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CHAN 0705(2) Book Cover.qxd 15/9/06 3:51 pm Page 1 CHAN 0705(2) CHACONNE CHANDOS early music CHAN 0705 BOOK.qxd 15/9/06 3:57 pm Page 2 Niccolò Piccinni (1728–1800) Le donne vendicate The Revenge of the Women Musical intermezzi for four voices Lebrecht Collection Lebrecht in two parts Libretto after Carlo Goldoni First performed in the Teatro alla Valle, Rome during Carnival of the year 1763 Critical edition by Francesco Luisi A production of ReteDue della Radio Svizzera di lingua italiana Count Bellezza, an eccentric Knight ..........................Vincenzo Di Donato tenor Lindora, a simpering girl, niece of .............................Giuliana Castellani soprano Ferramonte, the ladies’ champion........................................Mauro Buda baritone Aurelia, novel-reading friend of Lindora’s ..............................Sylva Pozzer soprano Various non-speaking characters The action takes place in and around a pretty country villa near Bologna. Niccolò Piccinni I Barocchisti Duilio Galfetti leader Diego Fasolis 3 CHAN 0705 BOOK.qxd 15/9/06 3:57 pm Page 4 COMPACT DISC ONE Time Page Time Page First Part Scene 5 1 Sinfonia 5:09 44 11 ‘Ero ancora di tenera età’ 3:29 59 Ferramonte Scene 1 2 ‘Questi fiori, onor d’Aprile’ 4:02 44 Scene 6 Lindora, Aurelia 12 ‘Queste bravure sue’ 0:53 59 3 ‘Perché, invece de’ lauri’ 2:27 44 Lindora, Count Bellezza Lindora, Aurelia 13 ‘Le povere donne’ 4:22 60 4 ‘Un guerriero giovinetto’ 3:54 47 Lindora Aurelia Scene 7 Scene 2 14 ‘Questa cosa va mal, va male assai’ 0:18 61 5 ‘Oh, quest’è bella assai!’ 1:16 47 Count Bellezza Lindora, Aurelia 15 ‘Dirò che son le donne’ 3:10 61 Count Bellezza Scene 3 6 ‘Sono bello, io già lo so’ 2:08 49 Scene 8 Count Bellezza 16 ‘Spada, spada fatale’ 3:21 61 7 ‘Amabile Lindora’ 2:51 49 Ferramonte, Count Bellezza Count Bellezza, Lindora, Aurelia 8 ‘Quel dar di tanto in tanto’ 5:28 53 Scene 9 Count Bellezza, Aurelia, Lindora 17 ‘Le sono obbligatissima’ 6:12 65 Lindora, Aurelia, Count Bellezza, Ferramonte Scene 4 TT 53:59 9 ‘Io vi dico che le spese’ 1:36 54 Ferramonte 10 ‘Adesso, in questo punto’ 3:17 54 Ferramonte, Aurelia, Lindora 4 5 CHAN 0705 BOOK.qxd 15/9/06 3:57 pm Page 6 COMPACT DISC TWO Time Page Time Page Second Part Scene 5 Scene 1 10 ‘Avete inteso? Allor ch’io mi ritrovo’ 4:01 80 1 ‘Donne mie, noi siam l’offese’ 1:28 70 Ferramonte, Aurelia, Lindora, Count Bellezza Lindora, Aurelia 11 ‘Infelici, pover’uomini’ 3:15 85 2 ‘Perdonatemi, o donne’ 2:37 71 Aurelia Aurelia, Lindora 3 ‘Attento, sotto un albero’ 4:42 73 Scene 6 Lindora 12 ‘Se n’andorno, una volta!’ 1:48 85 Lindora, Count Bellezza Scene 2 13 ‘Tutto per voi farò’ 6:22 88 4 ‘Ci sono nell’impegno’ 1:46 74 Count Bellezza, Lindora Ferramonte, Aurelia 5 ‘Per esempio, se il nemico’ 3:43 75 Scene 7 Ferramonte 14 ‘Certo, siete un grand’uom! Negate, adesso’ 1:58 90 Aurelia, Ferramonte, Lindora Scene 3 15 ‘Venga pur: che bel piacere’ 7:23 92 6 ‘Quant’è sciocco se crede’ 1:41 76 Aurelia, Lindora, Ferramonte, Count Bellezza Aurelia, Count Bellezza TT 49:22 7 ‘Sì, l’ho detto, lo ridico’ 2:15 77 Count Bellezza, Aurelia, Lindora, Ferramonte I Barocchisti Diego Fasolis director Scene 4 violin viola oboe horn 8 ‘Il malan che vi colga! Oh, questa è bella!’ 2:02 78 Duilio Galfetti, leader Gianni De Rosa Marco Cera Brunello Gorla Count Bellezza Franco Andrini Andrea Mion Gabriele Rocchetti 9 ‘Cara, quest’occhi miei’ 4:13 79 Stefano Barneschi cello Count Bellezza Daniela Beltraminelli Paolo Beschi bassoon lute Fiorenza De Donatis Daniele Galaverna Paolo Cherici Luca Giardini double-bass Alberto Stevanin Paolo Rizzi harpsichord Guido Morini 6 7 CHAN 0705 BOOK.qxd 15/9/06 3:57 pm Page 8 France, beginning with Roland in 1778 and Le donne vendicate: Musical intermezzi for Piccinni: Le donne vendicate continuing with works such as Iphigénie en four voices Tauride in 1781 and Didon in 1783, did not This ‘little farce’ – as which it is identified in achieve overwhelming success. Despite his the dedication accompanying the libretto – Niccolò Piccinni: Biographical note success came two years later with La Cecchina appointments as director of the Opéra’s consists of two intermezzi composed by Niccolò Vito Piccinni was born in Bari on o sia La buona figliuola (libretto by Goldoni), Italian company of buffi and as maestro di Niccolò Piccinni to a text taken from 16 January 1728, the son of Onofrio a genuine masterpiece, which was acclaimed canto at the École royale de musique et Goldoni. The original text by the Venetian Piccinni, a musician, and his wife, Silvia, not only in Italy but throughout Europe. déclamation, Piccinni never enjoyed a dramatist had already appeared in 1751 with sister