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Home , Aureliano in Palmira, Bianca e Falliero, La donna del lago, Otello (Rossini), Semiramide, Tancredi

1v a.a tloaa

rrr,i.r ll.)ss i n i ?

ReLo l4,U a 1er

$e know so little about TvanhaA. lL seems thar it e.s B.rna.d, Dirc.tor of the Th6at.e de l'od6o -qhich aspi.ed to become Numbe. Fou. anonq Parisian ahcatres after the Op6ra. Lhe The3tr. lt.tien- tnd tho opara cofrjqu. -kho had Lhe idea of a.r.nqing a ne, wo.k out oa Rossinirs best pieces of musi., uith ualter Scott s Ivanhoe {1A2Ol ns a basis. Ehil(l Deschamps and oabriel Gustave tlailly prepnrcd a libretio, treatins the scottish auLho. !iLh lialle r.spect (eve. the F.ench pronunciaLion of the hero s n.me beinq a profanation). l,laiter Scott, after seeinq lvanho6, ''Ev.iins at Lhe od6on, uhe.e ee sav lv.nhaa. lL eas de)iqhtf\ll\ a..ansed... Ihe nunber of actors ,.d Lhe acconPlishnent ol Lhei. pe.forna.ces eas rena.kable. tL is an oPer., atu ot cou.se the plot ,ac .:onsiderabl't DuLilated, the dialagues being DosLlq non- r.Jit-h ibis staterent, scoLL shoH.d an .ttitude compleLely diflerent. trom Lhat of Vicio. Huqo later on- uhen he ,.h.mentty c.iticised ihe much mo.e ninor adultii.arions of bis intellectual p.ope.ty in the ope.as of The plo! of /vrnhoa is d.scribed in detail in Jcrohe r,litchel l s bo.k 'lhe Halter Scott Ope.as (Alabdn., 1977). I shatt conteDt nyself ,ith nenrioninq thdL some of th. subordinate characters - curth, Llanda, Richard Coeur-de-l,ion .nd Robin Hood - are omiL!ed- and Lhat Atshalstane only finds mention as olrrc. in a Paris then dominated by Jeuish b.nk..s, Isaac and Rebecca diplonaLicalty bacone l9uslims and are.atled lsmaet and LEila- Lhis l,,Lt.r is a conflation both of Rebecca a.d Lady Rouena and in the end tD.ns ouL to be olri{i s daushcer and accordinqly can becohe lvanho6's wife l'he a1li.n.c betueen the Saxons and Nomans aqainst the invadimr f.en.b makes nonsense boLh of hisory and \,lalter scott, blt it seems quiLe eff.ctive op.raticat ly. The music, so re are told, ,as a.ranqed for the French stage by thc musician and ediLor AnLonio Pacini (not to be confused uith the nore famous ciovan^i)- and lJho ,as responsible for publishinq the compleie orcbestrat score. To judee try its fo.o, rvrnnoE is an oP6.a_conique, not just because of its typical division inLo three acis, but because of its spoken dialoque- The bo.roo.d pieccs of music a.e usuaLly kepL in their oriqinal form, that is aria renains an atia, a duet a duet, an Introduciion is used as an i^aroduction, and so on. lt is a remarkable fact that fo. each of the th.ee finali oi rhis pa6ticcio, lhe borroued pieces are aIl fi.ali prino, even for ihe closlhq finale b€ did not borroe a fi.ale secondo lvaudevilie or rondo finale)- This is not. too Rossinian but sounds ve.y inp..ssive in that .horal scenes are ho.e inporiant than !irtuosiEy i^ sinqins- The voice registers a.e Dostly unchansed, ,hiIe ornaments are nostly .educed. This is due to 6n adaptation to !.ench styles and has nothinq Eo do wirh tess skilled perfomers. There is only one femle role (L6ila, ) and, not unex- pecLedly, the.e a.e no t.ouser-roles, uhich had no tradition in F.en.h . There are, hoHever, three roles (Boisqui lbert. Beauhanoir and rsnaEl), tro t-enor roles (Iv3nho6 and EaIvoisin), and ona ba.itona role ic6dric). The cast consisted of sohe experienced sinqers, such as Mne Lemoule (L6ila) and Lecomte (Ivanho6), as u.lI as the beqinner Cilb.rt Louis Duprez (Pralvoisin). 4

lhp i ir sr p-r ror hdn.^ look prd.i. on ra/b s..n\ t\ s.prcmb.r. dnd'ii; r he oDc,d ,o rdvF b-pn d q,.,,r s,,.i.ess As ilr")i"ii Arrqcheine zeitunq .6portcd_ a lar,re numbe. c".pri,""i".,"r -iiir.iii ,'11"1" our fhc pds,i,..ro L.n popurdrr(y"] :19 _b::1 ".d "". *,i";;"; ;; prd..s. An Enor,sh \.,s,on London in talq. .;;; "i;,"-,.,,:i Newr york. phiraderphia and Dubrin_ a e"..". .a.pi.li"._""-J ert.,rn ";;; ";;;":; .Il rs rh,,r Ro(srni hdd oi\en hrs.onspnr to, lh,s pdst i-rr- cs lo his d.r'dt .o dborrtron, hou.vcr rp !nou bur ,irt,e in ,n rr,,qi Ruqnoni.s ..,"",.;,;" --*.,;i.-,,^i: er.iii"'ii;;i ec fi.d the fot iouinq: "Th' bt t1r\euh tt,sh tn I atdon / . / hds s@ td roqrdDht D.,oeF or Ross,ni espp.tdre tot ,,ts ddditdttah. in", ,i-"j,,i. ), i,Jj..i reciLaxive an., an introductioD fo. o..hesrra i" ;t_;;-;":;;;; -;;i .n,r Rossi.i. uith a,iee to a pe.fo.nance d;,-;;;;. t1t9" p".t i" its ar.ansetuenL, tiouq,i p€.haps"i .ificant

