cimarosa - Chandos Records

Domenico
CIMAROSA
Overtures • 5
Atene edificata • Componimento drammatico
La bella Greca • Il marito disperato
Czech Chamber Philharmonic Orchestra Pardubice
Patrick Gallois
Domenico Cimarosa (1749–1801)
Overtures • 5
Domenico Cimarosa was born in Aversa on 17th December
1749. He was one of the last great exponents of the so-called
Neapolitan School, and one of the best-known and mostperformed composers before the arrival of Rossini on
Europe’s operatic scene. Cimarosa’s works (autograph
manuscripts of 65 operas and a number of sacred works
survive) were remarkably successful and were staged and
re-staged in opera houses across Europe. Having first made
his name in all the leading theatres of the Kingdom of
Naples, he soon saw his fame spread to central and northern
Italy (Venice, in particular). Success at home led to his
appointment by Catherine II as maestro di cappella and
music master at the Russian court in St Petersburg, posts
which he held between 1787 and 1791, and then to
commissions from Leopold II to write at least three operas
(including perhaps his best-known work, Il matrimonio
segreto) for the Vienna Burgtheater. Contrary to what some
of his biographies say, Cimarosa was not officially appointed
Kapellmeister in Vienna, but worked for the emperor on
what we today would call a freelance basis, earning the then
enormous figure of 12,000 florins a year.
Atene edificata
Cimarosa wrote the cantata Atene edificata (The Founding
of Athens) during the brief period in which he was employed
at the court of Catherine the Great. The full-autograph score
is now housed in the library of the San Pietro a Majello
Conservatory in Naples but, because it has been impossible
to trace a copy of the printed libretto, most of what we know
about the work’s first performance has been gleaned from
the brief notes left by Cimarosa on the title page of the score.
The cantata was almost certainly given its première on 29th
June 1788 (10th July in the Gregorian calendar).
Dramatic composition for Cardinal de Bernis
Little is known about the genesis and reception of the
Cantata a tre voci di Dom.co Cimarosa fatta / per
l’Eminentissimo Cardinale De Bernis in occasione della
Nascita del Delfino (Three-part Cantata by Domenico
Cimarosa written / for His Eminence Cardinal de Bernis on
the occasion of the Birth of the Dauphin). The text was
commissioned by François-Joachim de Pierre, Cardinal de
Bernis, an adviser to both Louis XV and Louis XVI, from
the poet, writer, dramatist and translator Vincenzo Monti –
a leading exponent of the Italian neo-Classical style – to
mark the birth of the Dauphin (the firstborn son of
Louis XVI). The work was probably given in a private
performance at the Cardinal’s residence.
La bella Greca (I matrimoni impensati)
La bella Greca (The Beautiful Greek Girl) is an intermezzo
in musica (we know from the libretto printed for its
première that it was also given the alternative title
I matrimoni impensati – The Unforeseen Weddings)
composed for the 1784 Carnival season at the Teatro Valle
in Rome. Unfortunately the libretto does not include the
name of the librettist (this was fairly common practice for
the Teatro Valle in the latter part of the eighteenth century);
it can, however, be attributed to Giuseppe Petrosellini, a
poet active at the Teatro Valle during this period and with
whom Cimarosa worked on most of his Roman
productions. The partial-autograph score is housed at the
San Pietro a Majella Conservatory in Naples; its nonautograph title-page is headed La bella Greca, but the text
set by Cimarosa is known to be identical to the libretto of I
matrimoni impensati, with the exception of two variations
in scenes IX and X of the first act.
La felicità inaspettata
Cimarosa wrote the “pastoral cantata” La felicità inaspettata
(Unexpected Happiness) in St Petersburg in 1788. In their
book Domenico Cimarosa. His Life and His Operas, Nick
Rossi and Talmage Fauntleroy make the somewhat
surprising statement that no original sources of La felicità
inaspettata survive, whereas in fact the full-autograph score
is, again, housed in the library of the San Pietro a Majella
Conservatory. The libretto, meanwhile, which was written
by the Russian court’s official poet Ferdinando Moretti, was
published as part of a collection of the latter’s theatrical
works in 1794. As we know from the title-page of the score,
the work was “performed for the first time / at the Hermitage
Theatre on 24th February 1788”.
