Now peace and joy will determine
the rest of our days. "

Infant and Scudiere, however, remain silent.

2nd act

How Ghita sees the men ( Goya : The Straw Doll , 1791/92, detail).

Scenes 1–6 (farmhouse parlor): After the wedding, Lubino and Tita go to buy presents with which they want to surprise their wives. Meanwhile, Ghita persuades Lilla that as a married woman, she no longer needs to turn the Infante away. But she advises her to let him fidget in order to get as many presents as possible. Then she shows her a precious collar that she is supposed to bring her and a wallet with which the infant bought her coupler services . Of her century - which of course means the eighteenth - she sings:

"Femmine amabili,
Non vi lagnate,
In questo secolo
Voi siete nate
Per ben dagli uomini
Farvi servir."

"Lovely women,
do not complain:
in this century
you were born to be served well
by men
."

But Lilla, who doesn't want to know anything about the gift of the Infante, contradicts her with a play on words:

"Femmine amabili,
Non vi fidate,
In ogni secolo
Voi siete nate
Per ben degli uomini
Farvi sentir."

"Lovely women,
do not trust it:
In every century
you have been born
to get the feeling that you are
good (property) of men."

Corrado urges Ghita to continue trying to persuade her. If Lilla gives in to the Infante's wooing, he wants to blackmail her into doing his too.

Scenes 7-10 (vestibule): As Joseph II avoids any luxury , the queen sings the praises of the Sierra :

"Chi mai dirìa che in questi rozzi tetti
E sotto queste pastorali spoglie
Tanta virtù, tanta onestà s'accoglie?"

"It's hard to believe that in these simple huts
and under these shepherd's
clothes so much virtue, so much respectability is united!"

The monarch is therefore toying with the idea of ​​giving up the throne and retiring here. Your son, however, decides to attend the upcoming wedding party and then make use of the right to the first night . But since he still has a remorse, the Scudiere claims:

"(...) spesso la donna nega
Ad amante che prega
Quello che internamente, or brama, or gode
Ch'ei prenda colla forza, o colla frode."

"(...) the woman often denies the
pleading lover
what she desires or enjoys inwardly:
to be taken with force or with cunning."

Scenes 11–13 (street): Until it is dark night, Lilla and Ghita have no news from their husbands. They finally believe these are returning. In their place, however, they hug the Infante and the Scudiere, who have wrapped themselves in cloaks. The women recognize the deception straight away, but Lubino and Tita see them from a distance. So they trick them into thinking that they had talked to returning farmers.

Abduction ( Goya : Maja with hooded men, 1777, detail).

Scenes 14–16 (farmhouse parlor): The two couples sit down together for dinner, but the men have lost their appetite. They interrogate the women about what has happened. Finally, Ghita slaps Tita in the face - knowing full well that he will not hold this outburst of temper against her for long. The victim grumbles, occasionally falling from Italian into Spanish, he would like to challenge this “murderous witch” to a duel or, for his part, to cheat. Lubin sighs: “Only a crazy man marries a beautiful woman!” Lilla tries to bring the jealous to his senses:

"Gli affanni sofferti,
O caro, rammenta
E allora paventa
Di mia fedeltà!"

"Remember, dearest,
what I went through (for you),
And then still doubt
my loyalty!"

When Ghita can finally serve up, you can hear guitar sounds from outside. The Infant serenades Lilla , reminiscent of the aria "Deh, vieni alla finestra" from Don Giovanni :

“Non farmi più languire, o vita mia,
Lasciami un po 'veder quel viso bello!
Se ti vien voglia di saper ch'io sia,
Guardati in mezzo il cor, ch'io vivo in quello! "

“Don't let me languish any longer, my life,
let me see your beautiful face a little!
If you want to know who I am,
look straight to the heart, that's where I live! "

Angry about this insolence, Lubino and Tita storm out of the house. The women also equip themselves with cloaks and swords and hurry after them.

Scenes 17–19 (street): To prove their loyalty, Lila and Ghita stand protectively in front of their husbands when they clash with the Podestà and the Scudiere in the dark. The infant ends the fight by revealing himself.

