Il tenore rossiniano

Speranza

L'Opere di Rossini

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OTTOCENTO.

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1806.
"Demetrio e Polibio".
Composta nel 1806 ma rappresentata al Teatro Valle, Roma, il 18 maggio 1812.

OTTOCENTO DIECI.

1810.
"La cambiale di matrimonio: farsa comica in un atto".
Libretto di Gaetanno Rossi (1774-1855). Based on a five-act comedy by CAMILLO FEDERICI, which had provided a libretto that CARLO COCCIA had set to muisc in 1808.
Teatro San Moisè
Venezia,
3 nov. -- (12 performances)
sua prima opera rappresentata.
Edoardo Milfort, tenore. --- ORIGINAL CAST: R. Morandi, N. de Grecis, L. Raffaelli, T. Ricci.

PLOT: A room in the hosue of the agent Tobia Mill (bass). He is satisfied because a rich American businessman named SLOOK (baritone) has made him a good offer: a large sum of money for a beautiful wife. TOBIA immediately thinks of his own daughter, FANNY (soprano), who, in turn, quickly hears of the scheme from her father's cashier, NORTON (bass) and her chambermaid CLARINA (soprano). FANNY is secretly in love with EDOARDO MILFORT (tenore) and is distressed by her father's decision, but her two freinds promise to help her. When the American arrives, he cannot but be aware of the frigid reception FANNY gives him. She threatens to put out his eyes if he marries her -- yet is nevertheless pleased with her. EDOARDO then arrives, asserting his own right to marry FANNY. SLOOK is impressed by the determination of EDOARDO so he gives EDOARDO the 'marriage contract' ("la cambiale di matrimonio") and names him his heir. The then takes TOBIA aside, and though expressing approval of FANNY, declares he will NOT marry her. TOBIA is furious and reminds him that he has signed the "marriage contract" ("la cambiale di matrimonio"), but the American cannot be moved and accepts when TOBIA challenges him to a DUEL. On the DUELLING ground, SLOOK informs TOBIA that FANNY is deeply in love with EDOARDO and TOBIA, knowing that EDOARDO is NOW heir to all of Slook's property agrees the marriage. The generous benefactor then takes his leave, returning to his own country, and the opera ends amid general rejoicing and congratulations.

The trio "Quell'amabile vision" seems to be the work of a master. Also worth noting is the final sextet, "Vi prego un momento". There is a mixture of comic and sentimental features which already give a hint of the originality marking Rossini's later style.

ARIA DI EDOARDO, "Quell'amabile vision".

Quell’amabile vision quell’occhietto amorosetto ---- a
quel complesso sì perfetto -------------------------------- a
e di grazie e di beltà---------------------------------------- b
o creò per altri amore---------------------------------------c
aro mio, per voi non fa-------------------------------------b
vi consiglio, ma di core-----------c
ritornaro in Canadà----------------b

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1811.
"L'equivoco stravagante"

dramma giocoso per musica in due atti.
Teatro del Corso,
Bologna, 26 ott.
---> Ermanno, giovane povero, amante di Ernestina, tenore.


d'un tenero ardore --------a
accetta le prove--------
e lieto il mio core-------------a
mio bene, sarà.

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1812.


"L'inganno felice, ossia la duchessa ISABELLA: farsa per musica in un atto.
Libretto: Giuseepe Maria Foppa (1760-1845).

Teatro San Moisè
Venezia
8 genn.

PLOT: A valley, with the entrance to a mine, and the house of TARABOTTO, leader of the coalminers. Ten years previously, TARABOTTO took into his home a poor girl, NISA, who he pretended was his niece, but sho is really ISABELLA, wife of the DUCA who ones the mine and who believes she is dead. ORMONDO and BATONE, in fact, were responsible for a plot to make her disappear. The DUCA then remarried but his second wife has since died. THE DUCA arrives with Ormondo and BATONE (who almost recognises NISA) and TARABOTTO arranges things in such a way that the DUCA sees her and they both become uneasy. TARABOTTO then overhears ORMONDO and BATONE planning to abduct his 'niece', who so strangely resembles the duchess they had believed dead. BATONE is on the point of repentance but does not wish to give himself away to TARABOTTO who plies with him with pointed questions. EVENTUALLY, TARABOTTO tells tehe DUCA that someone is trying to harm his 'niece'. ORMONDO is ready to kill himself to expiate his crimes. ISABELLA, finally recognised as the duchess, prevents this. The opera ends with general rejoicing.

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1812.
"CIRO in Babilonia",
o sia La caduta di Baldassare.
Teatro comunale,
Ferrara, 14 mar.

BALDASSARE, re di BABILONIA, is attracted by AMIRA, wife of CIRO, re di PERSIA, whom he has defeated in battle. While she and her small son are his prisoners, the Babilonian king tries to persuade her to yield to his desires. AMIRA resists BALDASSARE. CIRO, digusied as an ambassador, tries to rescue AMIRA, but is discovered and imprisoned. BALDASSARE is determined to have ALMIRA, even against her wishes, and orders a wedding banquet to be prepared. Suddenly, a violent storm erupts and in the midst of the thunder and lightning a mysetrious hand traces on the wall, in letters of fire, an obscurely menacing message. The Babylonian king, much perturbed, summons his magicians and the PROFETA DANIELE, who interprets the words as a "SIGN" of "divine wrath". The magicians counsel the king to sacrifice his three illustrious Persian captives. As Ciro, AMIRA and their son prepare for execution, news arrives that the Babylonian defences have been breached by the PERSIANS. Ciro is SET FREE and assumes Baldassare's throne. The people pay homage to their new king.

"A failure" -- Rossini wrote. The score contains some original arias which gave the opera a certain popularity at the time.