.horcp ot pic.as uscd. Thrs.lorce his nor, up r";"". b."" sperrcd ourj RadiciorLi mc.Eioned senirakide, cenercnLola: a;";;-i.;;;.. as.. ldn.tpdt nntl .?lDtrd. ,hprpds -;,.' l,rernslo. k ;d;;; ,;_;,;;;;;"-;;i;,i:; athet opetds rhc Aunrppr,p, .;;, hdd 1,. -n bo,roued tton ./.tnttd. u"r ,."Jr_ i"-i;";r,;-i;"";;l';i;"i",." nor d,r.dd) mchl .oned""r. b) Rddi.io, ti knokinq i6 o1 hrs wpcrJs rdlr c\ccpr siqrsnondo, Edudtda ? q01 crtstthd xi"","ia" z"i.ii.i dbour ot lna musr.. ""atn rd.t , uds" dbte lo idcncity eacerprs froh aian.a e Fatteto, rotvak; e o..ri"i", "i.Jajl lraoketta lt and Au.etia.o iD patsi.a. the lollorinq rable shoss ivrtrioe,s construction: Oriqin la4ho' Seni.anide

49! I rrl6 sEo.n music No I I.troduction 1/l Int.oductioD Sc1 Cedri.- choeDrs 'Lrn Lanrin di cari rri, l/6 Quintet-sL.eria s.2 tes h6mes- L6iIa- lsm.iil 'S. Lu pirl mornori 'Seiqneur, dans votre demeu.e. ' Par pi Ei6, r..evez-nous, 1ll1 Ar ia Don ttaqnil i.o No2 Ai. Ismael et choer 'Se qualuDque dcl Ie liqtie, 'Boisguitbert doDt ta vengea.ce fuL toujours t'unique loi Bi.nca e talliera l/3 Ar ia conta..no '!iqtia hia. se forza al {a,o.. 'tsless6 su. ta ter.e €transdre' i7: o"".t"t No4 Ouatsuor et Choeur 'or che far6- cedor dovr6' C6dric, lvanho6, L€i ta, rsmael 'Ah point d'atarnes, s6chez vos

lntervention h6raut

roqri al campo'

I17s- F i rEle II F'emale chorus 'Sventu.ata. fuqgi. sot ti resta. 'Quel turulLe! Ah pourquoi ces atarmes' Au.etiano ir Palni.a 1/2 Introduction, b.idqe passaqe 'Helasr o douleur. o jour funesre l,a qazza Ladra I1l I I QuinLet-Larqo 'Che abisso di pene'

I/13 FinaIe I. St.etta 'Un astro di sansue'

possi bty siqispondo * l/5 A.i. Aldinlra 'Oqqetto anabile' 'Ahr Mon ame en vain espd.e' To.valdo e Dorliska l/5 Dueb Dorliska, Duca NoA Duo L6iIa. Boistrui lborL 'Oue vois-je? oh ciel ! '

l1os6 in Esi Lto iIl3rl4i -Larqo No9 Trid L6i 1a, Aoisguilberr, manca la voce' Marvoisin soul lranc. cruelle' et Cboeur 'Suiv.z-nous, le conseil 'F'iera querra mi sento net La qazza ladta II19 Coro alei ciudici 'fremate o popoli' 'R.ce infiddle, a Dieu r6belle'

I/13 Finale L ,,argo 'Quer coup m'accabl., 'Qual mesto qenito' AoeA i. Eeitto

Act Ill -i7l iii;odDcLion cho."" Noll llarche milirairc i I

6

iITiE-Gro di caval i.ri No12 choeur des chevat iers 'Re,rna iI tcrror nella ciEl-i' 'Faiso.s siLence' Jeri.anide No13 scdne et air Boisquilbcrt 'Conbat toriblel Ah! que r6soud.e?' e Fa11i.ro No14 P!..che et choeurs 'Ahl qual notte di squallo.' 'Dieu signale ta clehence' Passo doPpio for milita.Y band*t Iorv4lao e Dorliska I/11 F'i.aIe I (abridqedl

. 'lhoush L,6ila's a.ia in.ludes sone lun€s f.on Do.liska s second atia' tle.e;.e so nans difterences beLveeb the Lvo that it nishx be a ner conposition, but this uouid be quite unusual in a Pasticcio' 'Io jDdqe i.* tt" t",t. it .:oDId s.l] De Atdini.a's aria t.@ sisisndt

(Translation: Ni.ote Hdchli8aeriryl)