La villana riconosciuta
The comic opera La villana riconosciuta (The Country Girl
Revealed), setting a libretto by Giuseppe Palomba, was
written in response to a commission from the Neapolitan
Teatro del Fondo. Unusually for a Cimarosa production,
we know the exact date of the first performance thanks to
a mention in the Gazzetta universale. A brief report by an
anonymous journalist, dated [Monday] 30th June 1783,
tells us that “His Majesty on the 28th … attended a
performance of a comic opera entitled La villana
riconosciuta. This took place at the Teatro del Fondo, open
for the first time this year, and Signor Cimarosa’s music
was warmly applauded by the audience.” After its
Neapolitan premiere, this work went on to be produced in
many opera houses, both in Italy and further afield
(London, Madrid, Berlin, Florence, Rome, Bologna,
Modena), often under a different title.
I due supposti conti (Lo sposo senza moglie)
A dramma giocoso per musica in two acts to a libretto by
Angelo Anelli, I due supposti conti (Lo sposo senza
moglie) – The Two Would-be Counts, or The Groom
without a Wife – was first staged at La Scala, Milan, on
10th October 1784. A short article appearing in the
Gazzetta universale on [Wednesday] 13th October reports
that, in what was a very rare occurrence for a work by
Cimarosa, the opera was not a success. The unnamed
writer seems to attribute this to a last-minute change of
cast, but a close analysis of the partial-autograph score
(again, part of the library holdings of the San Pietro a
Majella Conservatory) also shows that Cimarosa must have
compiled the manuscript in something of a hurry.
Le trame deluse
The comic opera Le trame deluse (The Foiled Schemes)
was staged as the “second opera” at the Teatro Nuovo in
Naples in 1786. It was an instant hit with audiences and, to
judge from the incalculable number of new productions at
opera houses in Italy and abroad, has to be seen as one of
the most successful of Cimarosa’s career. It was staged in
Vienna, Naples (1788, Teatro dei Fiorentini, in a two-act
version adapted by Giuseppe Benevento), Dresden,
Budapest, London, Bologna (with the alternative title Li
raggiri scoperti – The Tricks Discovered), Madrid,
Florence and Milan (at the Teatro della Canobbiana in
1811, and then at La Scala in 1818).
Il marito disperato
A dramma giocoso, Il marito disperato (The Desperate
Husband) sets a libretto by Giovan Battista Lorenzi, and
was written by Cimarosa for the Teatro dei Fiorentini in
Naples, where it received its first performance in 1785. The
two-volume partial-autograph score of Il marito disperato
is housed at the San Pietro a Majella Conservatory, whose
library also holds the manuscript, non-autograph score of
a later version staged for the first time at the Teatro Nuovo
in Naples in 1805 under the title L’amante disperato (The
Desperate Lover).
L’Olimpiade
L’Olimpiade (The Olympiad), a dramma per musica, was
composed for the inauguration of Vicenza’s Teatro
Eretenio in 1784. The libretto set by Cimarosa was the
latest of many adaptations of a text originally written by
Pietro Metastasio. Antonio Caldara had been the first to set
this to music, and Metastasio’s drama went on to inspire a
further sixty composers. The Eretenio’s impresarios had
initially commissioned Giovanbattista Borghi, a composer
considerably less well-known than Cimarosa, to compose
their opera. For reasons that remain far from clear, having
written various sections of the opera, he abandoned the
task, and Cimarosa was called in at the eleventh hour – at
the time he was in Florence working on a production of La
vanità delusa, a dramma giocoso which shares an overture
with L’Olimpiade.
La ballerina amante
The three-act dramma giocoso per musica, La ballerina
amante, (The Ballerina In Love) was the result of another
commission from the Teatro dei Fiorentini. Unfortunately,
no libretto printed for the first performance of La ballerina
amante survives to provide any definitive information as to
its author. It is thought, however, to be another text by
Giuseppe Palomba, one of Cimarosa’s regular collaborators, who was active at the Fiorentini theatre at the
time. La ballerina was produced many times outside the
Kingdom of Naples, with stagings in Florence, Trieste,
Malta, Corfu, Prague, Lisbon and St Petersburg.
