03 Mar 2008
JOMMELLI: Fetonte
Fetonte: Dramma per musica in three acts.
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.
Die lustigen Weiber von Windsor (The Merry Wives of Windsor), a comical-fantastical opera in three acts with dance.
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.
Fetonte: Dramma per musica in three acts.
Music composed by Niccolò Jommelli (1714-1774). Libretto by Mattia Verazi, after the libretto, Phaéton by Philippe Quinault (written in collaboration with Lully) and Metamorphoses by Ovid.
First Performance: 11 February 1768, Schlosstheater, Ludwigsburg
| Principal Characters: | |
| Fetonte, son of Il Sole and Climene | Soprano |
| Climene, widow of Merope | Soprano |
| Libia, daughter of Merope and heir to his kingdom | Soprano |
| Teti | Soprano |
| La Fortuna | Soprano |
| Orcane, King of the Congo | Tenor |
| Il Sole [Helios] | Soprano |
| Proteo, God of the Sea | Soprano |
| Epafo, King of Egypt | Alto |
Synopsis:
Act I
Climene and the priests of Teti invoke the sea nymph from her sacred cave. Climene confides her fears regarding the wedding planned by her now deceased husband between his daughter, Libia, and Climene’s son, Fetonte. King Epafo, however, has designs upon Libia. Proteo foretells that Fetonte will threaten humanity.
Libia and Fetonte later learn that Climene has been imprisoned by Epafo, who will not free her unless Libia agrees to marry him. King Orcane, wishing to marry Climene, plots with Epafo to arouse the Queen’s jealousy.
Act II
Having discovered their plans, Climene and Libia confuse Orcane about their real feelings. Fetonte, on the other hand, becomes disturbed. Climene announces that she will abdicate the throne in favor of Libia when the girl marries a child of a god in accordance with the oracle’s prophecy. Climene chooses Fetonte and reveals his divine origin. The rivals, however, challenge Fetonte to prove his divine nature.
Climene guides Fetonte to Il Sole. To show his true origins, Fetonte will ask permission to appear in the sky in Il Sole’s chariot and to bring daylight upon the Earth. Libia vainly implores Fetonte to desist.
Act III
Il Sole welcomes Fetonte into his palace. Fetonte is instructed of the danger if he proceeds. Fetonte refuses the protection of La Fortuna.
Meanwhile, Climene is seized by Epafo. Libia is taken under the protection of Orcane. The two kings prepare for battle. Epafo flees, taking Climene with him. Fetonte appears in the sky; but, losing control of the chariot, it appears that he will destroy the Earth. Zeus’ intervention is invoked, who directs lightning at Fetonte. He falls into the sea. Climene, who learns that Libia is dead, throws herself into the sea to join her son’s fate.
Click here for Lully's score of Phaeton.
Phaéton sur le char du soleil