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FLAVIO EMILIO SCOGNA Compact Disc 1 45’21 Compact Disc 2 35’06

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FLAVIO EMILIO SCOGNA Compact Disc 1 45’21 Compact Disc 2 35’06 95360 Erika Liuzzi · Donato Di Gioia · Paolo Pecchioli Orchestra ‘V. Galilei’ FLAVIO EMILIO SCOGNA Compact Disc 1 45’21 Compact Disc 2 35’06 Giovanni Battista Pergolesi 1710–1736 Aldo Tarabella b.1948 LA SERVA PADRONA IL SERVO PADRONE intermezzi di Gennarantonio Federico intermezzi di Valerio Valoriani Intermezzo Primo Intermezzo Primo 1 Aria: Aspettare e non venire (Uberto) 1’48 1 Ouverture del ronzio 1’41 2 Recitativo: Questa è per me disgrazia (Uberto · Serpina) 3’53 2 Aria: Mangiar bene e digerire (Vespone) 1’25 3 Aria: Sempre in contrasti (Uberto) 4’13 3 Recitativo: Oh, che grande fortuna 2’52 4 Recitativo: In somma delle somme (Serpina · Uberto) 1’36 4 Terzetto: Non m’hai sposata (Serpina · Uberto · Vespone) 0’52 5 Aria: Stizzoso, mio stizzoso (Serpina) 4’06 5 Recitativo: E ora vecchio cialtrone impertinente 1’32 6 Recitativo: Benissimo. Hai tu inteso? (Uberto · Serpina) 2’07 6 Aria: Su, presto, corri Uberto (Vespone) 1’30 7 Duetto: Lo conosco a quegli occhietti (Serpina · Uberto) 4’28 7 Recitativo: Eccovi il cioccolate 0’58 8 Aria: Bisogna al mio comando (Serpina · Vespone) 2’33 Intermezzo Secondo 9 Recitativo: Benissimo ho inteso 0’28 8 Recitativo: Or che fatto ti sei dalla mia parte (Serpina · Uberto) 3’23 10 Duetto: O Vespino, mio Vespino (Serpina · Vespone) 2’22 9 Aria: A Serpina penserete (Serpina) 3’45 10 Recitativo: A quanto mi sa male (Uberto · Serpina) 2’25 Intermezzo Secondo 11 Aria: Son imbrogliato io già (Uberto) 4’07 11 Recitativo: Ora che come un merlo 0’30 12 Recitativo: Favorisca, signor, passi (Serpina · Uberto) 3’08 12 Aria: Per amore, per pietà (Uberto) 1’36 13 Duetto: Contento tu sarai (Serpina · Uberto) 6’16 13 Terzetto: Oilà di casa (Serpina · Uberto · Vespone) 2’20 14 Recitativo: Gentil signora sconosciuta 2’20 Erika Liuzzi Serpina · Donato Di Gioia Uberto 15 Duetto: Ah, Serpina meschinetta (Serpina · Uberto) 2’20 Chiara Tiboni harpsichord · Francesco Tomasi archlute · Andrea Lattarulo viola da gamba 16 Recitativo: Serpina… Padrona 2’46 Orchestra ‘V. Galilei’ / Flavio Emilio Scogna 17 Terzetto: Io Vespone de’ Vesponi (Uberto · Vespone · Serpina) 3’05 18 Recitativo: Or che dell’universo 1’02 19 Terzetto: Il cuor mi salta in gola (Uberto · Serpina · Vespone) 2’44 Erika Liuzzi Serpina · Paolo Pecchioli Uberto · Donato Di Gioia Vespone Marco Santià piano Orchestra ‘V. Galilei’ / Flavio Emilio Scogna Note from the Conductor Note from the Director A large number of manuscript and printed copies survive of Pergolesi’s masterpiece La Serva Giovanni Battista Pergolesi owes much of his fame to La Serva Padrona, a comic intermezzo Padrona, but the autograph score is lost. It is probably precisely because there are so many copies, designed to be performed, as customary at this time, between the acts of an opera seria – his scattered around different libraries, that over the years both libretto and score have suffered from Il prigionier superbo, first staged in Naples in 1733. a prevailing atmosphere of entropy – between the 18th century and today, the text has been subject There are just three characters involved in the intermezzo’s plot: Uberto, an elderly bachelor, his to arbitrary and often inexplicable modifications. Similarly, I should class as harmful most of the maid Serpina, who rules the roost, and his mute servant Vespone. Uberto, fed up with enduring changes made to the score (by unknown editors). Serpina’s highhanded behaviour day after day, decides to get married and gives Vespone the task of Francesco Degrada, unquestionably the greatest Pergolesi editor and expert on his works finding a suitably docile and submissive candidate. Serpina knows that, deep down, Uberto actually (and indeed on 18th-century Neapolitan music in general), realised a critical edition of this has a soft spot for her, and decides that she should be the bride. With Vespone’s help, she hatches intermezzo which was used for a 2004 staging by the Pergolesi Spontini Festival in Jesi but sadly a plan, telling her master that she is going to marry a certain Captain Tempesta. Her description of remains unpublished. He wrote a programme note for that production in which he set out the issues him is so negative, however, that a concerned Uberto says he wishes to meet him. Serpina therefore and difficulties involved in putting together a critical edition of this work. introduces Tempesta – none other than Vespone in disguise. She tells Uberto that the fearsome The performance and realisation featured here incorporate corrections of certain doubtful captain has said will only marry her if her master hands over a huge dowry; otherwise he will insist elements that appear in various printed editions of the score, as well as taking into account Degrada’s that Uberto himself marry her. Relieved, Uberto