Before the troublemakers leave, Corrado lets the door of the house fall into the lock so that its residents are locked out. Lubino and Tita hurry after the Infante to complain about it, which enables the Scudiere to approach Lilla. His plan to kidnap her with the help of a few henchmen fails due to the resistance of the women and Lubino's return.

While Ghita goes looking for Tita, Lilla finally manages to convince Lubino that she is loyal to him in spite of her "all too great beauty". The voices of the two merge in the duet that Joseph II had repeated ( Count Zinzendorf, on the other hand, found it harmful to young people):

"Pace, caro mio sposo!" -
"Pace, mio ​​dolce amore!" -
"Non sarai più geloso?" -
"No, non sarò, mio ​​core." -
"Mi vorrai semper ...?" - "Bene." -
"Mi sarai semper ...?" - "Amante." -
"Son la tua sola ...?" - "Speme." -
"Ti serberai ..." - "Costante." -

"Vieni tra i lacci miei!
Stringi, mio ​​caro ben!
L'anima mia tu sei.
Ti vo morir nel sen. "

“Peace, my dear bridegroom!” -
“Peace, my sweet love!” -
“Are you no longer jealous?” -
“No, definitely not, my heart.” -
“Are you always ...?” - “Good . ”-
“ Will you always…? ”-“ Love. ”-
“ Am I your only one…? ”-“ Hope. ”-
“ And I will stay with you… ”-“ Faithful. ”-

“ Come into my arms!
Hold me close, honey!
You're my Soul.
I want to die on your breast. "

The opposite of harmony prevails with the other couple: when Tita finds the collar and purse in Ghita's pocket, which she received from the Infante, he is about to kill her. Lilla brings her friend to safety while Lubino rushes with Tita to the queen to report what has happened.

Seguidilla ( Goya : The dance on the banks of the Manzanares , 1777, detail).

Scenes 20–23 (landscape): Isabella is preparing to resume the interrupted hunt. The infant will accompany them. Tita delivers her the presents that he found at Ghita. The heir to the throne does not have the courage to admit that he wanted to seduce Lilla. At his hint, the Scudiere takes the blame on himself, whereupon he is deposed by the Queen and banished from Spain. To keep himself harmless, he puts his collar and purse into his pocket.

Dressed as Majas and playing guitar, Lilla and Ghita say a song to thank Isabella for restoring her honor. Towards the Infante they behave as naturally as if nothing had happened, they kiss his hand and let him kiss their forehead. Ghita sings a Seguidilla , in which she compares the departure of the Queen with the setting of the sun, while dancing with Lilla Lubino it. Then Ghita dances with Tita to Lilla's singing. Lilla and Ghita put the Infante to shame, who tries to sneak away by asking his forgiveness and forcing them to declare “patterns of respectability”. The opera ends with the majesties set out to hunt.

The ambiguous happy ending allowed the audience of the Burgtheater to drive home enthusiastically of Martín's music despite the unmistakable criticism of the libretto of the moral corruption of the Ancien Régime .

Instrumentation

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

Allusion to the collar affair

Deserves mention that the gift which the Prince Lilla wants to do, to the subject of the necklace affair is reminiscent of 1785-86 - a diamond collier , the Cardinal Rohan for Queen Marie-Antoinette , the favorite sister of Joseph II, bought.. The last Prince-Bishop of Strasbourg, known as a bon vivant, was removed from his post as Grand Almosier of France and banished. But the collar was gone.

