| Giuseppe Verdi |
|---|
 |
"Un giorno di regno, ossia il finto Stanislao" (A One-Day Reign, or The Pretend Stanislaus, but often translated into English as King for a Day) is an operatic melodramma giocoso in two acts by Giuseppe Verdi to an Italian libretto by Felice Romani, based on a play by Alexandre Vincent Pineu-Duval.
Written between 1838 and 1840, Un giorno di regno was Verdi's first attempt at comic opera.
The first performance was at Teatro alla Scala, Milan on 5 September 1840.
It was a failure.
Verdi was seated in the orchestra pit during the first performance, and thus heard the audience reaction directly.
Along with the critics, Verdi acknowledged that the failure was partly due to his own personal circumstances, since his two children and then his wife Margherita Barezzi died during its composition.
A contributing factor was that the only singers La Scala's impresario had available were those assembled for an opera seria, Otto Nicolai's Il templario, and they had no experience with opera buffa.
La Scala cancelled the remaining scheduled performances, and did not revive the work until 2001.
Other productions during Verdi's lifetime in Italy were given in Venice in 1845, in Rome in 1846, and Naples in 1859.
Verdi would not attempt another operatic comedy until the end of his career with Falstaff.
Today, the opera is very rarely performed.
In the U.S., it received its premiere on 18 June 1960, while in the UK, the premiere took place on 21 March 1961.
It was part of the San Diego Opera's June 1981 "Verdi Festival".
Along with Oberto and other early Verdi operas, it opened the New York Grand Opera Company’s "Viva Verdi!" 1994-2007 presentation of all Verdi's operas in chronological order under Vincent La Selva.[2]
The Bronx Opera Company (NYC) has performed it twice, in 1983 and 1994.
In 2008, Opera della Luna toured a version of the opera in the UK.
In director Jeff Clarke's broad English-language adaptation, the story is moved to post-war Italy around the reign of Umberto II, infused with elements of organized crime, and political humour is added.
One reviewer commented that the production "makes up for what it lacks in bel canto elegance by being a riotously funny, enormously enjoyable evening's entertainment".
Sarasota Opera will perform the opera in 2013, when it will become the 29th work of the complete Verdi canon (in all its versions) to be presented by the company.
The Glimmerglass Festival has announced that it will present the opera during the 2013 Festival.
Roles
| Role | Voice type | Premiere Cast, 5 September 1840[6] (Conductor: - Eugenio Cavallini) |
|---|---|---|
| Cavaliere di Belfiore, a French officer impersonating Stanislao of Poland | baritone | Raffaele Ferlotti |
| Barone di Kelbar, the usurper | bass | Raffaele Scalese |
| The Marchesa del Poggio, a young widow, the Baron's niece, in love with Belfiore | soprano | Antonietta Marini-Rainieri |
| Giulietta di Kelbar, the Baron's daughter | mezzo-soprano | Luigia Abbadia |
| Edoardo di Sanval, a young official, la Rocca's nephew | tenor | Lorenzo Salvi |
| La Rocca, Treasurer to the Estates of Brittany | bass | Agostino Rovere |
| Count Ivrea, Commandant of Brest, engaged to the Marchesa | tenor | Giuseppe Vaschetti |
| Delmonte, esquire to the false Stanislao | bass | Napoleone Marconi |
| Servants, chambermaids, vassals of the Baron | ||
Synopsis
The Polish monarch, King Stanisław Leszczyński, an historical figure during the War of Succession, lost his throne after the Saxon invasion at the Battle of Poltav in 1709.He regained it in 1733, but was again deposed in 1736 and went into exile in France.
The opera is set in 1733 when Stanislaw returned to Poland leaving a French officer, the Cavaliere di Belfiore, to impersonate him in France.
- Time: 1733
- Place: Baron Kelbar's castle near Brest, France
Act 1
Scene 1: A gallery in the home of Baron KelbarBelfiore, impersonating the Polish king Stanislaus, is a guest at the home of Baron Kelbar and he comments to himself on his change of fortune: Compagnoni di Parigi...Verrà purtroppo il giorno / "If only my old comrades in Paris could see me now, the most dissolute officer in the regiment turned philosopher king." [7] The Baron has recently arranged a political alliance by betrothing his daughter, Giulietta, to La Rocca, the Brittany Treasurer, but Giulietta prefers La Rocca's nephew, Edoardo. Another undesired marriage involves the Baron's niece, the Marchesa del Poggio, a young widow who is in love with Belfiore. She has become engaged to the Count of Ivrea because Belfiore has been unable to commit himself to marrying her, in spite of the fact that he does love her.
Knowing of the Marchesa's imminent arrival and concerned that she might reveal his false identity as the King, Belfiore writes to Stanislaw and asks to be released from his commitment. Edoardo reveals his predicament to the "King" and begs to be taken to Poland with him in order to forget about the woman he loves. In addition, when the Marchesa arrives and, upon being introduced to Belfiore as "the King", she pretends not to recognize him. Likewise, he pretends not to recognize her, but she is determined to test him by proclaiming her love for the Count: Grave a core innamorato...Se dee cader la vedova / " ".
