1797: Palermo, Teatro di Santa Cecilia: L' *arbore di Diana: dramma giocoso in musica: carn. 2 Mary Hunter refers to a MS 10777 in Vienna, containing (in piano reduction) arias composed by Angelo Tarchi for “La ferrarese”, as substitutions for numbers I / 9 and II /14. Di far all’amor.“, „Ich bin zärtlich und frisch, Szene 4: Diana verkündigt Endimione, er habe stellvertretend für die andern zu sterben. Other elements of widespread use in the pastoral genre are the figure of the Magician, the ritual scenes, the echo game, and, of course, the presence of shepherds. Link is undoubtedly correct when pointing out that, according to the terminology in use during the second half of the eighteenth century, his music was clearly aimed at Liebhaber (music lovers, amateurs), while Mozart's was more attractive to Kenner (connoisseurs, professionals). Mentioned in Dorothea Link, ““L'arbore di Diana: a model for Così fan tutte”“, in Stanley Sadie, ed. For this edition, we have thoroughly surveyed the two Viennese Italian scores and the libretto for the first production. It is transcribed in our Appendix. The text for our edition of the libretto is identical to that underlain in our score. Szene 2: Als ihn Amore weckt, will Doristo von den Äpfeln des Baumes essen, wird aber vom Liebesgott daran gehindert. Vienna, Österreichische Nationalbibliothek, Musiksammlung, 440.778, Band 89 TB. Der Dichter fährt fort: „Wenn ihre Nymphen unter dem Baume durchgingen und in Taten und Gedanken keusch waren, begannen diese Äpfel zu erstrahlen und es erklangen aus ihnen und aus allen Zweigen Töne und Gesänge von himmlischer, sanftester Melodie; hatte sich hingegen eine von ihnen gegen die Heiligkeit jener Tugend vergangen, wurden die Früchte schwärzer als Pech, fielen ihr auf Kopf oder Rücken und bestraften sie je nach der Schwere ihres Vergehens, indem sie ihr das Gesicht entstellten oder sie zerbeulten und ihr ein Glied brachen. Thus his production during those years includes three comic operas in that language (two of them on librettos at least sketched by the Empress herself) and three ballets with his former associate Lepicq. [4] Trotzdem geriet das Werk später für lange Zeit in Vergessenheit. The three subjects fixed on, I went to the Emperor, laid my idea before him, and explained that my intention was to write the three operas contemporaneously. Werde ich, wenn ihr wollt; It seems clear that the singer should lengthen his quavers so that his semiquavers coincide with the demisemiquavers of the accompanying instruments. Diana ruft nach Rache, dann nach Gnade. Weil Amor ein solches Gesetz nicht dulden kann, das seine Göttlichkeit beleidigt, geht er in Frauenkleidung in den Garten, macht den Gärtner der Göttin verliebt und lehrt ihn, wie er alle Nymphen verliebt machen kann. Martin y soler - l'arbore di diana. Martín y Soler does not use double-dots; to specify that manner of rhythm he resorts to a sum of shorter simpler values. On the other hand, we may reasonably presume that Martín's specialisation in a cantabile style was a conscious decision on his part, guided by practical considerations for the advancement of his career. biblioteca: I-Vgc: Fondo Rolandi: BRA-BRE: frontespizio: L'ARBORE DI DIANA / dramma giocoso in due atti / da rappresentarsi / in Padova / nel teatro Novissimo / la primavera del 1827 We have to consider it on its own terms. A study of his evolution in this genre should be of interest; for the present we may only point out the marked difference between, the arias in his Ifigenia in Aulide, on the one hand, and Diana's fury pieces in the present opera. A dozen years later, L'arbore di Diana had been heard and seen in more than forty different productions throughout Europe, from Madrid to Moscow and from Milan to London. L'arbore di Diana Alt ernative. Librettist Lorenzo Da Ponte: Language Italian Riproduci i brani interamente da Martín y Soler: L'arbore di Diana di Laura Aikin sul tuo cellulare, computer o sistema audio di casa con Napster. 