Quoted by Mozart

Una cosa rara replaced the first product of the collaboration between Da Ponte and Mozart, Le nozze di Figaro , from the Burgtheater's repertoire. The imperial-royal general and poet Cornelius von Ayrenhoff wrote:

“(…) The music is definitely of the loveliest harmony that I have ever heard. In this opera, Martin leaves all Italian composers behind in terms of sound and sweetness. "

In the next joint work by Da Pontes and Martín, created in 1787 - an allegory of the abolition of the monasteries by Joseph II with the title L'arbore di Diana  - the goddess of chastity appears personally, but is subject to Amore, the god of love . Da Ponte and Mozart took up the theme of the noble seducer in Don Giovanni in 1787 , and that of female loyalty in Così fan tutte in 1790 . In the finale of Don Giovanni the melody of the sextet “Oh quanto un sì bel giubilo” is inserted as a quote played by the stage music , which Leporello explains with the words “Bravi! Cosa rara! “Commented. In 1790 , Schikaneder and Schak wrote a German-language continuation of the work with The Fall Is Still Far Rarer or The Plagued Husbands .

Martin had in the meantime been called to Saint Petersburg by Catherine II . In his there in 1798 incurred last opera La festa del villaggio, Leonardo J. Waisman called his best, recalls not only the scene of Spain Una cosa rara: The Sergeant Lope loves the villager Laura, but which by her brother Giannotto the simple-minded alcalde Basilio is promised. As the owner of the village , the Marquis wants to marry off some girls at the upcoming village festival . After similar entanglements as in Una cosa rara , Laura manages to get her to give Lope to his wife. But in complete contrast to Da Ponte, the librettist Ferdinando Moretti glorified the (in Russia particularly backward) aristocracy.

literature

Discography

  • Jordi Savall . La Capella Reial de Catalunya , Le Concert des Nations. Maria Angeles Peters (Isabella), Ernesto Palacio (Giovanni), Francesc Garrigosa (Corrado), Montserrat Figueras (Lilla), Gloria Fabuel (Ghita), Iñaki Fresán (Lubino), Fernando Belaza Leoz (Tita), Stefano Palatchi (Lisargo). Live recording, Barcelona 1991. Astrée E 8760, 1991 (3 CDs).
  • Giancarlo Andretta . Coro e orchestra del Teatro La Fenice ( Venice ). Cinzia Forte (Isabella), Luigi Petroni (Giovanni), Luca Dordolo (Corrado), Rachele Stanisci (Lilla), Yolanda Auyanet (Ghita), Lorenzo Regazzo (Lubino), Bruno de Simone (Tita), Pietro Vultaggio (Lisargo). Live recording, Orvieto 1999. Mondo Musica 22250, 2000 (3 CDs).
  • Harmony music: Joan Enric Lluna. Moonwinds. Harmonia Mundi , 2008.

