Programme note ANETA MARKUSZEWSKA Following the death of John III and a failed attempt by the Sobieski dynasty to retain the crown, Marie Casimire decided to leave the Polish-Lithuanian Commonwealth and make her way to Rome. She arrived in the Eternal City in March 1699, after a journey lasting almost half a year. The official reason for her arrival in the city was the jubilee year 1700, celebrated in the capital of Christianity with great pomp. In the end the Widow-Queen remained in Rome for fifteen years. Marie Casimire soon became known as an esteemed patron of music. Her residence in the Palazzo Zuccari in Trinità de’ Monti (next to the Spanish Steps, which did not yet exist) was a venue for renditions of commemorative cantatas and serenatas celebrating the memory of her distinguished husband, as well as performances of improvised comedies and dance. In 1709 Marie Casimire Sobieski organised in her palace a private opera theatre, where operas to librettos by Carlo Sigismondo Capece with music by the young Domenico Scarlatti were staged until 1714. One of the works presented at the time was the dramma per musica Tolomeo e Alessandro, ovvero la corona disprezzata by Capece-Scarlatti. The opera had its premiere on 17th January 1711. About the performance an anonymous chronicler wrote: ‘On Monday evening in her residence on Trinità de’ Monti, the Queen of Poland opened performances of an opera featuring female singers and good musicians [instrumentalists] which was generally acknowledged as superior to others.’ In a letter to her eldest son Jakub Sobieski, who was staying in Oława, Marie Casimire related that: ‘the whole work was composed in three weeks . and is considered to have been prepared with extremely good taste.’ It must be said that Tolomeo e Alessandro had serious competition of the operas presented that year during the carnival in palaces of the Eternal City’s most powerful patrons – Cardinal Pietro Ottoboni and Prince Francesco Maria Ruspoli, as well as of the Teatro Capranica, at the time the only public theatre of Rome. Reigning over the mentioned stages were the works of Filippo Amadei and Antonio Caldara. After its carnival presentation, the opera was again performed during the summer in a roofed theatre built outside the Queen’s palace, probably in the gardens of the residence. About the event one of the Eternal City’s most important intellectuals, Giovanni Maria Crescimbeni, wrote: ‘The theatre was most beautiful, proportional and ideally suited to the occasion: pleasant voices, interesting action, superb costumes based on an excellent project, magnificent music, outstanding orchestra and most of all a poetic composition worthy of respect; hence everyone acknowledged this entertainment as worthy of a Queen’s hand that initiated it.’ Noticeable in the libretto are references to events which took place in Poland following the death of John III and the imprisonment in Saxon castles of princes Jakub and Konstanty Sobieski by the armies of Augustus II. In fact, after the abdication of Augustus II, the King of Sweden Charles XII supported the candidature of Prince Aleksander to the Polish throne, but Aleksander – to the dismay of the Swedes and his compatriots favourably disposed towards the Sobieski family – declined. He explained this decision as concern for the lives of his brothers, in the light of public threats made by Augustus II to eliminate the imprisoned Sobieskis should he accept the throne. He allegedly replied that he had no intention of ‘ascending the throne over the corpses of [his] brothers and wear purple robes stained with their blood’. In his determination he could not be swayed even by his mother’s letters sent from Rome. The noble motives of Aleksander Sobieski are emphatically highlighted in operatic Alessandro’s monologue addressed to his beloved Elisa (Act II, scene 9): Alessandro does not wish for a royal robe stained with the colour of brotherly blood. Purple dyed by way of blood is the purple of shame rather than honour. The opera, quite typically, consists of three acts preceded by a tripartite overture. On the basis of the score we can deduce that Scarlatti had at his disposal instrumentalists playing on oboe, flute (traverse), violin, viola and among those performing the basso continuo part: harpsichord, lute, cello and double bass. Apart from single instances, we do not know the names of the orchestra members. It is reasonable to suppose that Domenico Scarlatti led the ensemble from the harpsichord with the continuo part played on lute by the instrument’s virtuoso Silvius Leopold Weiss, who had come to Rome from Silesia with Prince Aleksander Sobieski’s retinue. Most of the arias are in da capo form, the singers being accompanied by a string orchestra, occasionally with solo-treated wind instruments, and only four arias by basso