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1812.
La scala di seta: farsa comica in un atto.
Libretto: GIUSEEPE MARIA FOPPA (1792-1868).
Tratto di "La scala di seta" di PLANARD-Gaveaux.
Teatro San Moisè
Venezia,
9 magg.

Dorvil, tenore.

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Giulia's apartment. Her guardian, DORMONT, is unaware that his ward is secretly married to DORVIL, and wishes to marry her to BLANSAC. The latter is loved by Giulia's cousin, LUCILLA. Every night, DORVIL joins his wife, climbing to her room by means of a silken ladder. One evening, coming away from their secret meeting, DORVIL meets DORMONT and BLANSAC in front of the house, and they invite him to see GIULIA. Thus he husband is forced to watch BLANSAC pay court to his wife, who does not appear to be at all that unwilling. GERMANO, the servant, hints to BLANSAC that GIULIA will be waiting for him that night. LUCILLA, discovering the assignment, hides in order to catch the couple; and the servant, too, prepares to eavesdrop. The SILKEN LADDER affords entry, as usual, to DORVIL. THEN BLANSAC, the optimistic suitor, clambers up by the same route; and finally DORMONT climbs the ladder into GIULIA's room, surprising LUCILLA, GERMANO, and BLANSAC. The only solution would seem to be a quick wedding. but DORVILL, who has hidden himself on BLANSAC's arrival, now reveals the truth state of affairs. The coupl are fogiven by DORMNOT who also agrees to the marriage of LUCILLA and BLANSAC.

ARIA DI DORVIL:
Vedrò qual sommo incanto qual sommo incanto
di femmina nel petto di femmina nel petto --------------------a
rechi un novello affetto --------------------------------------------a
o un lusinghiero ardor.----------------------------------------------b

--- CODA:  rechi un novella affetto o un lusinghiero ardor. rechi un novella affetto o un lusinghiero ardor. Un lusinghiero ardor, lusinghiero, lusinghiero ardor.

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1812,

La pietra del paragone: melodramma giocoso in due atti.

LIBRETTO: LUIGI ROMANELLI (1751-1868).

Teatro alla Scala
Milano, 26 sett. (50 performances).

PLOT: The wealthy COUNT ASDRUBALE (bass) invites a number of friends to his villa, among them the widowed marchessa CLARICE (contralto), whom he loves. The other ladies, ASPASIA and FULVIA, are determined to amrry him, so he decides to put them to the test. DISGUISED as a TURKISH merchant, the COUNT Asdrubale arrives at the villa, claiming that the count owes him a large sum of money. His servant informs him that the debt will never be paid, so the TURK threatens to confiscate all the count's possessions. MOST OF his 'close' frineds, not wishing to get involved in the affair, deny having anything to wo with Asdrubale. ONLY GIOCONDO (tenore) and CLARICE remain loyal to him. THE COUNT then reveals the trick and pardons them all. MEANWHILE, CLARICE, determined to turn the table and test the count, dresses up as A SOLDIER and introduces herself at his home as LUCINDO, CLARICE's twin brother, who is determined to remove his sisterm from an unsuitable environment which is causing her considerable distress. The count asks the stranger for his sister's hand in marriage. CLARICE abandons her disguise and the two swear their mutual love. ASPASIA and FULVIA, disappointed, have no choice but to find other lovers.

-- The score isw one of Rossini's most graceful compositions.
----


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1812,
L'occasione fa il ladro
ossia Il cambio della valigia
Teatro San Moisè
Venezia, 24 nov.
. Conte Alberto (tenore).
D'ogni più sacro impegno --------a
sciolta pur sia la fede -------------- b
amor da voi non chiede ------------b
chi amor per voi non ha----------- c
pera chi vuol costringere ----------d
d’un cor la libertà -------------------- e
si, d’un cor la liberta si, d’un cor la liberta d’un coro la liberta.
ma se un sospetto indegno -----------a
di soverchiarmi intende ------------- f
quel generoso sdegno --------------- a
che il mio decoro accende --------- f
dalla ragione armato ---------------- g/----- line /
un vano ardir confondere ------------ d
e impallidir farà ------------------------ e.
si si fara. chi amor per voi non ha chi amor per voi non ha chi amor per voi non ha Molto stringere La liberta

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1813.
Il signor Bruschino
ossia Il figlio per azzardo: farsa giocosa in un atto.
LIBRETTO: GIUSEPPE MARIA FOPPA (1760-1868).


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Teatro San Moisè
Venezia, 27 genn.

PLOT: FLORVILLE (tenore), on the death of his father, tells SOFIA (soprano) that he is finally able to marry her. Her guardian, GUADENZIO (bass), however, a bitter enemy of FLORVILLE's father, has promised the girl in marriage to a certain BRUSCHINO (tenore)., a stranger to everyone. FLORVILLE, for his part, refuses to accept this sutaition and goes to the inn where BRUSCHINO is lodging. He discovers that BRUSCHINO is in debt to the landlord, FILIBERTO (bartitone). FLORVILLE pays off part of the debt and obtains in exchange a letter from BRUSCHINO to his father, expressing regret for his folly and asking for help. FLORVILLE, letter in pocket, now goes to GAUDENZIO, and impersonates BRUSCHINO, getting into the man's good books. WHEN BRUSCHINO senior arrives (bass) , he deoes not recognise FLORVILLE as his own son, but everyone assumes that he is deliberately denying him, because he does not really believe that he is repentant. When young BRUSCHINO does appear, however, the father pretends that FLORVILLE is REALLY his son and marries him off TO SOFIA in order to cancel the 'marriage contract' with GAUDENZIO. The guardian, enraged by the hoax, has to accept the fait accompli.