Video

Web links

Commons : Una cosa rara  - collection of images, videos and audio files

References and comments

  1. ↑ top stall champion . Since "scudo" means heraldic shield , Corrado can be seen as a personification of the morally corrupted nobility.
  2. ↑ Lily (symbol of purity).
  3. ↑ Da Ponte refers to Lilla and Ghita as "Serrane" , in alignment with Spanish , Lubino and Tita as "Serrani".
  4. ↑ Gretchen.
  5. ^ Italianized name of the protagonist of the Opéra-comique Annette et Lubin by Adolphe Blaise and Justine Favart (1762) after the story of the same name by Jean-François Marmontel .
  6. ↑ Baptist.
  7. ^ Bailiff. Corresponds to the Spanish Alcalde or Corregidor.
  8. ↑ The contemporary translation “ virtue ”, which would correspond to the Italian “virtù”, puts Lilla in too bright a light.
  9. ↑ Da Ponte worked in Vienna since 1781, Martín since 1785. Together they also wrote Il burbero di buon cuore (Vienna, 1786), L'arbore di Diana (Vienna, 1787), La capricciosa corretta and L'isola del piacere (both London, 1795).
  10. ↑ Christine Martin: Vicente Martín y Soler's opera “Una cosa rara”. (...) Hildesheim 2001, p. 13.
  11. ^ Ludwig Börne: All writings. Edited by Inge u. Peter Rippmann. Volume 1, Darmstadt 1964, p. 381 f.
  12. ↑ Cf. Roman Rózdolski: The great tax and agricultural reform of Josef II. Państwowe Wydawnictwo Naukowe , Warszawa 1961 (German). When the emperor's tuberculosis reached its final stage, it is said to have stood on the wall of the Hofburg : "The peasant God, the citizen need, the nobility ridicule lies on death." (Elisabeth Schmuttermeier: Der Tod Josephs II., In: Österreich zur Time of Emperor Joseph II, Vienna 1980, pp. 279–281, quote: p. 279)
  13. ↑ Da Ponte attested the emperor “a select taste in the field of music and the fine arts in general”. Cf. Memorie di Lorenzo Da Ponte (…) 2nd edition, 1st volume, part 2, Nuova-Jork 1829, p. 72: “Era egli d'un gusto squisito in fatto di musica, come lo era veracemente in tutte le belle arti. "
  14. ^ Memorie di Lorenzo Da Ponte (...) 2nd edition, 1st volume, part 2, Nuova-Jork 1829, p. 90: “(...) per piacere sì a lui che all'Ambasciatrice di Spagna sua protettrice, pensai di sceglier un soggietto Spagnuolo (...) "
  15. ↑ Comedia famosa de la Luna de la Sierra. In: Doze comedias las mas grandiosas que hasta aora han salido, de los mejores, y más insignes poetas, Lisboa 1653, pp. 175–222 ( digitized versionhttp: //vorlage_digitalisat.test/1%3Dhttp%3A%2F%2Fwww.cervantesvirtual.com%2Fobra%2Fla-luna-de-la-sierra%2F~GB%3D~IA%3D~MDZ%3D%0A~ SZ% 3D ~ double-sided% 3D ~ LT% 3D ~ PUR% 3D ). Since Ponte wrote the play, which in turn from the tragicomedy Peribáñaz y el de Comendador Ocana of Lope de Vega (1614) inspired is erroneously Calderon to.
  16. ↑ For example, in the “dramatic story” The King and the Miller of Mansfield by Robert Dodsley (1737), in the comedy La partie de chasse de Henri IV by Charles Collé, in the Opéra-comique Le Roi et le Fermier by Michel-Jean Sedaine and Pierre-Alexandre Monsigny (both 1762), in the dramma giocoso Il re alla caccia by Carlo Goldoni and Baldassare Galuppi (1763) and in the singspiel Die Jagd by Christian Felix Weisse and Johann Adam Hiller (1770). Cf. Leonardo J. Waisman: Vicente Martín y Soler (...) Madrid 2007, p. 281, note 16.