Il fanatico burlato
Cimarosa composed his comic opera (commedia per
musica) Il fanatico burlato (The Fanatic Duped) to a libretto
by Saverio Zini, for the Teatro del Fondo in Naples where
it was performed, as we know from the first-night libretto,
as the “first opera” of 1787. It was in fact the last work
Cimarosa wrote in Italy before taking up his posts at the
Russian court: according to another anonymous report in
the Gazzetta universale, as published on 10th July 1787, the
composer had “set off for St Petersburg … summoned by
the [Russian] Queen to set various works to music”. Il
fanatico burlato went on to be staged in Milan, Florence,
Vienna, Barcelona, Paris, Corfu, Lisbon, Mannheim and
Weimar.
Simone Perugini
English translation by Susannah Howe
Patrick Gallois
Patrick Gallois belongs to the generation of French musicians leading highly successful international careers as both
soloist and conductor. From the age of seventeen he studied the flute with Jean-Pierre Rampal at the Paris Conservatoire
and at the age of 21 was appointed principal flute in the Orchestre National de France, under Lorin Maazel, playing
under many famous conductors, including Leonard Bernstein, Seiji Ozawa, Pierre Boulez, Karl Böhm, Eugen Jochum,
and Sergiu Celibidache. He held this post until 1984, when he decided to focus on his solo career, which has
subsequently taken him throughout the world. He regularly performs and records with leading conductors and
collaborates in chamber music with musicians such as Yuri Bashmet, Natalia Gutman, Peter Schreier, Jorg Demus, the
Lindsay Quartet and formerly with Jean-Pierre Rampal and Lily Laskine. He has been invited to appear as a soloist with
major orchestras in Europe and in Asia, and in leading international festivals, with tours to Germany, Japan and Israel,
and annual master-classes at the Accademia Chigiana in Siena. For twelve years after establishing his own orchestra
in Paris, the Académie de Paris, Patrick Gallois developed a conducting career which has taken him to Japan,
Scandinavia, Italy, Portugal, the United States and Bulgaria, in addition to appearances as a conductor in France. In 2003
he was appointed Musical Director of the Sinfonia Finlandia Jyväskylä and toured regularly with the orchestra. Both
as a conductor and as a flautist he has a wide repertoire, with a predilection for contemporary music, and many new
works have been dedicated to him. His recordings include an award-winning series for DG. For Naxos he has recorded
the complete Flute Concertos of C.P.E. Bach (8.557515-16), Haydnʼs Symphonies Nos. 1-5 (8.557571) and 9-12
(8.557771), and Gounodʼs Symphonies (8.557463), among other works. His recording for Naxos of Krausʼs Aeneas i
Cartago (8.570585) was awarded a Choc (Musica) in April 2010. His recording of the Violin Concertos of Saint-Saëns
with Fanny Clamagirand (Naxos 8.572037) was awarded a further Choc (Musica) in February 2011 and a Diapason
dʼOr in March 2011. A further Choc (Musica) was awarded for his recording of the Mendelssohn Violin Concertos with
Tianwa Yang and Sinfonia Finlandia Jyväskylä (8.572662). www.patrickgallois.com
Czech Chamber Philharmonic Orchestra Pardubice
The Czech Chamber Philharmonic Orchestra Pardubice, founded in 1969, is one of the Czech Republic’s leading
orchestras. The repertoire of this chamber orchestra includes a large number of compositions from the baroque era to
contemporary music, including many cross-over and multigenre projects. The first principal conductor, Libor Pešek,
quickly raised the orchestra to a high standard and the subsequent principal conductors have included Libor Hlaváček,
Petr Altrichter, Bohumil Kulínský, Petr Škvor, Róbert Stankovský, Leoš Svárovský and Marko Ivanovic. The present
conductor is Peter Feranec. The Czech Chamber Philharmonic Orchestra often performs at the Czech Republic’s most
important festivals, including the Prague Spring International Festival, the Smetana Litomyšl and the International
C
̌ eský Krumlov Festival, and at many important venues in Europe, such as the Amsterdam Concertgebouw, the Salzburg
Festspielhaus, Hercules Hall and Gasteig, Munich, the Vienna Musikverein, the Brucknerhaus, Linz, the Meistersinger
Halle, Nuremberg and many others. Outside Europe the orchestra has played in Japan and has toured extensively
around America. The orchestra has collaborated with many world-renowned conductors, including Jiří Bělohlávek,
Marco Armiliato, Mariss Jansons, and with a number of prominent soloists and choirs. In addition to its work in the
concert-hall the orchestra regularly engages in operatic and theatre projects and has dozens of successful recordings to
its credit on Naxos, ArcoDiva, Supraphon, Classico, Monitor-EMI, and Amabile.