---



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1813.
Tancredi: melodramma eroico in due atti.
LIBRETTO: GAETANO ROSSI (1774-1855)
Based on Voltaire's tragedy and Tasso's Gerusalemme liberata.
Teatro La Fenice
Venezia,
6 febbr. 1813 -- ORIGINAL CAST: A Malanotte, E. Manfredini, P. Todran, L. Bianchi, T. Marchesi.

PLOT: SIRACUSA, in the ninth century. Acdt I: Argirio (tenore), lord of SIRACUSA, has promised his daughter AMENAIDE (soprano) in a marriage to the leader of the rival factioln, ORBAZZANO (bass), with a vew to uniting all groups against a common enemy, the Saracens, who are besieging SIRACUSA. AMENAIDE is in despair, however, for, as she confesses to her friend ISAURA (mezzo-soprano), she loves TANCREDI (contralto), son of the desposed king of SIRACUSA, and she sends him a message. IN the park of ARGIRIO's palazzo, AMENAIDE warns TANCREDI that he is suspected of being an ally of the Saracens and urges him to flee.without telling him about her father's marriage plans. When TANCREDI discovers that AMENAIDE is about to wed another man, he reproaches her bitterly for her treachery. AMENAIDE confronts her father and proudly refuses the and of ORBAZZANO. Orbazzano then produces a letter sent by AMENAIDE to her lover, which was intercepted accidentally near the SARACEN camp. Because it does not bear the name of the intended recipient, it is assumed that it was intended for their chief, SOLAMIR. AMENAIDE is thrown into prison, accused of having shamefully betrayed her people. ACT II: Amenaide's prison. ARGIRIO laments the fate of his daughter, for he has the duty of condemning her. TACREDI, unrecognised in disguise, challenges ORBAZZANO to a duel to prove AMENAIDE's innocence, although even TANCREDI believes her guilty. ORBAZZANO ****IS KILLED***** in the combat and ISAURA reveals to AMENAIDE the true identity of the man who saved her. TANCREDI still believes that AMENAIDE has betrayed him and despite her entreaties, he rushes off to defend the city of SIRACUSA against a fresh Saracen assault. His forces defeat the enemy and lift the siege of SIRACUSA. The message thought to have been sent to SOLAMIR is discovered to have been meant for TANCREDI, and so, while the people celebrate the victory, he is finally united to AMENAIDE, with her father's blessing.

NOTE: In Voltaire's tragedy, TANCREDI dies in battle. The opera was revived for the "Lent" season in Ferrara in the same year: in this version, TANCREDI indeed dies in battle. The Ferrara audience showed disapproval, and the 'happy ending' version was restored.
In VENEZIA, "mi rivedrai, mi rivedro" was sung in the streets and on the canals.
It was the first opera to establish the composer's name.


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1813.
L'Italiana in Algeri: dramma giocoso in due atti.
LIBRETTO: ANGELO ANELLI (1761-1820).
Based on a newspaper story. Anelli's libretto, commissioned by the Teatro alla Scala, was originally intended for LUIGI MOSCA, whose version had been staged five years before.

Teatro San Benedetto
Venezia,
22 magg.

ORIGINAL CAST: M. Marcolini (Isabella), Serafino GENTILI (Lindoro), F. Galli (Mustafa) , P. Rosich.

PLOT: Act I: ALGERI. A room in the palace of MUSTAFA the bey of ALGIERS. Mustafa (bass) no longer loves his wife ELVIRA (soprano), and plans to get rid of her by marrying her to LINDORO (tenore), an Italian slave. MUSTAFA orders his henchman, HALY (bass), to find an ITALIAN wife. By chance, an Italian ship is shipwrecked on the coast and HALY congratulates himself on finding a beautiful Italian woman, ISABELLA (contralto), sutable for the bey. ISABELLA is in fact looking for LINDORO, whom she loves, and travelling in the company of an admirer, TADDEO (baritone), whose niece she pretends to be. ISABELLA immediately impresses MUSTAFA with her beauty and recognising LINDORO she arranges matters to her liking. ISABELLA insists that MUSTAFA should retain ELVIRA as his wife and takes LINDORO as her personal slave. ACT II: Haly, Elvira and ZULMA (mezzo-soprano), her confidante, are astonished to see the terrible MUSTAFA become so DOCILE, while ISABELLA and LINDORO confirm their love for one another and plan to escape. MUSTAFA nominates TADDEO as "Grand KAIMAKAN of Algeria" in honour of his niece. In Isabella's apartment, she is dressing herself in the Turkish style and invites ELVIRA to join them. When the bey arrives to have coffee with her, MUSAFA, anxious to be alone with Isabella, tells TADDEO that he will sneeze as a SIGNAL for his Kaimakan to get everyone to leave. ISABELLA, however, intends to avoid being alone with MUSTAFA, and despite all his SNEEZING, everybody stays. MUSTAFA is overjoyed when LINDORO explains to him that the only reason ISABELLA delays in marrying himsef is that he does not belong to the noble order of "PAPATACI" (whose who shall eat and be silent) because he can be initiated by LINDORO and TADDEO. Dressed in ITALIAN clothes, MUSTAFA is prepared for the ceremony by all the Italians in his household. ISABELLA has prepared to escape for them all in return of their help. The Guards are given too much to drink and the ceremony begins. LINDORO and ISABELLA pretend that the arrival of the ship is part of the ritual, and it is only when all the Italians are on board and it is safely underway that MUSTAFA is brought to realise that he has been tricked. Thankfully, he returns to ELVIRA and all ends happily.

----

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1813.
Aureliano in Palmira
Teatro alla Scala,
Milano,
26 dic.

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1814.
Il Turco in Italia: dramma buffo in due atti.

LIBRETTO: FELICE ROMANI (1788-1865).
Teatro alla Scala
Milano,
14 ag.1814.