  17. ↑ Cf. Gustav Gugitz: Josef II. Und die Frauen, in: Neues Wiener Tagblatt, January 27, 1935, p. 23 f .; February 3, 1935, p. 23. To equate the Infante with Joseph II and the Queen with Maria Theresa , as Mary Hunter does ( The Culture of Opera Buffa in Mozart's Vienna, A Poetics of Entertainment, Princeton University Press , Princeton 1999, P. 78) is untenable. Cf. Leonardo J. Waisman: Vicente Martín y Soler (…) Madrid 2007, p. 286, note 26.
  18. ^ Decimus Junius Iuvenalis : Saturae , Liber IV, Satura X, 297 f. Translated: “The connection of beauty with modesty is a rare thing.” The Infante repeats this in Italian, using “onestade” for “pudicitia”. (2nd act, scene 9)
  19. ↑ Memorie di Lorenzo Da Ponte (...) 2nd edition, 1st volume, part 2, Nuova-Jork 1829, p. 56: "(...) era nel suo fiore, e tutta la delizia di Vienna."
  20. ↑ Memorie di Lorenzo Da Ponte (...) 2nd edition, 1st volume, part 2, Nuova-Jork 1829, p. 91.
  21. ↑ Memorie di Lorenzo Da Ponte (…) 2nd edition, 1st volume, part 2, Nuova-Jork 1829, p. 92: “una musica sì vaga, sì amena, sì nova, e sì popolare”.
  22. ↑ Lilla and Lubino, 2nd act, scene 19. The beginning of the duet is depicted on the portrait of the composer by Jakob Adam after Joseph Kreutzinger .
  23. ↑ Apparently Martín was short.
  24. ↑ Memorie di Lorenzo Da Ponte (...) 2nd edition, 1st volume, part 2, Nuova-Jork 1829, p. 96: "Noi avremmo potuto avere più avventure amorose che non ebbero tutti i Cavalieri eranti della tavola rotonda (...) Lo Spagnoletto (...) ne profittò in tutti i modi. "
  25. ↑ Journal des Luxus und der Moden ( Weimar ), October 1787, p. 351 f. (Vienna, August 30th).
  26. ↑ Martín had already worked with Morichelli in Madrid. She later became his favorite singer. See Dorothea Link: Anna Morichelli, Vicente Martín y Soler's Champion Singer. 2010 ( digitized versionhttp: //vorlage_digitalisat.test/1%3Dhttp%3A%2F%2Fmusi.franklin.uga.edu%2Fsites%2Fdefault%2Ffiles%2Ffaculty-cv%2FMorichelli_article.pdf~GB%3D~IA%3D~MDZ%3D% 0A ~ SZ% 3D ~ double-sided% 3D ~ LT% 3D ~ PUR% 3D ), passim .
  27. ↑ Only Martíns L'arbore di Diana , Sartis Fra i due litiganti il ​​terzo gode and Paisiellos Il barbiere di Siviglia and Il re Teodoro in Venezia achieved a higher number in the same period . Part of the performances took place at the the same ensemble recorded theater next to the Kärntnertor instead.
  28. ↑ Peter Branscombe : Mozart and the theater of its time, in H. C. Robbins Landon (ed.): Das Mozart-Kompendium (…), Munich 1999, pp. 419–431, here: pp. 428–431.
  29. ↑ Belgium, Denmark, Germany, France, Great Britain, Italy, Lithuania, Netherlands, Austria, Poland, Portugal, Romania, Russia, Switzerland, Slovakia, Slovenia, Spain, Czech Republic, Hungary.
  30. ↑ Christine Martin: Vicente Martín y Soler's opera “Una cosa rara” (...) Hildesheim 2001, pp. 124, 158, 425-430.
  31. ^ By Gerhard Allroggen ( G. Henle Verlag , Munich 1990) and Irina Kriajeva (Iberautor / Instituto Complutense de Ciencias Musicales, Madrid 2001).
  32. ↑ Leonardo J. Waisman: Vicente Martín y Soler (…) Madrid 2007, p. 277 f.
  33. ↑ In 1767 Johann Kaspar Thürriegel from Bavaria had received a concession for the economic development of this mountain area and subsequently settled a thousand families from Switzerland and numerous Germans there.
  34. ↑ Leonardo J. Waisman: Vicente Martín y Soler (…) Madrid 2007, p. 288 f.
  35. ↑ Leonardo J. Waisman: Vicente Martín y Soler (…) Madrid 2007, pp. 278–281.
  36. ↑ Una cosa rara o sia Bellezza ed onestà. Dramma giocoso in due atti. Da rappresentarsi nel teatro di corte l'anno 1786. In Vienna, Giuseppe nob. de Kurzbek (...) ( digitized versionhttp: //vorlage_digitalisat.test/1%3Dhttp%3A%2F%2Fdigital.onb.ac.at%2FOnbViewer%2Fviewer.faces%3Fdoc%3DABO_%252BZ170975707~GB%3D~IA%3D~MDZ%3D%0A~ SZ% 3D ~ double-sided% 3D ~ LT% 3D ~ PUR% 3D )