The orchestral parts and scores of the following works are available from:
www.artaria.com
Sources
The sources upon which the editions used in this recording have been made are:
Atene edificata
Edited by Simone Perugini – Artaria Editions AE566
Naples, Conservatorio di musica ‘S. Pietro a Majella’:
Shelfmark 17.2.11
Le trame deluse
Edited by Simone Perugini – Artaria Editions AE572
Naples, Conservatorio di musica ‘S. Pietro a Majella’:
Shelfmark 14.7.3-4
Componimento drammatico
Edited by Simone Perugini – Artaria Editions AE567
Naples, Conservatorio di musica ‘S. Pietro a Majella’:
Rari 1.6.8
Il marito disperato
Edited by Simone Perugini – Artaria Editions AE573
Naples, Conservatorio di musica ‘S. Pietro a Majella’:
Shelfmark 14.8.10-11
La bella Greca (I matrimoni impensati)
Edited by Simone Perugini – Artaria Editions AE568
Naples, Conservatorio di musica ‘S. Pietro a Majella’:
Shelfmark 13.2.3-4
L’Olimpiade
Edited by Simone Perugini – Artaria Editions AE574
Naples, Conservatorio di musica ‘S. Pietro a Majella’:
Shelfmark 14.8.16-17
La felicità inaspettata
Edited by Simone Perugini – Artaria Editions AE569
Naples, Conservatorio di musica ‘S. Pietro a Majella’:
Shelfmark 17.2.12
La ballerina amante
Edited by Simone Perugini – Artaria Editions AE575
Naples, Conservatorio di musica ‘S. Pietro a Majella’:
Shelfmark 13.2.1-2
La villana riconosciuta
Edited by Simone Perugini – Artaria Editions AE570
Naples, Conservatorio di musica ‘S. Pietro a Majella’:
Shelfmark 14.7.7-8
Il fanatico burlato
Edited by Simone Perugini – Artaria Editions AE576
Naples, Conservatorio di musica ‘S. Pietro a Majella’:
Shelfmark 13.1.9-11
I due supposti conti (Lo sposo senza moglie)
Edited by Simone Perugini – Artaria Editions AE571
Naples, Conservatorio di musica ‘S. Pietro a Majella’:
Shelfmark 14.8.26-27
Domenico Cimarosa (1749–1801)
Ouvertüren • Folge 5
Domenico Cimarosa wurde am 17. Dezember 1749 in
Aversa geboren und starb am 11. Januar 1801 in Venedig.
Er war einer der letzten großen Vertreter der sogenannten
Neapolitanischen Schule und einer der bekanntesten,
meistgespielten Opernkomponisten, bevor Rossini die
Szene betrat. Seine Werke (von denen 65 Opern und eine
Reihe geistlicher Stücke erhalten sind) waren
außergewöhnlich erfolgreich: Sie wurden in allen
europäischen Theatern inszeniert und nachgespielt.
Nachdem Cimarosa zunächst die führenden Häuser des
Königreiches Neapel erobert hatte, verbreitete sich sein
Ruhm rasch auch in die Mitte und den Norden der
Halbinsel (wobei vor allem die Stadt Venedig zu nennen
ist). Die italienischen Erfolge führten dazu, dass ihn die
Zarin Katharina II. als ihren maestro di cappella und
Musiklehrer nach St. Petersburg berief, wo er von 1787 bis
1791 tätig war. Danach erhielt er von Kaiser Leopold II.
den Auftrag über mindestens drei Opern für das Wiener
Burgtheater (darunter war als sein vielleicht bekanntestes
Werk Il matrimonio segreto). Anders als in einigen
Biographien zu lesen, trug Cimarosa in Wien nicht den
offiziellen Titel eines Hofkomponisten; vielmehr war er für
Seine Majestät, wie wir heute sagen würden, als
Freischaffender tätig, wofür er pro Jahr die enorme Summe
von 12.000 Gulden erhielt.
