La Gioconda (opera)
La Gioconda is an opera in four acts by Amilcare Ponchielli set to an Italian libretto by Arrigo Boito (as Tobia Gorrio), based on Angelo, Tyrant of Padua, a 1835 play in prose by Victor Hugo (the same source Gaetano Rossi had used for his libretto for Mercadante's Il giuramento in 1837).
| La Gioconda | |
|---|---|
| Opera by Amilcare Ponchielli | |
Cover of the original 1876 libretto | |
| Librettist | Arrigo Boito |
| Language | Italian |
| Based on | Angelo, Tyrant of Padua by Victor Hugo |
| Premiere | 8 April 1876 Teatro alla Scala, Milan |
First performed in 1876, La Gioconda was a major success for Ponchielli, as well as the most successful new Italian opera between Verdi's Aida (1871) and Otello (1887). It is also a famous example of the Italian genre of Grande opera, the equivalent of French Grand-Opéra.
Ponchielli revised the work three times, and the fourth and final version was first performed in 1879 in Genoa before reaching Milan in 1880 where its reputation as the definitive version was established. There are several complete recordings of the opera, and it is regularly performed, especially in Italy. It is one of only a few operas that features a principal role for each of the six major voice types. The opera also includes the famous ballet Dance of the Hours, often performed separately or in parody.
Composition and performance history
La Gioconda was commissioned in 1874 by Giulio Ricordi of the music publishing firm Casa Ricordi.[1] Ricordi selected Arrigo Boito to write the libretto for the opera; although he used an anagram of his own name, 'Tobia Gorrio'.[1] Boito modeled his construction after the grand opera style of French dramatist Eugène Scribe; employing a historical framework with a wide array of characters that could provide a visual spectacle on stage and opportunities for contrast. In the French grand opera tradition the work contains a central ballet and massed choral scenes.[1] Given the large number of personnel and elaborate sets the opera requires, the work is one of the more expensive operas to produce, and as a result, the opera has mainly been staged only by opera houses with larger budgets like the Teatro alla Scala in Milan and the Metropolitan Opera in New York City.[1]
La Gioconda was first performed at the Teatro alla Scala, Milan, on 8 April 1876 with Italian soprano Maddalena Mariani Masi in the title role and Spanish tenor Julián Gayarre as Enzo.[1] The work was positively received at its premiere with Milan's leading music critic, Filippo Filippi of the magazine La perseveranza, declaring that, apart from Giuseppe Verdi, only Ponchielli could produce an opera of such importance among Italy's then living composers.[1]
After the premiere, Ponchielli continued to modify the work several times for succeeding productions. For the opera's first staging in Venice at the Teatro Rossini on 18 October 1876 numerous changes were made; including the addition of the 'Furlana' in Act 1; a new cabaletta (‘O grido di quest’ anima’) for the duet between Enzo and Barnaba; a preghiera for Laura in Act 2; and a new aria for Alvise in Act 3 which was later discarded in subsequent stagings but whose lyrics were repurposed in part in later revisions within Iago's Credo.[1] The opera was modified again for its first staging in Rome at the Teatro Apollo on 23 January 1877.[1] For this production Ponchielli wrote a new finale to Act 1 which replaced a reprise of the 'Furlana', and replaced the naval battle at the end of Act 2 with a duet for Enzo and Gioconda .[1]
The fourth and final version of the opera premiered in Genoa on 27 November 1879; although this version did not achieve critical acclaim and its status as the definitive version of the opera until it was staged at La Scala in Milan the following year on 28 March 1880.[1] For this version, Ponchielli re-composed Alvise's aria, "Si! Morir ella de!", and replaced the original stretta in the finale of Act 3 with an orchestral peroration of the principal theme of the preceding pezzo concertato. This construction was novel at the time, and later influenced other opera composers like Ponchielli's pupil Giacomo Puccini.[1]
The opera had its American premiere at the Metropolitan Opera (the "Met") on 20 December 1883 with Swedish soprano Christine Nilsson in the title role, Italian tenor Roberto Stagno as Enzo, French soprano Emmy Fursch-Madi as Laura, and Italian contralto Sofia Scalchi as La Cieca.[2] The same cast was employed for further performances of the opera in Chicago and Saint Louis in 1884.[3] The next staging of the opera in New York took place a decade later at the Grand Opera House in 1893 with American soprano Selma Kronold in the title role.[4] The opera was staged on Broadway at the American Theatre by the Castle Square Opera Company in 1899 with Yvonne de Tréville in the title role.[5]
The Met mounted the opera for the second time in 1904 with Nilsson reprising the title role and Enrico Caruso as Enzo.