of the composer Gaetano Latilla. It was Having achieved popularity on this scale, comfortable financial situation in France. music by Gioacchino Cocchi and had then determined at an early stage that he should however, the composer found himself under When the revolution broke out in 1789 he been arranged by Giuseppe Scolari in 1757. devote himself to the priesthood, but his pressure to maintain an excessively high level returned to Naples where the Bourbon king With Piccinni’s music and another musical gifts soon manifested themselves and of production. The speed with which he was Ferdinando IV fêted him and conferred adaptation of the text the work arrived in in 1742 he enrolled in the St Onofrio forced to work in order to satisfy the honours upon him. Over the following years Rome for Carnival 1763 and was produced Conservatory in Naples where he studied enormous number of commissions he he remained active, not only in Naples but also at the Teatro Valle. under Leonardo Leo and Francesco Durante. received, caused the quality of his work to in Venice where La Griselda was performed in Roman society (which Burney was soon to Success was not long in coming, primarily suffer and in consequence he began to lose 1793 and Il servo padrone in 1794. But describe as censorious and distrustful, not to with comic operas such as Le donne dispettose favour with the demanding and critical Piccinni also had to confront accusations of mention severe, in its judgement) gave an (1754), Le gelosie (1755), L’astrologa (1756) Roman public. Thus, in 1774 Piccinni left being a revolutionary, accusations aggravated enthusiastic reception to the production and Il curioso del suo proprio danno (1756). Rome and returned to Naples where he by the marriage of one of his daughters to a which boasted the patronage of Cecilia But also his first opera seria, Zenobia (1756), assumed the posts of second maestro di French Jacobin in 1792, in consequence of Mahony Giustiniani, Princess of Bassano, to to a libretto by Metastasio, was very well cappella at the cathedral as well as maestro di which he was even placed under house arrest whom the publisher-cum-bookseller received by the public. cappella to the court. for four years. In 1798 he managed to escape, Agostino Palombini dedicated the printed In 1756 he married one of his own pupils, Two years later he accepted an invitation and to return to Paris where he was received libretto. Naturally in that rarefied society – Vincenza Sibilla, a singer, with whom he was from De La Borde, first gentleman of the with great honours and where he succeeded in comprising princes, monsignors, nobles, to have nine children. bedchamber to Louis XV, to move to France. having a part of his pension reinstated. But by prelates, abbots, monks, men of learning and It was in fact with an opera seria, Alessandro In Paris he found himself embroiled in the this time he was seriously ill, and he died at diplomats of every stripe – the work could nelle Indie, written in 1758, again to a libretto famous querelle surrounding Gluck, instigated Passy on 7 May 1800. not be published without the usual by Metastasio, that the composer from Bari by Marmontel and the bouffons, becoming – imprimatur signed by a ‘friar preacher’ (a swept to prominence in Rome, moving there unintentionally – the representative of the © 2004 Maria Luisi Dominican) and provided with the following with his family in the same year. His greatest anti-Gluckians. The operas he produced in Translation from the Italian: Avril Bardoni ‘disclaimer’ by the person responsible: 8 9 CHAN 0705 BOOK.qxd 15/9/06 3:57 pm Page 10 Any material at variance with the true figliuola, La buona figliuola maritata, La bella sophistication and artistic taste honed by the reading’ friend defends the concept of the sentiments of the Holy Roman Catholic verità, La notte critica and Vittorina, by continual exercise of its critical faculties, cultured woman, declaring her conviction Church is purely and simply a poetic conceit contrast, take their literary material direct demonstrated a certain unease with respect to that ‘the Count/does not love women who and does not reflect the sentiments of the from Goldoni. Of these, La Cecchina, the work of Piccinni – who had, perhaps, are dull and ignorant’. In reality, the object author who declares himself a true Catholic. premiered in Rome at the Teatro delle Dame blundered in creating his masterpiece so soon of their affections, excessively sure of his own We also know the names of the singers on 6 February 1760, proved the most after his arrival in the city, arousing attractiveness, makes a point of treating both who took part in that first production: successful.