happily accepts the second option and, finally, insightful notes based on the original libretto and on the collation of different manuscripts relating to the maid becomes mistress of the house. the first Neapolitan edition of 1733 and to a 1735 production at Rome’s Teatro Valle. In Aldo Tarabella’s sequel, which sets a libretto by Valerio Valoriani, we find Uberto completely We have also followed Degrada in using in the final aria, ‘Contento tu sarai’, the last 45 bars, under the thumb of a wife who may have let herself go, but remains just as cunning and domineering, ‘Se comandar vorrò’, that make up the second part of the da capo duet present in four surviving if not more so. Furthermore, the marriage has not yet been consummated. Vespone is still her manuscript scores which can be consulted in the library of the Conservatorio San Pietro a Maiella in accomplice, although he might perhaps like to be her lover – the role here is for a lyric baritone, Naples at the following shelf-marks: Rari 7.6.14, Rari 7.6.16, Rari 7.6.18 and Rari 7.6.19. meaning that he now has a say in things. Uberto then comes up with a strategy to bring an end to I should like to convey my sincere and heartfelt thanks to Professor Cesare Fertonani and, above his misery and return life to its original order. He disguises himself as his own first wife, come back all, to Professor Claudio Toscani, director of the Pergolesi Research Centre (Centro Studi Pergolesi) to reclaim her husband. Life has gone full circle. With an umpteenth deception revealed, Serpina and member of the Pergolesi Committee of the Pergolesi Spontini Foundation, for generously and Vespone, forgiven, go back to being Uberto’s servants. providing me with information that proved indispensable in making this recording. This portrayal of Vespone as a man in love points to a world in which male-female relationships are Finally, I should also like to mention our first performance of Pergolesi’s La Serva Padrona and still bound to a single means of escape for women – that of becoming good wives. In the 17th century, Aldo Tarabella’s Il Servo Padrone, which took place at the Teatro Alighieri in Ravenna on 26 October women had no access to education, and it was enshrined in law throughout Europe that until they 2017 as part of the 11th ‘La Voce Artistica’ conference, when Donato Di Gioia instead sang the role married, they were subject to the dictates of their fathers, or the men to whom they were in service. of Uberto, with Vespone played by Peppe Barra (in the Pergolesi) and Bruno Praticò (in the Tarabella). In stable, slow-moving periods of history, where social conventions seem set in stone, the traditional Flavio Emilio Scogna division between men and women never changes and always proves disadvantageous to women. 4 5 A woman’s status came only from being a man’s daughter or his wife, not from her being an independent, He pretends to be his own wife, claiming her rights over him and forcing the annulment of his self-reliant, educated person in her own right. The servant Vespone ends up clinging to tradition – marriage to Serpina. She and Vespone then have no choice but to return to their original roles as a reactionary who sees a woman’s role as that of either servant or lover, whether within marriage or not. servants. Things are just as they were, the immutability of social conditions established by mutual Having fallen for Serpina, he wants to apply the latter version to her, taking the lady of the house as deceptions and by the claiming of a right imposed by society that works against any progress a lover, subjugating one who subjugates others. He is caught between the love he feels for Serpina, in male-female relationships, with Uberto and Vespone unwitting defenders of the conservatism who makes him her ally in the plot to ensare Uberto, and the desire to prevent her emancipation. expressed by politician and economist Jean Bodin (1530–96) in The Six Books of the Republic: In Europe, and most notably in France, over the course of the 17th century, the conventions ‘as for the order and position of women … I think it fitting for them to be kept away from all controlling relationships between men and women underwent a transformation. During this period, magistracies, places of command, judgements, public assemblies, and counsels, so that they may the social stereotypes that pigeonholed women into traditional roles gradually began to be broken concern themselves only with their own domestic, womanly affairs.’ When, in relationships between down by the ladies who presided over France’s literary salons, as they put their reading to use. Ideas men and women, progress and autonomy are considered dangerous, it is more comforting to ensure about having children, about marriage, divorce, friendships with men, social relationships between that everything stays in its proper place, that people play roles that appease minds and feelings.
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