Giuseppe Verdi

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Giuseppe Verdi Giuseppe Verdi OBERTOStadttheater Gießen Michael Hofstetter v Giuseppe Verdi (1813–1901) OBERTO Conte di San Bonifacio Drama in zwei Akten Libretto von Temistocle Solera Uraufführung am 17. November 1839, Teatro alla Scala, Milano Live-Aufnahme aus dem Stadttheater Gießen vom Dezember 2012 Intendantin: Cathérine Miville 3 Besetzung | Cast Oberto Adrian Gans Leonora Francesca Lombardi Mazzulli Cuniza Manuela Custer Riccardo Norman Reinhardt Imelda Naroa Intxausti Chor und Extrachor des Stadttheaters Gießen Philharmonisches Orchester Michael Hofstetter, Dirigent /conductor Chor/choir Jan Hoffmann Dramaturgie/dramaturgy Christian Schröder G CD 1 CD 2 1. Akt / Act 1 2. Akt / Act 2 [01] Sinfonia 06:07 [01] Recitativo e Aria Cuniza con Coro 11:12 [02] Introduzione 03:21 [02] Coro dopo l’Aria Cuniza 03:19 [03] Aria Riccardo 04:37 [03] Recitativo e Aria Oberto 06:25 [04] Scena e Cavatina Leonora 08:30 [04] Recitativo e Quartetto Leonora, [05] Scena e Duetto Leonora e Oberto 13:36 Cuniza, Riccardo e Oberto 11:30 [06] Coro 02:49 [05] Coro d’Uomini 02:34 [07] Recitativo e Duetto Cuniza e [06] Romanza – Riccardo 04:09 Riccardo 08:23 [07] Scena e Rondo Finale Leonora e tutti [08] Scena e Terzetto Cuniza, 14:22 Leonora e Oberto 13:18 [09] Finale Primo 07:35 total 53:33 total 68:20 V Väter und Töchter Fathers and Daughters Das Grundthema in Verdis Opern The Origin of the Fundamental Theme nimmt seinen Anfang in Verdi’s Operas Ein Thema zieht sich wie ein roter Faden There is one subject that runs through Verdi’s durch Verdis Opern: das komplizierte Ver- operas like a red thread: the complicated hältnis zwischen Vater und Tochter. Ob relationship between father and daughter. Amalia (I Masnadieri), Luisa (Luisa Miller), Whether Amalia (I Masnadieri), Luisa (Luisa Gilda (Rigoletto), Aida oder zuletzt Nanetta Miller), Gilda (Rigoletto), Aida or, finally, Nanet- (Falstaff) – sie alle haben sich nicht nur mit ta (Falstaff) – they all must not only confront amourösen Verwicklungen und diversen amorous involvements and diverse intrigues, Intrigen auseinanderzusetzen, sondern müs- but must also bring all their actions in line with sen ihr gesamtes Handeln mit den (in der the (generally) excessive ideas of their fathers. Regel) überhöhten Vorstellungen ihres Vaters And, frequently, it is precisely the honour of in Einklang bringen. Und häufig ist es gerade the family represented by the father figure that die von der Vaterfigur vertretene Ehre der stands in the way of the daughter’s happiness. Familie, die dem Glück der Tochter im Wege The father-daughter conflict is already the steht. central focus of the early opera Oberto – even Schon im frühen Oberto steht der Vater- though Verdi did not even choose this material Tochter-Konflikt im Mittelpunkt – und das, himself. obwohl Verdi diesen Stoff gar nicht selbst aus- Thus, already at the beginning, Leonora is gewählt hat. Dabei ist Leonora schon zu Be- concerned with revenge and the restoration ginn auf Rache und Wiederherstellung ihrer of her honour, and this also with regard to her Ehre bedacht; und dies auch in Hinblick father: “O Father! What pain your unhappy auf ihren Vater: »O Vater! Welchen Schmerz daughter will bring upon you when you find wird dir deine unglückliche Tochter zufügen, out that she is unworthy of you. But the outrage wenn du erfährst, dass sie deiner unwürdig will be atoned for; today begins my revenge.” 7 Adrian Gans (Oberto) ist. Doch der Frevel wird gesühnt werden; am Oberto enters the scene as the personification heutigen Tag beginnt meine Rache.« of her guilty conscience, remonstrating even Oberto tritt als ihr personifiziertes schlechtes more with the already tormented daughter: Gewissen hinzu und macht der ohnehin schon “I am trembling. Have you perhaps provoked gepeinigten Tochter noch mehr Vorhaltungen: your father’s final day? The danger in which »Ich zittere. Hast du vielleicht deines Vaters your unhappy father found himself did not letzten Tag heraufbeschworen? Die Gefahr, in suffice for you: you have befouled the honour der dein unglücklicher Vater sich befand, ge- of his final days.” nügte dir nicht: Du hast die Ehre seiner letzten As angels of revenge, they now take action Tage beschmutzt.« together. The father-daughter conflict comes Als Racheengel schreiten sie nun gemein- to a head when the plot allows, for a moment, sam zur Tat. Der Vater-Tochter-Konflikt spitzt the possibility of a more or less happy outcome sich zu, als die Handlung für einen Moment die to shine forth. When Cuniza convinces Riccar- Möglichkeit eines einigermaßen glücklichen do to return to Leonora and thereby restore Ausgangs des Geschehens aufblitzen lässt. Als honour, this peace offering is not enough for Cuniza Riccardo dazu bringt, sich von neuem Oberto. The demanded duel ends fatally for Leonora zuzuwenden und damit die Ehre wie- him – and it is the loss of her father rather than derherzustellen, ist dieses Friedensangebot für the hasty flight of her lover that plunges Leo- Oberto nicht genug. Das geforderte Duell endet nora into desperation: “Damned as fatherless, für ihn tödlich – und es ist der Verlust des a convent cell awaits me.” Vaters, nicht die übereilte Flucht des Gelieb- Naturally, there has been much speculation ten, der Leonora in Verzweiflung stürzt: »Als about the father-daughter relationship in Vaterlose verdammt, wartet eine Klosterzelle Verdi’s operas, and at many different levels. auf mich.