Atene edificata
Die Kantate Atene edificata (»Die Gründung von Athen«)
schrieb Cimarosa in der kurzen Zeit am Hofe Katharinas
der Großen. Die vollständig autographe Partitur wird heute
in der Bibliothek des Konservatoriums San Pietro a
Majello zu Neapel aufbewahrt. Da sich von dem
gedruckten Libretto bislang kein Exemplar hat auffinden
lassen, bestehen die meisten Informationen über die
Premiere des Werkes, die mit ziemlicher Sicherheit am 29.
Junijul / 10. Juligreg 1788 stattgefunden hat, in den Notizen
des Komponisten auf dem Titelblatt.
Dramatische Komposition für Kardinal de Bernis
Wenig wissen wir über die Entstehung und die Rezeption
der Cantata a tre voci di Dom.co Cimarosa fatta / per
l’Eminentissimo Cardinale De Bernis in occasione della
Nascita del Delfino (»Kantate in drei Teilen von Domenico
Cimarosa verfertigt / für Seine Eminenz Kardinal de Bernis
anlässlich der Geburt des Kronprinzen«). Der Dauphin,
dessen Geburt mit dem Werke gefeiert werden sollte, war
der Sohn Ludwigs XVI., für den François-Joachim de
Pierre de Bernis – ebenso wie zuvor für seinen Vater
Ludwig XV. – als Berater tätig war. Mit der Dichtung hatte
der Kardinal den Poeten, Schriftsteller, Dramatiker und
Übersetzer Vincenzo Monti, einen führenden Vertreter des
italienischen Neoklassizismus, beauftragt. Die Aufführung
des Werkes dürfte privatim in der Residenz seiner Eminenz
stattgefunden haben.
La bella Greca (I matrimoni impensati)
La bella Greca (»Die schöne Griechin«) ist ein
»Intermezzo in musica«, das Cimarosa für das römische
Teatro Valle zur Karnevalssaison 1784 komponierte. Das
zur Premiere gedruckte Libretto verrät uns zwar, dass es
auch unter dem alternativen Titel I matrimoni impensati
(»Die unerwarteten Hochzeiten«) bekannt war,
verschweigt aber – wie das während des späteren 18.
Jahrhunderts im Teatro Valle recht üblich war – den Namen
des Textdichters. Es dürfte sich bei diesem allerdings um
Giuseppe Petrosellini gehandelt haben, der damals am
Teatro Valle tätig war und mit Cimarosa vielfach bei den
römischen Produktionen zusammenarbeitete. Die zum Teil
autographe Partitur liegt im Konservatorium San Pietro a
Majella. Auf der Titelseite steht von fremder Hand La bella
Greca, doch der von Cimarosa vertonte Text ist
zweifelsfrei mit dem Libretto der Matrimoni impensati
identisch, wenn man von zwei Abweichungen in den
Szenen IX und X des ersten Aktes absieht.
La felicità inaspettata
Die »pastorale Kantate« La felicità inaspettata
(»Unerwartete Glückseligkeit«) schrieb Cimarosa 1788 in
St. Petersburg. Während Nick Rossi und Talmage
Fauntleroy in ihrem Buch Domenico Cimarosa. His Life
and His Operas mit der Bemerkung überraschen, dass von
La felicità inaspettata keine originalen Quellen erhalten
seien, wird auch diese – wiederum vollständig autographe
– Partitur im Konservatorium San Pietro a Majella
aufbewahrt. Das Libretto brachte der offizielle russische
Hofpoet Ferdinando Moretti 1794 zusammen mit einer
Auswahl eigener Bühnendichtungen heraus. Die Titelseite
der Partitur verrät uns, dass »das Werk am 24. Februar
1788 im Theater der Eremitage gegeben ward«.
La villana riconosciuta
Der komischen Oper La villana riconosciuta (»Das
entdeckte Mädchen vom Lande«) für das neapolitanische
Teatro del Fondo liegt ein Libretto von Giuseppe Palomba
zu Grunde. Anders als bei den meisten Produktionen
Cimarosas kennen wir das genaue Uraufführungsdatum,
da die Gazzetta universale dem Ereignis eine kurze Notiz
widmete: Am Montag, den 30. Juni 1783 berichtet ein
ungenannter Korrespondent, dass »Seine Majetsät am 28.
