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ROSSINI L’ITALIANA in ALGERI the ITALIAN GIRL in ALGIERS DIE ITALIENERIN in ALGIER Overture to the Opera

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ROSSINI L’ITALIANA in ALGERI the ITALIAN GIRL in ALGIERS DIE ITALIENERIN in ALGIER Overture to the Opera Edition Eulenburg No. 1110 ROSSINI L’ITALIANA IN ALGERI THE ITALIAN GIRL IN ALGIERS DIE ITALIENERIN IN ALGIER Overture to the Opera Eulenburg GIOACCHINO ROSSINI L’ITALIANA IN ALGERI THE ITALIAN GIRL IN ALGIERS DIE ITALIENERIN IN ALGIER Overture to the Opera Ernst Eulenburg Ltd London · Mainz · Madrid · New York · Paris · Prague · Tokyo · Toronto · Zürich CONTENTS Preface . III Vorwort . V L’italiana in Algeri . 1 © 2011 Ernst Eulenburg & Co GmbH, Mainz for Europe excluding the British Isles Ernst Eulenburg Ltd, London for all other countries All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the publisher: Ernst Eulenburg Ltd 48 Great Marlborough Street London W1F 7BB PREFACE L’ italiana in Algeri brought its young com- had already been set extremely successfully by poser thunderous applause at its premiere on Luigi Mosca in 1808. For the most part the li- 22 May 1813 and at its wildly acclaimed suc- bretto retained its original form. In only a few ceeding performances. The first ‘tentative step’ places did Rossini – possibly in co-operation in the amusing subject – less than two years with Anelli himself – intervene in the text, in previously – was, on the other hand, far less order to tailor it to his personal predilection successful (once the successful performance of with respect to comic effect. And it was just a previously-composed, small-dimensioned these textual modifications that ultimately en- farce is disregarded); it even brought a noctur- abled Rossini to display all of his skill. This is nal arrest to Rossini. Racy text passages caught impressively revealed especially in the turmoil of the attention of the censor and led ultimately the first finale, where with onomatopoeic means to the ban of L’equivoco stravagante, on which the chaos in the minds of each protagonist Rossini must obviously have commented with- rendered individually, is lent expression.2 out any self-control. However, already again at In his text Anelli went back to the ‘Turkish the beginning of the year 1812 he was able to subject’ already extremely popular in the 18th win over the Venetian audience at the Teatro century. The depiction of the meeting of various S. Moisè and with L’inganno felice laid the culture groups as well as the escape from the foundations for engagements at other renowned harem inevitably recalls such prominent pred- Italian opera houses. He was soon to arouse a ecessors as, for example, Mozart’s Entführung veritable storm of enthusiasm at La Scala Milan aus dem Serail. But despite the ‘exotic’ choice with his opera La pietra del paragone and even of topic, L’italiana in Algeri has prevailed in La Fenice in Venice did not want to forego his music history particularly for its patriotic echoes. collaboration with the aspiring artists – it was Thus, the aria ‘Pensa alla patria’ longs for a na- there that Tancredi celebrated its birth, despite tional strengthening of Italy under foreign rule some small start-up difficulties due to the in- and obviously expressed the feelings of the disposition of the female protagonist.1 audience.3 Even at the premiere the aria enjoyed At a quick glance, the genesis of L’italiana extraordinary popularity and soon functioned in Algeri could lead to the temptation to brand as a projection surface for the declaration of war the opera an – admittedly very successful – em- directed at the occupiers of Italy. That Rossini barrassment of a work. In Venice La pietra del wanted to have his aria concretely understood paragone was also supposed to lure the mass as such may be questionable. Only a year before audience into the Teatro S. Benedetto. The ex- in a commissioned work he had paid musical pected response failed to materialize, however, tribute to the first Napoleonic