« Did the composer wish to come to terms with Natürlich ist über die Vater-Tochter-Bezie- his own private life through the permanent hung in Verdis Opern viel und auf sehr unter- occupation with this subject? Verdi’s only schiedlichem Niveau spekuliert worden. Wollte daughter from his first marriage died while he 8 der Komponist durch die permanente Beschäf- was working on Oberto; his later relationship tigung mit dieser Thematik sein eigenes Privat- with the singer Giuseppina Strepponi remained leben aufarbeiten? Verdis einzige Tochter aus childless. Or does the conflict between the erster Ehe starb während der Arbeit an Oberto, father figure and the daughter driven by her die spätere Beziehung mit der Sängerin Giu- feelings stand for the conflicts between state seppina Strepponi blieb kinderlos. Oder steht and populace in the Italy of the 19th century, der Konflikt zwischen Übervater und von ihren marked by the Risorgimento (the movement Gefühlen getriebener Tochter stellvertretend for Italian unification)? für die Konflikte zwischen Staat und Volk im This discussion is pointless and cannot, in vom Risorgimento, den Einheitsbestrebungen the case of Oberto, lead to any definitive con- geprägten Italien des 19. Jahrhunderts? clusion, for Giuseppe Verdi did not choose the Diese Diskussion ist müßig und kann im libretto himself. The fact that the subject had Fall von Oberto auch zu keinem Ergebnis füh- already captivated him here, in his first opera, ren, da Giuseppe Verdi das Libretto nicht selbst is expressly shown in the major duet between gewählt hat. Dass ihn das Thema bereits hier, Oberto and Leonora in the first act. It is one in seiner ersten Oper, gefangengenommen hat, of the most musically inspired moments in the zeigt sich jedoch ausdrücklich im großen Duett score – and the cornerstone for numerous zwischen Oberto und Leonora im ersten Akt. duets of a similar nature in Verdi’s production. Es ist einer der musikalisch inspiriertesten Momente der Partitur – und der Grundstein für Christian Schröder zahlreiche ähnlich angelegte Duette in Verdis Translation: David Babcock Schaffen. Christian Schröder O 9 Handlung | Synopsis Vorgeschichte Oberto, Graf von San Bonifacio, ist nach einer Background gegen seinen Erzfeind Ezzelino verlorenen Oberto, Count of San Bonifacio, fled to Mantua Schlacht nach Mantua geflohen und hat seine after a battle lost against his archenemy Tochter Leonora in der Obhut von Verwandten Ezze lino and left his daughter Leonora behind zurückgelassen. in the care of relatives. Riccardo, Count of Riccardo, Graf von Salinguerra und Ezzeli- Salinguerra and Ezzelino’s ally, seduced Leo- nos Verbündeter, hat Leonora verführt und ihr nora and promised to marry her. die Ehe versprochen. Als er sich jedoch in But when he fell in love with Cuniza, Ezze- Cuniza, Ezzelinos Schwester, verliebte, verließ lino’s sister, he left Leonora. On the day of the er Leonora. planned wedding of Riccardo and Cuniza at Am Tag der geplanten Hochzeit von Riccar- Bassano Castle, Leonora wants to publicly do und Cuniza im Schloss von Bassano will expose her seducer. This is where our story Leonora ihren Verführer in aller Öffentlichkeit begins. bloßstellen. Hier setzt die Handlung ein. Act 1 1. Akt Scene 1. A delightful landscape 1. Bild. Eine liebliche Landschaft in der near Bassano Castle Nähe des Schlosses von Bassano Riccardo is happily greeted by the wedding Riccardo wird von den Hochzeitsgästen freudig guests. Everyone hopes that the marriage will begrüßt. Von der Heirat erhoffen sich alle bring about a lasting peace in the constantly einen dauerhaften Frieden in der ständig um- disputed region. When the people have depart- kämpften Region. Als sich die Gesellschaft ent- ed, Leonora appears and deplores Riccardo’s fernt hat, erscheint Leonora und beklagt Ric- unfaithfulness. Oberto has also come to cardos Untreue. Heimlich hat sich auch Oberto Bassano secretly, meets Leonora there and nach Bassano begeben, trifft dort auf Leonora puts her under pressure: she can only regain und setzt sie unter Druck: Seine väterliche his fatherly love if she reveals Riccardo’s 11 Francesca Lombardi Mazzulli (Leonora) Liebe könne sie nur dadurch zurückgewinnen, breach of promise before all those present at dass sie Riccardos Wortbruch vor allen An- the wedding festivities. They hurry to the castle wesenden der Hochzeitsfeier enthülle. Gemein- together. sam eilen die beiden zum Schloss. Scene 2. A magnificent hall 2. Bild. Eine prächtige Halle in the Palace of Bassano im Palast von Bassano Cuniza longingly awaits her bridegroom.
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