PLOT: A gypsy camp, near NAPOLI. PROSDOCIMO (baritone), a poet, is looking for a plot for a play. He comes across two runaway TURKS, and ZAIDA (mezzosoprano) tells him that she left the service of one SELIM DAMELEC because her love for him could not be fulfilled. A NEAPOLITAN, Don Geronio (bass) then appears to have his palm read and complains taht his wife FIORILLA is very temperamental, an observation that is borne out of her behaviour when she sees a handsome TURK (none other than SELIM (bass)) arrive in the harbour. PROSDOCIMO is delighted by the turn of events for his purposes, but narrowly avoids a beating when the participants notice that he is making fun of them. From the moment when FIORILLA (soprano) confronts ZAIDA, the complications build up to a suitably hilarious cliamx of a MASKED BALL, after which SELIM takes SAIDA back to TURKEY. FIORILLA returns to GERONIO. Narciso (Fiorilla's admirer) learns from his experience and Prosdocimo goes off to write his play.



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1814.
"Sigismondo"
Teatro La Fenice
Venezia,
26 dic.
1815.
"Elisabetta, regina d'Inghilterra"
Teatro San Carlo
Napoli, 4 ott.
1815.
"Torvaldo e Dorliska"
Teatro Valle,
Roma 26 dic.

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1816.
"IL CONTE D'ALMAVIVA,"
o sia l’inutile precauzione: melodramma buffo in due atti.
"Il barbiere di Siviglia."
LIBRETTO: CESARE STERBINI (1784-1831) -- replacing the librettist FERRETTI.

based on first part of the trilogy  by BEAUMARCHAIS.
--- The opera was entitled "IL CONTE D'ALMAVIVA" to avoid problems with the trust of Paisiello.
Teatro Argentina,
Roma,
20 febbr.

ORIGINAL CAST: L. Zamboni, G. Giorgi-Righetti, M. Garcia, B. Botticelli, E. Vitanelli.

SYNOPSIS. Act I. Scene I. SEVILLE, a square at dawn. COUNT ALMAVIVA (tenore) is in love with ROSINA (mezzo-soprano), ward of Dr. BARTOLO (bass). With his servant FIORELLO (tenor) and a group of musicians, he sings a serenade to ROSINA (Ecco ridente in cielo), but with no result. A joyful song from offstage announces the entrance of FIGARO (baritone), city barber and jack of all trades. CAREFREE and confident, FIGARO is a friend of the count and a regular visitor to BARTOLO's house. FIGARO promises to help ALMAVIVA in his courtship. BARTOLO comes out of the house and the pair overhear him mentioning a plan to marr yhis ward as soon as possible. FOLLOWING FIGARO's advice, ALMAVIVA sings ANOTHER SERENADE, introducing himself as a certain LINDORO, since he does not wish to win ROSINA's heart with the aid of his noble rank. Now she replies. ALMAVIVA is happy, and resolves to get into BARTOLO's house by pretending to be a slightly tipsy soldier with a fake billeting order. Scene II. A room in Bartolo's house. Rosina is impatient to send back a love message to LINDORO (Una voce poco fa) and also asks FIGARO for his assistance. BUT THEIR conversation is interrupted by the return of her guardina. Then the music master, the hypocritical, obsequious BASILIO (bass) enters, announcing the arrival in Seville of Count ALMAVIVA, who he knows has been making eyes at ROSINA, but shom she does not know. He advises BARTOLO to use calumny to compel this potential rival to leave the city. BARTOLO and BASILIO go out and Rosina gives FIGARO a note for LINDORO. Bartolo, on his return, suspects something is wrong and scolds his ward. Now the count enters, disguised as a solider and pretending to be drunk, but he tells ROSINA that he is actually LINDORO. When the doctor persuades ROSINA to hand over what he assumes to be a letter, he discovers that it is a laundry list which she has cleverly substituted. He vents his anger on LINDORO, and the uproar attracts the city guard (bass). FIGARO vainly tries to pacify the old man, but eventually the count is placed under arrest. He shows a card to the officer, who immediately snaps to attention and lts him go free. Everyone is dumbfounded. ACT II: A room in BARTOLO'shouse. Bartolo is very suspicious of the billeted soldier, but now the count comes in again, this time in the guise of a music teacher, introducing himself as DON ALONSO, BASILIO's pupil. He says he has come because BASILIO is ill. BARTOLO immediately mistrusts him, and to allay his suspicions, ALMAVIVA hands him the note he has received from ROSINA, pretending that he has intercepted it before it reached COUNT ALMAVIVA. He advises the doctor to dash the hops of his ward by telling her that the count has given it to one of his mistresses to play a joke on her. BARTOLO is convinced and summons ROSINA. While the old guardian snores, the TWO LOVERS pretend to have a music lesson. FIGARO, arriving at an opportune moment, begins shaving BARTOLO and astutely extracts the key to the balcony so that the lovers can get away from the house that night. BUT NOW Basilio makes an unexpected and unwelcome appearance. He is on the point of revealing the truth, when ALMAVIVA bribes him to feigh sickness. BARTOLO finally realises that he is being duped. EVERYONE rushes off and he mounts guard at the door. BERTA (soprano), the housekeeper, comments on the stupid things that are going on. SCENA II. BARTOLO sends BASILIO to look for a notary to witness HIS MARRIAGE to ROSINA. Then he shows her the note from LINDORO and convinces her that the young man is not really in love wwith her, but is merely a go-between who is trying to get her to marry COUNT ALMAVIVA. ROSINA falls into the trap and in her disappointment confesses her plans for running away that night. BARTOLO goes off to call the military. A STORM breaks out, and through the balcony window come FIGARO and LINDORO. LINDORO explains to ROSINA that he is actually COUNT ALMAVIVA. By the time they have reaffirmed their love for each other and are ready to escape they find that the ladder has been removed. BASILIO enters with the notary, and, with great presence of mind, FIGARO pushes forward the young couple as the prospective bride and groom. BASILIO needs some more persuasion, a ring and a brandished pistol being strong arguments. WHEN BARTOLO bursts in with the police, it is all over. THE COUNT reveals his true identity. The old man, at first furious, is finall resigned, especially when he understands that he can keep ROSINA's dowry. The opera ends in general rejoicing.