... die Aufführung einer komischen Oper namens La villana
riconosciuta besuchte. Diese begab sich im Teatro del
Fondo, das damit in diesem Jahr eröffnete, und die Musik
von Signor Cimarosa wurde vom Publikum mit großem
Beifall bedacht«. Nach der neapolitanischen Premiere
wurde das Werk, oftmals unter alternativen Titeln, in vielen
in- und ausländischen Opernhäusern (London, Madrid,
Berlin, Florenz, Rom, Bologna, Modena) inszeniert.
I due supposti conti (Lo sposo senza moglie)
Das zweiaktige »Dramma giocoso per musica« auf Angelo
Anellis Libretto I due supposti conti (Lo sposo senza
moglie) (»Die zwei Möchtegern-Grafen, oder Der
Bräutigam ohne Weib«) – kam am 10. Oktober 1784 an
der Mailänder Scala heraus. In einem kurzen Artikel der
Gazzetta universale heißt es am Mittwoch, den 13.
Oktober, dass die Oper – selten genug für Cimarosa – kein
Erfolg gewesen sei. Der ungenannte Berichterstatter will
das der in letzter Minute geänderten Besetzung
zuschreiben; eine nähere Analyse der teilweise
autographen, im Konservatorium San Pietro a Majella
aufbewahrten Partitur verrät überdies, dass der Komponist
das Manuskript in aller Eile kompiliert hat.
Le trame deluse
Die komische Oper Le trame deluse (»Die vereitelten
Pläne«) wurde 1786 am Teatro Nuovo zu Neapel als
»zweite Oper« inszeniert und errang einen sofortigen
Publikumserfolg. Wie an der unzähligen Menge weiterer
in- und ausländischer Produktionen abzulesen ist, gehört
das Werk zu den erfolgreichsten Stücken, die Cimarosa
überhaupt geschrieben hat. Man spielte sie in Mailand,
Wien und Neapel (1788 am Teatro dei Fiorentini in einer
zweiaktigen Bearbeitung von Giuseppe Benevento), ferner
in Dresden, Budapest, London und Bologna (als Li raggiri
scoperti – »Die entdeckten Winkelzüge«) sowie in Madrid,
Florenz und wieder in Mailand (1811 am Teatro della
Canobbiana und 1818 an der Scala).
Il marito disperato
Das »Dramma giocoso« Il marito disperato (»Der
verzweifelte Gemahl«) schrieb Cimarosa auf ein Libretto
von Giovan Battista Lorenzi für das neapolitanische Teatro
dei Fiorentini, wo 1785 die Uraufführung stattfand. Die
zweibändige, zum Teil autographe Partitur liegt in der
Bibliothek des Konservatoriums San Pietro a Majella, wo
auch die handschriftliche, wenngleich nicht autographe
Partitur einer späteren Fassung aufbewahrt wird, die 1805
am Teatro Nuovo zu Neapel als L’amante disperato (»Der
verzweifelte Liebhaber«) gegeben wurde.
L’Olimpiade
Das »Dramma per musica« L’Olimpiade entstand 1784 zur
Eröffnung des Teatro Eretenio in Vicenza. Das Libretto war
die x-te Adaption des Textes von Pietro Metastasio, den
Antonio Caldara im Jahre 1733 als Erster vertont hatte,
bevor er nach und nach weitere sechzig Komponisten
inspirierte. Zunächst hatten die Impresarii des Eretonio
Giovanbattista Borghi, der weit weniger berühmt war als
Cimarosa, mit der Komposition ihrer Oper beauftragt.
Dieser aber gab das Unternehmen, nachdem er einige Teile
geschrieben hatte, aus bislang ungeklärten Gründen auf. In
letzter Minute wurde Cimarosa kontaktiert, der gerade in
Florenz mit der Produktion seiner Vanità delusa beschäftigt
war – einem »Dramma giocoso«, das sich mit der
Olimpiade die Ouvertüre teilt.