The opera was performed for the grand opening of the Boston Opera House on November 8, 1909, with Lillian Nordica in the title role, Florencio Constantino as Enzo, and Louise Homer as La Cieca.[6]
The "Dance of the Hours" (Italian: Danza delle ore) from Act III of the opera became an international hit in the concert repertoire after it was performed at the Paris Exhibition of 1878.[1] It has remained a frequently programmed selection from the opera in orchestral and ballet concerts internationally.[1]
Roles
| Role | Voice type | Premiere cast, 8 April 1876[7] (Conductor: Franco Faccio) |
|---|---|---|
| Gioconda, a singer | soprano | Maddalena Mariani Masi |
| Laura Adorno, a Genoese lady | mezzo-soprano | Marietta Biancolini Rodriguez |
| La Cieca, Gioconda's mother | contralto | Eufemia Barlani Dini |
| Enzo Grimaldo, a Genoese prince, disguised as a Dalmatian seaman | tenor | Julián Gayarre |
| Barnaba, spy of the Inquisition | baritone | Gottardo Aldighieri |
| Alvise Badoero, one of the leaders of the Inquisition, Laura's husband | bass | Ormondo Maini |
| Zuàne, a boatman competing in the regatta | bass | Giovanni Battista Cornago |
| Isèpo, a scribe | tenor | Amedeo Grazzi |
| A singer | bass | Giovanni Battista Cornago |
| A pilot | bass | Giovanni Battista Cornago |
| Chorus: Workers, senators, priests, nobles, sailors, children | ||
Synopsis
The opera's title translates as The Happy Woman, but is usually given in English as The Ballad Singer. However, as this fails to convey the irony inherent in the original, the Italian is usually used. Each act of La Gioconda has a title.
- Place: Venice
- Time: 17th century
The story revolves around a woman, Gioconda, who so loves her mother that when Laura, her rival in love for the heart of Enzo, saves her mother's life, Gioconda puts aside her own romantic love to repay her. The villain Barnaba tries to seduce Gioconda, but she prefers death.
Act 1 The Lion's Mouth
The courtyard of the Doge's Palace
During Carnival celebrations before Lent, while everyone else is preoccupied with a regatta, Barnaba, a state spy, lustfully watches La Gioconda as she leads her blind mother, La Cieca, across the Square. When his amorous advances are firmly rejected, he exacts his revenge by denouncing the old lady as a witch whose evil powers influenced the outcome of the gondola race. It is only the intervention of a young sea captain that keeps the angry mob at bay.
Calm is restored at the approach of Alvise Badoero, a member of the Venetian Inquisition, and his wife, Laura. Laura places La Cieca under her personal protection, and in gratitude the old woman presents her with her most treasured possession, a rosary. The sharp-eyed Barnaba notices furtive behaviour between Laura and the sea captain indicating a secret relationship. Recalling that Laura was engaged to the now banished nobleman Enzo Grimaldo before her forced marriage to Alvise, Barnaba realises that the sea captain is Enzo in disguise.
Barnaba confronts Enzo, who admits his purpose in returning to Venice is to take Laura and begin a new life elsewhere. Barnaba knows that Gioconda is also infatuated with Enzo and he sees an opportunity to improve his chances with her by assisting Enzo with his plan of elopement.