success in the and Rossini was begged to replace the spurned Russian campaign and ‘attained virtually the work promptly with a new one that was to com- status of a government artist who delivered pensate also for the failure of an opera by Carlo dazzling evidence of the flourishing of the arts Coccia to be completed on time. Composed in under the new regime’.4 Nonetheless, com- less than a month, L’italiana in Algeri now ments pointing to a patriotic cast of mind are took its place in the theatre programme. Despite the rushed compositional order, Rossini selected 2 see Norbert Miller’s article on L’italiana in Algeri in Pi- his libretto with care. The text by Angelo Anelli pers Enzyklopädie des Musiktheaters (Munich, Zurich, 1994), col.5, 375–380 3 see Martina Grempler, Rossini e la patria (= Kölner Bei- 1 see Paolo Fabbri’s article on Rossini in MGG2P, Vol.14 träge zur Musikforschung, Vol.195) (Kassel, 1996), 112ff (Kassel, etc., 2005), cols.467f 4 see Fabbri, col.468 IV found in Rossini’s own correspondence – with Algeri was given in several European cities and definite reference to this aria.5 And even the even reached the German stage in the summer musical quotation of the Marseillaise in the of 1816. In the 1820s it even managed a leap to chorus of the aria seems to imply a certain America – a success that probably Rossini irony that alludes to the fall of the Napoleonic him self had not thought possible. Thus, he was era. It is less surprising then that L’italiana in supposed to have remarked after the 1813 pre- Algeri would become the subject of several re- miere: ‘I believed that the Venetians would take visions, mainly a matter of replacing single me for mad after they had heard my opera. sections of offensive text and/or work titles, but Now they prove to be madder still than I am’.6 also resulted in exchanging the whole aria. How lovely that the world is so mad! Even the interventions of the censor’s office could not, however, ultimately spoil the great Sandra Borzikowski success of the opera. Not only Italians applauded Translation: Margit L. McCorkle the work; on its triumphal tour L’italiana in 5 see Grempler, 117 6 quoted from Herbert Weinstock, Rossini. Eine Biogra- phie (Adliswil/Switzerland, 1981), 46 VORWORT Tosenden Applaus brachte L’italiana in Algeri einer nicht rechtzeitig vollendeten Oper Carlo ihrem jungen Komponisten bei der Urauffüh- Coccias kompensieren sollte. Nach nicht ein- rung am 22. Mai 1813 und den ebenso umju- mal einem Monat Kompositionszeit nahm nun belten Folgeaufführungen ein. Den ersten „Geh - L’italiana in Algeri ihren Platz im Spielplan versuchen“ im heiteren Sujet – nicht einmal des Theaters ein. Trotz des übereilten Kompo- zwei Jahre zuvor – war dagegen weitaus weni- sitionsauftrages wählte Rossini das Libretto für ger Erfolg vergönnt (sieht man einmal von der seine neue Oper bedacht aus. Der Text stammte gelungenen Aufführung einer zuvor kompo- von Angelo Anelli und war bereits 1808 von nierten, aber kleindimensionierteren Farsa ab); Luigi Mosca äußerst erfolgreich vertont worden. sie bescherten Rossini sogar einen nächtlichen Zum größten Teil behielt das Libretto seine Arrest. Pikante Textstellen waren ins Visier der ursprüngliche Gestalt bei. Nur an wenigen Zensur geraten und führten schließlich zum Stellen ließ Rossini – möglicherweise durch Verbot von L’equivoco stravagante, was Ros- Anelli selbst – in den Text eingreifen, um ihn sini offensichtlich recht unbeherrscht kommen- auf seine persönlichen Vorlieben in puncto tiert haben muss. Doch bereits zu Beginn des Komik „maßzuschneidern“. Und genau diese Jahres 1812 konnte er das venezianische Pub - textlichen Vorlagen ermöglichten es Rossini likum des Teatro S. Moisè wieder für sich schließlich sein ganzes Können auszuspielen. gewinnen und legte mit L’inganno felice den Besonders eindrucksvoll zeigt sich dies in den Grundstein für Engagements an den renom- Wirren des ersten Finales, wo mit lautmaleri- mierten Opernhäusern Italiens. In der Mailänder schen Mitteln dem Chaos in den Köpfen – für Scala sollte