Il fanatico burlato
Die »Commedia per musica« Il fanatico burlato (»Der
überlistete Fanatiker«) schrieb Cimarosa auf einen Text
von Saverio Zini für das neapolitanische Teatro del Fondo,
wo es 1787 als »erste Oper« aufgeführt wurde, wie das
zur Premiere gedruckte Libretto mitteilt. Tatsächlich war
der »Fanatiker« das letzte Werk, das Cimarosa in Italien
komponierte, bevor er sich an den russischen Hof verfügte. Eine anonyme Meldung der Gazzetta universale
teilt am 10. Juli 1787 mit, dass der Komponist
nach St. Petersburg gereist sei, »wohin ihn die
Herrscherin berufen habe, auf dass er
verschiedene Werke in Musik setze«. Il fanatico
burlato wurde nacheinander in Mailand,
Florenz, Wien, Barcelona und Paris, auf Korfu
sowie in Lissabon, Mannheim und Weimar
inszeniert.
Simone Perugini
Deutsche Fassung: Cris Posslac
Photo: Matti Salmi
La ballerina amante
Das dreiaktige »Dramma giocoso per musica« La ballerina
amante (»Die verliebte Tänzerin«) entsprang einem
weiteren Auftrag des Teatro dei Fiorentini. Leider ist von
der Uraufführung kein gedrucktes Libretto erhalten, das
uns mit Sicherheit den Namen des Textdichters nennen
könnte. Es ist jedoch anzunehmen, dass es sich auch
hierbei um einen Text von Giuseppe Palomba handelte, der
damals am Teatro dei Fiorentini wirkte und regelmäßig mit
Cimarosa zusammengearbeitet
hat. La ballerina wurde viele
Male
außerhalb
des
Königreichs Neapel produziert
– in Florenz, Triest, Prag,
Lissabon und St. Petersburg
sowie auf Malta und Korfu.
Domenico Cimarosa was one of the last great exponents of the ‘Neapolitan School’ and one of
the most famous and successful composers before the arrival of Rossini on the European opera
scene. His works were produced and re-staged at innumerable performances in opera houses
all over Europe. This programme represents the extraordinary range of Cimarosa’s career,
from Le trame deluse (The Foiled Schemes) and La villana riconosciuta (The Country Girl
Revealed), which were among his greatest hits, to overtures from cantatas such as Atene
edificata (The Founding of Athens) and the ‘dramatic composition' for Cardinal de Bernis,
written on the occasion of the birth of the Dauphin, the firstborn son of Louis XVI.
Domenico
8.573568
DDD
Playing Time
77:11
CIMAROSA
(1749–1801)
Overtures • 5
Atene edificata
6:22
1 Molto allegro con brio
2 Allegro
I due supposti conti, ossia
Lo sposo senza moglie
0 Allegro con spirito
! Adagio
3:26
1:43
( La ballerina amante
) Il fanatico burlato
4:13
2:17
5:17
6:02
6:35
5:57
Czech Chamber Philharmonic Orchestra Pardubice • Patrick Gallois
Note critiche in italiano sono accessibili a naxos.com/notes/573568.htm
Recorded at The House of Music Pardubice, Pardubice, Czech Republic, 7–10 October 2015
Producer: Jiří Štilec • Engineers: Václav Roubal & Karel Soukeník • Booklet notes: Simone Perugini
Publisher: Artaria Editions • Cover photo: Teatro San Carlo, Naples, Italy (© Photogolfer / Dreamstime.com)
 & 훿 2016 Naxos Rights US, Inc.
1:39
5:09
6:30
Booklet notes in English
Kommentar auf Deutsch
felicità inaspettata
La villana riconosciuta
4:15
1:44
2:52
Made in Germany
9 La
8:51
www.naxos.com
4:16
2:06 @ Largo staccato
Componimento drammatico 12:32 # Larghetto grazioso alla francese
3 Allegro con spirito
7:21 $ Allegro molto
4 Andantino
2:28
Le trame deluse, ossia
5 Allegro vivace
I raggiri scoperti
2:43
% Allegro vivace
La bella Greca
(I matrimoni impensati)
11:16 ^ Allegro
6 Allegro con molto brio
5:46 & Il marito disperato
7 Adagio
(Il marito geloso)
3:14
8 Allegro giusto
2:15 * L’Olimpiade