----

Aria del tenore:

ECCO RIDENTE IN CIELO.




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1816.
"La gazzetta"
Teatro dei Fiorentini
Napoli,
26 sett.1816.

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1816.
"Otello"
"ossia Il moro di Venezia: melodramma in tre atti --
libretto: FRANCESCO BERIO DI SALSA (1792-1868), tratto da SHAKESPEARE.
---
Teatro del Fondo,
Napoli
4 dic.

---
SYNOPSIS. VENEZIA, sixteenth century. OTELLO, after defeating the TURKS, is welcomed by the people and by the DOGE. BUT RODRIGO, who fears that DESDEMONA, promised to him in marriage, loves the brave MOOR, is plotting against him. DESDEMONA confides to her maid EMILIA that she does indeed love OTELLO. RODRIGO and her father, ELMIRO, hasten their plans for the wedding. BUT during the ceremony itself, OTELLO bursts in, and DESDEMONA is unable to conceal her love for him. THE FURIOUS father locks the daughter in her room. LATER, IAGO manages to persuade OTELLO that DESDEMONA is deceiving him with RODRIGO. OTELLO challenges RODRIGO to a duel and is exiled for this act. When OTELLO returns secretly to VENEZIA, he goes to DESDEMONA, but in a fit of jealous rage, kills HER -- TRAGEDY. IAGO, overcome by remorse, commits SUICIDE, after confessing his plots. When the DOGE OF VENEZIA and EMIRO, not knowing of the tragedy, inform OTELLO that his banishment is revoked, OTELLO, frantic with grief and despair, confesses his crime and KILLS HIMSELF.

The libretto does little justice to the tragedy by SHAKESPEARE, which is virtually unrecognisable.



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1817.
"La Cenerentola,"
ossia La bontà in trionfo: melodramma giocoso in due atti.

– tratta di BASILE e Carlo PERREAULT.

Libretto: FERRETTI (1784-1852).
Teatro Valle,

Roma,
25 genn.
Tenore:
Ramiro, principe di SALERNO.
Si, ritrovarla io giuro.

--- ORIGINAL CAST: Giorgi-Righetti (CENERENTOLA), Mariani, Rossi, De Begnis, Guglielmi (RAMIRO, tenore), VITANELLI.

SYNOPSIS.

Atto I. The palazzo of Magnifico, BARONE di MONTEFIASCONE. Angelina, known as "The Cenerentola" (contralto), lives with CLORINDA (soprano) and TISBE (mezzo-soprano), the daughters of the baron (bass), who is her stepfather. ANGELINA is treated as a servant and humiliated by everybody, despite her gentle nature. It is she who gives hospitality to a beggar (actually the philosopher ALIDORO (bass), counsellor to PRINCIPE RAMIRO (tenore)), whereas her stepsisters chase him from the house. A group of nobles announce that RAMIRO is to give a BALL at which he will choose a wife for the ladies present. The prince himself, who has exchanged clothes and roles with his valet DANDINI (bass) arrives at the baron's castle, to escort the ugly sisters to the palace. He notices the lovely CENERENTOLA and at once falls in love with her, but her family tells him that she is only a servant. She is left at home when everyone departs for the ball. At the Prince's 'villa' the festivities are at their height when a beautiful stranger enters. EVERYONE admires her, noting how much she resembles Magnifico's step-daughter. The step-sisters are busy trying to attract DANDINI's attention, thinking that he is the prince.  ATTO II. LA CENERENTOLA refuses the advances of DANDINI, posing as the prince, and confesses her love for his valet, the real prince. LA CENERENTOLA gives him one of a pair of bracelets so taht he can identify her. RAMIRO is overjoyed. The real DANDINI, meanwhile, has told MAGNIFICO that he is not the prince, and the baron returns home, deeply disappointed, with TISBE and CLORINDA. La Cenerentola is already back, having changed her clothes, busy with her domestic chores. DURING  A STORM, conjured by ALIDORO, the prince seeks refuge , recognises her, and asks her to marry him. In the thorne-room of the villa, la Cenerentola and the prince receive the congratulations of the nobility, among whom kneel her step-father and his daughters. She forgives them and all live happily ever after.





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1817.
"La gazza ladra: opera in due atti".

LIBRETTO: GIOVANNI GHERARDINI (1778-1861).

---- inspired by a newspaper story, "La pie voleuse".

Teatro alla Scala
Milano
31 magg.


SYNOPSIS. In the house of a wealthy merchant FABRIZIO (bass), in a village near PARIGI, everyone is waiting for the return from miliatry service of GIANETTO (tenore), particularly his parents, FABRIZIO (bass), and LUCIA (mezzo-soprano), and the maid NINETTA (soprano), who loves him. LUCIA finds fault witth NINETTA, beliving, wrongly, that he is responsible for the disappearance of a silver fork. When GIANETTO returns, he declares his love for NINETTA. She has managed to help her father FERNANDO (baritone), who is wanted by the authorities as a deserter, to escape, by reading to the mayor the description of the deserter in which she has inserted FALSE DETAILS. The mayor, GOTTARDO (bass), takes the opportunity to make advances to her. BEFORE LEAVING, NINETTA's father asks her to sell a SILVER SPOON for him, telling her to hide the proceeds in a hollow of a chestnut tree. She eventually sellls the silver spoon to ISAACO (tenore), a wandering pedlar. LUCIA has now noticed the disappearance of a spon and accuses NINETTA. WhenLucia hears that a spoon has been sold, she assumes that it was hers and she makes the mayor take NINETTA to prison. He once more tries to profit from the situation but is againt put in his place. LUCIA begins to doubt her guilt but the judges condemn NINETTA TO DEATH. FERNANDO is arrested when he tries to save her. At the last moment, the true thief is discovered -- a magpie --. NINETTA is released and free to marry GIANETTO. Her father receives a royal pardon, and all ends happily.