When Enzo has gone, Barnaba dictates a letter to be sent to Alvise, revealing his wife's infidelity and the lovers' plan of escape. He is unaware that he has been overheard by Gioconda. The act ends with Barnaba dropping the letter into the Lion's Mouth, where all secret information for the Inquisition is posted, while Gioconda laments Enzo's perceived treachery, and the crowd returns to its festivities.
Act 2 The Rosary
The deck of Enzo's ship
Enzo waits for Barnaba to row Laura out from the city to his vessel. Their joyful reunion is overshadowed by Laura's fears as she does not trust Barnaba. Gradually Enzo is able to reassure her, and he leaves her on deck while he goes to prepare for their departure.
La Gioconda has been following Laura with the intention of exacting revenge from her rival. Alvise and his armed men are also in hot pursuit, but as Gioconda is about to stab Laura she sees her mother's rosary hanging round her neck and, realizing that it was Laura who saved her mother, has an instant change of heart. She hurries Laura into her boat so that she can evade her pursuers.
Enzo returns to the deck to find that Laura has fled leaving Gioconda triumphant. Furthermore, Alvise's men are rapidly approaching. Enzo sets fire to the ship rather than let it fall into the hands of his enemies before diving into the lagoon.
Act 3 The Ca' d'Oro (House of Gold)
Alvise's palace
Laura has been captured, and her vengeful husband insists she must die by poisoning herself (effectively committing suicide and condemning herself to Hell). Once again Gioconda has followed and has found her way into the palace, this time with the intention of saving her rival. Finding Laura alone Gioconda replaces the phial of poison with a powerful drug which creates the appearance of death. The second scene begins with Alvise welcoming his fellow members of the nobility to the palace; Barnaba and Enzo are amongst those present. Lavish entertainment is provided and the act ends with the famous ballet Dance of the Hours. The mood of revelry is shattered as a funeral bell begins to toll and the body of Laura is revealed awaiting burial. A distraught Enzo flings off his disguise and is promptly seized by Alvise's men.
Act 4 The Orfano Canal
A crumbling ruin on the island of Giudecca
In exchange for Enzo's release from prison, La Gioconda has agreed to give herself to Barnaba. When Enzo is brought in, he is initially furious when Gioconda reveals that she has had Laura's body brought from its tomb. He is about to stab her when Laura's voice is heard and Gioconda's part in reuniting the lovers becomes clear. Enzo and Laura make their escape, leaving La Gioconda to face the horrors awaiting her with Barnaba. The gondoliers' voices are heard in the distance telling that there are corpses floating in the city. When Gioconda tries to leave, she is caught by Barnaba. She then pretends to welcome his arrival, but under cover of decking herself in her jewellery, seizes a dagger and stabs herself to death. In frustrated rage Barnaba tries to perpetrate one last act of evil, screaming at the lifeless body "Last night your mother offended me. I drowned her!"
Famous arias and excerpts
- "Voce di donna o d'angelo" (La Cieca)
- "O monumento" (Barnaba)
- "Cielo e mar" (Enzo)
- "Stella del Marinar" (Laura)
- "E un anatema!... L'amo come il fulgor creato" (duet Gioconda with Laura)
- "Si! Morir ella de!" (Alvise)
- O madre mia nell'isola fatale (Gioconda)
- Dance of the Hours
- "Suicidio!" (Gioconda)
- "Ora posso morir... Vo' farmi più gaia" (final duet Gioconda with Barnaba)
Parodies of the ballet music
The Dance of the Hours in Act 3 is considered one of the most popular ballets in history. The ballet was used in the 1940 Walt Disney animated film Fantasia. The segment consists of the whole ballet, but performed comically by animals. The dancers of the morning are represented by Madame Upanova and her ostriches. The dancers of the daytime are represented by Hyacinth Hippo and her hippopotamus servants. (For this section the piece is expanded by a modified and reorchestrated repetition of the "morning" music.) The dancers of the evening are represented by Elephanchine and her bubble blowing elephant troupe. The dancers of the night are represented by Ben Ali Gator and his troop of alligators. All of the dancers rejoice in the great hall for a grand finale, which is so extravagant that the entire palace collapses at the end.