er schon bald mit seiner Oper La jeden Protagonisten individuell umgesetzt – pietra del paragone wahre Begeisterungsstürme Ausdruck verliehen wird.2 hervorrufen und auch das venezianische Teatro In seinem Text greift Anelli auf das bereits La Fenice wollte auf eine Zusammenarbeit mit im 18. Jahrhundert äußerst beliebte „Türkensu- dem aufstrebenden Künstler nicht verzichten – jet“ zurück. Die Schilderung des Aufeinander- Tancredi feierte dort seine Geburtsstunde, treffens unterschiedlicher Kulturkreise sowie wenn auch mit kleinen Anlaufschwierigkeiten, der Flucht aus dem Harem erinnern unweiger- die jedoch nur der Unpässlichkeit der Protago- lich an so prominente Vorgängerwerke wie nistinnen geschuldet waren.1 beispielsweise Mozarts Entführung aus dem Die Entstehungsgeschichte von L’italiana Serail. Trotz der „exotischen“ Themenwahl ist in Algeri könnte bei oberflächlicher Betrachtung L’italiana in Algeri aber vor allem auch wegen fast dazu verleiten, die Komposition als – zuge- seiner patriotischen Anklänge in die Musikge- gebenermaßen sehr erfolgreiches – Verlegen- schichte eingegangen. So sehnt die Arie „Pensa heitswerk abzustempeln. Denn eigentlich sollte alla patria“ eine nationale Erstarkung des unter auch in Venedig La pietra del paragone die Fremdherrschaft stehenden Italiens herbei und Zuschauermassen in das Teatro S. Benedetto sprach damit offensichtlich dem Publikum aus locken. Doch die erwartete Resonanz blieb aus der Seele.3 Bereits bei der Uraufführung erfreute und Rossini wurde gebeten, das verschmähte sich das Stück außerordentlicher Beliebtheit Werk umgehend durch eine neue Komposition zu ersetzen, die nicht zuletzt auch den Ausfall 2 Vgl. Norbert Millers Artikel zu L’italiana in Algeri in Pipers Enzyklopädie des Musiktheaters, München, Zürich 1994, Bd. 5, S. 375–380. 1 Vgl. Paolo Fabbris Artikel über Rossini in MGG2P, Bd. 3 Vgl. Grempler, Martina: Rossini e la patria (= Kölner Bei - 14, Kassel, usw. 2005, Sp. 467f. träge zur Musikforschung, Bd. 195), Kassel 1996, S. 112ff. VI und fungierte schon bald als Projektionsfläche Revisionen wurde, die überwiegend zum Aus- für die an die Besetzer Italiens gerichteten wechseln einzelner anstoßerregender Textzeilen Kampfansagen.
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    ANIVERSARIO El bicentenario de Aureliano in Palmira por Carlos Fuentes y Espinosa l viejo dueño del verdoso terreno de la campiña italiana observaba cómo sus trabajadores implementaban novedades agrícolas que había comprado recientemente, mas a su mente acudieron antiguas imágenes evocadoras de un canto inmaculado que Ehacía vibrar audiencias, las conmovía, las excitaba. Recordó los triunfos en La Scala, en tantos lugares, los interminables “líos de faldas internacionales”. El anciano sonrió. Ahí era el patrón, de la rara voz, con muchas medallas y curiosidades, que había tenido una vida intrincada. Y el angélico sonido que había embelesado al público era su voz, pues en otro tiempo se le conocía como Giambattista Velluti (1780-1861), el último gran castrado. Se desconoce la verdadera causa de la resección gonadal de Velluti, para quien el padre había destinado la carrera militar. Se afirma que se produjo a causa de atribuciones médicas precipitadas o indebidas, pero, de cualquier modo, fue algo imprevisto, que dejó dos opciones al niño: la vida eclesiástica o el canto. Decidida la última, se sabe que cantó frente al cardenal Luigi Chiaramonti, más delante, el Papa Pío VII, impresionándolo gratamente. Nacido en Corridonia, antes Pausola y en su tiempo Montolmo, Giovanni Battista Stracciavelluti encarnaba el esplendor tardío, moribundo, de esas curiosas atracciones deificadas, causadas por una salvaje mutilación a la que dio lugar una absurda prohibición eclesiástica. Ingresó a la celebérrima Academia de Boloña y estudió en principio con Stanislao Mattei (1750- 1825), maestro también de Gioachino Rossini y Gaetano Donizetti, entre otros. En 1800 debutó Gioachino Rossini y de inmediato se lo acogió como un gran cantante.
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