*********************

1816,
"Rinaldo ed Armida"
– tratto da Torquato Tasso, “GIERUSALEMME LIBERATA”
Teatro San Carlo
Napoli
11 nov.

**************

1817.
Adelaide di Borgogna
Teatro Argentina
Roma,
27 dic.

*****************


1818.
Mosè ed il Faraone in Egitto,
ossia il passagio del mare rosso:
oratorio, opera seria in tre atti.
azione tragico-sacra -- ANDREA LEONE TOTTOLA.

Teatro San Carlo
Napoli
5 mar.

Original cast: Isabella COLBRAN (Anaide), Benedetti (Mose), and Nozzari (Amenophis). The cast for the second version: LAure Cinti-Damoreau (Anai), Adolphe Nourrit (Amenophis) and Nicholas Levasseur (Mose).

SYNOPSIS. Atto I: EGITTO: camp of the MIDIANITES. The Hebrews, enslaved by FARAONE (basso), pray for their liberation. As MOSE encourages the crowd, his brother, ELIEZER (tenore) arrives with his wife MARIE (mezzo-soprano) and their daughter, ANAI (soprano). ELIEZER announces that FARAONE has decided to free the Hebrews. MARIA tells how FARAONE's son, AMENOPHIS (tenore) has fallen in love with ANAI, who is torn between love and the duty to follow her people. MOSE takes heart on hearing a myserious voice (bass) that predicts that the Jews will at last see the PROMISED LAND. AMENOFI, however, treatens to keep them in EGITTO so as to prevent his separation from ANAI, who, although she loves him, bows before the necessity of obeying the laws of her people. INDEED, AMENOFI then reports that FARAONE has reversed his decree and now forbids them to go. Momentarily disheartened, MOSE angrily defies FARAONE and demonstrates the power of his God by causing the sun to be obscured. ATTO II. Palazzo del FARAONE. In despair of the terrible darkness, FARAONE renews his promise to MOSE and ELIEZER and the sun returns to the heavens. FARAONE, alone with his son, proposes that he marry the king of ASSIRIA's daughter, and tries in vain to discover the reason for his son's distress. AMENOFI then confides in his mother SINAIDE (soprano), who counsels him to resign himself to his fate. THEY LEAVE for the TEMPLE OF ISIS. ATTO III. PORTICO of the temple of ISI. The Egyptians sing praises to their goddess ISI. MOSE asks for the promised freedom, but OZIRIDE (bass), the high priest, demands that the Hebrews pay homage to ISI before their departure. MOSE refuses. OFIDE (tenore) an Egyptian officer, reports the appalling effects of the plague on EGITTO: the Nile has turned red and the land gives off a noxious vapour, causing death. The Egyptians want to attack the Hebrews. With a gesture, MOSE extinguishes the flame of the altar of Isi. FARAONE expels the Jews from MEMFI. ATTO IV. The flight of the Jews into the desert takes them to the shores of the Red Sea. Having abducted ANAI, AMENOFI returns her to her people as supreme proof of his love. He tries to persuade her once again to stay, but she refuses. The Hebrews are about to be overtaken on the shore of the Red Sea by the Egyptians, when MOSE exhorts them not to be afraid. As he intones a solmn prayer, the waters part miraculously and the Hebrews pass safely along the seabed. AMENOFI and his troops pursue them, but the waves close them with a thunderous crash and they drown. The sun then shines once again on the peaceful waters.

---- The style is majestic and reaches sublime heights.