Scene 2: the Garden of Kelbar's castle
Giulietta is alone with her attendants and expresses unhappiness in having to marry an old man: ’Non san quant'io nel petto...Non vo' quel vecchio / " “. When the Count and La Rocca arrive, followed in succession by Belfiore and Edoardo and then the Marchesa (who was planning to help the lovers), Belfiore draws the Count and La Rocca away on the pretext of discussing state business, leaving the young lovers alone with the Marchesa.
Scene 3: the gallery of Kelbar’s castle
Maintaining his role as the King, Belfiore makes the Treasurer an offer of advancement which would include marriage to a rich widow. By accepting, he agrees not to marry Giulietta. When the treasurer tells the Baron that he refuses to marry his daughter, the Baron is affronted and challenges him to a duel. To add to the confusion all around, the Marchesa immediately proposes that Giulietta and Edoardo be married immediately. However, the false King returns and proposes that he will decide on a solution that will satisfy everyone.
Act 2
Scene 1: the gallery of Kelbar’s castleFollowing the "King's" pronouncement, the servants are mystified and they sing a carefree chorus which leads to Edoardo seeking their support and announcing his hope of still be able to marry Giulietta: Pietoso al lungo pianto...Deh lasciate a un alma amante / " ".
Belfiore, the Treasurer, and Giulietta enter discussing the reasons for the Baron's opposition to his daughter's marriage to Eduardo. Giulietta explains that the young man's poverty is the main objection and so Belfiore immediately rules that the Treasurer must give up one of his castles and give over a sum of money to the young man, and then all will be well. The latter is somewhat reluctant to disobey his sovereign, but seeks a way out of his duel with the Baron.
Scene 2: a veranda overlooking the castle gardens
Belfiore and the Marchesa meet on the veranda, the former still unable to reveal who he really is. This incenses the lady, who boldly states that it is her intention to marry the Count of Ivrea. However, she cannot understand why Belfiore is taking so long to reveal himself and still hopes for his change of heart: (andante) Si mostri a chi l'adora... / " ". When Count Ivrea is announced, she takes a defiant stand (cabaletta): Si, scordar saprò l'infido / " ". Since Eduardo has pledged to join the "King" when he goes to Poland, Giulietta is determined to get the King to rescind the commitment. The Count enters and the Marchesa once again states that she will marry the Count. However, Belfiore immediately forbids the marriage for 'reasons of state' and announces that he and the Count must leave for Poland to deal with state business.
All express their feelings, but things come to a halt when a letter arrives for Belfiore. It is from King Stanislaw announcing his safe arrival in Warsaw and releasing Belfiore from his task of impersonating him. In return, the king has created him Marshall of France. Before dropping the disguise, the "King" proclaims that Giulietta and Eduardo are to be married and, having received the Baron's consent, reads the true king's letter and reveals his true rank. He expresses his love for the Marchesa and all ends happily with the prospect of two weddings.
Recordings
| Year | Cast (Di Belfiore, Kelbar, Marchesa, Edoardo) | Conductor, Opera House and Orchestra | Label[8] |
|---|---|---|---|
| 1951 | Renato Capecchi, Sesto Bruscantini, Lina Pagliughi, Juan Oncina | Alfredo Simonetto, Orchestra Lirica e Coro della RAI Milano | Audio CD: Warner-Fonit Cat: 8573-82664-2[9] |
| 1973 | Ingvar Wixell, Jessye Norman, Fiorenza Cossotto, José Carreras | Lamberto Gardelli, Royal Philharmonic Orchestra and the Ambrosian Singers | Audio CD: Philips Cat: 422429 |
| 2010 | Guido Loconsolo, Andrea Porta, Anna Caterina Antonacci, Ivan Magri | Donato Renzetti, Orchestra and Chorus of the Teatro Regio di Parma, (Recording of a performance on 31 January) | DVD (Blu-ray, PAL): Unitel Classica Cat: 720304 |
References
- ^ Martin, George (2003). "Verdi Onstage in the United States: Un giorno di regno". The Opera Quarterly 19 (1): 3–15. doi:10.1093/oq/19.1.3. http://oq.oxfordjournals.org/cgi/reprint/19/1/3?ck=nck. Retrieved 2007-09-03.
- ^ NYGO's repertory
- ^ Shirley, Hugo. "Verdi: Un giorno di regno", Musical Criticism, 26 July 2008, accessed 15 November 2009
- ^ Announcement of the 2012/13 season, 15 March 2012 Retrieved 15 March 2012
- ^ Press release announcement of 2013 season on glimmerglass.org Retrieved 25 July 2012
- ^ Budden, p. 70.
- ^ a b Scene titles and English translations taken from Budden, Vol. 1, pp.78-87
- ^ Recordings on operadis-opera-discography.org.uk
- ^ Hertzmann , Erich, "Reviews of Records - Verdi: Un Giorno di Regno, Radio Italiana; Alfredo Simonetto/Verdi: Luisa Miller; Radio Italiana; Mario Rossi; Verdi", The Musical Quarterly, #38 (3), July 1952 ,pp. 498-500
- Budden, Julian, The Operas of Verdi, Volume 1: From Oberto to Rigoletto. London: Cassell, 1984. ISBN 0-304-310581.
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