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Loving Theseus : the Spectacle of Feminine Passions on the Munich Stage (1662)

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Loving Theseus : the Spectacle of Feminine Passions on the Munich Stage (1662) Loving Theseus : the spectacle of feminine passions on the Munich stage (1662) Autor(en): Heller, Wendy Objekttyp: Article Zeitschrift: Basler Jahrbuch für historische Musikpraxis : eine Veröffentlichung der Schola Cantorum Basiliensis, Lehr- und Forschungsinstitut für Alte Musik an der Musik-Akademie der Stadt Basel Band (Jahr): 33 (2009) PDF erstellt am: 06.10.2021 Persistenter Link: http://doi.org/10.5169/seals-868895 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. Das Veröffentlichen von Bildern in Print- und Online-Publikationen ist nur mit vorheriger Genehmigung der Rechteinhaber erlaubt. Die systematische Speicherung von Teilen des elektronischen Angebots auf anderen Servern bedarf ebenfalls des schriftlichen Einverständnisses der Rechteinhaber. Haftungsausschluss Alle Angaben erfolgen ohne Gewähr für Vollständigkeit oder Richtigkeit. Es wird keine Haftung übernommen für Schäden durch die Verwendung von Informationen aus diesem Online-Angebot oder durch das Fehlen von Informationen. Dies gilt auch für Inhalte Dritter, die über dieses Angebot zugänglich sind. Ein Dienst der ETH-Bibliothek ETH Zürich, Rämistrasse 101, 8092 Zürich, Schweiz, www.library.ethz.ch http://www.e-periodica.ch 197 LOVING THESEUS. THE SPECTACLE OF FEMININE PASSIONS ON THE MUNICH STAGE (1662) by Wendy Heller It is perhaps surprising that one of the seventeenth century's most elaborate and massive spectacles involving Italian opera should have taken place not on the Italian peninsula, but rather in Munich in 1662, as part of the celebrations for the birth of Maximilian II, the son of Elector Ferdinand Maria (1636-1679) and Henriette Adelaide of Savoy (1636-1676).1 Not content to stage a single opera, the Elector and Electress presented a trilogy of three operatic-style entertainments performed over a period of eight days. The Applausi festivi, as it was called, included Fedia incoronata, a drama regio based on the Venetian model presented on September 24th, 1662 at the Elector's theatre at Salvator- platz; Antiopa, a drama guerriero or tournament opera, featuring processions, floats, mock battles, and tableaux with musical interludes performed in the palace courtyard on September 26; the trilogy was concluded on 1 October with Medea vendicativa, a firework opera on a floating stage in the River Isar.2 The Munich entertainments were remarkable from a number of perspectives, not the least of which was the sheer extravagance of both the visual and musical experience. Although no music survives, the printed librettos penned by the Vicenza librettist and nobleman Pietro Paolo Bissari (1595-1663) with descriptions and engravings provide us more than a hint of the enormity of the undertaking.3 1 On opera in Munich in the preceding decades, see Max Zenger, Geschichte der Münchener Oper, ed. by Theodor Kroyer, Munich 1923; Hubertus Boiognaro-Crevenna, L'arpa festante. Die Müncher Oper 1651-1825 von den Anfängen bis zum „Freyschützen", Munich 1963, 31-35; Colin Timms, Polymath of the Baroque. Agostino Steffani and his Music, Oxford 2003, 10-15. 2 This impressive theatrical spectacle is frequently mentioned in studies of Italian festivals and scenography in the seventeenth century. See Helen Watanabe-O'Kelly, Triumphal Shews. Tournaments at German Speaking Courts in their European Context 1560-1730, Berlin 1992, 85-94; Cesare Molinari, Le nozze degli dèi. Un saggio sul grande spettacolo italiano nel Seicento, Rome 1968, 194-196; see also Jürgen Schläder, „Die Inszenierung des Lebens. Theater und Politik unter Kurfürst Ferdinand Maria", in: Hans-Michael Körner and Jürgen Schläder (eds), Münchner Theatergeschichtliches Symposium 2000, München 2000 Studien zur Münchner Theatergeschichte 1), 27-39 and idem, „Das Fest als theatrale Fiktion von Wirklichkeit. Über die Bühnenästhetik der Münchner Applausus festivi von 1662", Basler Jahrbuch für historische Musikpraxis 23, 1999, 41-58; Eberhard Straub, Repraesentatio Maiestatis oder churbayerische Freudenfeste. Die höfischen Feste in der Müncher Residenz vom 16. bis zum Ende des 18. Jahrhunderts, Munich 1969 Miscellanea Bavarica Monacensia 14), 217-234. 3 Pietro Paolo Bissari, Fedra incoronata, Drama Regio Musicale. Attione Prima De gli Applausi fatti alla nascita DeU'Altezza Ser.ma Di Massimiliano Emanuele [...], Munich 1662; Antiopa giustificata, Drama guerriero. Attione seconda De gli Aplausi fatti alla nascita Dell'Altezza Ser.ma Di Massimiliano Emanuele [...], Munich 1662; Medea Vendicativa. Drama di foco. Attione Terza De gli Applausi fatti per la Nascita Dell'Altezza Ser.ma Di Massimiliano Emanuele [...], Munich 1662. 