***********************
1818.

"Adina"
composta nel 1818.
Teatro Reale São Carlos
Lisbona,
22 giugno 1826
1818.
Ricciardo e Zoraide
Teatro San Carlo,
Napoli, 3 dic.
1819.
Ermione
Teatro San Carlo
Napoli
27 mar.
1819.
Eduardo e Cristina
Teatro San Benedetto
Venezia,
24 apr.
1819.
"La donna del lago"
Teatro San Carlo
Napoli, 24 ott.
1819.
"Bianca e Falliero"
o sia Il consiglio dei Tre
Teatro alla Scala
Milano, 26 dic.
OTTOCENTO VENTI.
1820.
Maometto secondo
Teatro San Carlo
Napoli,
3 dic. 1820
1821.
"Matilde di Shabran"
o sia Bellezza e cuor di ferro
Teatro Apollo
Roma
24 febbr.
1822.
Zelmira
Teatro San Carlo
Napoli, 16 dic.
1823.
"Semiramide"
Teatro La Fenice,
Venezia
3 febbr. ----- the opera that opened the Covent Garden "Royal Italian Opera" -- with the attendance of Queen Victoria (La regina Vittoria).
1824.
"Ugo, Re d'Italia"
progettata a Londra
forse ne compose un atto - perduta.
1825.
Il viaggio a Reims,
ossia L'albergo del giglio d'oro.
Teatro degli Italiani
Parigi, 19 giugno.
1826
Ivanhoé
Teatro dell'Odéon
Parigi
15 sett. 1826, pastiche.
1826.
L’assedio di CORINTO --
rifacimento di Maometto secondo
Académie Royale de Musique
(Opera)
Parigi, 9 ott.
1827.
Mose et Faraone, il passagio sul mare rosso
-- rifacimento di Mosè in Egitto
Académie Royale de Musique
Opera
Parigi,
26 mar.
1828.
Il Conte Ory
Académie Royale de Musique
Opera
Parigi, 20 ag.
1829.
Guillelmo Tell
Académie Royale de Musique
Opera, Parigi,
3 ag.1829.
Robert Bruce,
pastiche con musiche di Rossini sulla figura di
Roberto I di Scozia
Académie Royale de Musique
Opera.
Parigi 3 dicembre 1846.
1810
Rossini. “LA CAMBIALE DEL MATRIMONIO.”
(DVD).
Venezia: Teatro S. Moise.
----> Edoardo Milfort, tenore.
Quell’amabile vision quell’occhietto amorosetto ---- a
quel complesso sì perfetto -------------------------------- a
e di grazie e di beltà---------------------------------------- b
o creò per altri amore---------------------------------------c
aro mio, per voi non fa-------------------------------------b
vi consiglio, ma di core-----------c
ritornare in Canadà----------------b
1811
Rossini. “L’EQUIVOCO STRAVAGANTE”.
Dramma giocoso per musica in due atti
Teatro del Corso, Bologna.
---> Ermanno, giovane povero, amante di Ernestina, tenore.
D’un tenero ardore --------a
accetta le prove--------
e lieto il mio core-------------a
mio bene, sarà.
1812
Rossini. “LA SCALA DI SETA”. (DVD).
Venezia: Teatro San Moise. Dorvil, tenore. Aria:
Vedrò qual sommo incanto qual sommo incanto
di femmina nel petto di femmina nel petto --------------------a
rechi un novello affetto --------------------------------------------a
o un lusinghiero ardor.----------------------------------------------b
rechi un novella affetto o un lusinghiero ardor. rechi un novella affetto o un lusinghiero ardor. Un lusinghiero ardor, lusinghiero, lusinghiero ardor.
Bramo l’istante e il temo ---------- c
curioso è l’accidente ---------------------d
ah che in pensarvi io fremo -------------c
ti credo assai possente:---------------------d
del tuo trionfo io stesso sarò qui ammirator ---- b
ah se per te m’accendo deh non tradirmi ancor. --- b/
per te m’accendo deh non tradirmi ancor.
“LA PIETRA DEL PARAGONE” (DVD).
Milano: Teatro alla Scala. Tenor: Giocondo. Rossini.
1812
L’OCCASIONE FA IL LADRO. Teatro San Moise, Venezia. Conte Alberto (tenore).
D'ogni più sacro impegno --------a
sciolta pur sia la fede -------------- b
amor da voi non chiede ------------b
chi amor per voi non ha----------- c
pera chi vuol costringere ----------d
d’un cor la libertà -------------------- e
si, d’un cor la liberta si, d’un cor la liberta d’un coro la liberta.
ma se un sospetto indegno -----------a
di soverchiarmi intende ------------- f
quel generoso sdegno --------------- a
che il mio decoro accende --------- f
dalla ragione armato ---------------- g/----- line /
un vano ardir confondere ------------ d
e impallidir farà ------------------------ e.
si si fara. chi amor per voi non ha chi amor per voi non ha chi amor per voi non ha Molto stringere La liberta
1813
Rossini. “IL SIGNOR BRUSCHINO ossia IL FIGLIO PER AZZARDO”.
Venezia: Teatro San Moise. Rossini.
1813
“TANCREDI.”. (NON TRATTO DA Tasso) La Fenice. Tenore: Argirio.
Pensa che sei mia figlia.
Ah, segnar invano io tento--------------a
la sua cruda sorte estrema -----------------b
la mia man s'arresta e trema ---------------b
di terror si gela il cor ---------------------c
sì, ti sento ~ il fier cimento-------------------a
gemi in sen, paterno amor --------------------c.
1813
“L’ITALIANA IN ALGIERI” (DVD)
Tenor: Lindoro.
Ah come il cor di giubiloesulta in questo istante --- a
trovar l'irata amante---- a
placar sua crudeltà ---- b
son questi, amor, tuoi doni, son questi i tuoi diletti--- c
ah, tu sostiengli affeti ------ c
di mia felicità. ------------b----------------------------------------------------------------------
Languir per una bella-----------a
star lontan da quella ------------a
e il piu crudel tormento-------------b
che provar possa un cor-------------c
forse verrà il momento---------------b
ma non lo spero ancor ---------------c
Contenta quest'alma ---------------d
in mezzo alle pene --------------e
ol trova la calma ---------------d
pensando al suo bene---------------e
che sempre costante si serba in amor. --- d
1814.Rossini. “IL TURCO IN ITALIA”. Milano: La Scala. Tenor role: Narciso.
1816
Rossini.
"ALMAVIVA, ossi l'inutile precauzione"
“IL BARBIERE DI SIVIGLIA.
Roma: Teatro Argentina.
Aria di Lindoro (Duca Almaviva)
Ecco ridente in cielo spunta la bell’aurora--- a
e tu non sorgi ancora-----------------------a
e poi dormir cosi-----------------b
vieni mia dolce speme, vieni bell’idolo mio ---- c
rendi men crudo o dio-----------c
lo stral che me feri------------------
Ah, il più lieto, il più feliceè il mio cor de’ cori amanti---- a
non fuggite, o lieti istanti---------------a
della mia felicità.-------------------------b
Se il mio nome saper voi bramate----c
dal mio labbro il mio nome ascoltate----c
io son Lindoro ----- d
che fido v'adoro-----d
che sposa vi bramo---- e
che a nome vi chiamo --------e
di voi sempre parlando così dall'aurora
al tramonto del dì
l’amoroso e sincero Lindoro
non può darvi, mia cara, un Tesoro
ricco non sono
ma un core vi dono
un’anima amante che fida e costante per voi sola sospira così dall’aurora al tramonto del dì.
1816. Rossini. “OTELLO ossia IL MORO DI VENEZIA”.