continuo. This element of orchestration places Domenico’s work in a transitional period between operas composed within 17th-century traditions and works of the 18th century. In Domenico Scarlatti’s operas, vocal virtuosity is subordinated to the word and represents an excellent example of musical rhetoric (an element that links Domenico with the approach of his father Alessandro Scarlatti). In the arias even the longest and most complicated coloraturas are generally there to embellish key words or vitally important lines. Another noticeable element of Domenico Scarlatti’s style is a willingness to suspend the continuity of the melodic line with pauses or short, often single-bar, instrumental interpolations. In his arias this occurs more frequently than in the music of his father, who preferred a continuous presentation of the text. Such measures may have been dictated by Capece’s poetry, which contains questions and passages of a more contemplative nature. In order to better convey them, Scarlatti shaped his musical phrases out of short motifs based on leaps downwards or upwards, followed by a pause. This certainly served to reinforce the meaning of the posed question, simultaneously however it made the singer’s part more demanding in terms of acting. Unfortunately most names of singers who appeared in Tolomeo e Alessandro are unknown, apart from Paola Alari in the role of Dorisbe and Anna Maria Giusti as Seleuce, who was holding the title of virtuosa of the Queen of Poland. Marie Casimire Sobieski wrote to her son complaining she could not afford to engage the finest vocalists and out of necessity had to be satisfied with a small theatre, well matched voices that are neither the best or the worst, and good musical taste. She was absolutely correct about the latter. Domenico Scarlatti known today mainly as a harpsichord virtuoso and author of immortal harpsichord sonatas, guaranteed music of the highest order for the Queen’s guests to hear, music they could honestly delight in and admire. One should also bear in mind that the beginnings of Scarlatti’s compositional career are inextricably linked with the name of the Polish Widow-Queen. Thanks to her superb intuition or that of Prince Aleksander, who for some time was living with his mother in Rome or perhaps on the good advice of Rome’s patrons, Marie Casimire engaged Domenico at her court. It was for her that the young genius composed his works, thanks to which the Sobieski name resounded throughout Rome, bringing solace to the Queen’s rapidly ailing son and guaranteeing Marie Casimire Sobieski an enduring place in the history of baroque Rome. Synopsis libretto: Carlo Sigismondo Capece music: Domenico Scarlatti premiere: Rome, 19 January 1711 Tolomeo – King of Egypt, under the assumed name of shepherd Osmino Alessandro – brother of Tolomeo Seleuce – wife of Tolomeo under the assumed name of Delia the shepherdess Araspe – king of Cyprus Elisa – sister of Araspe Dorisbe – daughter of Isaur Prince of Tyre, under the assumed name of Clori the gardener ACT I Tolomeo bemoans the cruel fate that deprived him of everything he loved – his wife, kingdom and fair-minded mother. His lament is interrupted by the call of a drowning man. Without hesitation Tolomeo runs to his aid only to discover that the survivor is his brother Alessandro whom he suspects of evil intent. He leaves him on the beach. The castaway is spotted by Elisa. Her image stirs feelings of passion in Alessandro. Araspe declares his love for Delia (Seleuce) but fails to understand why she rejects his advances. Araspe’s new-found love elicits anger and resentment in his previous mistress – Dorisbe, who decides to reveal her identity to Seleuce. Araspe welcomes the newly arrived Alessandro to the island. Elisa makes Tolomeo aware of her feelings for him. Her admission does not please him and he seeks solace for his soul in sleep. Seleuce notices the sleeping shepherd. As she approaches Tolomeo, she is seen by Araspe. Startled by the king’s sudden outcry, Seleuce flees, leaving on stage the sleeping Tolomeo, who awakes to see Araspe’s sword over him. Tolomeo pacifies the jealous king, assuring him that all he desires is peace and the return of his beloved wife whose shadow he saw in his dream. The ruler of Cyprus is appeased by Tolomeo’s stance. ACT II Alessandro declares his love for Elisa. She is not glad to hear it. In turn Tolomeo reveals to her his identity in the hope that she understands his difficult situation. This information however has the opposite effect. Elisa no longer hides her love for Tolomeo. She forbids him however to reveal her secret to Araspe, wanting to check for herself that Tolomeo does not love Seleuce (Delia). Dorisbe (Clori) on the other hand wishes to exact revenge on her unfaithful lover. Seleuce appeases Dorisbe by revealing her identity.