27 Jan 2008
TRAETTA: Ippolito ed Aricia
Ippolito ed Aricia: Tragedia in five acts.
Die lustigen Weiber von Windsor (The Merry Wives of Windsor), a comical-fantastical opera in three acts with dance.
Guglielmo Tell: Melodramma tragico in four acts
Mefistofele, Opera in un prologo, quattro atti e un epilogo
Music and libretto by Arrigo Boito (1842-1918), based on Faust: Eine Tragödie by Johann Wolfgang von Goethe
La Forza del Destino, a melodramma in quattro atti
Music composed by Giuseppe Verdi. Libretto by Francesco Maria Piave based on the drama Don Alvaro o La fuerza del sino by Angel Perez de Saavedra
Martha, an opera in four acts.
Music composed by Friedrich von Flotow. Libretto by Wilhelm Friedrich.
First performance: 25 November 1847 at Theater an der Wien, Vienna.
La serva padrona, intermezzo in two parts
Music composed by Giovanni Battista Pergolesi. Libretto by Gennar'antonio Frederico.
First performance: 28 August 1733, Teatro San Bartolomeo, Naples.
Fidelio, an opera in two acts
Here we offer three selections from Macbeth with Maria Callas performing the role of Lady Macbeth. These are from a live performance given on 7 December 1952 at La Scala. Victor de Sabata conducts the Orchestra del Teatro alla Scala, Milano.
VERDI: Macbeth, melodramma in quattro parti.
Music composed by Giuseppe Verdi. Libretto by Francesco Maria Piave, based on the play by William Shakespeare.
Music composed by Johann Strauss II.
Libretto by Richard Genée based on Henri Meilhac and Ludovic Halévy/Karl Haffner.
First performance: 5 April 1874 at the Theater an der Wien, Vienna.
Fedora, a melodrama in three acts.
Umberto Giordano, composer. Arturo Colautti, librettist, based on the play with the same name by Victorien Sardou
First performance: 17 November 1898 at Teatro Lirico Internazionale, Milan
Tosca, a melodrama in three acts
Giacomo Puccini, composer. Libretto by Luigi Illica and Giuseppe Giacosa, based on the play La Tosca by Victorien Sardou.
First performance: 14 January 1900 at Teatro Costanzi, Rome
Victorien Sardou (1831-1908) was a popular French dramatist during the later half of the 19th Century. He, along with Eugène Scribe, combined melodrama and realism to a produce a more serious form of drama that emphasized careful plot construction.
A few years ago, I had the rare experience of attending a performance of Tosca in a small farm community where opera was a fairly new commodity. After the second act ended, with Scarpia's corpse lying center stage, I happened to overhear a young, wide-eyed woman say to her companion, "I knew she was upset, but I didn't think she'd KILL him!"
Mozart and Salieri, an opera in one act consisting of two scenes.
Nicolai Rimsky-Korsakov (1844-1908), composer. Libretto derived from Alexander Puskhin's play of the same name.
First performance: 7 December 1898 in Moscow.
Boris Godunov, an opera in four acts with prologue
Modest Mussorgsky, composer. Libretto by the composer, based on Alexander Pushkin's drama Boris Godunov and Nikolai Karamazin's History of the Russian Empire
First performance: 8 February 1874 at the Mariinsky Theatre, St. Petersburg
Eugene Onegin, lyrical scenes in three acts and seven tableaux.
Pyotr Il’yich Tchaikovsky, composer. Libretto by the composer, based on the verse novel by Aleksandr Sergeevich Pushkin.
First performance: 29 March 1879 at the Maliy Theatre, Moscow.
Aleksandr Sergeevich Pushkin (1799-1837) is generally considered Russia’s greatest poet. According to Andrew Kahn, his contemporaries held him “above all the master of the lyric poem, verse that is famous for its formal perfection and its reticent lyric persona, and infamous for its resistance to translation.” [Alexander Pushkin, The Queen of Spades and Other Stories, trans. Alan Myers, Oxford and New York: Oxford University Press, 1997]
The Queen of Spades (Pique Dame), an opera in three acts.
Pyotr Il’yich Tchaikovsky, composer. Modest Tchaikovsky and composer, librettists.
First performance: 19 December 1890 at the Mariinsky Theatre, St. Petersburg.
Manon Lescaut, dramma lirico in quattro atti
Giacomo Puccini (1858-1924), composer. Luigi Illica and Domenico Oliva, librettists.
First performance: 1 February 1893 at Teatro Regio, Turin.
Ippolito ed Aricia: Tragedia in five acts.
Streaming Audio
Music composed by Tommaso Traetta. Libretto by Carlo Innocenzo Frugoni after Simon-Joseph Pellegrin’s Hippolyte et Aricie.