40-42 and “passim”. What I thought of was this: that Diana, fabled goddess of chastity, had a tree in her garden which produced fruits of extraordinary size in its branches. Acquista l'articolo L' Arbore Di Diana (2 Cd) ad un prezzo imbattibile. Die beiden besingen ihre Liebe. [...] This drama, in my opinion, was the best of all the operas I ever composed, both as regards the conception and as regards the words.10, The role of Diana was sung by Anna Morrichelli, whose talent for dramatic opera seria figures undoubtedly inspired Martín y Soler to compose the bravura passages that distinguish this character's music. It seems to have been used for several different productions (Link speaks of a “conducting score”), since it contains additions and cuts. This would normally have represented the culmination of the career of an opera composer, since a list of the musicians employed by the Czars in the last decades of the eighteenth century is a veritable roll-call of the most successful musical dramatists of their time: Galuppi, Paisiello, Traetta, Sarti and Cimarosa. At the head of each number the German hand has inscribed the cue from the spoken dialogue (and in rare cases, also the Italian recitative cue). The first English performance took place in 1797, a little after Martín y Soler's stay in London. In KT37, II / 16 / 315, the word “Genien” is written, together with another word I cannot decipher. 1787 ca. Gemäß seinen Instruktionen bleibt Endimione zurück, während Britomarte â€“ der Sprache beraubt â€“ mit Silvio und Doristo zum Brunnen der Diana geht. Tutte le loro donne, dar foco a lei, Apparently even in the process of composition he already decided to set a limit to the difficulties the music posed for the singer: in KT37 we can see the beginning of modulatory passages that were discarded in the same score, as well as signs that abbreviate the length of the aria.25 It was finally decided to replace it with Qual piacer, an unpretentious number. Later additions to KT37, not incorporated into Vienna 1795 are either included within parentheses or mentioned only in the list of variants. Sie schrieben sie 1787 in Wien als drittes ihrer fünf Drammi giocosi[2] und erzielten damit ihren größten Erfolg. A copy of the libretto for the first production as Singspiel: Der / Baum der Diana / Ein heroisch-komisches Singspiel / in zwey Aufzügen. 2 The calligraphy of these changes is the same as that in the rest of the manuscript. Dorothea Link's doctoral dissertation is a good source for information about the performance history of L' arbore di Diana; it also contains a list of the main sources.21 Because the opera had a successful run in many operatic centres, there exist dozens of scores and librettos disseminated throughout European and American libraries. 4 pp. - … Between 1782 and 1785 the composer lived in Venice; that year he took up residence in Vienna, where he wrote three buffo operas on librettos by Lorenzo Da Ponte for the Court Theatre with great success. A te resa è serva ogni alma, Opera buffa in due atti su libretto di Lorenzo Da Ponte, venne rappresentata per la prima volta il 1 L' arbore di Diana: its origin and character, Martín y Soler was commisioned by the Viennese court to compose an opera for the celebrations of the wedding between Archduchess Maria Theresa of Austria and Prince Anton Clemens of Saxony. In a letter written by Da Ponte to Casanova in 1795, however, the tone is manifestly different: he calls Martín y Soler “damned bastard”, “malevolent”, talks about his “black soul” and complains of the Spaniard's usurpation of his rights, of his stealing from him, and of his calumnies. L'arbore di Diana, by Lorenzo Da Ponte and Vicente Martín y Soler, is one of some sixty operas produced at the Vienna Burgtheater under the auspices of the emperors Joseph II and Leopold II, between 1783 and 1792. Dezember 2019 um 23:28 Uhr bearbeitet. If the nymphs of the