  37. ↑ Le Concert des Nations, Jordi Savall , Astrée (1991); Teatro La Fenice , Giancarlo Andretta , Mondo Musica (1999).
  38. ↑ Scene 1.
  39. ↑ Infant: "Amico, hai vista mai
    Fanciulla più gentile di costei?"
    Corrado: "Non ha beltà la Spagna uguale a lei." (Scene 4)
  40. ↑ Scene 5.
  41. ↑ Scene 7.
  42. ↑ Masetto on Don Giovanni: "(...) Vo 'farlo in cento brani ..." (2nd act, scene 5)
  43. ↑ Scene 9.
  44. ↑ Aria “Vedrai, carino” (2nd act, scene 6). Cf. Leonardo J. Waisman: Vicente Martín y Soler (...) Madrid 2007, p. 310.
  45. ↑ Scene 11.
  46. ↑ Lubino: "Un agnello divento, anzi un coniglio." (Scene 12)
  47. ↑ See Leonardo J. Waisman: Vicente Martín y Soler (...) Madrid 2007, p. 288.
  48. ↑ Scene 13.
  49. ↑ Scene 14.
  50. ↑ "Ma sapete, ch'io posso
    A forza aver quel che per grazia or chiedo." (Scene 14)
  51. ↑ Italian "doppie", as the double Louisdors were also called.
  52. ↑ Scene 14.
  53. ↑ Scene 18.
  54. ↑ Italian "collana". The material is not specified, but a diamond necklace could be meant.
  55. ↑ Scene 3.
  56. ↑ Scene 4. Ending later defused to:
    "Per ben dagli uomini
    Farvi istruir."
  57. ↑ Scene 8.
  58. ↑ Scene 9.
  59. ↑ For example, “por la vida de mi padre” instead of “sulla vita di mio padre”. (Scene 14)
  60. ↑ "Pazzo quell'uom che bella moglie prende!" (Scene 15)
  61. ↑ Scene 15.
  62. ↑ Scene 16.
  63. ^ Dorothea Link: The National Court Theater in Mozart's Vienna, Sources and Documents 1783–1792. Clarendon Press, Oxford 1998, p. 286 (January 17, 1787).
  64. ↑ Scene 19.
  65. ↑ Mentioned in reverse order by Tita and Lubino (scene 22), as the two do not recognize the value of the collar.
  66. ↑ The idea that princes owed an account only to God was associated with divine grace .
  67. ↑ Members of the lower class of Madrid dressed up in folklore .
  68. ↑ “Son esempi di bellezza!
    Son esempi di onestà! "(Scene 23)
  69. ↑ Silke Leopold : Una cosa rara ossia Bellezza ed onestà. In: Piper's Encyclopedia of Musical Theater . Volume 3: Works. Henze - Massine. Piper, Munich / Zurich 1989, ISBN 3-492-02413-0 , pp. 703-704.
  70. ↑ Le nozze di Figaro only got nine performances, one of which was after the world premiere of Una cosa rara. This, although the female lead (Susanna) was also occupied by Nancy Storace.
  71. ↑ Of Mr. Cornelius von Ayrenhoff kaiserl. royal Majors-general, all works. 4th volume, Vienna / Leipzig 1789 ( digitized versionhttp: //vorlage_digitalisat.test/1%3D~GB%3D5K5LAAAAcAAJ%26pg%3DPA233%26dq%3D%2522da%2Bponte%2522%26hl%3Dde%26sa%3DX%26ved%3D0ahUKEwjbgpag7OwdnVAHWH26% 3Dfalse ~ IA% 3D ~ MDZ% 3D% 0A ~ SZ% 3D ~ double-sided% 3D ~ LT% 3D ~ PUR% 3D ), p. 233 f. (Vienna, January 31, 1788)
  72. ↑ Cf. Memorie di Lorenzo Da Ponte (...) 2nd edition, 1st volume, part 2, Nuova-Jork 1829, p. 102.
  73. ↑ Act 1, scene 18.
  74. ↑ Leonardo J. Waisman: Vicente Martín y Soler (...), Madrid 2007, pp. 120, 381.
  75. ↑ Dissolution of the abbreviation: " Nomen nominandum poetae arcani." ("The name of the anonymous poet is to be inserted here .") If you believe the Memorie di Lorenzo Da Ponte (...) 2nd edition, 1st volume, part 2, Nuova-Jork 1829, p. 93 f., The author of the libretto would only have hidden behind this acronym because he wanted to play a trick on his opponents Abate Casti and Count Rosenberg .