First Performance: 9 May 1759, Teatro Ducale, Parma
| Principal Characters: | |
| Theseus [Teseo], king of Athens | Tenor |
| Hippolytus [Ippolito], son of Theseus | Soprano/Castrato |
| Phaedra [Fedra], Theseus' wife, stepmother to Hippolytus | Soprano |
| Oenone [Enone], nurse and confidante of Phaedra | Soprano |
| Aricia, princess of the blood royal of Athens | Soprano |
| Diana, a goddess | Soprano |
Synopsis of Phèdre by Jean Racine based on Hippolytus by Euripides and Phaedra by Seneca:
Act I
Theseus, king of Athens, has disappeared during one of his expeditions. Hippolytus tells Theramenes of his intention to search for his father. But this is not the real reason he wishes to leave Troezen, where the court has been in residence for some time. Neither does he desire to avoid the persecution of his stepmother, Phaedra. His only motive is to escape the charms of Aricia, the only survivor of the royal family who formerly ruled Athens. He is in love with her, and his father has forbidden her to marry.
Oenone, Phaedra's nurse, announces her mistress, but Hippolytus wishes to avoid an unpleasant meeting, and departs. The queen's behavior, and her conversation with Oenone, betray her incestuous and forbidden love for Hippolytus. She wishes for death, but the sudden announcement of Theseus' death puts a new complexion on things. Free to indulge her passion, she gives up her suicide plan in order to arrange an alliance with Hippolytus against Aricia, to preserve her own son's right to the throne of Athens.
Phèdre et Hippolyte by Baron Pierre-Narcisse Guérin (1802)
Act II
Ismene, Aricia's confidante, announces Theseus' death to the young girl and in the same breath reveals her suspicion of Hippolytus' romantic feelings for Aricia. Incredulously the young girl listens to a revelation that enchants her, since she, in turn, has fallen in love with Hippolytus. Hippolytus soon confirms the confidante's speculation in a tender but awkward confession. The interview is interrupted by the announcement of Phaedra's arrival, but not before Aricia has timidly admitted her own feelings.
Phaedra comes in with the purported intention of pleading for her son. However, carried away by her passion, she forgets her original purpose and reveals her secret love. Crushed by Hippolytus' horrified reception of her declaration, she takes his sword to kill herself. As she rushes out, Theramenes comes in with a momentous rumor: Theseus may be alive. Hippolytus decides to investigate the rumor and to fight against Phaedra's claim to the throne and in defense of Aricia's rights.
Act III
Phaedra's confession has had an unexpected result. In spite of her humiliation, her hopes have been revived and she now urges a reluctant Oenone to plead her case with Hippolytus. However the situation changes drastically with the news of Theseus' return. At first Phaedra, panic-stricken, again threatens suicide, then yields to Oenone's perfidious plan to accuse Hippolytus of attempting to seduce her. When Theseus comes in, Phaedra departs with a cryptic hint. Hippolytus also leaves with a lame excuse.
Act IV
At the beginning of the scene, Oenone completes the slanderous accusation against Hippolytus introduced offstage. The credulous Theseus is completely deceived. When Hippolytus appears, Theseus wonders indignantly at his son's innocent appearance and greets him with immoderate accusations, culminating in a prayer to Neptune for revenge. Hippolytus, out of filial consideration, defends himself by pointing out his reputation for virtue and reminding Theseus of Phaedra's ancestry, and by confessing his love for Aricia. Theseus rejects the last argument as a mere ploy.
Detail from Phèdre et Hippolyte by Baron Pierre-Narcisse Guérin (1802)
Meanwhile, Phaedra, stricken by remorse, goes to see Theseus to plead for Hippolytus. But she changes her mind when Theseus unwittingly reveals to her that she has a successful rival. She becomes hysterical with jealously and rage. Finally, however, she repents and repudiates Oenone, the instigator and agent of her treachery.
Act V
Still refusing to clear his name, Hippolytus decides to flee but before leaving, arranges a rendezvous with Aricia so that they may wed. Immediately after his departure Theseus abruptly appears. In spite of her embarrassment, Aricia stands up to him and defends Hippolytus' innocence with such conviction that the king's certainty is shaken. He calls for Oenone and is even more deeply disturbed when a servant reveals Oenone's suicide and Phaedra's irrational behavior. Theseus, at last, is willing to reconsider his belief in his son's guilt, but it is too late. Theramenes comes in with the harrowing tale of Hippolytus' death. Phaedra arrives and clears Hippolytus, then dies of the effects of a poison she has taken earlier. Grief-stricken, Theseus vows to make full amends to his son's memory and to treat Aricia as his daughter. [Diana restores Hippolytus to life and reunites the couple.]*
[Synopsis Source: CliffsNotes]
Click here for the livret of Hippolyte & Aricie.
* Added by Pellegrin