198 Wendy Heller The performances called upon the most sophisticated skills of the team of artists, which included the engineer and designer Francesco Santurini who had worked extensively in Venice.4 The dances were choreographed by Vincenzo Castiglione, and the music - now lost - was written by the court composer Johann Kaspar Kerll (1627-1693). The entire project was overseen by Bissari, who collaborated in Venice with no less a composer than Francesco Cavalli included La Toiilda (1648) and La Biadamante (1650) The goal of the directorial team seems to have been to provide the Munich audiences with a particularly novel theatrical experience. Even the most „conventional" of the three entertainments, Fedia incoronata, the first of the trilogy and the only one performed at the court theater, included remarkable stage effects. Consider, for example, Bissari's account of the opening of the prologue. Santurini and Bissari did not seek merely to recreate a natural phenomenon - a storm - but rather to take the viewer beyond the ordinary world, to a supernatural universe in which the clouds not only put forth rose-scented rain, but also provide a resting place for singing gods and goddesses (fig. 1). fig. 1: Melchior Küsel after Caspar Amort, etching for Fedia incoronata, Prologue: Iride, Hebe, and Lucinda in the clouds, set design: Francesco Santurini. Courtesy of Beineke Rare Book and Manuscript Library, Yale University. 4 On Santurini, see Mercedes Viale Ferraro, „Stage and Set," in: Lorenzo Bianconi, Giorgio Pestelli and Kate Singleton (eds), Opera on Stage, Chicago 2002, 43-54. Loving Theseus 199 fig. 2: Melchior Küsel after Caspar Amort, etching for Fedza incoionata, 1.16: Alico and Ferebea on a small boat above over the sea, showing the scene below, set design: Francesco Santurini. Courtesy of Beineke Rare Book and Manuscript Library, Yale University. fig. 3: Melchior Küsel after Caspar Amort, etching for Fedia incoionata, 11.21: Cen¬ taurs, with Theseus and Pirithous, set design: Francesco Santurini. Courtesy of Beineke Rare Book and Manuscript Library, Yale University. 200 Wendy Heller At the sound of a horrid sinfonia, accompanied by booming thunder and lightening bolts, the theatre darkens, and the curtain disappears, and one sees the scene filling up with clouds moving from various directions, from which lightening flashes are visible. One of the clouds breaks off and advances towards the audience and disperses a light rain with perfumed water, ending, as the thunder Crescendos, with a sweet tempest. At the lowering of the clouds, the thunder stops, and the theatre is illuminated, and shows, opening up, Iride on an arch, with Hebe and Lucinda seated separately. After a trio, Iride, with silky veils, descends to present the opera to their Highnesses, and the other two rise up on a separate cloud, joining Iride for another trio; after dispensing sonnets, they depart together. The clouds disappear completely from the scene along with them, going off in all directions and they bring into view the scene and machines for the prologue, accompanied by a warlike sinfonia.5 This introduced the various allegorical figures who dominate the heavens and seas - Jupiter, Juno, Minerva, Vulcan, and Apollo (including the satirical Momus, who by the end of the prologue is knocked out of the clouds by Jupiter's thunder). The remainder of the opera is equally spectacular, calling for no fewer than twelve set changes. There are sumptuous scenes in Theseus's Athenian palace, such as the royal atrium lined with statues and the rotunda in the courtyard. There are classic seaside settings, including the rock on the island of Naxos where Theseus will abandon Ariadne and the „ritiro delitioso alia Marina" - the delightful retreat at the marina - where Antiopa awaits Theseus' return. There is also an abundance of supernatural scenes, enlivened by special effects and balli. Thus, in the kingdom of Neptune at the bottom of the ocean, the audience witnesses Theseus' and Pirithous' battle with maritime monsters that emerge from the mouth of a giant fish, which are subsequently slain by Theseus. The set showed not only Neptune's underworld kingdom, but also the comic servants, Alico and Ferebea, in a boat on the water's surface. The first act ends as Alico, falling into the water, joins the Nereids and sea monsters in a ballo (fig. 2). Bissari also includes an obligatory trip to the underworld in the opening of Act II, where Theseus and Pirithous encounter Proserpina, fight monstrous spirits, and are then lulled to sleep by Morpheus (who appears on a tortoise shell), while Act II concludes on the island of the sirens and their ballo with the centaurs (fig. 3). 5 Bissari, Fedra incoionata (see n. 3), n.p. Presentatione dell'opera: „AI suono d'un orrida sin¬ fonia accompagnata da ribombo di tuoni, e di saete s'oscura il teatro, e sparrita la tenda, si vede occupata la scena da mobili nubi, da varie parti, delle quali si vedon lampi. Alio stac- carsi di una di quelle, che s'avanza verso l'udienza, si sparge una lieve piogga d'acqua odorosa, che, col crescimento de' tuoni, termina in una dolce tempesta.
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