goddess were chaste in deed and in thought, as they pass under the tree, the apples began to glow and shine and from them, and from all the surrounding branches, there issued murmurs and sounds that harmonized in a melody of heavenly sweetness. here are extensive lists of performances at the Burgtheater in the period in Otto Michtner, “Das alte Burgtheater als Opernbühne: von der Einführung des deutsches Singspiels (1778) bis zum Tod Kaiser Leopolds II (1792)” (Vienna: Hermann Böhlaus Nachf., 1970), and more recently, in Dorothea Link, “The National Court Theatre in Mozart's Vienna” (Oxford: Clarendon Press, 1998). Aktes, dann Schloss Amores. Once again in St Petersburg, the Spanish composer participated in the production of some of his earlier operas (from Vienna and London), wrote yet another (La festa del villagio, 1798) and several ballets (Tancrède and Le rétour de Poliorcète, 1799-1800), always with Lepicq. Szene 11: Doristo will erneut einen Apfel essen. Saprò l’arbor tagliar, saprò sedurre Le migliori offerte per Vicente Martin Y Soler: L'Arbore Di Diana [dvd] [2010] [ Ntsc ] Nuovo dvd sono su eBay Confronta prezzi e caratteristiche di prodotti nuovi e usati Molti articoli con consegna gratis! The scores replace it with the three nymphs, aided by a band on the stage. We do not know whether Lagrimando, sospirando was ever sung; its text is included in the libretto for the first production, but not in later librettos. Zu ihrem Liebhaber wählt Britomarte Silvio (weil Brünette am treuesten seien). Since Cimarosa was the official composer for the Italian Opera, the Spanish musician was led to specialize in operas in Russian. I wondered whether it might not be possible to satisfy them all, and write three operas at one spurt. Szene 13: Diana und Endimione erfreuen sich ihrer Liebe. I sat down at my table and did not leave it for twelve hours continuous—a bottle of Tokay to my right, a box of Seville to my left, in the middle and inkwell. This is the libretto printed for the first production, and the basis of our edition of the text. No doubt this was what his Vienna and London audiences did, and they assessed him as one of the best composers of his time. Disponibile su AbeBooks.it - senza rilegatura - [London], Longman & Broderip [1790ca] - 1790 - Condizione libro: buono - [London], Longman & Broderip [1790ca]. Modern edition: “Memoirs of Lorenzo Da Ponte”, trad. 1787 First Perf ormance. From the final recitative of I / 13 (Scene 8: Via non tremate) to the end, another copyist. Um seine Schaffenskraft zu beweisen, verfasste Da Ponte gleichzeitig nachts für Mozart Don Giovanni, morgens für Martín L’arbore di Diana und abends für Salieri Axur, re d’Ormus[7]. Szene 5: Während Diana ihr Bad nimmt, schlägt Britomarte (an der Uraufführung die ausdrucksvolle Französin Maria Mandini) ihren zögernden Gefährtinnen und den Jünglingen ein Schäferstündchen zu sechst vor, mit der Begründung: „Son tenera e fresca, Schweren Herzens heißt die Göttin den Geliebten weggehen. The most noteworthy changes suffered by the opera in its early versions are the following: The closing section of # 6 in the first act (Sento già / Vedo già) was written initially as a canon, a technique of composition much employed by Martín y Soler and duly criticised by some of his contemporaries as something inappropriate for comic opera—although his canon are nothing but the successive entries of the three voices of a passage in homophonic texture. In der Gestalt Alcindos nimmt ihr Silvio die Beichte ab. They could scarcely be brought to believe that what they were reading with their own eyes was possible. Diese wollen nun schleunig „diese schreckliche und grausame Insel“ verlassen, „wo die Liebe Schuld ist“[20]. His good relations with the Neapolitan reigning house served him well when he was thrown into debtors' prison in 1781 –he obtained his release. Martin Y Soler - L'Arbore di Diana Opera buffa in due atti su libretto di Lorenzo Da Ponte - con L.Aikin, M.Vinco, M.Maniaci, A.Garmendia, M.Martins - Orquestra Simfonica Gran Teatro Liceu - H.Bicket, dir. The score, however, shows no sign of the additions incorporated on that occasion (The Morning Chronicle assures as that, in order to better display Nancy Storace's talents—she sang Amore—the “Black Dance” from Paul et Virginie was inserted.22, Vienna, Österreichische Nationalbibliothek, Musiksammlung, 641432 TB XV / 8. The indications of the first libretto have been incorporated into the score. It is careful work, with annotations to point out lacunae or ambiguities in the original. www.youtube.com The precedent of a famous anti-heroine, or better, of a vilified heroine, singing fury arias in purest opera seria style, would doubtless make it easier for the Viennese public to accept that metamorphosis that has been so worrisome for later critics. It premiered at the Burgtheater in Vienna on 1 October 1787. Habe ich es gefunden.“. Number 13 in the second act (Ah, invendicato). 2 Link, “Da Ponte Operas”, pp. In addition we have consulted, without attempting thoroughness, scores and texts prepared for other early performances. For the same theatre, he later wrote an Ipermestra and a Partenope, both by Metastasio. Doristo had here an extensive aria with Da Capo. Although Da Ponte is best known for his later work with Wolfgang Amadeus Mozart, in his memoirs he assigned a significant role to his work with Martín y Soler in the maturation of his style of libretto… Among male characters, Doristo was sung by the gifted Stefano Mandini, Endimione by the lyric tenor Vincenzo Calvesi and Silvio by Nicolò del Sole. / Zu finden in dem K.K. Sarò, se volete; Previously, Ulisse Prota-Giurleo had recovered important documents concerning the Neapolitan sojourn of the composer: “Del compositore spagnuolo Vincente Martín y Soler”, “Archivi” 27 (1960): 145-56. He died in that city in 1806. [22] Mit den Nymphen und den Schäfern feiert er seinen bevorstehenden Triumph. Seit langem wünsche ich mir [25], Allegorie auf die Säkularisation der Klöster, Ummauerter Garten mit Apfelbaum, im Hintergrund Gewässer, Bühnenbild des 1. There are several possible explanations: a substitution may have seemed advisable to cut costs, the ladies may have sung that choir from hiding, or in disguise. Reduction for voices and keyboard, late eighteenth century. Hunter, “Culture of Opera Buffa”, pp. Another change for a Silvio aria, although in this case the reason why is not as clear. Only the second act seems to be preserved. Vienna, Österreichische Nationalbibliothek, Musiksammlung, MS 10032. 1787-01-10 in Vienna, Burgtheater First Pub lication. Danach ist die Göttin außerstande, auf ihn zu schießen. Szene 8: Die Entdeckten sind vor Angst gelähmt. Although the different genres (Martín y Soler's opera buffa / Mozart's Singspiel) would seem to constitute a barrier separating these works, we should remember that the Diana was immensely popular in its German version with spoken dialogues, and that both may be inscribed within the tradition of the Viennese magic opera. Title Dramma giocoso in due atti Composer Martín y Soler, Vicente: I-Catalogue Number I-Cat. 2 Cited by Link, “Da Ponte Operas”, p. 227. 49-50. No. Facsimile edition by Jacinto Torres (Madrid: Centro de Documentación Musical, 1986). Er verkündigt die Auflösung der amourösen Verwicklungen: Der polygam veranlagte Doristo soll als Wächter des Schlosses mit Britomarte, Clizia und Cleo zusammenleben, Silvio Priester der Liebe werden und Diana sich mit Endimione verbinden. Provar voglio anch’io Auch Clizia vermag das Urteil nicht zu vollstrecken. Ihre Herrin will sich darum beim Priester ihres Kultes Rat holen. “Perhaps not”, “but I am going to try. Number 8 in the first act (Lieti e amorosi i rai). Nachdem Doristo sein Schicksal erzählt hat, wollen die Jünglinge mit einer Barke fliehen, doch entfernt sich diese von selbst.
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