20 Jan 2008
Idomeneo: Opera seria in three acts.
Hamlet: Opéra in five acts. Music composed by Ambroise Thomas. Libretto by Michel Carré and Jules Barbier after The Tragedy of Hamlet, Prince of Denmark by William Shakespeare.
Advertised in the program as the first opera written in the New World, La Púrpura de la Rosa (PR) was premiered in 1701 in Lima (Peru), but more than the historical feat, true or not, accounts for the piece’s interest.
Das Liebesverbot: Grosse komische Oper in two acts.
Opera in three acts. Words and music by Richard Wagner.
Parsifal. Bühnenweihfestspiel (“stage dedication play”) in three acts.
“German poet, dramatist and novelist. One of the most important literary and cultural figures of his age, he was recognized during his lifetime for his accomplishments of almost universal breadth. However, it is his literary works that have most consistently sustained his reputation, and that also serve to demonstrate most clearly his many-faceted relationship to music. . . .
This theme relates to operas based on the works of Friedrich von Schiller.
Here are operas based on French literature from Balzac, Hugo and beyond:
Le Cid, Opéra in 4 acts
I puritani, opera seria in three acts
Zaira, Tragedia lirica in two acts.
Athalia: Oratorio (sacred drama) in 3 acts
Lucrezia Borgia: Melodramma in a prologue and two acts.
La Esmeralda: Opéra in four acts.
Ernani: Dramma lirico in four parts.
Oberst Chabert (Colonel Chabert): Tragic opera in 3 acts.
Otello: Dramma lirico in four acts.
Music composed by Giuseppe Verdi. Libretto by Arrigo Boito after The Tragedie of Othello, the Moore of Venice by William Shakespeare.
A Midsummer Night’s Dream, a comedy in five acts with incidental music.
Le Marchand de Venise (“The Merchant of Venice”): Opéra in three acts.
Gli Equivoci (The Comedy of Errors): Opera in two acts.
Idomeneo: Opera seria in three acts.
Music composed by W. A Mozart (arranged by Richard Strauss (1930)). Libretto by Abbate Giambattista Varesco after a French opera by Campra and Danchet. Revised German text by Lothar Wallenstein.
First Performance: 29 January 1781, Hoftheater, Munich
Strauss arrangement: 16 April 1931, Wiener Staatsoper, Vienna
|Idomeneo, King of Crete||Tenor|
|Idamantes, his son||Soprano|
|Ilia, Priamos's daughter||Lyric Soprano|
|Ismene, priestess||Dramatic Soprano|
Setting: The isle of Crete after the Trojan war
Ilia, a Trojan prisoner in Crete, is in love with Idamante, son of Idomeneo, who, it seems, may have perished with the Greek fleet. Ilia imagines that the Greek princess Elettra may fare better with Idamante, who enters, bringing news of the sighting of the Greek fleet and the decision to release the Trojan prisoners, while he remains captive to the charms of Ilia. Elettra objects to this act of clemency, and Arbaces enters with the news that the fleet has sunk. Idomeneo, however, has survived, thanks to the vow he has made to Neptune to sacrifice the first living being he meets on his return. Idamante approaches him, neither of them recognising the other. When Idomeneo learns that the other is his son, he rushes away.
Idomeneo confides in Arbace, who suggests that Idamante should go away, escorting Elettra back to Argos, until some other solution may be found. As they are about to board ship, a storm arises and a sea- monster emerges. Idomeneo admits the vow he has made, but does not give the name of his son.
Ilia and Idamante are together in the palace gardens, joined there by Idomeneo and Elettra, all expressing their conflicting feelings. The sea-monster meanwhile has been causing devastation and Idomeneo admits to the High Priest of Neptune that the sacrificial victim should be his son Idamante. He, however, has killed the monster and now offers himself as a victim. Ilia tries to take his place, but the voice of Neptune bids Idomeneo abdicate in favour of his son, who should marry Ilia, a command that allows Elettra a final expression of jealousy and anger. Idomeneo is grateful for the rest that retirement will bring.