Another famous parody of Dance of the Hours is Allan Sherman's song "Hello Muddah, Hello Fadduh", describing a miserable time at summer camp. It uses the main theme of the ballet as its melody. Sherman's song was later referenced in a 1985 television commercial.[8]
Portions of the ballet were also used by Spike Jones and his City Slickers in their song parodying the Indianapolis 500.[citation needed]
Recordings
Audio
- 1931: Giannina Arangi-Lombardi, Alessandro Granda, Gaetano Viviani, Ebe Stignani, Corrado Zambelli – Coro e Orchestra del Teatro alla Scala, Lorenzo Molajoli – (Columbia, Naxos)
- 1952: Maria Callas, Gianni Poggi, Paolo Silveri, Fedora Barbieri, Giulio Neri – Coro e Orchestra della RAI Torino, Antonino Votto – (Cetra)
- 1957: Zinka Milanov, Giuseppe Di Stefano, Leonard Warren, Rosalind Elias, Plinio Clabassi – Coro e Orchestra de l'Accademia di Santa Cecilia, Fernando Previtali – (RCA Victor, later Decca/London)
- 1957: Anita Cerquetti, Mario Del Monaco, Ettore Bastianini, Giulietta Simionato, Cesare Siepi – Coro e Orchestra della Maggio Musicale Fiorentino, Gianandrea Gavazzeni – (Decca)
- 1959: Maria Callas, Pier Miranda Ferraro, Piero Cappuccilli, Fiorenza Cossotto, Ivo Vinco – Coro e Orchestra del Teatro alla Scala, Antonino Votto – (EMI)
- 1964: Mary Curtis-Verna, Franco Corelli, Cesare Bardelli, Mignon Dunn, Bonaldo Giaiotti. – Chorus and Orchestra of Philadelphia Lyric Opera, Anthony Guadango – (Bel Canto Society)
- 1967: Renata Tebaldi, Carlo Bergonzi, Robert Merrill, Marilyn Horne, Nicola Ghiuselev – Coro e Orchestra dell'Accademia di Santa Cecilia, Lamberto Gardelli – (Decca)
- 1980: Montserrat Caballé, Luciano Pavarotti, Sherrill Milnes, Agnes Baltsa, Nicolai Ghiaurov – London Opera Chorus, National Philharmonic Orchestra, Bruno Bartoletti – (Decca)
- 1986: Éva Marton, Giorgio Lamberti, Samuel Ramey, Livia Buday-Batky, Anne Gjevang, Sherrill Milnes – Hungaroton Opera Chorus, Hungarian State Orchestra Giuseppe Patanè – (Hungaroton)
- 2001: Violeta Urmana, Plácido Domingo, Lado Ataneli, Luciana d'Intino, Roberto Scandiuzzi, Elisabetta Fiorillo – Müncher Rundfunkorchester & Chorus Marcello Viotti – (EMI)
- 2005: Andrea Gruber, Marco Berti, Alberto Mastromarino, Carlo Colombara, Ildikó Komlósi, Elisabetta Fiorillo – Orchestra, Coro e Corpo di ballo dell'Arena di Verona, Donato Renzetti – Dynamic
Source:[9]
Film or video
- 1979: Kirk Browning directed a television film with Renata Scotto (La Gioconda) – for which Scotto won an Emmy, Luciano Pavarotti (Enzo Grimaldo), Stefania Toczyska (Laura Adorno), Margarita Lilowa (La Cieca), Norman Mittelmann (Barnaba), and Ferruccio Furlanetto (Alvise Badoero).[10]