1817


Rossini.
“LA CENERENTOLA"
ossia la bonta in trionfo
Roma:
Teatro Valle.
Ramiro, orincipe di Salerno, tenore.
--- alla villa di delizia in Montefiascone.


Sì, ritorvarla io guiro ---------------
amor, amor mi muove ----------------
se fosse in grembo a Giove --------- b
io la ritroverò
se fosse in grembo a Giove
io la ritrovero
se fosse in grembo a Giove
Si ritrovarla io guiro
Amor, amor mi muove.
Io la ritrovero
Si fosee in grembo a Giove.
Io la ritrovero.
Ritrovero.
Io la ritrovero.


Pegno adorato e caro
che mi lusinghi almeno --------------- a
ah, come al labbro e al seno --------- a
come ti stringer/ah, come al labbro e al seno.
ti stringero, ti stringero.


Noi voleremo,
domanderemo,
Ricercheremo,
Ritroveremo
noi voleremo
ricercheremo
ritroveremo.


Dolce speranza, freddo timore,
dentro al mio core
stanno a pugnar
Dolce speranza, freddo timore
Dentro al mio core/Stanno a pugnar.
Dolce speranza, freddo timore
Dentro al mio core/Stanno a pugnar.
Dolce speranza, freddo timore
Dentro al mio core/Stanno a pugnar.
Amore, amore
m’ha da guidar.
1817b.Rossini. “LA GAZZA LADRA”. Milano: La Scala.
Tenor role: Gianetto.
1818.Rossini.“MOISE IN EGITTO”. Napoli: San Carlo. Rossini.
1818
ROSSINI “LA DONNA DEL LAGO”. Napoli: Teatro San Carlo.
Rodrigo di Dhu, tenore.
Role created by Andrea Nozzari.
Eccomi a voi miei prodi, miei prodi
onor del patrio suolo------------- a
se meco siete io volo------------- a
già l’oste a debellar---------------- b
io volo gia l’oste a debellar
gia l’oste a debellar.
II) allor che i petti invade --------------- c
sacro di patria amore
sa ognor di mille spade-------------
cun braccio trionfar.-------------------- b
un braccio un braccio di trionfar./Eccomi a voi, eccomi a voi/Gia/Io volo.
Ma dov’è colei, che accende
dolce fiamma nel mio seno
De’ suoi lumi un sol baleno
fa quest’anima bear
Fausto amor se a me sorride,
io non so che più bramar
Ed allor, qual nuovo Alcide,
saprò in campo fulminar.
1819.
Rossini. ERMIONE (DVD).
Teatro San Carlo, Napoli.
Pirro, figlio di Achille, tenore (Andrea Nozzari)
Oreste, figlio di Agamennone, tenore (Giovanni David)
Pilade, amico e confidente di Oreste, tenore (Giuseppe Ciccimarra).
Balena in man del figlio.
Rossini, "Edipo coloneo". Libretto: Giambattista Giusti, Bologna.
1822. Rossini. “ZELMIRA”.
1823.
Rossini. SEMIRAMIDE.
Venezia: La Fenice.
Idreno, re dell’Indo, tenore.
Ah dov'è il cimento ah dov’e il cimento--- a
già di me maggior mi sento -------------- a
tu mi rendi la speranza -------------------- b
nuovo in meridesti, ardir, d'un rival
la rea baldanza ------------------------- b
io già avvampo,/io già avvampo di punir
ah dov’e, dov’e il cimento/ ah dov’e il cimento/gia di me maggior mi sento/tu mi rendi la speranza’/nuovo in meridesti /d’un rival la real baldanza/dov’e, dov’e
e se ancor libero è il tuo bel core ------------- a
di quel ch'accendemi tenero amore ------------ a
i seno almeno senti pieta ------------------------ b
più fida un’anima non troverai ------------------- c
tu sola l'idolo, cara, sarai --------------------------- c
che ognora Idreno adorera. --------------------- b
tu sola l’idolo cara sarai
che ognora Idreno adorera
adorera adorera/ah, dov’e ah, dove’ maggior mi sento un rival
1826.
Rossini.CORINTO.
1828
Rossini. “IL CONTE ORY”. Parigi.
1829
Rossini. “GUILLELMO TELL”.
ArnoldoMelcthal, congiurato svizzero (tenore).
Non mi lasciare, o speme di vendetta.
Guglielmo è fra catene, ed impaziente
Io di pugnar ora l'istante affretto.
In questo dolce asilo... qual silenzio
Andiamo... io non ascolto
Che il suono de' miei passi
Oh! vada in bando
Il segreto terror... entriam...
Oh Dio!
Sul limitar malgrado mio m'arresto...
Fu spento il padre mio e in vita io resto.
à O muto asil del pianto
dov'io sortiva il di
ieri felice... ahi, quanto
oggi fatal così
invano il padre io chiamo:
egli non m'ode più
fuggir quel tetto io bramo
che caro un dì mi fu.
oh mia speranza
d'allarme io sento i voti
son essi i miei più fidi
chi mai li guida a me
da gran tempo Guglielmo e mio padre
questa speme nutrivano intera
dove sta la deserta riviera
lancie e spade nascose vi son
dal pianto omai si resti
l'ira al pensier si desti
di mia fatalità
su chi mio padre ha spento
e del mio ben mi priva
la morte scenderà
corriam, voliam, s'affretti
lo scempio di quel vile
che su noi trionfò
sì, vendetta dell'empio facciamo
il sentiero additarvi saprò
ah, venite; delusa la speme
renderem di chi vili ne brama
gloria, onore, vendetta ci chiama
Guglielmo per noi non morrà.