- 1986: Hugo Käch directed a television film with Éva Marton (La Gioconda), Plácido Domingo (Enzo Grimaldo), Ludmila Semtschuk (Laura Adorno), Kurt Rydl (Alvise Badoero), Margarita Lilova (La Cieca) and Matteo Manuguerra (Barnaba).[11]
- 1988: Television film made in Barcelona at the Liceu, with Grace Bumbry (La Gioconda), Fiorenza Cossotto (Laura Adorno), Viorica Cortez (La Cieca), Ermanno Mauro (Enzo Grimaldo), Ivo Vinco (Alvise Badoero), Matteo Manuguerra (Barnaba).[12]
- 2005: Live video recording made at the Arena di Verona: Donato Renzetti (conductor) – Pier Luigi Pizzi (stage director)
Cast: Andrea Gruber, Marco Berti, Carlo Colombara, Alberto Mastromarino, Ildikó Komlósi, Elisabetta Fiorillo – Dynamic DVD Cat.33500
Source:[9]
Adaptations in other media
- La gioconda (US title: The Fighting Prince): Directed by Giacinto Solito with Alba Arnova (La Gioconda), Paolo Carlini (Enzo Grimaldi), Virginia Loy (Laura Adorno), Peter Trent (Alvise Badoero), Vittorio Vaser (Barnaba), Gino Scotti (Jacopo) and Giuseppe Campora, Attilio Dottesio, Ina La Yana and Vira Silenti (Italy, 1953, b/w).[13]
See also
References
Notes
- ^ a b c d e f g h i j k l m Julian Budden (2001). "Gioconda, La". Grove Music Online. Oxford Music Online. Oxford University Press. doi:10.1093/gmo/9781561592630.article.O004514. ISBN 9781561592630.
- ^ "AMUSEMENTS; 'LA GIOCONDA'". The New York Times. December 21, 1883. p. 4.
- ^ "OPERA IN CHICAGO.; PATTI AND NILSSON SINGING WITHIN A FEW YARDS OF EACH OTHER". The New York Times. January 29, 1884. p. 1.
- ^ "PONCHIELLI'S "LA GIOCONDA."; A Large Audience Listens to a Strong Work at the Grand Opera House". The New York Times. June 2, 1893. p. 5.
- ^ "DRAMATIC AND MUSICAL; Mrs. Fiske as "Frou-Frou" and a New Casino Play. LA GIOCONDA" IN ENGLISH Last of the Wagner Cycles -- Various Changes of Bill -- Music Hall "Turns."". The New York Times. March 21, 1899. p. 7.
- ^ Opera House History August 7, 2008, at the Wayback Machine
- ^ Ponchielli, Amilcare; Boito, Arrigo (1910). La Gioconda. G. Ricordi & Co.
- ^ Downy Commercial 1985 on YouTube
- ^ a b Recordings of La Gioconda on operadis-opera-discography.org.uk
- ^ La Gioconda (1979) at IMDb
- ^ La Gioconda (1986) at IMDb
- ^ La Gioconda (1988) at IMDb
- ^ La Gioconda (1953) at IMDb (aka: The Fighting Prince)
Sources
- Full libretto of La Gioconda on impresario.ch, 2005 (In English) Retrieved 10 July 2011
- Lascelles, George and Antony Peattie (Eds.), The New Kobbe's Opera Book London: Ebury Press, 1997. ISBN 0-09-181410-3
- Holden, Amanda (Ed.), The New Penguin Opera Guide, New York: Penguin Putnam, 2001. ISBN 0-14-029312-4
- Sadie, Stanley (Ed.), The New Grove Book of Operas, London: Macmillan Publishers Ltd, 1996. ISBN 0-333-65107-3
External links
- "Suicidio!" on YouTube, performance by Renata Tebaldi
- La Gioconda: Scores at the International Music Score Library Project
- , archived 7 June 2012